EdFringe Talk: Showstopper! The Improvised Musical

Posted in *EdFestivals 2025, *Written Interviews by

“I only hope that the rising costs can be brought under control so that artists from all backgrounds are able to take part. That vision must be protected. Please don’t let it be an event for rich kids only.”

WHO: Adam Meggido

WHAT: “The Olivier Award–winning West End hit is back! It’s opening night for the hottest new musical in town… every night! There’s just one problem – the writer hasn’t written a note and needs your help… See your suggestions turned into a brand new musical ‘the funniest improv on the Fringe’ (BroadwayBaby.com). Now in their 16th year, your Edinburgh experience is incomplete without it! ‘So polished, it defies belief’ ***** (Telegraph). ‘This festival mainstay is a consistent audience favorite for a reason’ ***** (Playbill.com). ‘Achingly funny… worth seeing again and again’ ***** (Time Out).”

WHERE: Grand at Pleasance Courtyard (Venue 33) 

WHEN: 17:20 (70 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my 21st Fringe. I first came with the National Youth Music Theatre in 1986! I remember being thrilled by the sheer scale of the festival and that hasn’t changed. Every year I marvel at the range of extraordinary acts, plays, events, storytellers, dancers, musicians, and artists of all kinds. The boundaries between us all come down – we are all punters, artists, producers, all making art and watching others do the same. I am still hugely enthusiastic about the festival. I only hope that the rising costs can be brought under control so that artists from all backgrounds are able to take part. That vision must be protected. Please don’t let it be an event for rich kids only.

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

Don’t worry so much. Enjoy each moment. I have also learned a great deal about the effect I have on other people. I won’t share that here, but suffice to say I’m working on it 🙂

Tell us about your show.

It’s a musical – but everything is made up on the spot. Nothing is prepared in advance. And we’ve been doing it since 2008! Back then, a few of us were working with Ken Campbell, the inspirational theatre maverick, improvising at the Royal Court and Shakespeare’s Globe. It was a blast! Ken always enjoyed it when some of us sang, so we got used to improvising songs and ‘moments from a musical’ and it always seemed to go down well.

One day I sat down with Dylan Emery (who at that point was playing the keyboard for us) and we discussed doing a whole musical – entirely improvised. There were other improv musical shows in the world, but I had never seen anyone do something that looked and felt like a real musical, so that’s what we aspired to. We were lucky that audiences were prepared to come on that journey with us.

Now it’s played all over the world and runs in London’s West End. I think we will continue to tour, play the West End, and play the Fringe, for as long as people want to watch us. I enjoy the show now more than I’ve ever enjoyed it. It’s endlessly fascinating and we are constantly working to improve it. The novelty is yet to wear off and I love doing something different every night.

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

Literally anything. That’s the joy of the Fringe. You can have everything! Something similar, something contrasting… whatever you fancy. Personally, I love to go and see dance at the Fringe. Or clowning from overseas. I’m always keen to see something I can’t see when home in London. Something that will inspire me and make me think differently.

Two shows specifically are Susan Harrison’s ‘Should I Still Be Doing This?’ – Susan has been to the Fringe many times as a performer in Showstopper! and is now bringing a new character comedy show to the festival. I also think people should see Nina Conti’s show ‘Whose Face Is It Anyway?’.

But I love to hear people talking about our show as they exit – they can’t believe it’s improvised. Sometimes they don’t believe it’s improvised. (It is, but we take that as a great compliment.)

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