Author Archives: Dan Lentell

EdFringe Talk: The Listies: Make Some Noise

Posted in *EdFestivals 2025, *Written Interviews by

“After Fringe, we’re touring it across Australia, everywhere from city arts centres to towns with more sheep than people.”

WHO: Rich and Matt

WHAT: “Back by POOPular demand. For over a decade kids comedy maestros The Listies have toured the world doing shows for literally gazillions of kidults (that’s kids and their adults). Now it’s your turn. Make Some Noise! is a comedy concert for humans aged 4-400. Join Rich and Matt, as they belt out a bunch of songs with the LOLs turned up to 11. Hilarious, fabulous fun for the whole family! ‘Without a doubt the funniest kids show I’ve ever seen’ (Frank Skinner). ***** (Time Out). ***** (List).”

WHERE: Studio One at Assembly George Square Studios (Venue 17) 

WHEN: 11:30 (60 min)

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Is this your first time to Edinburgh?

Absolutely not. In fact, this is our twelfth time here (we’ve got the flyering-induced RSI to prove it). We started off doing absurd late-night cabaret in Spiegeltents and now we perform at 11:40 AM which is PM’s more sensible(ish) cousin. This show sold out last year so it’s back by poopular demand.

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

You can eat too many tea cakes. The meadows are always slightly damp and record your spots on a zoom recorder cos they go great in your podcast! Oh and eat a vegetable.

Tell us about your show.

The Listies: Make Some Noise is a musical-ish comedy explosion for kids and their families. It’s loud, it’s ridiculous, and it involves fart jokes but also PowerPoint so it’s actually high brow, Also, inflatable arm-wavy guys, and a lot of audience participation. We wrote it together (we always do), and it’s produced by our company, The Listies. After Fringe, we’re touring it across Australia, everywhere from city arts centres to towns with more sheep than people. It’s also supported by the fab folks at House of Oz!

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

We love weird, wonderful theatre for young audiences from all around the world, puppets made out of junk, clown shows that feel like a fever dream, and any gig that has props you can’t take on a plane. Very novel to us Australians.
● @TrygveWakey – New Zealander Trygve Wakenshaw’s physical comedy is masterful and surreal and silly in all the best ways.
● @crashtheatre.co – Lady Macbeth Played Wing Defense! Netball+ Shakespeare. Fellow house of ozers bring this Adelaide Fringe Smash to Edinburgh for the first time. We haven’t seen it yet but can’t wait to see it.
● @comedyclub4kids –It’s a comedy club, right, but for kids. Also any adults who enjoy a swear-free hour with the international circuit’s best stand-ups and sketch acts. It’s our home away from home in Edinburgh!
● Something you have never heard of! It’s fringe-so allow yourself to get flyered and say yes! Take a risk, go and see an adaptation of Beckett played by carrots dressed in barbie clothes. Where else whill you see that?

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EdFringe Talk: The City for Incurable Women

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“It’s also one of the few places where it’s socially acceptable to chase people down the street. Well – you’ve got to sell those tickets somehow!”

WHO: Christina Deinsberger, Charlotte McBurney, Helena McBurney

WHAT: “Ladies and Gentlethem – Feeling a little upset? Have you tried hypnosis, psychoanalysis, smelling salts and it just doesn’t work? Try The City for Incurable Women! Paris, 1880s. In a psychiatric hospital, female patients performed “hysteria” for the public. The doctors went to extraordinary lengths to prove their theories about the four stages of madness. International theatre-collective, fish in a dress follows the thread of the history of hysteria as the audience becomes complicit in an outrageous tale of medical misogyny. (Warning: hysteria cure not included).”

WHERE: Upstairs at Pleasance Courtyard (Venue 33) 

WHEN: 13:35 (60 min)

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Is this your first time to Edinburgh?

Charlie: Yes, this is our first time at Edinburgh Fringe! We are incredibly excited* to be a part of this year’s festival. Edfringe is the artistic hub where people congregate from around the world to share and celebrate live performance. It’s also one of the few places where it’s socially acceptable to chase people down the street. Well – you’ve got to sell those tickets somehow!

*slightly terrifie

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

Christina: Pretty much everything. Since the autumn of 2024 Charlie, Helena and I have formed a company, have written, developed and produced a play (for me this is the first own work outside of Germany) and now we are taking it to a massive festival – the past year has been slightly mad. Starting from scratch meant there was a lot of very fast learning necessary. I have learned that in the past people tried to cure hysteria with donkey urine; I also learned that this didn’t work very well (surprise!). I have learned how to operate QLab and direct simultaneously (okay, I do miss a cue every single time I have a note). And I have learned to give in to social media – after I had refused to set up an account for years, we now run one through fish in a dress, which has cost me several nights in discovering the endless abyss that is Instagram.

So far there has not been much time to absorb. We will do the absorbing after Fringe, and until then keep learning at full speed.

Tell us about your show.

Helena: The City for Incurable Women is devised by fish in a dress, a queer feminist theatre collective formed in 2024 by Christina Deinsberger, Charlie McBurney, and Helena McBurney. All three of us wrote and produced the play – but only Charlie performs in it!

fish in a dress came together as a company during an unforgettable walk in the deepest, darkest Highlands of Scotland. We discovered that although our map-reading skills were not completely spot on, and after hours of crawling over, under and through fallen trees, we still wanted to work together. So our first thought was: female madness. The City for Incurable Women tells the true story of a 19th century hospital in Paris where female patients were forced to perform “hysteria” to the public. It has had sold-out work-in-progress shows at Camden People’s Theatre, The Pleasance London, and The Old Operating Theatre, and will premiere in Edinburgh this summer at The Pleasance Courtyard, Upstairs! In the autumn, we return to Camden People’s Theatre.

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

Bury The Hatchet by Out Of The Forest Theatre. This show has it all: muder, mayhem, and bluegrass music!

Count Dykula. Queer vampires at high school? We’re in!

KINDER involves a drag artist, a library, and a group of unruly children. A recipe for chaos and creative storytelling.

FLUSH is playing right before us. Set entirely in the women’s bathroom of a night club, this is a sAmazons by Gaël Le Cornec. A fascinating look at the continued impacts of colonialism on the Amazon Rainforest. tory about sisterhood, safety and resilience.

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EdFringe Talk: Black Blues Brothers: Let’s Twist Again!

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“We know that nothing should be taken for granted.”

WHO: Bilal Musa Huka

WHAT: “Fringe favourites the Black Blues Brothers are back with a brand-new show, fit for the whole family. After wowing over 50,000 fringe spectators, the Brothers make their McEwan Hall debut. Set in a smoky train station against a soundtrack of unforgettable rock and roll music, witness breathtaking acrobatic stunts, human pyramids and amazing somersaults. Featuring songs by Glenn Miller, Elvis Presley and Aretha Franklin, get ready to go wild as the Brothers astonish and delight. Following four successful Fringe seasons, appearances at the Royal Variety Show and The Moulin Rouge, don’t miss out!”

WHERE: Pleasance Online (Venue 117) 

WHEN: 15:30 (60 min)

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Is this your first time to Edinburgh?

This is our fifth time at the Fringe. We came to Edinburgh for the first time in 2019. We immediately fell in love with it. There is no festival like it in the world, and we have toured the world!

This year we are bringing our new show and we can’t wait to introduce it to the audiences who have enjoyed it with us in previous years.

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

What we have learned… is that every year is different! Of course, experience helps you manage everything with more awareness, and the fact that in the past years more than 50,000 people came to see our show reassures us, but we know that nothing should be taken for granted. For this reason, we will give our best with the new show: there is new music, a new setting, and above all new and complicated acrobatics.

Tell us about your show.

After touring the world with the show The Blues Brothers, we started thinking, together with our artistic director Alexander Sunny, about a new show. We wanted to propose something new in terms of acrobatics, somersaults, acts. But at the same time, keep the joyful spirit of the first show. We came up with the idea of a waiting room in a train station, where five men pass the time listening to twist and rock’n’roll on the radio. A perfect soundtrack to indulge in new human pyramids and acrobatic exercises. Let’s Twist Again! has been performed in Italy and Europe, but it’s the first time at the Fringe. By the way, this year we are in the prestigious McEwan Hall, which is perhaps the most beautiful venue of the whole festival. It’s going to be a party!

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

There are so many sensational circus shows. We definitely recommend Wolf from the Circa company, because they always put on fascinating shows of the highest technical level. And then La Clique, which is a guarantee of fun, with the best circus acts around.

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EdFringe Talk: No Good Drunk

Posted in *EdFestivals 2025, *Written Interviews by

“I’ve learned is to pack my patience and carry a positive attitude everywhere I go. If I’m too tired or run down to smile, I force myself back into my flat to sleep until I can find the energy to bring a good vibe.”

WHO: Stacie Burrows

WHAT: “In this solo Southern Gothic drama blending film, theatre, original songs, and true stories, ‘LA-based Texan Stacie Burrows is good company’ (Scotsman). With a backdrop of dive bars and graveyards, Burrows goes to El Paso, Texas where her grandfather drank himself to death in the 50s and wound up buried in another woman’s grave. As she moves through generations of her family, we learn that history doesn’t always repeat itself, but it often rhymes. This is a tribute to the perseverance of women who carried on raising children despite being tethered to an addict.”

WHERE: Attic at Pleasance Courtyard (Venue 33) 

WHEN: 12:50 (60 min)

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Is this your first time to Edinburgh?

This will be my third EdFringe show. I took Bulletproof Unicorn in 2022 and Laughable in 2024. I’m one of those masochists that starts writing the next show the minute I get home from the previous festival. I adore the Fringe and the magic that it brings into my life. I get to meet and support artists from all over the world. I am always so excited to see so much creativity on display, to hear unique stories, and mingle with fellow artists. There is an air of positivity that permeates the entire city. I live for this.

I consider it a great festival if I have met new friends. We go through it together, celebrating the hits and commiserating our misses. It’s a reunion of sorts for some of us. As a punter, I’m genuinely motivated by connecting with my audience on the streets. Striking up an organic conversation and then winning them over to see the show is a thrill.

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

My biggest lesson that I’ve learned is to pack my patience and carry a positive attitude everywhere I go. If I’m too tired or run down to smile, I force myself back into my flat to sleep until I can find the energy to bring a good vibe. As a solo performer, it’s my face & name on the billboard. So, if someone has a negative experience with me because I was stressed or tired, I have only myself to blame. I save the tears of burnout and exhaustion for behind closed doors. I have also learned to keep my expectations at a reasonable level. No one owes me anything. I am entitled to nothing. I have to earn whatever good is coming my way.

Tell us about your show.

No Good Drunk was a collaboration of incredible talent from across Los Angeles. I wrote the script, as it is based on true stories about the generations of my family that were upended by alcoholism. The music was co-written by me and Sam Small. Sam Small is an LA-based singer/songwriter/producer who is known for his melodic psychedelic folk rock. His prowess as a poet made him the perfect partner in telling these stories through song. We went into Kevin Jarvis’ studio, Sonic Boom Room, Venice to record the soundtrack with a full band. The album will be released on Spotify in July.

The film elements were shot and edited by LA-based production companies Goode & Dunn and Musebelle LLC.

My stage director Katierose Donohue Enriquez walks the line between humour and tragedy like none other. She guides the development of the story with passion, heart and determination.

I did a workshop performance in Los Angeles as part of the Hollywood Fringe Festival in June 2025. My hope is that No Good Drunk finds success in the marketplace and has an opportunity to tour across the UK and US.

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

I have so many favorites! Here are a few: Michael Traffeur stuns in The Pink List, Briony Price has a voice that will blow you away, Garry Star amuses and delights, Cat Cohen makes me snort-laugh, Furiozo is the clown to watch, and John Norris in Mr. Chonkers is the most absurd thing I’ve ever seen.

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EdFringe Talk: Midnight at the Palace

Posted in *EdFestivals 2025, *Written Interviews by

“There’s something about Edfringe that feels wonderfully primal, like scratching an itch in our lizard brains.”

WHO: Rae Binstock

WHAT: “Living your true self is nearly a crime again, so join the OGs of F*ck You Counterculture for a night of radical joy and glitter-encrusted anarchy. A fever dream of gender-bending hippies, freaks and drag queens, led by flowers-in-guns radical Hibiscus and disco diva Sylvester, The Cockettes took San Francisco by storm in 1969. But when they tried to take their acid-fuelled, avant-garde act mainstream in NYC, it all went horribly wrong. A new musical with music & lyrics by Brandon James Gwinn and book by Rae Binstock, exploding with on-your-feet numbers and in-your-face hilarity.”

WHERE: Big Yin at Gilded Balloon Patter House (Venue 24) 

WHEN: 19:31 (60 min)

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Is this your first time to Edinburgh?

This is my first time at Edfringe, and I still can’t quite believe it’s real. I’ve been dreaming of this since I was a baby playwright in high school. Edfringe has a global reputation for a reason: it’s not afraid of anything, no matter how unorthodox or extravagant, and it’s proved that with decades of unabashed bizarreness. There’s something about Edfringe that feels wonderfully primal, like scratching an itch in our lizard brains. Performance is this ancient thing we’ve been doing since before we could write or build, a trading of perspectives and spectacle that creates tiny holes in the walls that keep our minds separate from each other. Edfringe is what happens when an entire city embraces the fervour of performance in all its shapes and sizes, in all its many weird and confusing forms. It’s a moment made of moments, each one special and impossible to replicate, a performance of loving performance—and at a time when so much of our art is streamed to us in isolation, it brings everyone together into a big mix of bodies and laughter and ideas. It’s the essence of making something new, the high of sharing it with other people, and the freedom to live in the absolute present—that’s the Edfringe experience I’ve always heard about, and that I can’t wait to be a part of.

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

The things I’ve learned that transfer into the world of Edfringe and theatre are really all different versions of one deep lesson, which is that there is no such thing as a person who is not valid. There are people who are wrong, who are cruel, who are ignorant, who are destructive, and whose actions hurt others—and yet those people are still people, with the same right to think and experience as anyone else. It’s kind of an unpleasant truth, because human beings are capable of some pretty horrible things, and it feels a lot easier to be able to write evil-doers off as a different type of human. But the fact is that the best and most innocent among us are made of the exact same stuff as the worst among us—and if we’re strong enough to acknowledge that, it opens up a whole universe of possibility, both personally and artistically. Why do people make the choices they do, that separate them in action from the essence they share? Why do we take the feelings and fears of others personally, as though they don’t exist without us? What does it take to change, and why do we want to know?

Tell us about your show.

MIDNIGHT AT THE PALACE is a new musical following the 1960s avant-garde performance troupe known as the Cockettes. A fever dream of gender-bending hippies, freaks and drag queens, led by flowers-in-guns radical Hibiscus and disco diva Sylvester, the Cockettes took San Francisco by storm in 1969. But when they tried to take their acid-fuelled, avant-garde act mainstream in NYC, it all went horribly wrong. Their story—the good, the bad, and the glitter—resonates through the decades to the queers and weirdos of today, and the revolutionary spirit that can never be snuffed out.

MATP was originally conceived of by myself (Rae Binstock) and producer Jay Kuo, after a member of the Nouveau Cockettes (a revival group led by some of the surviving original members) reached out to suggest creating a musical about their history. We spent months developing the concept and the script with Jay’s producing partners at Sing Out, Louise! Productions, and when it came time to choose a composer, I listened my way through tons of generic musical theatre samplings until suddenly I came across the work of Brandon James Gwinn. From the moment Brandon came on board, the spirit of the show surged to life, and we really had something. After a year of working across three time zones (I was in Los Angeles, he was in New York), I had written the book and he’d completed music and lyrics, despite only having been in the same room twice. Our amazing director/choreographer Paul McGill was the last piece of the puzzle. We’ve been casting over the last few weeks, and I can’t express how excited I am to work with this amazing cast and creative team. Edinburgh Fringe will be our onstage debut, and there are so many possibilities on the other side!

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

Everyone should go out and see THE MONKEYPOX GOSPEL, an incredibly cool mixed-media piece written by Ngofeen Mputubwele and directed by a good friend of mine, Alex Hare. Not only is the subject matter raw and important, but it’s SUCH a fascinating blend of sources and material and technology. I know I can’t wait to experience it!

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EdFringe Talk: Lunchbox

Posted in *EdFestivals 2025, *Written Interviews by

“Edinburgh Fringe is the Mecca for performers, and I say that as a Muslim person.”

WHO: Lubna Kerr

WHAT: “Lunchbox is about the impact of bullying, through the eyes of a troubled Scottish boy, Steven and Pakistani girl, Lubna. Can two teenagers brought up in the same street in Glasgow have different outcomes in life? Can Lubna navigate being bullied without telling her parents about it, not wanting to add to their burden? What role do school lunchtime clubs play? Can Steven the bully be redeemed and find his purpose in life? Do teachers have influence in shaping their students’ lives? Or is a life of crime destined for Steven? This play examines the nature vs nurture debate.”

WHERE: The Green at Pleasance Courtyard(Venue 33) 

WHEN: 16:45 (60 min)

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Is this your first time to Edinburgh?

I first performed at the fringe in 2013 when I did my first 5 mins of stand up. Well, it was meant to be 5mins but ended up being 6mins 30 sec. It was a fabulous experience, and in my eyes stand up is like doing a monologue on stage.

Edinburgh Fringe is the Mecca for performers, and I say that as a Muslim person. It’s the place to be in August, it’s where you will bump into people in the coffee queue and start up conversations which could take you to perform in places you can’t even spell.

I produce all my own shows, it’s easy as it’s a one woman show but it’s not easy as there is so much to do and no one to pass it onto. It’s been a long time since I’ve been a proper punter I can’t remember what that feels like.

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

I have learned a lot of things in my many years at the fringe. Pacing is crucial. Do not attempt to do more than my body and mind can take. Remember I am not 25 anymore though I might feel it. Look after myself better, take appropriate rests and find places to sleep. The latter is not easy, but I have secret sleeping places.

When you perform having the right eating pattern is very important. Eat healthy, cut the cakes and drink more water. In fact these could be lessons for all year round!

I flyer for my own shows and actually enjoy it. It allows me to engage with people and tell them about the show. I mean who better? I wrote it, I’m in it and it’s my life story. The only issue is that this takes about 3 times longer, but I think its worth it. This way I get audiences who want to be there and are invested in me.

When flyering, only approach people who look open and want to talk to you.

Tell us about your show.

Lunchbox is about bullying in high school as seen through the bully’s eyes.It’s the final part of the box trilogy. I wrote it, and then my son improved it!

I worked with Jen McGregor as dramaturg, followed by Charity Trimm as editor, followed by my son Ihsan Kerr and finally with Emily Ingram as director. I am planning to work with Adam Gibson as music director.

It will premiere at Buxton Festival fringe in July which is really exciting as it’s a lovely part of the world. I will take it to Dundee festival and Pleasance London as my two previous BOX plays have been. Then who knows where else, I’m open to taking it anywhere in the world. I am also performing my show Chatterbox too, after being asked to bring it back by Pleasance. This will occur from the 18th August to 25th at 1pm and is to help engage with school children.

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

I want to see shows that come from abroad that will be cheaper to see them at the Fringe.

“Kanpur 1857” by Niall Moorjani at Pleasance courtyard.

“She’s behind you” by Johnny McKnight at Traverse.

I will go to a book launch by Chris Barkey of his first novel at Blackwell on the 7th August and apart from that I will rest.

I am actually performing two of my own shows, my choir SING IN THE CITY is in the Edinburgh tattoo and I will also be in Singin’ I’m No a Billy Jr, He’s a Tim Jr at the EICC with Scott Kyle et al.
We get free access to shows at the Pleasance so I will try and see as many as I can as they have world class acts on there.

Any free time I have will be spent sleeping and resting.

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EdFringe Talk: Kanpur: 1857

Posted in *EdFestivals 2025, *Written Interviews by

“I love how good your show gets in the doing it every day for a month.”

WHO: Niall Moorjani

WHAT: “Strapped to a cannon, an Indian rebel finds themselves answering to a British officer for the crimes of Kanpur – an Indian uprising against British colonial forces. Based on historical events, this new play comically satirises contemporary conflicts around gender, colonial violence, and making art in times of crisis. Written by and starring ‘storytelling genius’ ***** (Scotsman) Niall Moorjani and co-directed by and starring Jonathan Oldfield, director of 2024’s Best Newcomer Award-winning show. But who is the hero and who is the villain? Whatever happens, it’s going to be explosive. Winner of the Pleasance’s Charlie Hartill Fund.”

WHERE: Beneath at Pleasance Courtyard (Venue 33) 

WHEN: 15:40 (60 min)

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Is this your first time to Edinburgh?

It’s my 6th festival as a performer and 9th as a worker, I’ve been going since 2009 and still love the festival so much. Whilst it’s flawed and has so many issues to solve, I still feel so much joy at all the amazing work there is to see and I love how good your show gets in the doing it every day for a month.

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

I guess I’ve learned to believe in my work a lot more and to challenge myself and audiences a little more. It’s good to be on the edge of your seat both artistically and as an audience member. Like so many of us, I deal with some form of imposter syndrome still all the time, but I do feel like I’m starting to feel like I belong at fringe.

Tell us about your show.

So I (Niall Moorjani) wrote it and have sort of been lead artist on the project with the amazing Emily Ingram producing with me. I put the team together, the amazing Jonathan Oldfield was the only person I had in mind to co-direct and perform with me. Quickly after consultation with our wonderful dramaturg Nikita Gill we learned that we needed live music and turned to the brilliant sodhi for his tabla magic. Mohammed Tonsey provided sensitivity consultancy and Helen Coyston did the set and costume design. Then we were incredibly lucky to win the Charlie harthill award with plesance and have been working with them ever since. The show has had 4 previews so far, including Soho rising and the Scottish international storytelling festival but will premiere officially at fringe, afterwards we are heading to Pleasance for two shows in the London main house theatre, I’m buzzing and who knows where next.

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

Gods so many amazing things, ok, Lorna Rose Treen, Kathy Manura, Sanjay Lago, xhloe and Natasha and Nish Kumar’s show brought me to tears last fringe in the best way, please go see it.

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EdFringe Talk: I Was a German

Posted in *EdFestivals 2025, *Written Interviews by

“So those new details, they’ve filtered into my updated script. Does that count as absorbing a lesson? My script has absorbed some new facts.”

WHO: Clare Fraenkel

WHAT: “Berlin, 1933. Heinz goes out to the cinema and never comes home. London, 2023. Clare claims the German citizenship her grandad Heinz gave up, but is it hers to take? In the shadow of Brexit, Clare shines a light on her grandfather’s extraordinary true story, taking a journey from the cabaret scene of 1930s Berlin to becoming an ‘enemy alien’ in 1940s Britain, getting arrested by everyone from the Soviets to Winston Churchill along the way. A vivid account of one Jewish refugee trying to find his way home, and his granddaughter searching for her roots.”

WHERE: Studio at ZOO Southside (Venue 82) 

WHEN: 13:50 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

First time with my own show! But third time as a performer, and I’ve also been a bunch of times as a punter – in fact I seem to have lost count on exactly how many times overall. Don’t make me do the maths! I actually did a cheeky research trip way back in 2019, when I started to have a notion that I had a show I’d like to write – I had an absolute blast soaking up as many one-person shows as I could. That’s one of the great things about the Fringe – you can watch a wild variety of things, or you can pick your niche and still see a wild variety within that. I mean every show I saw that year was massively different in so many ways – the only constant was the number of performers (One!). And last time I was at the Fringe – in 2023 in Out of The Forest’s Brief Life and Mysterious Death of Boris III -it was, for me, the most buzzing and energetic year yet. I’m excited to see what 2025 brings!

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

Hmm, have I learned anything since 2024? Great question. I do like learning new things. A couple of years ago I did some adult ‘improvers’ swimming lessons and got my 200m swimming and they gave me an actual badge to sew on my swimming costume! Because I GUESS adults like swimming badges too? But who has the nerve to sew it on? Do you reckon I should??

Anyway, as far as learning anything since 2024? No new badges, but I’ve done a bunch of research and learned loads of new details about my grandads’ story – including fascinating stuff from people who’ve heard about the show and reached out to me with information I didn’t know about. So those new details, they’ve filtered into my updated script. Does that count as absorbing a lesson? My script has absorbed some new facts.

Tell us about your show.

I Was a German has been a labour of love for several years, from a scratch at JW3 in London via a 45 min work in progress at CPT’s Sprint Festival and then we had a fab short run at VAULT in 2023.

It all came about after I applied for a German passport after Brexit, but then had a dilemma because my grandparents were Jewish refugees and my right to the passport was because of the Nazis taking their citizenship. They died when I was a child so I couldn’t ask them – but THEN I discovered my grandad wrote a book all about his escape from Nazi Germany, specifically to explain why he never claimed his citizenship back. When I read it – Farewell to Germany – it felt like nothing I’d heard before, and I had even more questions.

I found his story fascinating, and as an actor of many years I had a huge urge to explore this dilemma by taking our two narratives and twisting them into a play. I wanted to use a variety of media to tell the story – as it felt important to make my grandfather’s storyline feel urgent and alive, and I very fortunately I received ACE funding to get a fabulous team together. The team has included members of Shadowboxer Theatre – specialists in shadow puppetry and projections (and includes IWAG director Lowri James) and composer Arran Glass who created a beautiful soundtrack and songs. As a solo artist, that funding was essential – the show simply would never have existed without it, as I needed to be able to assemble a crack team to create the work I had in my head! It was bigger than anything I could just whack on a stage.

Now I’ve polished up the script with some added details and looking forward enormously to a full Edinburgh debut, and then … who knows? I’ve been delighted by how this story seems to really connect with audiences, so I’d love to tour the show – I’d be fascinated to take it around the UK, and also think it has scope to connect with international audiences. Berlin is definitely on my wishlist, I think performing this show in my grandad’s hometown would be magical.

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

Ok Out Of The Forest’s Bury The Hatchet is going to be spectacular, the team is so talented, I’m really excited by what they’ve got in store for all of us. While All Fired Up: an 80’s Mixtape Musical had me at ‘80’s mixtape’. I’m there. Also.. I’d love to see Fish in a Dress’ The City for Incurable Women – when medical misogyny is so absurd, it’s funny. Sadly their show is at the same time as I Was A German– so see us both on different days!

Of my fellow ZOO shows several have caught my eye – I thought Onterond Goed’s ‘Funeral’ in 2023 was very moving, and I’d love to catch their latest Thanks For Being Here which is also on at Zoo Southside, except it’s ALSO the same time as me. So come over to Zoo Southside on different days to see us both! Also The Legends of Them – Here & Now Showcase looks well worth catching, as does The Queen is Mad – all female centred story telling, which I am very keen to support. A Drag is Born looks rather marvellous too – clowning and drag, two of my weaknesses.

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EdFringe Talk: Falling: A Disabled Love Story

Posted in *EdFestivals 2025, *Written Interviews by

“Fringe is such an amazing place to connect with people and I’m just so excited to see the other work that will be there!”

WHO: Aaron Pang

WHAT: “Aaron walks with a cane, and everyone asks ‘what happened?’. Aaron answers the question twice, first with a story you’ve heard a thousand times, and then with one you’ve never heard before. Faced with a spinal-cord injury, follow Aaron’s journey to understand this new body in the uncertain world of first loves, online dating and sex. The show untangles his own understanding of his body and the stories he tells himself. Falling is an uncomfortably sexy and hilariously vulnerable stumble through Aaron’s misadventures searching for love, lust and life after disability. Directed by Connie Chen.”

WHERE: Bunker Two at Pleasance Courtyard (Venue 33) 

WHEN: 15:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yeah and I’m so excited and so scared! I think Edinburgh Fringe has always been a dream and goal ever since I started pursuing this storytelling and comedy career. It’s just such a rich place for boundary pushing art! I think a great festival really fosters a community and dialogue among the artists and between the artists and audience. Fringe is such an amazing place to connect with people and I’m just so excited to see the other work that will be there!

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

Hmmm, I think a big lesson I’ve learned this year is that selling tickets is hard. I’ve performed all my life but I’ve never had to sell tickets and I think that getting up close and personal with it through a few of the festivals I’ve done has really gotten me comfortable learning to promote without overwhelming my people.

Another more personal lesson is a lesson about care. Through my amazing partner I’m learning a lot about what different forms of care for different people can look like, and changing my own perspective around the world to allow for me to receive more care.

Tell us about your show.

The show is called Falling: a disabled love story. You will watch me try not to fall on stage for an hour while I tell you a story about trying to fall in love after becoming disabled. I’m self producing the project with my director and creative and life partner Connie Chen. Connie and I met while attending the University of Iowa’s writing program. This show was a product of doing standup in Los Angeles for a summer. I noticed how people were so eager to help me because I walked with a cane. Those underlying assumptions really made playing with their expectations of me really fun and strange and slightly mischievous. The show was my Master’s thesis and it first premiered in the US, first in Iowa City and then with the Elysian Theater in Los Angeles. Right now I’m focused on having a successful Edinburgh run, but I think the next step would be to bring it to New York and hopefully have a run there!

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

My friend Woody Fu has a great show at Assembly this year called Woody Fu: One man John Wick! It is such hilarious and absurd character work and I just never get tired of watching it.

Also Mark Vigeant’s Best Man Show which is an interactive wedding reception where a drunk best man speech goes really off the rails!

Olivia Atwood is doing a double header at Greenside with her shows Oops and Faking It. Oops is a story about her job as a matchmaker, and Faking It is about her time being a fake patient that helped test the US healthcare system. Her physical comedy is hilarious and the laughs never stop!

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EdFringe Talk: Dear Annie, I Hate You

Posted in *EdFestivals 2025, *Written Interviews by

“Don’t let your joy or experience of the fringe be stripped or altered by someone else’s perceived successes or failures. Their work is their own, and yours is yours.”

WHO: Samantha Ipema

WHAT: “The award-winning 2024 smash-hit is back – bigger, bolder and more visceral than ever. Based on Creator Sam Ipema’s real-life experiences, this darkly comic, deeply heartfelt show dares you to find comedy in the chaos of the unknown. Hailed as ‘masterly’ (Stage) and shortlisted for BBC Popcorn New Writing Award, expect immersive soundscapes, full 90s nostalgia and a glimpse into the liminal space of the mind. With Director and Dramaturg James Meteyard (WILDCARD) and Olivier-nominated Sound Designer, Dan Balfour.”

WHERE: Pleasance Two at Pleasance Courtyard (Venue 33) 

WHEN: 12:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, it’s my second! We actually brought the first iteration of the show last year as my and its debut year. But this year we’re very excited to be at Pleasance with the new iteration. The festival is such an incredible place to launch, debut, and test new work — whether it be a new iteration or a new piece altogether — so we’re thrilled to be back and trying it out with new and returning audience members.

As a writer, I think that Edinburgh fringe is one of the best places you can try out new ideas. I also think as a performer, its an incredible experience via a sort of “trial by fire” and really will shape an understanding of the craft and stamina required for a long run. But as a producer, I will say that while it is magical and certainly has the ability to put your company’s name on the map, it is a tough playground and expensive sandbox to play in. Which isn’t necessarily a bad thing, but it is something to be aware of. And as an audience member? What better way to spend a few days on holiday in the summer?!

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

So many. How much time do you have…? But I can try to distill it down to a few points. First— treat your team well, because it’s their extra time, love, and effort that is going to make your show get to that extra little level that is required to make it stand out and be a unique experience for an audience member. Second— don’t get caught up in the competition. I think it can feel like a comparative environment, seeing other shows get traction, stars and reviews, and/or industry interest. So for that, I would say just stick to your lane and focus on what you came to do. If it’s getting audiences excited about your piece, then focus on that. If its to get a new agent, focus on that. Don’t let your joy or experience of the fringe be stripped or altered by someone else’s perceived successes or failures. Their work is their own, and yours is yours. Easier said than done, but it’s the best way to also get to enjoy and celebrate others work, apart from your own, which is an important part of the experience and being fed as an inspired artist as well.

See as much as you can, is my final advice. But also… rest. I know that’s contradictory and I’d probably roll my eyes reading this. So I’ll adjust it to— prioritize yourself, self care, and rest for the piece’s wellbeing and your own. But then go out and see new things and make new friends. Those connections can bud into exciting collaborations and at the very least, you’ll leave more open and inspired by other’s weird quirky brains and art than when you came.

Tell us about your show.

I wrote it! And my company is producing it! Yikes! The show is about my life at age 20 when I was a lost little mess of a human and the rollercoaster journey it took to “finding myself” over nearly a decade. It’s a really delight to wear all the different hats on it. But, would I recommend wearing all those hats? Not really. If it’s what’s necessary in order to get the piece out there in the way you want though, then yes. Absolutely. It’s a wonderful, crazy ride with many opportunities to learn alongside.

We’re hoping to take the piece internationally following the Fringe and also hoping to find a new and bigger home and production company for it to help get to the next level. All very ambitious stuff. But I think the piece has universal themes that are important and have been resonating far beyond those with personal experiences like mine. So, we will see! Fingers crossed.

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

As many things as possible. Go see something completely different afterwards like circus performance, some clowning, some improv… see it ALL. But, for specific recommendations, I would say—
Xhloe & Natasha’s work @ The Space is amazing. They’re rotating all 3 of their shows this year. Brown Girls Do It Too: Mama Told Me Not To Come @ Underbelly — I don’t know their work personally but I’ve heard whisperings about it and am excited to see it.
Otherwise, I’d say get there and follow your nose really.

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