EdFringe Talk: A Play on Words

Posted in *EdFestivals 2026, *Written Interviews by

“At this age, the learning is hard to quantify, the RE-Learning is a constant.”

WHO: Brian Dykstra

WHAT: “‘Who’s On First meets Waiting for Godot’ (New York Times) in this ferociously witty play on, about and spilling over with language. Rusty and Max have been friends for most of their lives and they’ve been arguing almost the entire time. Today, they’re scheming up something big. Fringe First winner Brian Dykstra’s signature style crackles in this uproarious backyard comedy where two not-so-average average Americans spar in a relentlessly fanatical pursuit of what is said, what is intended, and what is. ‘It goes great places!’ (Variety). Directed by Fringe First winner Margarett Perry.”

WHERE: Front Room at Assembly Rooms (Venue 30) 

WHEN: 15:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I believe this is my 9th Fringe since 2006. Seven times as a performer/writer and twice as the arm candy for my director/wife who had at least one show up those years. I love performing at fringe and I love not performing at fringe. The performing part is either self-explanatory or impossible to describe depending on the reader’s relationship to the idea of getting up in front of people. The most frustrating part of performing is missing ALL the shows in and around that timeslot. The years I was “free” felt free. Until I started missing being in something. Which didn’t take all that long.

What are the big things you’ve learned since 2025 and have you absorbed any of the lessons yet?

At this age, the learning is hard to quantify, the RE-Learning is a constant. I got a lesson about ego that needed to be presented afresh. There’s a terrible Guy Richie movie I watched like a slow-motion train wreck some years ago, unsure why I would continue subjecting myself to it minute after minute, but you know when something is so unbelievable god-awful you can’t look away? That’s why I thought I kept watching. Then, at the end credits, inexplicably, there was a group of philosophers pontificating about ego. Not actors, not characters in the film, real life actual recognized in their field philosopher dudes talking about ego. About how we have no external enemies. How our ego identifies external enemies so as to take the attention off ourselves, our ego, our Real enemy, and give us a distraction that feels legitimate. As simple as, “Look at the idiot in that stupid shirt,” or as complex as… well, it’s actually rarely all that complex. Anyway, I had a reminder during the past year and even though I thought I had absorbed this lesson a decade or so ago, I learned (again) that ego is a striving monster and reminders are as necessary as they are unwelcome. We’ll see how that manifests in future.

Tell us about your show.

The play is called A Play On Words. Produced by Twilight theatre company. Directed by the incomparable Margarett Perry. There has been a longtime collaboration with Twilight and Ms. Perry. I can’t say how many shows we’ve done together – I mean, I could, but I’d have to drag out old resumes and try to not forget anything. Let’s say somewhere in the 30-35 range. Which is probably a low estimate. We’re *probably* taking it to London but not right away, so I don’t want to jinx anything by offering specifics. It’s a two-character play with a kind of vaudeville vibe slamming into an existential awareness during the downward spiral of political fragmentation trapped in a once-proud country in the middle of a decline of which the people in power (and much of the citizenry) are blissfully unaware.

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

Gimme “The Problem” by the wild and wildly talented multiple Fringe First winning playwright Brian Parks! That play is in the same venue as my show and happening directly before us. So, double bill that insanity. Lucy Stevens is doing a wonderful one-woman show I got to see a rehearsal of about Virginia Woolf, called, “Virginia Woolf: Writing One’s Mind.” Chris Grace is one of my favorite artists at Fringe. Rob Auton always brings it. I saw 10,000 hours two years ago and I hear they’re back. Might be my absolute favorite large-scale circus show I’ve ever seen at Fringe, so don’t miss that one. Reuben Kaye doesn’t need any help selling tickets, but Reuben is worth your time and attention!

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