Edinburgh Fringe comedy review

Sarah Roberts just wants someone to get close to her. But the first person who did so was her twin sister – and Roberts ate her in the womb.

The comic has a few minutes of perfect jet-black humour about that horrible truth, made all the worse by the fact her mother had given the unborn sibling a name, Siobhan, and an impossible theoretical life that Roberts can never live up to.

If you don’t think that’s quite normal, welcome to the theme of the show, exploring the darkness of life and loneliness under the shadow of that grotesque act of prepartum cannibalism. That we know what Roberts is capable of also makes her slightly intimidating audience interactions all the more menacing. You definitely get the feeling that she was the sort of girl who bullied the boys she fancied as an act of desperate flirtation.

Given how she portrays herself, this show probably isn’t the sort of thirst trap that’s likely to land Roberts a partner. But it could land her many fans among lovers of morbid humour, for her writing is very strong, especially on these more gothic elements.

The other horrific incident at the foundation of the show is a socially harrowing one which befell the new girlfriend of Roberts’ ex, who made the spine-chilling mistake of liking, then unliking, one of the comedian’s Instagram posts from 2016, five years after the event.

Roberts tweeted what happened, then went to bed – only to discover she woke up to 700,000 notifications. she tells us. She always wanted to be seen… well, how’s about that?

By this point, the comic has definitely softened her edge, revealing the more impish side that was always beneath the surface. Devilishly funny, by any definition.

Review date: 20 Aug 2026
Reviewed by: Steve Bennett
Reviewed at: Monkey Barrel Comedy Club