“You also learn a lot about what “home” really means. It’s not just where you sleep or drop your bag—it’s made up of people, community, familiarity, and the small comforts you didn’t even know you’d miss. Like Vegemite.”
WHO: Thomas Currie
WHAT: “Fresh from sell-out success in Australia, Thomas Currie blends powerful vocals, razor-sharp piano, electric cello and witty storytelling in this all-too-relatable late-night cabaret. Featuring original music and some reimagined classics, be immersed in a collection of gripping tales from around the world. This show is perfect for night owls, insomniacs and anyone who has ever tossed, turned or are now two days past their bedtime. ‘We laughed, we listened, we marvelled’ (Melbourne Observer). ‘A natural storyteller… star quality to spare’ ***** (TheatrePeople.com.au).”
WHERE: Blether at Gilded Balloon Patter House (Venue 24)
WHEN: 21:40 (60 min)
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Is this your first time to Edinburgh?
Yes, this is my first time performing at the Edinburgh Fringe—and I couldn’t be more excited. I’ve done similar festivals in other parts of the world, but there’s something truly iconic about Edinburgh. The sheer scale of it is wild! It’s like the entire city transforms into one big, buzzing creative engine.
What makes festivals like this so special is the incredible variety—you’ll stumble across genres of theatre and performance you didn’t even know existed. One minute you’re at a high-concept physical theatre piece, and the next you’re in a karaoke comedy horror musical in a basement. That’s the magic of it.
It’s one of the few places where every doorway might lead to a show that changes how you think about art—or just gives you the best laugh of your year. I’m so looking forward to being part of that chaos and creativity.
What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?
Well, I moved countries! I packed up from Australia and moved to London—like so many Aussies in their 20s—and I’ve honestly loved every second of it.
Just figuring out how to navigate London was a lesson in itself (I think I’ve officially conquered the Tube now), but more than that, I’ve really enjoyed diving into British culture. It’s definitely different from back home. One thing I’ve learned very quickly: I talk very loudly. But that’s part of it—learning how you fit into a new place, and what still belongs to you.
You also learn a lot about what “home” really means. It’s not just where you sleep or drop your bag—it’s made up of people, community, familiarity, and the small comforts you didn’t even know you’d miss. Like Vegemite. Which, by the way, is definitely better than Marmite. I refuse to move on that.
Tell us about your show.
The show is a mix of music and storytelling—funny, high-energy, and a little bit magical. It’s me at the piano, singing and sharing stories, joined by a brilliant electric cellist. Together, we take the audience through a series of individual tales, inspired by those unforgettable nights we’ve all had: sitting around with close friends, a favourite drink in hand, trading stories that are equal parts hilarious, haunting, and heartfelt.
When I lived in Australia, these late-night gatherings were a regular thing—we’d stay up into the early hours talking, laughing, and sharing. I’ve never been a great sleeper (my parents even sent me to “bad baby sleeping school” when I was a kid… no success there). But I’ve always felt the night holds a certain kind of magic. This show is really a love letter to those nighttime hours—intimate, funny, a little quirky, and full of great music.
I first created the show for the Melbourne Cabaret Festival in 2021 and had plans to tour it around Australia. Of course, over that time there was a certain pandemic that meant a string of lockdowns put certain performances on pause. So, bringing it to Edinburgh Fringe now feels like a kind of unfinished business—in the best way.
What should your audience see at the festivals after they’ve seen your show?
There’s so much I’m excited to see this year—it’s hard to know where to start! Of course, you’ve got legends like Alan Davies and Miriam Margolyes doing shows, and that’s always worth a ticket.
Personally, I’m really keen to check out fellow Australian acts—it’ll be a nice little taste of home. Shows like Bibbity Bobbity Bondi, Ten Thousand Hours, Triptych Redux, and Arthur Hull’s Flop are all on my list.
And I’ve heard great things about I Wish My Life Were Like a Musical and Princess Melancholy by Sophia Wren—both playing at Gilded Balloon alongside my own show, so there’s no excuse for me not to make it there.
Go out, support some new work, and take a few wild punts—that’s what the Fringe is all about.
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