Monthly Archives: June 2025

EdFringe Talk: Climate Change Theatre Action 2025

Posted in *EdFestivals 2025, *Written Interviews by

“I actually thought I might be moving on from the festival after last year or at least just coming for a short bit…”

WHO: Ian Garrett

WHAT: “At the foot of the Royal Mile, Venue 13 has been bringing the best of emerging talent to the Edinburgh Festival Fringe for decades. Now in it’s fourth decade, ‘this serene little venue’ (Scotsman) is focused on unique performances that don’t fit in other venues from the immersive to the ecological to the interactive in collaboration between Scottish and Canadian artists.”

WHERE: Main Space at Venue 13 (Venue 13) 

WHEN: 16:00 (120 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my… counting… 14th Fringe. I started coming in 2008, took what I thought was going to be a one year break in 2019, and then returned in 2023. I can’t seem to quit the festival, and I’ve tried my hand at many many roles. This year is my first time as a venue manager, to add to the list. I can’t say it’s made me any more confident about what makes a show successful or not, or if I”m going to get an audience in for something I’m going to work on. I’ve not been to the festival as just a Punter, though I’ve crammed in plenty of shows while here, in some ways it allows me to make up for not getting to the theatre as much at home.

My range of experiences has mostly been shaped by how busy I am as a producer, and the years I’ve come with my family. I’ve had years where I’ve been involved with a lot of shows (2012 was 8 I think) and it made it so I was always at the venue around the shows, and didn’t get away much. I actually find you get less time to see stuff when a show is successful because you end up adding things to your schedule and when your show isn’t doing well people leave you alone a lot. And I’ve brought my kids a few times at various ages and though they’ve become more interested in shows as they’ve grown up, the content has swung to their tastes, and I’m out less in the evening.

I actually thought I might be moving on from the festival after last year or at least just coming for a short bit to help get some things rolling for projects. But the opportunity to take on a venue, in particular Venue 13, which is also where I spend a lot of time, and found a keen partner on that, so now I think I might be in it for the foreseeable future.

What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?

2023 was my first year back at it, and it was interesting to see things change. It can be hard to notice change at the festival. I mean, so much changes each year with a huge number of new people, but longer periods, especially given changes to Edinburgh overall since 2018, the last time I had been at the festival, were much more pronounced. So I feel I’ve learned more about the city itself.

I’ve also learned the value of alternative spaces. In both 2023 and 2024 I felt a bit of an absence from pre-2020 of some of the spaces or pieces in the festival that were pushing at the edges of the use of space and playing with things outside of the regular theatre set-up. Though I saw the numbers of performances coming back, it all felt somewhat contained within established spaces. Maybe it’s because of rising costs, maybe it’s playing it safe for both artists and venues. I think I learned I miss that and I want to see it. I was part of the Counting Sheep team in 2016 which took over King’s Hall for an immersive show with food, and I feel I haven’t seen as much that is trying things like that. My reinvigorated interest is in part about how to find ways to support that sort of thing.

Tell us about your show.

The Climate Change Theatre Action is a global, distributed festival of new short plays on the topic of climate change (loosely sometimes, but still). I co-direct the program with playwright Chantal Bilodeau as a partnership between organizations we each lead. I’m director of the Centre for Sustainable Practice in the Arts, she’s the director of the Arts Climate Initiative. It started in 2015, and it has commissioned 50 short plays, typically 5-10 minutes long, every other year to be made available for free for anyone in the world to produce. We have a website where people can register their events and we promote it as a festival in the Autumn. It was always something I wanted to do in Edinburgh, so with the Venue work, it’s a good anchor to bring things in. So this year, we’re organizing 20 events, 6 days a week, through the festival to get all 50 plays read this year. We’ve invited people to partner with us, sort of like the comedy showcases, but to make it so that each event is kinda unique and connected to our partners.

We’re changing up the commissioning model this year, since it’s our 10th. So instead of 50 new plays, we commissioned 10 new plays, and are bringing in 40 of the “greatest hits” from the last decade. We’re going to pause commissioning (there are 260 plays, so we’re feeling good about it). After Edinburgh, we’ll begin to promote the events folks are organizing around the world, usually a little over 300 through the end of the year.

What should your audience see at the festivals after they’ve seen your show?

AI: The Waiting Room – An Audiovisual Journey at studio at C ARTS
I’ve been following this project, including seeing a previous interaction at the Fringe last year. It’s a really interesting generative AI experience, which is probably more along the lines of the other show in our venue, but I actually love seeing things come back and evolve. It’s something which I think is getting harder and hard to do. So the connection with the CCTA is more about looking at how artists engage with the festival combined with my personal interest in these topics about AI.

Alone – Alchemy Theatre and Luke Thornborough
The artists involved with this are going to be co-hosting one of our events at the CCTA, so we’ve been talking about their piece for a bit. I love some really scientifically accurate Sci-Fi, which this promises to be, and it’s on a couple of my favourite topics… Space and Climate.

Matt Winning: Solastalgia
More climate oriented work, which shouldn’t come as a surprise I suppose. I don’t know too much about this one, except I’ve been drawn to anything that refers to Solastalgia since learning about the term in 2009 and getting to know Glenn Albrecht, the Australian philosopher and social scientific who coined it and a bunch of other “pscyhoterric” words

Last Rites – Here & Now Showcase – Ad Infinitum
I’ve been a big Ad Infinitum fan for years. I think their one man physical version of the Odyssey was probably my first. And it was good, but it was Ballad of the Burning Star that lives rent free in my head. There is a literally heart stopping moment in there related to the firing of a gun… not actually, but through their physicality, that kind of haunts me. I think a lot of people go to Translunar Paradise first, and I also liked both Light and Beautiful Evil Things (which was sort of a return to the Odyssey type work). They may be somewhat of a Fringe darling, but I think it’s very much earned.

Whisky and Witches
There are a handful of whisky tastings throughout the festival program… we’re hosting some at Venue 13 even… and I love a good tasting, but the ticket for this is worth it for just the storytelling and music even without the whisky. Christine and Jane really elevate the event beyond what I expected last year, and I’m super excited to return. They’re extremely knowledgeable about spirits, history, and music. While any whisky tasting will probably introduce you to enough facts about the process of making whisky, this will offer a lot more history and background on the spirit that made me see it differently.

Rise of the Solar Punks – Future Artists
I’m really interested in this one for a few reasons. Future Artists have brought some really interesting work to the Fringe in the past, first and foremost. I also love solar punk as an idea… It was the foundation for the 2023 Climate Change Theatre Action, and a lot of other projects I’m involved with. Also “What can we learn from ancient cultures regarding climate adaptation, and how can we fuse this with technology and AI?” is one of the central questions of our other show A.I. Campfire, and it’s an area where, in my academic work, I research. So I’m hoping to not only see this, but make the Future Artists my best friends, at least for August. Also the only on my list that’s on X/Twitter anymore.

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EdFringe Talk: The Spy Who Went to Rehab

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“What began as a spoof became an exploration of Toxic Masculinity and how it can change.”

WHO: Gregg Ostrin

WHAT: “The UK debut of Gregg Ostrin’s critically acclaimed play. Quintessential British super spy, Simon Cross, wakes to find himself in rehab for drinking, gambling, womanising and anger management issues. As the embodiment of obsolescent toxic masculinity can he possibly navigate his way through the sessions with his fellow, extremely self-aware, recovering addicts to find enlightenment? Could this be his toughest mission yet? And what happens if arch nemesis Lazarus Rex finds out? ‘Deliciously clever, fiendishly funny’ (StageSceneLA.com). ‘Mesmerising’ (Glamgical.com). ‘A darned good farcical and absurdist comedy’ (StageandCinema.com). ‘A cheeky, high-spirited, brilliant new premiere’ (BroadwayWorld.com).”

WHERE: Ace Dome at Pleasance Dome (Venue 23) 

WHEN: 12:10 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my first time to Edinburgh, both the city and the Fringe Festival. What is special about it to me is that I can recall being in college in Los Angeles (yes, the place where movies, TV and dreams are made), when my school drama group took shows to the Fringe. Having never gone, I can only judge by the amazing projects that have come out of it, especially Baby Reindeer, Fleabag and The Shark is Broken, which I would give my left arm to see (As I am right handed, this would not be a great sacrifice). I remember swatching video of Eddie Izzard doing street comedy and thinking, “We have nothing like this in the States and Where did he get those pumps?” From what I can already tell, every performer/writer needs to be a combination producer/marketing team, something I really enjoy, mainly because I think this show should be seen and enjoyed by all.

What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?

That evidently America can be a monarchy under the right (or wrong) circumstances. As far as lessons pertinent to THE SPY WHO WENT INTO REHAB, I’ve had the chance to take a look at how men relate to women and the numerous mistakes we’ve made over the years (and by “we” of course I mean all of you out there, not myself! But because of the #metoo movement, among other social events, I have come to a new awareness of what it means to be more sensitive to others and it’s that awareness that inspired THE SPY WHO WENT INTO REHAB (If you noticed, i cleverly brought the subject back to the play.) I’ve also learned that it’s important to continue to bring humor and comedy into the culture, to keep us hopeful and laughing.

Tell us about your show.

Coincidentally, I wrote the play. The idea came to me as a comedy sketch idea: imagining James Bond being interviewed for rehab. It hit me that this icon that I grew up with, whose movie posters I had on my walls, whose catch phrases I memorized and whose movies I eventually owned on DVD, was in actuality an alcoholic, sex addict, gambling addict with rage issues (after all, he kills people for a living) and so I decided to write it as a play. What began as a spoof became an exploration of Toxic Masculinity and how it can change. I took the play to my friend Cindy Fujikawa, who is a member of Pacific Resident Theatre in Venice CA, where they were able to produce it. What began as a three week workshop became a five month successful run. Based on the subject matter (the British spy stuff), I realized it would be a perfect fit for The Fringe, because of the UK audience and the comedy, which brings my love of Monty Python, Peter Cooke & Dudley Moore, Ben Elton, Rowan Atkinson, Fry & Laurie and of course, everyone’s favorite funny Brits, The Crays, together in one mad mix.

What should your audience see at the festivals after they’ve seen your show?

The audience should only see our show, over and over and over, until, Rocky Horror Picture Show-Like, they are repeating back the lines, firing cap guns, karate chopping one another and tossing martinis at one another. Chief among the other shows at The Pleasance (not to be confused with the more niche Donald Pleasance), they should see Spy Movie: The Musical, which looks like a scream, The Fit Prince, Hold Onto Your Butts, Smile, among so many others. I know will be trawling the streets like one of Charlie Dickens’ urchins, finding all the different spoofs of pop culture, as well as one person masterpieces. Of course, I will also be flyering my arse off at every one of these venues!!!

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EdFringe Talk: Joz Norris: You Wait. Time Passes

Posted in *EdFestivals 2025, *Written Interviews by

“The place is sick of me. There are guards on the gate who cross their halberds in front of me when I try to go in and roll their eyes and say “Not you again” and they make me crawl underneath their halberds to embarrass me.”

WHO: Joz Norris

WHAT: “Comedians’ Choice Award winner (Best Show 2019), Joz Norris has finally completed his life’s work, and he’s ready to unveil it to the world. But what exactly is it? And now that he’s done it, what will he do next? A new show about ambition, closure and moving on from the creator and star of BBC Radio 4’s The Dream Factory and A Small Talk On Small Talk. Malcolm Hardee Award for Comic Originality and Chortle Award for Best Variety Act nominee. ‘Really captures the spirit of creative Fringe comedy’ (Guardian).”

WHERE: 10 Dome at Pleasance Dome (Venue 23) 

WHEN: 19:10 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

God no. I have now been going to the Edinburgh Fringe for nearly a third of my life. The place is sick of me. There are guards on the gate who cross their halberds in front of me when I try to go in and roll their eyes and say “Not you again” and they make me crawl underneath their halberds to embarrass me. “Joke’s on you, because I’m more than capable of embarrassing myself,” I say to them as I crawl. “In fact, that’s why I came.” There’s no greater place in the world to come and embarrass yourself, I hope I continue doing it until I’m so old that after crawling underneath the halberds I can no longer get back up.

What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?

I learned the names and locations of every country in the world, so that I can now correctly identify them on a map with the names removed (shoutout to my good friend Timor-Leste). I am currently using an app to try and learn the names of all the plants in my local habitat – yesterday I learned “Tree of heaven” and “Golden rain tree.” Did you know about these trees? I certainly didn’t. I’ve also learned that things only happen if you make them happen, nobody is out there watching your progress and waiting to give you a reward like a quest-giving NPC in a video game. So we should all just be doing what we enjoy.

Tell us about your show.

I started work on this show a little over 30 years ago, when I was a small child. It became a secret project that I was totally obsessed by, tinkering away with in the background behind all my other projects. Eventually, I’d been working on it so long that I needed it to be perfect – it felt impossible to complete. Then I started working with my team – creative consultant Miranda Holms, director Jon Brittain, producer Queenie Miller – and they encouraged me to get it finished. “Get on with it,” they said. “What you’re sitting on here is a masterpiece. The world needs to see it.” So I finally went back to my studio in the Himalayas and applied the finishing touches to my magnum opus. I’ve been previewing it at a bunch of lovely comedy festivals – Leicester, Glasgow, Machynlleth, Berlin and so on – and I’m hoping we’ll be taking it on a proper tour after the Fringe, or perhaps looking into other mediums we can adapt it into. Come see it before it inevitably transfers to the O2 Arena, where tickets will be at least £500 if I have anything to do with the pricing.

What should your audience see at the festivals after they’ve seen your show?

Well if they’d like to see all the shows I’ve directed so they can collect a little reward, they should go see Andy Barr, Tara Boland, Lulu Popplewell, The Mayor And His Daughter and Edy Hurst. And if they’re desperate to get AWAY from my comedic sensibilities, then some shows I’ve seen and loved recently which I think are going to be absolutely incredible at the Fringe would include Kathy Maniura, Siblings, Lachlan Werner and Johnny White Really-Really. I could go on, there are so many brilliant shows, but that’s a good starter pack I reckon!

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EdFringe Talk: Monski Mouse’s Baby Cabaret AND Monski Mouse’s Baby Disco Dance Hall

Posted in *EdFestivals 2025, *Written Interviews by

“I was now a Mum and still plating spiegletents, but instead of starting at 11pm, I started at 11am. And this year my shows start at 10am!”

WHO: Monski Mouse

WHAT: “Why toddle when you can dance? Join this must-do, award-winning, epic session of bopping, bonkers, beautiful fun. Expect high-energy smiling to retro beats and thumping nursery rhymes. Best of Kids Weekly Award Winner, Adelaide Fringe 2024. Best of Kids Award Nominee, Sydney Fringe 2022. Sold Out Season Edinburgh Fringe 2022, 2023, 2024. ‘Best. Time. Ever.’ ***** (FamiliesOnline.co.uk). ‘Deserves all the praise’ ***** (One4Review.co.uk). ‘This is what the experts meant when they said spend quality time together’ ***** (GlamAdelaide.com.au). ‘Tune after tune perfectly chosen for the youngsters’ ***** (Edinburgh Evening News).” – Baby Disco Dance Hall

“Join Monski Mouse, and her super talented friends, for a live musical singalong cabaret of nursery classics, song, puppetry and bonkers fun for 0-5s and their parents/carers. All the big topics covered: elephants, fish, wiggly worms, transport and the existential ways of the toddler. ‘Moments of utter beauty’ ***** (Edinburgh Festivals Magazine). ‘Monski shines bright, inviting us into a world of wonder’ ***** (One4Review.co.uk). ‘Delightful’ **** (FamiliesOnline.co.uk). ‘At the #Fringe with a toddler? Recommend Monski Mouse Baby Cabaret’ (@AlMurray, Twitter).” – Monski Mouse’s Baby Cabaret

WHERE: Palais du Variété at Assembly George Square Gardens (Venue 3) 

WHEN: 10:00 (55 & 50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

My first Edinburgh Fringe was back in 2005, when I came over to DJ at the Famous Spiegeltent late night Club, after La Clique and at the Bongo Club after Vaudeville Cabaret. I had the best, wildest time meeting incredible people and rocking dance-floors. So. Much. Fun! I then made it back again in 2008, and worked front of house at the Gilded Balloon, and DJ’ed their closing night party. But I started to come back every year from 2012 when I created my show, Monski Mouse’s Baby Disco Dance Hall. I was now a Mum and still plating spiegletents, but instead of starting at 11pm, I started at 11am. And this year my shows start at 10am!

What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?

Gosh, life questions!! I’ve learned that the human need to connect with each other through music, song and dance is something that doesn’t go away no matter the circumstance. And I continue to feel honoured and humbled to be a part of creating space for those connections to happen through my shows.

Tell us about your show.

This is a case of, me, myself and I. Well not entirely. I am the Producer, Writer and main Performer in my shows, but I love collaborating too. In Baby Cabaret, my live music singalong show, I have invited some brilliant performers to work with me to help make the music, interact with the audiences and bring some beautiful puppeteering. Tim Lancaster (partner and musical collaborator with Michelle Braiser) is joining my Edinburgh cast for a third year in a row, bringing his lovely energy, voice and guitar playing to the show, and one of my original cast members, actor and filmmaker, Richard Crawley, will be joining the show again for the first time since 2019. Richard and I studied together at the Ecole Phillippe Gaulier and I am so excited to have him joining the cast again for the second of the week in Edinburgh.

Baby Disco Dance Hall was initially co-created with early childhood theatre-maker and choreographer, Ninian Donald, who always dances in my shows whenever our schedules permit. Ninian helped me scope the show in its first inception, defining the audience age group, 0-5 years, and gave me a deeper understanding of the audiences needs developmentally. It’s why these shows resonate so well, because in addition to being fun, bonkers, musical adventures, they are created with the specific age of the audience and their parents/carers, very much in mind.

What should your audience see at the festivals after they’ve seen your show?

Oh my gosh, I just did a search and there is 141 children’s shows on.. my tips quick are;
‘Children are Stinky’ for 3 and up, for older kids, the wonderful OG stand-up for kids, ‘James Campbell’s Comedy 4 Kids: Reducks’, also for older kids, ‘LIVE MANGA’ from Japan are just wonderful, my 9 year old son (and I) LOVED them last year, and another dear friend and genius mime’s new show, ‘Monsterrrr! with Trygve Wakenshaw’.

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EdFringe Talk: The Boy from Bantay

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“To be walking down The Royal Mile and see fellow artists hand out fliers…in a banana costume. Or stumbling upon a site-specific opera in a giant tea cup.”

WHO: Jeremy Rafal

WHAT: “From his childhood in the Philippines – a technicolour blur of cartoons and classical music – Jeremy always knew he wanted to be a concert pianist. The Boy from Bantay takes us on his heartwarming journey of growth and self-discovery. This appearance is produced by Bantay Productions and Leviathan Lab with support from Pace University and the Sands College of Performing Arts.”

WHERE: Stephenson Theatre at theSpace @ Surgeons’ Hall (Venue 53) 

WHEN: 12:35 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes! This is my first time in Edinburgh and I couldn’t be more excited–but also slightly terrified, in the best way possible. Performing at the biggest arts festival in the world has always been on my bucket list. There is nothing quite like being surrounded by artists and audiences who are just as passionate about live performance as you are, especially for someone like me who thrives on the energy of the people around me. I’ve done the fringe festival in New York City, so I’ve had a taste of this energy before. But for EdFringe, this is the Mecca of live performance! To be walking down The Royal Mile and see fellow artists hand out fliers…in a banana costume. Or stumbling upon a site-specific opera in a giant tea cup. I’ve produced my own work in the past and it can get very lonely. So I’m really looking forward to connecting with artists and learning from people who’ve been doing this crazy ride. But most of all, I am thrilled to share The Boy from Bantay. It’s about a kid from a rural town in the Philippines–a place so small that most Filipinos would have to Google it. And yet, I truly believe that no matter where we come from, there’s always something in our stories that we can connect to. Something that brings us closer together.

What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?

These past couple of years have actually been somewhat productive for me, artistically. I’ve written and directed a short film, composed music for a new stage play, wrote an opera inspired by the 1930 Watsonville riots, and premiered a one-act play that I’m planning to expand into a full-length. If there’s one big thing I’ve learned through all of this: KEEP GOING. There are so many moments where I catch myself thinking, “What the hell am I doing? Why am I putting myself through this?” And when that happens, I’ve found it helps to just step away for a bit—shift gears, work on something else, and then come back with a clearer head. But the real lesson? Learning how to take actual breaks. Like, real ones. I’m still working on that, to be honest. But I’ve picked up a few tricks to force myself to rest when I need to. So yeah—I get the concept of taking breaks…now I’m just trying to actually live it.

Tell us about your show.

The Boy from Bantay is semi-autobiographical and it pulls from what I know best–my own experiences. It all started with my first two loves: cartoons and music. Growing up, I was totally obsessed with cartoons. Well, okay—confession—I still am. I’m basically just a cartoon-loving kid in an adult body. I’ll stay up way too late, binge-watching episode after episode of whatever the latest anime craze is. And the music? One of my earliest childhood memories is of my mom dancing with me to “The Blue Danube Waltz” playing on her record player. I was so mesmerized by the sounds coming out of those vinyls that I ended up ruining half her collection. Sorry mom! This show brings those early loves together with my more recent passion: theatre and storytelling. When I first produced the show at FringeNYC years ago, I was part of a resident acting company in New York. That’s where I first teamed up with Josh, my director, and Anne, my stage manager. We’ve been developing the piece ever since, finding ways to shape it for a wider audience. For EdFringe, I’m thrilled to be working with a small but mighty team. My co-producer Kate is actually one of my former students, who’s diving into the world of theatre producing. I trust every person on this crew—they care deeply about the work, and they show up. The dream? To take this little story on tours and share it with audiences around the world.

What should your audience see at the festivals after they’ve seen your show?

There are so many wonderful shows at EdFringe that I would just say: Just go out there and see as many as you can! But if I have to pick some shows, particularly ones where I’ve seen earlier versions, there are a few in mind. First, “The Other Mozart” by Silvia Milo at Studio Two, Assembly George Square Studios. It’s an established solo piece that’s gotten some fantastic reviews—and for good reason. I’ve always wanted to see it and I finally got the chance earlier this year. It’s about Nannerl Mozart, the sister of WA Mozart, who was just as musically gifted but overlooked simply because she was born a woman. It’s haunting, elegant, and powerful—especially if you have any love for classical music. Another one I’m excited about is by my fellow Ilocano (yes, someone else who speaks my regional language!), Joyce Lao. Her show, #40andsingle, is a funny, cabaret-style piece that’s part memoir, part anthem for late bloomers. She’s hilarious and honest, and watching her fully embrace her creativity and freedom is such a joy. For something totally out of left field: “The Waiting Room.” It’s an AI-generated theatre piece I caught here in New York. I’ll admit—I was skeptical. But it completely challenged how I think about storytelling and connection. It somehow made me feel seen… by a machine! Weird, I know. But that’s what’s cool about Fringe—it has a way of catching you off guard.

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EdFringe Talk: Troubled

Posted in *EdFestivals 2025, *Written Interviews by

“I’ve been lots of times as a punter and seen some lifechanging pieces of storytelling, as well as totally bizarre expressions of art.”

WHO: Suzy Crothers

WHAT: “1993, Mum won’t let Alice go to Funderland because Belfast is burning. ‘How about Robin Hood, Prince of Thieves and Chinese chicken balls instead?’ 2018, Alice falls for Tim, but can she escape the legacy of a childhood shaped by conflict or will everything blow-up in her face? A tale of love, death and division – told with tea and biscuits. Troubled blends story, projection and humour, reckoning with the past and offering hope for the future. ‘An excitingly honest depiction of the power of human connection, told with daring vulnerability’ (Haley McGee, Olivier Nominee, Fringe First Winner 2022).”

WHERE: Anatomy Lecture Theatre at Summerhall (Venue 26) 

WHEN: 11:45 (60 min)

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Is this your first time to Edinburgh?

This is my Edinburgh debut and i’m simultaneously nervous and excited – are they both two sides of the same coin? I’ve been lots of times as a punter and seen some lifechanging pieces of storytelling, as well as totally bizarre expressions of art. I love the vibrancy of the festival and that you can see whatever you want, pretty much 24hrs a day. Taking my work here has been a deeply held desire for the last 12 years and i’m so pleased that this year i can be a part of this big magic thing. i get to do the thing for 24 whole shows! It will be exciting to see how ‘Troubled’ meets audiences at this time, plus i’m looking forward to meeting audiences. I love the unpredictability of it all.

What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?

Hmmm. Just keep on keeping on. Like i said, i’ve wanted to do Edinburgh for a really long time, and getting everything together, plus the show has been a massive learning curve. I nearly chucked in the towel in 2023 because the challenges to getting this work out there felt almost insurmountable. But i’m lucky to have an amazing team and development funding came through for us. Also, the test audiences we’ve had have kept me going, their words of encouragement and their reactions. Huge shout out to Maria and the wonderful community cafe cohort at London Irish Centre who were a vital part of the development process. I guess i’ve learnt that it takes a village to make a solo show!

Tell us about your show.

Troubled is a story of love, loss and the extraordinary power of human connection – told with tea and biscuits. Set in a divided city (Belfast), in a divided country, at a divided time, Troubled follows Alice as she grows up and attempts to negotiate love and life and relationships, but the past keeps getting in her way. This is a story about growing up in conflict during the ‘Troubles’ and the impact of that on a human. It’s about reckoning with your past so you can live in the present. The show goes to some dark places but ultimately leaves us with renewed hope for the future.

Designer Rachel Sampley has done some fantastic video work for us and there’s a lovely combo of found footage and movement and story which offers the audience a real experience of what back in Troubles Belfast might have been like.

Troubled is written by me, Suzy Crothers, Produced by Rachael Halliwell and directed by Amie Burns Walker. Executive producers are Roisin Gallagher (BAFTA nominated star of The Lovers/ The Dry) and Patrick Handley. Amie and I have known each other for years and years and in fact used to live together in a London flatshare. Amie and Rachael run all Points North Productions together so it felt like a real synergy for us all to come together and make this show.

The show has been developed over the past few years with the support of the arts council, plus organisations like Camden People’s Theatre, 1 Degree East, Power of Women and London Irish Centre.

Before coming to Edinburgh Fringe, we are excited to be doing two shows through the Red Ladder Network in Leeds, plus two shows at London Irish Centre. After Edinburgh we’ll be heading to The Belgrade in Coventry and Sheffield Theatres, which are great venues that we are thrilled about. We’d love to take the show the show farther afield post Edinburgh and are looking at America and Australia too. With the show focusing on the impact of conflict, we’d love to share the work with places that have experienced conflict too, like South Africa for example. There’s a connect there.

What should your audience see at the festivals after they’ve seen your show?

There’s a lot of exciting stuff to see, i’ve started booking already. Last year i did 19 shows in something like three days, so my bank balance is dreading the fact that i’ll be there for a month this time!

I’m looking forward to seeing:

The Queen is Mad – a new musical by McGrath and Tasker, in the mode of Six.

Anthem for Dissatisfaction – by fab Northern Irish company Skelpie Limmer whose work always has a fantastic liveliness and punch, they’ve got a second show at the fringe, Shame show, which i’m also looking forward to catching.

Consumed produced by Paines Plough- Playwright Karis Kelly was the winner of the Women’s Prize for Playwriting for this show about 4 generations of Northern Irish women.

How to Win Against History – produced by Francesca Moody. I love Matthew Blake’s work as a performer and they are great alongside Seiriol and the team.

Last Rites – produced by Theatre Ad Infinitum – I’m fascinated by anything that deals with death and loss.

Rose + Bud – Winner of the Pleasance National Partnerships award, alongside the Lyric Belfast.

Shedinburgh, run by Francesca Moody production is full of some favourite artists and classic pieces of work – i’ve booked for Tim Crouch – My Arm, whose work never fails to delight and surprise.

Haley McGee – Age is a Feeling – this show is beautiful and Haley is a gorgeous performer – this will be my third time seeing it.

Songs of the Heart Trilogy by James Rowland – James is a lovely and highly skilled storyteller, his work is classic Edinburgh joy and he will be doing his trilogy of shows all at once, it will be a feat!

This Shit Happens all the time by Amanda Verlaque, which is a true story about queer love, homophobia and coercive control.

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EdFringe Talk: Abby Wambaugh: The First 3 Minutes of 17 Shows

Posted in *EdFestivals 2025, *Written Interviews by

“Now I know that the more specific to me that I make something, the more other people will love and connect with it. What an incredible gift!! I’m freaking out!!!”

WHO: Abby Wambaugh

WHAT: “Edinburgh Comedy Awards Best Newcomer Nominee and ISH Awards Best Newcomer Winner, Abby Wambaugh, returns with her critically acclaimed debut show before it transfers to New York, Off-Broadway this autumn. After waking up in the hospital following a late miscarriage, Abby – still high on anaesthesia – made an unexpected decision: to become a comedian. Now, in her uniquely goofy and heartfelt hour, Abby shares her 17 best ideas for her first show. ‘A masterpiece of construction’ **** (Guardian). ‘Utterly charming’ **** (Telegraph). ‘Sheer genius… I did not want this show.”

WHERE: Upstairs at Pleasance Courtyard (Venue 33) 

WHEN: 20:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my second time there with my debut show!! I am so excited I get to come back with a show I already know I love to perform. I was also there for a week long split bill in 2022 and as part of The Pleasance Reserve in 2023. The Edinburgh Fringe is where I fell in love with comedy for the first time and really figured out that it can be anything.

What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?

Last year I was bringing a brand new show that I didn’t know if people would like or connect to or get. This year I’m bringing the same show, having performed it over 50 times and now I knooooow people love it and laugh and cry and it frees me up to have a new and different experience of performing it each time. Now I know that the more specific to me that I make something, the more other people will love and connect with it. What an incredible gift!! I’m freaking out!!!

Tell us about your show.

I made the show with the help of my director and sweetest friend Lara Ricote. I wanted my show to feel how our friendshipt does, very silly, very loving, openly weeping plenty, and honest and warm as hell and she really helped me do that. I also got great notes, advice and peptalks from Sofie Hagen, Dec Monroe, Katie Coyle, Josh Herring (who teched my show last year and did the music), Ellen Paulig, and actually a ton more people, so many people helped me. My producers are Mick Perrin Worldwide and they took a big swing on me that I’m so grateful for. I got to do two weeks at the Soho Theatre in London, and I’m SO THRILLED to say that I will be doing the show in New York for 4 weeks Off Broadway with an incredible, unbelievable, I actually can’t believe it team and I am so excited about it I keep repeating it to myself like i just woke up from a coma and am trying to remember the facts.

What should your audience see at the festivals after they’ve seen your show?

Bangtail by Lil Wenker, That’s her real name and I can’t even believe it.

Lara Ricote always.

Kemah Bob who I don’t think is at fringe this year but I don’t care, go whenever you get a goddamn chance.

Josh Glanc always and immediately.

And I can’t wait to see the new shows from Shalaka Kurup, Sharon Wanjohi, Rohan Sharma, Sam Williams, and Allison Spittle who are all charming funny and kind as can possibly be.

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EdFringe Talk: Queer Tales for Autistic Folk

Posted in *EdFestivals 2025, *Written Interviews by

“I’m loving this new approach of putting up the beacon for queer and autistic people to come and see the show because it’s proven extremely effective.”

WHO: Cerys Bradley

WHAT: “You find a mysterious door that you have never seen before. Do you open it? If yes – buy a ticket to see this show. If not – why not? Join Cerys Bradley (Actually Autistic Excellence Award 2022, as seen on Comedy Central, UKTV, BBC One Wales) for their wonderful, expansive, interactive choose-your-own-story comedy show. ‘AUTISM!’ ***** (NeurodiverseReview.co.uk). ‘A great storyteller’ (Guardian).”

WHERE: Daisy at Underbelly, Bristo Square (Venue 302) 

WHEN: 14:45 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my ninth Edinburgh Fringe.

I first went when I was 17. When people in my school were planning their summer trips down to Newquay or post exams parties in Ibiza etc, I made all of my friends get an overnight bus from South Gloucestershire and marched them back and forth across the city so we could make 10ish shows a day. We were broke kids so we saw as much of PBH’s free fringe as we could and underage so we had blag our way into a fair few venues.

I first came to Edinburgh as a performer in 2017 on an improv science comedy show and then did my first solo show in 2022.

My favourite fringe was last year’s. I was doing a work in progress and only performed 8 shows so it was much chiller than usual and I could focus on experimenting. I also had a lot more time to see things and get excited by other people’s work.

What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?

Last year I marketed the show slightly differently to my previous shows. It was a work in progress version of the show I am performing this year, Queer Tales for Autistic Folk, and we decided just to use the title to describe the audience we wanted.

I know that seems very obvious but I felt really strongly that my previous shows, Sportsperson and Not Overthinking Things 2019, should have their names because I really liked their names. I also really like selling tickets and performing to full rooms though so I’m loving this new approach of putting up the beacon for queer and autistic people to come and see the show because it’s proven extremely effective.

Tell us about your show.

Queer Tales for Autistic Folk is a semi-improvised, interactive, choose your own story-telling show. It has been written by myself and all of its previous audiences. In each performance, we collectively tell a story together which makes each show unique.

The creation of the show has been very collaborative also. It’s produced by Ingenious Fools who have worked with and supported me for many years now. I’ve also had input, advice, direction, and all manner of other help from lots of incredible artists including Amy Greaves, Edy Hurst, Beth Watson, Steffan Alun, Adam Larter, and Mikey Bligh-Smith.

The show was first performed at Machynlleth Comedy Festival in May of 2024 and has been performed all over the UK since including, most recently, in Brighton where it was nominated for a neurodiverse performance award. It’s changed significantly since its very first outing so, if you’ve seen it before, you can definitely come and see it again and see a whole new show.

What should your audience see at the festivals after they’ve seen your show?

Ok. I am going to try and limit myself in my recommendations here because there’s so much incredible stuff at the fringe but I really think that you should go and see:

Su Mi (it’s her debut hour and I guarantee you will have never experienced anything like her show)

Edy Hurst (who is wonderful and has a really fun show about ADHD, the Venga Boys, and witches)
Leila Navabi (their debut show from two years ago remains one of my all time favourite shows and I am so excited she is back with new work)

Lorna Rose Treen (has an incredible concept for a show)

Pat Cahill (what a mind, what a performer)

Katie Mitchell (she has an amazing story to tell and is telling it in such a cool and inventive way)

And then, because it’s fringe, you should go and see some work in progresses and not quite finished work as well (Mikey Bligh-Smith is doing a WIP for example).

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EdFringe Talk: Edy Hurst’s Wonderfull Discoverie of Witches in the Countie of Himself

Posted in *EdFestivals 2025, *Written Interviews by

“It’s a comedy show where I, venerable comedian Edy Hurst, discover shocking revelations about my relations, leading me on a journey beyond this mortal plane to try and harness the powers of the dark arts.”

WHO: Edy Hurst

WHAT: “Startling revelations about Edy Hurst’s (‘bursts with comedic joy’ (Skinny)) relations have set him on vision quest to contact his ancestors. But around every corner there echoes the siren call of the Vengaboys. What’s all that about? ‘A fine example of neurodiversity in action’ (Scotsman). ‘A delightfully witchy adventure’ **** (Young-Perspective.net). Commissioned by Developed With Lowry. Supported by Arts Council England.”

WHERE: Downstairs at Assembly Roxy (Venue 139) 

WHEN: 14:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

You know, in it’s own way, aren’t we always going to Edinburgh for the first time? We never step in the same river and so too is the historic city a constantly changing tapestry of stone, iron and unforgiving hills? That’s not really true, but didn’t it sound compelling for a few sentences?

I’ve been to the Fringe for a number of years, doing short runs, spots, full runs and sometimes just sitting, watching and over thinking my role as an audience member (is my laugh too loud? Is it not loud enough? Will I disappear up my ass if I continue thinking I’m so important in this show?). I have performed at some of the most glamorous venues in the city (RIP phones4u fringe venue) and feel like I now have the working knowledge to convert any broom cupboard into a 20 seater venue.

This will be the first full run in over 5 years and I am both really looking forward to it and ignoring my bank balance at all costs (and there’s a lot of costs). One of the great things about Edinburgh Fringe is that it continues to be a place where you can perform a show you’ve worked on for a month to audiences actively looking for new things to watch. Oh no I accidentally said something I meant deletedeleetedelete

What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?

Last year I learnt that if a street, road or lane has a town or city at the start of it, then it must point in the exact direction of that place. So every ‘York Road’ points towards York. It was a real revelatioin to me, and to be truly candid, I still think I’m trying to find out how this is helpful or useful information to have in my head.

I also learnt that if your show has a giant homemade cauldron, you need to make sure it can fit through a standard door size to get it onto a stage, and that the Vengaboys are surprisingly harder to get in touch with that you would expect.

Tell us about your show.

Edy Hurst’s Wonderfull Discoverie of Witches in the Countie of Himself is a show about the Lancashire Witch trials, the Vengaboys and “Nothing Else” (Scotsman described it as “A Fine example of Neurodiversity in action”).

It was commissioned by Lowry’s ‘Developed With’ Programme and has been supported by Arts Council England, which has been a huge change in how I’ve made shows. Before I’ve done nearly everything in making the show, from writing material, songs, props, videos to setting up performing and driving the van. With this show I’ve been able to work with an amazing team, including director Joz Norris, where we spent a long time thinking about what the show was, how I wanted to say it, and with help from set and lighting designers creating a full theatrical level of production alongside a giant cauldron and a dream to tell the world the Vengaboys secretly made a concept album where they learnt to circumnavigate the globe

It’s a comedy show where I, venerable comedian Edy Hurst, discover shocking revelations about my relations, leading me on a journey beyond this mortal plane to try and harness the powers of the dark arts. A lot of people keep saying ‘oh it’s about being neurodivergent in the 21st century. It’s about late stage ADHD diagnosis and family and realising that lessons you thought you kept having to re-learn maybe aren’t lessons but something about you and how you navigate your place in the world.’ and I would really like to quash those pernicious rumours. It’s simply about the 1612 Lancashire Witchtrials and how the Vengaboys created a concept album in which they circumnavigate the globe.

The show was previewed in 2024, before premiering on the 31st Oct (spooky) at Lowry, and goings on a Winter/Spring tour, and following the fringe will be on the second, more seasonally appropriate tour across the UK.

What should your audience see at the festivals after they’ve seen your show?

OH NO! I’M GOING TO MISS SOMEONE OUT AND I ALREADY FEEL EVERY SINEW IN MY BODY TENSING UP IN DREAD.

If you watch my show that people seem to think combines folklore and magic through a Neurodivergent lens (what lens? Where’s this lens? I didn’t craft a lens over here) then Cerys Bradley’s Queer Tales for Austic Folk is so far up your street it’s blocking your driveway. It’s a great community adventure that puts access at the heart of the work, and you leave feeling like a lovely team.
https://www.edfringe.com/tickets/whats-on/cerys-bradley-s-queer-tales-for-autistic-folk

My director Joz Norris also has their new show You Wait. Time Passes that I cannot wait to see. Joz is very funny and able to balance big complicated feelings with a huge dollops of silliness and he’s finally unveiling his life’s work in this show. We’ve all been begging for it. Gobble Gobble.
https://www.edfringe.com/tickets/whats-on/joz-norris-you-wait-time-passes

Frankie Monroe! Here Comes Frankie! He’s back from hell! Did he bring his trowel?? Joe kindly spent some time on clown-y physical comedy bits for my show, and they’re such a naturally talented and hilarious performer – if you can get a ticket Frankie Monroe’s follow up to the Fringe award-winning show last year you’ll be in for amazing, grotty fun.
https://www.edfringe.com/tickets/whats-on/joe-kent-walters-is-frankie-monroe-dead-good-fun-time

Some other folks I’m going to include are Jain Edwards, Katie Zoe-Mitchell, Andrew O’Neill, Lulu Popplewell, Eleanor Morton, Bennet Kavannagh, Jake Donaldson’s WIP with the cracking title of ‘the fifth weezer’, Staffan Allun and so so so many more that I will kick myself not for mentioning the moment I press submit. Oh what about Pat Cahill, they’re great!

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EdFringe Talk: Timestamp

Posted in *EdFestivals 2025, *Written Interviews by

“It’s not about being reckless—it’s about being present, intentional, and bold enough to chase what matters to you.”

WHO: Karen Cecilia

WHAT: “A performance duet of sonic verse, dance, and audience experience that challenges the expectations imposed upon us in society. Using co-authored text, musician and playwright Karen Cecilia, and dance and visual artist Emilee Lord, break down and name the expectations they have each combatted and assert what they chose instead. While each performer’s story differs in detail and expression, a common thread between them will ring true with others who have carved their own paths in life. The audience will be asked to consider their own ideas of “shoulds” and invited to contribute to the show’s performance that day.”

WHERE: Meeting Room at Dovecot Studios (Venue 198a) 

WHEN: 16:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It’s not my first time here. Every visit feels a bit different, though—especially during the festival season. There’s a unique buzz in the air that you can’t quite find anywhere else.

There’s something magical about seeing artists of all backgrounds and disciplines come together in one place. Whether it’s comedy, theatre, spoken word, music, or something completely experimental, there’s always something new to discover around every corner. The entire city becomes a stage. What makes Edin Fringe truly great is the sense of community. You feel like you’re part of something bigger than yourself. It’s inspiring to see people sharing their art, their stories, and their passion with complete strangers, all brought together by a love of performance and expression.

What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?

If there’s something you want, something you dream about doing—whether it’s creative, personal, or professional—you have to go after it now. I’ve started to really internalize that. I don’t want to look back and think, “I should have tried.” So I’m leaning into opportunities, saying yes more often, and trusting that action creates momentum. It’s not about being reckless—it’s about being present, intentional, and bold enough to chase what matters to you. That shift in mindset has changed the way I approach almost everything.

Tell us about your show.

TIMESTAMP is a bold performance duet that fuses sonic verse, movement, and visual storytelling into a living, breathing act of resistance and reclamation.
Playwright and Theremin player Karen Cecilia and dance-visual artist Emilee Lord co-author a layered narrative that examines—and defies—the expectations society places on us: how we should look, live, create, and succeed.

Far from a passive performance, “Timestamp” invites the audience to step in. Each show evolves through direct audience contributions, turning the space into a shared timestamp—an imprint of that night’s truths, choices, and collective voice. We know that you’ll ponder the show days after as you leave examining your own life and your expectations for it.

It was co-written by Karen and Emilee. We had our first run of the show last year in NYC and a workshop version of the show several months before that. This run is produced by Rhymes With Purple.

What should your audience see at the festivals after they’ve seen your show?

1612
Talking Shadows

Agadez and Antonio Forcione: Queendoms Unplugged

Score
Isaiah Wilson

These Mechanisms
Christine Thynne and Robbie Synge

All of these shows are featuring women and/or written by women and take that narrative lens and bring it into these forms of expression. We are women performers who support other women performers.

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