EdFringe Talk: Mythos: Ragnarök

Posted in *EdFestivals 2026, *Written Interviews by

“I come from a stunts and sports background, so I expect to work hard and I enjoy the grueling elements of the festival.”

WHO: Ed Gamester

WHAT: “The ‘maddest, baddest show of the Fringe’ (Daily Mail) is back and bigger than ever! Join Loki, Thor and the Norse Gods in this five-star groundbreaking blend of mythological storytelling and high-octane wrestling. Back for its fifth consecutive year at the Fringe, this ‘knockout spectacle’ (Telegraph) is a one-of-a-kind theatre experience unlike any other show in the world. A true cult classic of the festival, it sells out fast so move quickly! ***** (BroadwayBaby.com). ***** (LondonTheatre.co.uk). ***** (BingeFringe.com). **** (Telegraph). **** (Daily Mail).”

WHERE: Music Hall at Assembly Rooms (Venue 20) 

WHEN: 21:25 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my fifth year in a row. My Fringe experience has changed a lot, growing from a novice in a 137 seat classroom to a headliner in a 700 seat theatre, but the pressure, risk and workload remain the same – all of which are worthwhile for the opportunity that the Fringe represents. I come from a stunts and sports background, so I expect to work hard and I enjoy the grueling elements of the festival. I’ve never experienced the festival without physical exhaustion and financial disaster looming over me at all times, but I hope to attend as a punter one day – it looks fun!

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

In the last year we’ve been the resident show for a theatre in central Vienna, a headline festival act in a circus tent, and a touring production everywhere from filthy nightclubs to Alexandra Palace. We’ve performed for 100 people and 1000 people. We’ve sold tickets for £100 and tickets for a tenner. If I’ve learned one thing in that time it’s that scale and quality are unrelated. Some of our best work and biggest draws have been under the harshest conditions and some of the ‘top’ venues in the country have treated us the worst and seen the poorest sales.

I’ve seen that reflected in the industry too: I’ve seen brilliance created on a shoestring by tiny teams of passionate artists, while big producers spend £20 million creating flops. It turns out you can’t buy your way into making good art and that never stops being hilarious to witness. The lesson I have learned, therefore, is not to feel any pressure to ‘develop’ my show because what most people mean by ‘develop’ has nothing to do with improving the quality and everything to do with making more money (for them). For clarity, because I mentioned them by name: the team and venue at Ally Pally are absolutely wonderful and I can’t wait to perform there again.

Tell us about your show.

I wrote, produced and directed it myself. We premiered in London in December 2021; by December 2026 we will have performed the show 300 times across 11 countries. We did a UK tour earlier this year, then straight after the Fringe we will be touring Europe for a few months. Before the end of the year the show should have opened in the USA where, with a bit of luck, it will tour for years with an American cast and crew.

Nothing about the show is conventional: there are no producers, no investors and nobody in the company had ever done theatre beforehand. We’ve gone about this entirely our own way as a sort of punk DIY approach to theatre and, in my opinion, that’s one of the things that makes it so vibrant and spectacular. How long the show can carry on with me as the lead is anyone’s guess; it’s hellaciously physical and has taken a toll on my body over the last five years so, sooner or later, I’ll have to step out.

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

I rarely have time to see other shows at the festival, but we performed after Circa Wolf last year and they were excellent. Mario the Maker Magician is also a delight, even if you don’t have kids – his show is a joy to behold! In general I recommend people support international physical performers, not only because it’s rare to see them in this country, but because everything that is challenging about the Fringe – the cost, the risk, the grueling workload – is magnified so many times over for them. I also suggest people look for independently produced work; make sure your ticket money is going to the actual artist and not whoever has sent them up there to sleep in a bathtub for a month. One of the coolest things about the Fringe is that your presence as an audience member means the world to the smaller artists. Even if you take a gamble and don’t particularly enjoy the show, you’ve contributed simply by being there – and that’s special.

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