Having been a consistent favourite over the last few Fringes (and OPPO seasons, and elsewhere), I’m fully willing to back the idea that Fat Tom Cruise is the best thing Olga’s done. Beyond anything else, it’s easily my favourite staging of a show I’ve seen this year, a set of white blocks redefined by projector, used for simple jokes, exposition, broader staging, and a heartbreaking finale. Olga’s both a natural storyteller and joke writer, with an incredible gag delivery rate and hit rate (more jokes should have the punchline “suck it, Milosevic”), and there’s some fascinating formal work here. Model UN, Comic Sans, various references to the Chilcot inquiry, and more abound, but always in service of the larger story she’s trying to tell, and the multiple soundtracks which are required to truly tell it. I left in awe on multiple counts. Surely a nom? (Side note - I’ve met Olga in various personal and professional settings on many occasions, and I absolutely maintain that she has no idea who I am and would insist that she’s never met me before in her life. I can’t say I’m offended by this - I do find it funny - and I don’t blame her, but still. I believe this to be true. Fair play to her)