EdFringe Talk: A Gay Masseur’s Guide to Happy Endings

Posted in *EdFestivals 2026, *Written Interviews by

“I’ve always understood the artistic toll you pay when creating, whether performing or writing, but producing is an entirely different beast.”

WHO: Austin Jennings Boykin

WHAT: “A broke actor in New York turns to “gay massage” to make rent. What follows is a darkly funny, unfiltered descent into sex work, addiction, blurred boundaries and the relentless need to be wanted. From awkward first clients to a night that spirals out of control, this brutally honest solo show explores intimacy, shame and survival in a world where attention feels like love. How far would you go to feel desired – and what happens when that’s all you know how to be?”

WHERE: Mint Studio at Greenside @ George Street (Venue 236) 

WHEN: 22:05 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I have never been to Edinburgh, but I’ve known that I wanted to take “Gay Masseur” to Edinburgh since I began writing it. Because, more than any festival I can think of, Edinburgh Fringe seems keen on taking risks and giving voices a platform that might be more difficult to program in a traditional setting.

This is my first time acting as an executive producer, and I have co-producers so I’m not totally alone, but it really did help me tap into that cliche that this is my “baby.” And it was very important for my “baby” to go somewhere it could find its audience. The net of Edinburgh Fringe is just so vast, it was one of the biggest no-brainers for us.

Prior to Fringe, I had no idea how much it takes to bring a piece of art into the world. Time, energy, money… I’ve always understood the artistic toll you pay when creating, whether performing or writing, but producing is an entirely different beast.

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

The biggest thing I’ve learned, aside from saving receipts and invoices, is to believe in what you’re doing and stay out of the “results business.” As much as I’d like to have control over how my show is received, how I’m seen, all of that, I really can’t think too much about… just keep your eyes on your own paper and do the work.

It’s also been incredibly helpful to have my team’s eyes on me. Because I’m so in it at this point, I can’t always see how or what I’m doing as a writer, a performer, or a producer. And those outside eyes are really important, they keep me in check.

Tell us about your show.

I wrote the first workable draft of A Gay Masseur’s Guide to Happy Endings about a year ago. We did our first workshop in Provincetown at the Red Room last August—Joe DeStefano, a friend from acting class, agreed to direct without having any idea what he was getting into… he’s straight.

The show is based on my experience working as a gay masseur, which is exactly as glamorous as you’d expect. It follows AJ (me) on a late-night outcall with a wealthy gay couple, and while that story unfolds in real time, it branches into a series of spiraling side stories exploring sex, performance, queer loneliness etc.

People responded really well, so we mounted another workshop production Off-Off-Broadway at New York’s Chain Theatre that fall. From there, Anna Koppelman—a dear friend and writing partner—came on as producer and dramaturg. She’s incredibly good at making things happen, and quickly realized we’d need another producer to take on Edinburgh Fringe. That’s when Sophia Englesberg stepped in, and she’s crushing it..

We’ve since been approached about a proper multi-week commercial run in New York, which I’d love to see happen after Fringe—that’s always been one of the goals. I’m also a screenwriter, so I’ve been adapting the piece for film as well.

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

I’d really encourage everyone to check out the shows at Greenside. They’re such great people, the programmers and artists, and have made this leap seem a lot less scary.

That being said, I am deeply fascinated by cults and am eagerly looking forward to “Wild Wild Christian” by Simone McAlonen. We should all be watching more cult-centric content. Also very excited for “Join The Club!” by Kate Daley.

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