Author Archives: Dan Lentell

Bedfringe 2026 Interview: Avoid Excessive Cleavage (and Other Advice to Ignore)

Posted in *Written Interviews, Bedfringe 2026 by

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“I work hard, knock on doors and try to put myself forward, whilst simultaneously battling crippling imposter syndrome and a world determined to make anyone over 40 feel like they’ve had their chance!”

WHO: Jules O’Brian

WHAT: “Avoid Excessive Cleavage (and Other Advice to Ignore) is a warm, witty stand-up show about ageing, expectations, and the endless stream of “helpful” advice we’re all supposed to follow as we get older.

Now in her fifties, Jules O’Brian finds herself on the receiving end of guidance she never asked for: what to wear, how to behave, how to age gracefully, and which inspirational quotes she should apparently be living by. From well-meaning strangers to glossy headlines and social media wisdom, everyone seems keen to explain how life should be done. Jules has had enough.

“Razor-sharp observations – Jules has it all: intelligence, wit, and utterly hilarious.” JO ENRIGHT

With sharp observational comedy and a quietly rebellious edge, she dismantles the rules, clichés and motivational nonsense that clutter modern life. Expect big laughs, moments of recognition, and a quietly rebellious take on the rules we’re all expected to follow.”

WHERE: Quarry Theatre

WHEN: 25 July 2026 @ 13:00 (50mins)

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Is this your first time to Bedfringe?

It is, but I’ve gigged in and around Bedford a lot, and always have a lovely time with the audiences. I work with Castle Comedy quite a bit and their Bedford shows are always fab.

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

The past couple of years have been a bit of a whirlwind. You know how, when things are actually happening, you just take them in your stride and crack on – then you look back and go, “Ooh that was quite a time, wasn’t it?!” Well…that. Like anyone else who wants to do well, I work hard, knock on doors and try to put myself forward, whilst simultaneously battling crippling imposter syndrome and a world determined to make anyone over 40 feel like they’ve had their chance! But I was 52 in 2024, and that’s when things started to happen. I was flown out to Switzerland to perform over there, I got booked to do Altitude Festival in Austria, my show really started to come together, regular appearances on BBC radio started back then, and I’m travelling all over the country all the time! (My little Hyundai i10 is small but mighty – she’s seen my breakdowns at 1am when there are motorways closures but no diversion signs or map updates… I shudder just thinking about it!)

Tell us about your show.

So my show is called “Avoid Excessive Cleavage (and other advice to ignore).” Once I turned 40 – and I think this is happening to women even younger now – I started getting bombarded by advice I’d never asked for about how I should be aging: mostly, it boils down to DO NOT AGE! However, if you must age, stick a big paper bag over your head so we don’t have to see your wrinkles, laughter lines, droopy knees…the list is endless.

The title comes from a genuine piece of advice in one of those articles, “Avoid excessive cleavage; just wear a nice blouse.” So patronising! So I wrote a show about how much I hate the anti-aging industry, even though I buy into it a lot of the time.

I don’t have any answers and I’m definitely not telling anyone how they should choose to age! I just have fun with the whole thing, instead of driving myself mad.

My absolute hero Elizabeth Hurley makes an appearance (in cardboard cutout form), and I just have a right old laugh with the audience about how bonkers some of the advice we get given actually is. “Hide laughter lines”? Yeah…god forbid anyone knows you’ve been enjoying yourself!

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

Hasan Al-Habib is also in The Quarry Theatre Studio with his show “Stuck in the Middle (East) With You.” He’s very funny, very clever, and very much deserves a full house.

Pat Monahan, again, 23rd July in The Quarry Theatre Studio. I just love Pat. Audiences adore him. It’s impossible not to have a good time when he’s on stage. And he makes it look effortless – like he’s just messing about. Actually, I hate him. What am I talking about? It’s not fair that some people are just so damned good at comedy!

And on 26th July you’ve got the Best of Castle Comedy: Angela Barnes, Laura Smyth and Josh Pugh. All of them disgracefully good at comedy. Definitely go. I’m not at all offended that it’s “The best of Castle Comedy” and I gig for them a lot, and I even mentioned them in this interview, and I’m not on their list. No, really, I’m fine. It’s fine!

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EdFringe Talk: Angela Bra – Secret Diary of a Bingo Call Girl

Posted in *EdFestivals 2026, *Written Interviews by

“I always love bringing my show here as I get to meet plenty of like-minded people and have the opportunity to perform in the most unlikely of venues at the most unlikely of times.”

WHO: Angela Bra

WHAT: “Angela Bra has seen it all. Hen do high jinx, butlers in the buff, glamorous grandmas, and mothers escaping their family for the night. She’s handled more balls than a gynaecologist on a pay-per-view contract and can do it whilst leading the Macarena. She returns to Edinburgh with a brand new show packed with original songs and stories from the front line of the party bingo circuit, wrapped up in a round of her very own great British bingo for everyone to play. Critics Choice Award Winner, 2025 Bay Fringe.”

WHERE: Upstairs at Laughing Horse @ Bar 50 (Venue 151) 

WHEN: 21:00 (50 min)

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Is this your first time to Edinburgh?

This will be my fourth Angela Show at the festival and the first where I perform an hour about my life on the north-west party bingo circuit, before hosting an hour of the bingo cabaret show itself thirty minutes later across the road! I always love bringing my show here as I get to meet plenty of like-minded people and have the opportunity to perform in the most unlikely of venues at the most unlikely of times.

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

I’ve learned that social media isn’t everything. Year in year out a loyal number of people return to my shows and tell their friends and family. Whilst it’s lovely to get thousands of views, likes and comments – it’s the real people in the room that matter.

Tell us about your show.

‘Angela Bra – Secret Diary of a Bingo Call Girl’ is the follow-up to my show of the same name from last year. This time around there are new songs and stories from my life calling numbers at party bingo across the country alongside stage games and a round of my own “Great British Bingo” which celebrates the positive, inclusive and progressive views of our country whilst occasionally poking fun at those who seek to turn back the clock.

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

I would definitely recommend going to see Ali Woods if you haven’t already. He regularly performed at my tiny shows in London many years ago and I’ve watched him grow and grow without over-reliance on mainstream conventional channels.

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EdFringe Talk: Sinatra: One Last Shot

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“Producing means you wear two hats because there’s money on the line so you’re keen to get an audience in, but it also gives an edge to performing and it’s a full-on experience.”

WHO: Richard Shelton

WHAT: “Sinatra and the 70s are not a good fit. He hates retirement and his comeback album flops. Concerts prove he can still pull in a crowd but he feels out of step with the times. Will he ever find that one big hit to redefine him? Told as a monologue from his Palm Spring’s den, this brand-new show stars Richard Shelton after his critically acclaimed Sinatra: Raw show wowed critics worldwide. Written and directed by Bert Tyler-Moore, creator of The Windsors. ‘Shelton is phenomenal. He captures the essence of the man perfectly’ (BBC Radio 4).”

WHERE: Dirty Martini at Le Monde (Venue 47) 

WHEN: 15:30 (60 min)

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Is this your first time to Edinburgh?

This is my twelfth Fringe and whilst each time is different, the excitement is the same. Bringing a show to the Fringe a life affirming experience and this show is special because it’s the continuation of ’Sinatra: RAW’ which started it’s life here before getting global critical acclaim, so it feels like coming home. Producing means you wear two hats because there’s money on the line so you’re keen to get an audience in, but it also gives an edge to performing and it’s a full-on experience. It’s an Alice in Wonderland experience being a punter.

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

I had an epiphany with this show! I live in Los Angeles and after having spent time in Palm Springs and visiting the second of Sinatra’s homes by private invitation, I was staring out at the mountains from my home, which stretch through to the Palm Springs desert from LA and it stuck me right between the eyes like a bullet – this is the next stage of the Sinatra story that needs telling. It came to me, not the other way around. It demanded telling of me, through me. It’s powerful stuff. I’m a big believer in manifestation.

Tell us about your show.

I conceived the idea and collaborated with Bert Tyler Moore who writes ‘The Windsors’ on Channel 4 TV to write the script. I am producing it. We have a London try-out and will wait to see what the public thinks before making plans for the future. After the Fringe, I will bring it back over to Los Angeles and develop a screen play concept from it.

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

Audiences should certainly see what they love but also what challenges them. I like seeing work that stretches me. Some of the most memorable shows have been those I didn’t think I would necessarily enjoy but they stayed with me. I recommend a mix – some music, some comedy, something late night and something to make your brain tick.

I am excited to see Mike Hatchard in Ludwig: Unfinished Business, Kayla Boyle as Elizabeth Taylor in Call Me Elizabeth, and 11 ½ Angry Men.

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EdFringe Talk: Dystopia 26: The Rock Opera

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“I’ve seen the Fringe change in many ways over the years. It’s become more difficult to put on a show because of the technical and administrative demands, while the ever-growing number of productions means you’re competing for people’s attention like never before. Cost is another huge consideration.”

WHO: Justin Skelton

WHAT: “A five-star, two part, immersive political satire and electrifying rock spectacle. You’re not just an audience – you’re a Dystopian, summoned to join a state “Dystopiation” event where you will vote. From martial law to election to a glittering new cult of happiness, this two-part odyssey skewers power, greed and propaganda with monstrous masks, biting lyrics and a ferocious live band. Performed as if from prison by disgraced spin doctor Beldon Haigh and arsonist Helen Raiser, it’s bold, provocative and unexpectedly human – a defiant, beacon of hope.”

WHERE: Auditorium at Bedlam Theatre (Venue 49) 

WHEN: Varies (100 min)

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Is this your first time to Edinburgh?

Edinburgh Fringe is a magical place and time. I grew up attending Fringe shows and performing in various productions and gigs. Dystopia: The Rock Opera has been here in 2024 and 2025, and every year the show gets bigger, sharper and better. This year will be the whackiest one yet.

As a writer, performer and producer, I’ve seen the Fringe change in many ways over the years. It’s become more difficult to put on a show because of the technical and administrative demands, while the ever-growing number of productions means you’re competing for people’s attention like never before. Cost is another huge consideration.

But if you’re fortunate enough to bring a show to Edinburgh, it’s a tremendous privilege. There’s nowhere else quite like it. It’s one of the greatest learning experiences a creative person can have, and something never to take for granted.

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

The biggest lesson has been: be careful who you listen to.

Spend more time listening to people who increase your energy, and less time listening to those who quietly dull your creative flame. Hold firm to your creative standards.

I’ve also learned that simplicity is a wonderful thing – but so is complexity, and there’s nothing wrong with trying to achieve both.

Finally, building a great show is only half the job. You have to work every bit as hard on getting people through the door as you do on creating the thing they’re coming to see.

Tell us about your show.

I wrote Dystopia: The Rock Opera because I wanted to create a musical satirical spectacular about the chaotic times we’re living through. It’s a rock opera built around eighteen original songs – each one telling its own story – exploring politics, money, power, greed, authoritarianism and, ultimately, happiness.

I wanted the show to be immersive, full of energy and relentlessly optimistic, especially in the face of the challenges we’re living through today.

Some people say politics has become too bleak for satire – that reality has overtaken comedy. I don’t subscribe to that. I think art often does its best work when dark forces are banging on the door.

So I wrote Dystopia: The Rock Opera because now felt like the only time to write it. And I keep writing it. Every performance changes something because that’s what the show demands. It reflects the world around it. But one thing never changes: it will always be a work of optimism, hope and joy, because I choose to make it one.

It’s political satire, rock gig, comedy and a surprisingly optimistic story all rolled into one.

I’m also producing the show. The company has become a community of brilliant musicians and performers who completely understand the gig-theatre approach. We’re not interested in preaching to anyone. We’d much rather audiences sing, dance, laugh and even cry first—and think afterwards.

The show has had previous productions and has evolved enormously through performing it. Every run teaches us something, so Edinburgh isn’t the destination; it’s another stage in its evolution. After the Fringe it’ll head back out on tour because, if anything, the world seems to be catching up with the story rather than the other way round.

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

Go and see shows you know absolutely nothing about.

Seek out original productions. Shows that look like they’ve been made with more imagination than money. Personally, I tend to avoid the big names—that’s not really what the Fringe is about for me.

If you’re in the mood after Dystopia, go looking for artists who are taking risks. There are plenty of them at Bedlam Theatre, and all across Edinburgh you’ll find people who’ve mortgaged their savings, maxed out their credit cards and spent years creating something they believe in.

Support them. They’re one of the reasons the Fringe remains unlike anywhere else in the world.

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EdFringe Talk: Japanese Grandma Funeral

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“I made so many friends just standing in line for some shows, and that’s what a great festival is about, a place to make friends, who are so, so in love with the performing arts.”

WHO: Kento Morita

WHAT: “Kento the clown missed his grandmother’s funeral in Japan due to Covid restrictions. He’s trying to recreate the traditional rites, but it keeps going wrong. Can the audience help him achieve closure in this gentle, heartwarming comedy? Blending clown and storytelling with Japanese and Okinawan funeral customs, Kento attempts to process 108 of his grandma’s memories, along with unresolved thoughts and small, stubborn facts about her life, in a show that is both deeply personal, yet widely relatable. What begins as a failed ceremony becomes a gentle, intimate invitation to laugh, remember and let go.”

WHERE: Playground 1 at ZOO Playground (Venue 186) 

WHEN: 17:45 (60 min)

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Is this your first time to Edinburgh?

This is my second Edinburgh Fringe! Last year, I just came to check it out and was blown away by the kaleidoscope of talent and art forms, all performing all day everywhere. I made so many friends just standing in line for some shows, and that’s what a great festival is about, a place to make friends, who are so, so in love with the performing arts.

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

I learned to ask for help. The whole show started as a simple dream of me wanting to pay tribute to my grandma, but through clown. The moment I told my friends about it, so many people came out to support me, and it has been a huge lesson in learning to ask for and accept help. It’s honestly the biggest lesson I feel my grandma is teaching me through this show beyond the grave.

Tell us about your show.

Six years ago, I missed my grandma’s funeral due to COVID-19 travel restrictions, and this show is my way of atoning as a clown. Saki Kawamura is my director, she’s a brilliant artist whom I met through a table read for a play I did last year. Rob Howard is my co-producer and he and I met at Edinburgh last year, and bonded over our mutual appreciation for the New York Islanders hockey team (I was the back up mascot, and he a lifelong fan!). And finally, Peter Michael Marino (who’s doing Planet of the Grapes at Pleasance!) has been a mentor and devising advisor for many years! This show has had some previews in Adelaide, Los Angeles, Chicago, and New York, wherever I was able to bring my props to during business trips, and I’m so excited to premiere it at Edinburgh! My hope is to take this show to colleges across the US.

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

You need to check out Peter Michael Marino’s Planet of the Grapes at Pleasance, 3 Times I Killed by Andrea Coleman at Zoo Playground, Ethan & Gigi Present: THE MOVEMENT at Underbelly (Colgate), Blizzard by Piotr Sikora at Nic 8, MIND ER3CTION by Andy Needham at Just Up The Stairs, Dog Funeral by Zoe Wohlfeld at Underbelly (Cowgate), and I KNOW I’m missing some more!

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EdFringe Talk: Patient 13

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“I expect August to be full of surprises.”

WHO: Gail Thomas

WHAT: “‘I got rid of all the toxic people and there was no one left.’ An intoxicating true story of how Gail’s cancer diagnosis led her to participate in a revolutionary clinical study prescribing magic mushrooms for anxiety and depression. Set in NYC, this darkly satirical comedy follows fiercely independent Gail as she attempts to navigate dating, illness, true connection and psychedelics. Winner: Progie Theater Award for Outstanding Progressive Plays and LA Hidden Gems Award. ‘Magnetic and engaging in her intensity and candour… a masterclass in storytelling’ ***** (Gia on the Move). ‘Quirky and Uplifting’ ***** (BroadwayWorld.com).”

WHERE: Playground 2 at ZOO Playground (Venue 186) 

WHEN: 14:20 (60 min)

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Is this your first time to Edinburgh?

The first time I visited Edinburgh, I was 19 and I broke my finger! This will be my first time at the Edinburgh Fringe Festival, hopefully leaving fully intact. Being able to participate in this world-renowned arts festival over 30 years later — with Patient 13, my true solo show — is magical. EdFringe26 will blend my past, present, and future. Between the breathtaking beauty of the city and the crazy energy of international artists and audiences, I expect August to be full of surprises. I’m thrilled to have this opportunity to make new friends and exchange ideas with creative folks from all over the world.

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

Over the past year, my mom’s health declined, then she passed — which is a big reminder that life is short, that I need to give back, to live my truth now. Alongside that, I’m a storytelling coach, so I’ve seen the breakthroughs that come to anyone willing to dig a little deeper. My decision to come to Edinburgh Fringe is likely a subconscious result of those life lessons. It’s a heart/soul driven decision, rather than a logical one. Now, this production (at Zoo Venues/Edinburgh) is teaching me to be fearless, dream new dreams, be a better communicator, make big decisions quickly, all while managing expectations. It’s already been a life changing experience. I hope that Patient 13 inspires my audiences to recognize and embrace their own true stories.

Tell us about your show.

I’m Gail Thomas (writer/performer) and my director is Dan Oliverio. Patient 13 is my true story (now a dark comedy solo show). It traverses dating, medical trauma, and isolation — ultimately leading to my participation in a groundbreaking US clinical trial which gave magic mushrooms to cancer survivors with anxiety and depression. It’s intimate, profound, and quirky; I speak to the audience like best friends. Early bits of the show were developed on Moth Storytelling stages in NYC, then Dan encouraged me to write the full show. The show premiered at the Hollywood Fringe Festival, followed by shows at LA’s Rogue Machine and Electric Lodge, NYC’s Pangea and The Tank.

At Edinburgh, we’re hosted by Zoo Venues, produced by Frodo Allan at Rhymes with Purple, with PR managed by Chloe, Mia, and Gee at Chloe Nelkin PR. I’m so grateful that this amazing team is guiding us through the maze of details and decisions. Post fringe, we’re looking for simpatico producers Off-Broadway, Off-West End, Touring and beyond.

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

I highly recommend my friend Kona Morris’ show “How to Poop in an Outhouse at -58°C – An Arctic Adventure Story.” She’s a talented storyteller and this is her true story about how she fell in love with a Native Alaskan and moved to a remote village north of the Arctic Circle.

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EdFringe Talk: Overtone

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“EdFringe can be a tough place when you’re trying to get an idea off the ground.”

WHO: John Hoggarth

WHAT: “When two teenagers meet after choir practice, they begin the most important relationship of their lives. From Fringe First award-winning theatre-maker Tom Brennan (The Wardrobe Ensemble) comes an intimate, funny and unflinching new play about love and getting older – the adventures we were promised, the choices we think we made, and the cost of finally being honest. Presented by double Fringe First award-winner The North Wall (Brown Boys Swim, E8). Reviews for Brown Boys Swim: ‘Perfectly-pitched’ **** (Scotsman). ‘A moving, witty play’ **** (Financial Times). ‘A runaway success’ ***** (WhatsOnStage.com).”

WHERE: Jack Dome at Pleasance Dome (Venue 23) 

WHEN: 14:40 (60 min)

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Is this your first time to Edinburgh?

I’ve been to the Fringe with several shows in the past either as a writer or director. In recent years I’ve directed Brown Boys Swim by Karim Khan (Fringe First and Popcorn Award) and The B*easts by Monica Dolan which was later nominated for an Oliver Award. Before that I co-wrote and directed a sketch show called The Ginge Georgie and the Geek which sold out across 3 festivals. It can be a tough place when you’re trying to get an idea off the ground but it can also be very rewarding if something finds its audience.

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

I’ve been thinking a lot about how you carve out time for creativity amongst everything else going on in life. It’s easy for time to disappear when everyone’s so busy. The festival can be very intense and you can spend the whole time fixating on your own show but I always try and remember to seek out exciting new work elsewhere – whether that’s a new play, music, comedy… There’s so much you can go and watch which can be overwhelming but also a real opportunity to get your creative fix and to learn from other artists.

Tell us about your show.

It’s a new play called Overtone by Tom Brennan (who co-founded The Wardrobe Ensemble.) It’s a 2-hander at Jack Dome (14:40) about two people who meet as teenagers and spend their lives together. It’s about love getting older and how events from when we were younger impact the adults we become. It’s being produced by The North Wall who have a fantastic track record at the Fringe – two Fringe First Awards, the Popcorn Award and a Stage Award. We’ll have a couple of previews at The North Wall before coming to Edinburgh and then we’ll see how it goes from there.

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

I’d highly recommend Woodhill by Lung Theatre at Zoo Venues.

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EdFringe Talk: How Not to Make it in America

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“There’s probably a lesson in there somewhere but I have no idea what it is.”

WHO: Emily Steel

WHAT: “It’s 2001. A naive young Australian actor arrives in New York. One man plays twenty-eight characters in this heartbreakingly funny award-winning play about 9/11 and chasing your dreams. Twenty-five years after September 11 changed the world, performer James Smith transforms from a hopeful Aussie to a weary New York lawyer to a British compulsive liar (to name a few), in a fragmented story inspired by playwright Emily Steel’s real-life experiences. ‘Beautifully told, deeply resonant’ ***** (List). ‘Go see it and take all of your friends’ ***** (GlamAdelaide.com.au).”

WHERE: Former Gents Locker Room at Summerhall (Venue 26) 

WHEN: 21:20 (60 min)

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Is this your first time to Edinburgh?

It’s not my first time – my first time in Edinburgh was a long, long time ago when I was considering whether or not to apply to drama school. I came to Edinburgh as a performer in a show and had all the rite-of-passage experiences – audiences smaller than the cast, cringeworthy flyering, everyone falling out by the end of the season. I made a deal with myself that if I survived it and still wanted to be an actor I’d audition for drama school. I did survive it, did audition, went to drama school… then moved to New York three weeks before 9/11 with no plan and no work visa. Twenty years later I wrote a play about that experience and now I’m back in Edinburgh with that play, How Not to Make it in America. There’s probably a lesson in there somewhere but I have no idea what it is.

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

Everything is a roll of the dice. Everything. You just can’t know how things are going to play out – you can have the best plan in the world and then find yourself thrown into chaos by something completely unexpected. I think over the last twelve months I’ve got more comfortable with just doing things and seeing what happens.

Tell us about your show.

How Not to Make it in America is a funny, moving, one-man show about a naive, young Australian actor who moves to New York to try and make it there – but then 9/11 happens and he finds himself working illegally in a video store. I wrote it, it’s inspired by my own experiences back when I was a young, naive Welsh actor in New York, before I became a playwright and moved to Australia. It won the House of Oz Purse Prize at this year’s Adelaide Fringe and House of Oz is presenting it in Edinburgh with Theatre Republic, the independent South Australian company that commissioned it. Corey McMahon, who directed the show, commissioned it from me when he was Artistic Director of Theatre Republic, and we developed it with James Smith, the actor who plays the protagonist, Matt – and twenty-seven other characters. It premiered in Adelaide in 2001. Last year I took over as Artistic Director of Theatre Republic and brought How Not to Make it in America to this year’s Adelaide Fringe. It’s been nominated for the Fringe Encore Series at SoHo Playhouse in New York, and we’ll be over the moon if we can get it there next.

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

See everything brought over by House of Oz – including musical comedy Fuccbois, which won the Purse Prize at Adelaide Fringe along with How Not to Make it in America, and Ten Thousand Hours by Gravity and Other Myths, an astonishing circus company that’s come out of Adelaide. And see these shows by our fellow Adelaideans: Meteors by the CRAM Collective at Summerhall, and Dust by Charlaina Thompson at The Pleasance. They’re award-winning plays from the other side of the world, so go check them out!

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EdFringe Talk: Glob

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“A great festival, for us, is one where you manage to keep both experiences alive at once : the wonder of the punter and the discipline of the producer.”

WHO: Jean-Félix Bélanger

WHAT: “Les Foutoukours return to Edinburgh with Glob, a circus adventure like no other! Without a single word, two lovable characters tumble, glide and soar through the unknown. Join them as they discover a world that is tender, magical and wonderfully absurd. They’ll make you laugh, gasp and cheer – all while tugging at your heart. For anyone who needs the world to slow down just a little, Glob is a wordless journey where emotion speaks louder than words. Perfect for all ages, it will delight and enchant audiences, young and old. Don’t miss this unforgettable ride!”

WHERE: McEwan Hall at Underbelly, Bristo Square (Venue 302) 

WHEN: 15:00 (60 min)

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Is this your first time to Edinburgh?

This will be our fifth Fringe, though it’s the first time we’re bringing Glob! We first came in 2019 with Kombini, returned in 2022-23 with Brotipo, and then 2024 with Nova. Edfringe is a festival we know quite well by now, and honestly, it’s a little addictive: the energy, the joy of seeing old friends again, the chance to be inspired by productions of remarkable quality. That said, our relationship to the festival has changed a lot depending on which hat we’re wearing. As punters, you can lose yourself completely in the jungle of it all, chasing every recommendation and staying out late.

As producers, you have to be far more careful about costs, your own energy, your mental health. With Glob we spent two years preparing: finding the right venue, building the right partnership with Underbelly, and making sure our risk-taking was measured and considered. A great festival, for us, is one where you manage to keep both experiences alive at once : the wonder of the punter and the discipline of the producer.

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

I don’t know if I’ve absorbed that lesson yet…I’m still trying to find the balance between doubt and confidence. This past year was full of touring existing shows around the world, alongside new productions and a fresh creation project. Despite all our experience, doubt still creeps in. The irrational fear that audiences won’t connect, or that our careers could suddenly stop. And yet we work incredibly hard, obsessing over every detail, because we’re artists, directors, creators, agents, and more, all at once. In the end, that care gets recognised, and things go well wherever we go. But you need to keep a little doubt, a little humility, it’s what pushes you to improve. So for Fringe 2026, especially with a show we’ve performed 260 times, the goal is finding that balance: trusting the work while keeping just enough stress to give our best.

Tell us about your show.

Glob is created and performed by the two of us, myself and Rémi Jacques, co-directors of Les Foutoukours. Rémi founded the company in 1997 to explore movement and rhythm through original productions rooted in commedia dell’arte and physical performance, and I joined as his partner in 2013; together we’ve since created six distinct productions, of which Glob is our fifth. The idea was born from a trip to Norway in 2018, where we witnessed the midnight sun in Harstad and were struck by its stillness and softness. We spent three and a half years finding the right rhythm to translate that feeling into a wordless clown show built on circus discipline, piano, and gentleness. Glob premiered in 2019 and has been touring ever since, having already visited ten countries and clocked over 260 performances, so this Edinburgh run is very much a continuation of an existing life for the show rather than a debut. After the Fringe, Glob keeps travelling! We will have the chance to visit the west of Canada, Norway, Sweden and Danmark, and we’re always looking for the next place, and the next audience, to share it with.

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

Go straight to the circus programme, honestly, that’s always our first instinct too. We can’t wait to catch the new show from our friends at Yuck Circus. They were our neighbours backstage at the Fringe back in 2019, and their all-Australian, multi-award-winning energy is completely infectious. We’ll also be squeezing in Tweedy’s Massive Solo Show, a very different style of clowning to ours, but with the kind of physical mastery and warmth that makes it unmissable for all ages. Please go see Revel Puck Circus for us, we perform at the same time so we will miss it… We saw them in 2024, it’s exactly the kind of joyful, community-minded circus the Fringe needs more of.

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EdFringe Talk: Tale of the Firebird – Concerto for Violin, Fire & Acrobatic Orchestra

Posted in *EdFestivals 2026, *Written Interviews by

“I often remind myself – hey, if these are my toughest decisions today, then I’m incredibly fortunate compared to a lot of people in the world.”

WHO: Sonja Schebeck

WHAT: “Classical precision meets circus adrenaline in this genre-bending re-imagining of a violin concerto composed by Chloé Charody for The Freestyle Orchestra. Each musician doubles as an acrobat, uniting classical mastery, theatrical storytelling and breathtaking circus – where virtuosity literally takes flight. The whimsical, fairytale-like narrative traces the legend of the Phoenix – a mythical creature with the ability to be reborn through flame. This story of resistance and renewal underpins pertinent global themes, erupting with one of humanity’s greatest weapons against oppression: hope.”

WHERE: Central at Assembly Roxy (Venue 139) 

WHEN: 18:15 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

We did a part-run at Edinburgh Fringe in 2024 with a smaller-scale show, LIMBO: Sonata for Acrobatic Violinist & Acrobat (also featuring music by Chloé Charody), but this is our first time with The Freestyle Orchestra bringing a production of this scale with 12 artists.

It’s such a special vibe in Edinburgh during Fringe with so many diverse and incredible artists, and the audiences are absolutely wonderful – it’s this unique atmosphere were it feels like both the artists and audiences alike are on a huge adrenaline rush! The city itself becomes a venue, and with so many shows densely packed, it makes it entirely possible to see a huge range of art-forms and to be both a producer and a punter in one season.

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

I think the main thing I’ve learnt is that there’s not really a single way to do Fringe! We have been planning this season for a good part of the last 12 months, and for a lot of that there are seemingly endless decisions, differing opinions, a stream of deadlines etc. which can feel like a lot. I often remind myself – hey, if these are my toughest decisions today, then I’m incredibly fortunate compared to a lot of people in the world. For me, helpful things were early planning in regards to venue, funding applications and budgeting, getting advice from people we trust, and being clear about why we want to do Fringe and what the goals are. Still, I’m definitely learning a lot – which is also great!

Tell us about your show.

Tale of the Firebird reimagines a virtuosic violin concerto as a fully embodied theatrical experience. It was composed by long-time collaborator Chloé Charody and created and produced by The Freestyle Orchestra, an ensemble with a defining twist: each musician is also a highly skilled circus artist – often performing both disciplines at once. We blend live instrumental performance with aerial arts, dynamic group acrobatics with instruments, fire eating and fire spinning, contemporary dance, physical theatre, and aerial harp. For us, these disciplines are all intrinsic elements of the score.

Suited to audiences of all ages and backgrounds, the show unfolds as a vivid, fairytale-like, deconstructed narrative tracing the legend of the Phoenix, the mythical creature with the ability to be reborn through flame. Looking deeper, a story of resilience and renewal speaks to urgent global realities and to the enduring power of one of humanity’s greatest weapons against oppression: hope.

The work originally premiered at City Recital Hall during Sydney’s VIVID Sydney in 2019, but now we’re incredibly excited to be premiere a brand-new production at Fringe 2026, plus an upcoming appearance at the Salieri Circus Award in Italy later this year. It’s bigger, bolder and more theatrical than ever, and we’re pretty sure audiences can expect something they’ve probably never seen before.

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

We’re definitely looking forward to checking out YUCK circus’ new show “Naughties” – the company are such legends who we were fortunate to meet at the West Australian Circus Festival in early 2020, and their new show looks like an absolute riot!

In Common by One Fell Swoop also looks beautiful.

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