Author Archives: Dan Lentell

EdFringe Talk: Basically Nocturnal

Posted in *EdFestivals 2025, *Written Interviews by

“You also learn a lot about what “home” really means. It’s not just where you sleep or drop your bag—it’s made up of people, community, familiarity, and the small comforts you didn’t even know you’d miss. Like Vegemite.”

WHO: Thomas Currie

WHAT: “Fresh from sell-out success in Australia, Thomas Currie blends powerful vocals, razor-sharp piano, electric cello and witty storytelling in this all-too-relatable late-night cabaret. Featuring original music and some reimagined classics, be immersed in a collection of gripping tales from around the world. This show is perfect for night owls, insomniacs and anyone who has ever tossed, turned or are now two days past their bedtime. ‘We laughed, we listened, we marvelled’ (Melbourne Observer). ‘A natural storyteller… star quality to spare’ ***** (TheatrePeople.com.au).”

WHERE: Blether at Gilded Balloon Patter House (Venue 24) 

WHEN: 21:40 (60 min)

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Is this your first time to Edinburgh?

Yes, this is my first time performing at the Edinburgh Fringe—and I couldn’t be more excited. I’ve done similar festivals in other parts of the world, but there’s something truly iconic about Edinburgh. The sheer scale of it is wild! It’s like the entire city transforms into one big, buzzing creative engine.

What makes festivals like this so special is the incredible variety—you’ll stumble across genres of theatre and performance you didn’t even know existed. One minute you’re at a high-concept physical theatre piece, and the next you’re in a karaoke comedy horror musical in a basement. That’s the magic of it.

It’s one of the few places where every doorway might lead to a show that changes how you think about art—or just gives you the best laugh of your year. I’m so looking forward to being part of that chaos and creativity.

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

Well, I moved countries! I packed up from Australia and moved to London—like so many Aussies in their 20s—and I’ve honestly loved every second of it.

Just figuring out how to navigate London was a lesson in itself (I think I’ve officially conquered the Tube now), but more than that, I’ve really enjoyed diving into British culture. It’s definitely different from back home. One thing I’ve learned very quickly: I talk very loudly. But that’s part of it—learning how you fit into a new place, and what still belongs to you.

You also learn a lot about what “home” really means. It’s not just where you sleep or drop your bag—it’s made up of people, community, familiarity, and the small comforts you didn’t even know you’d miss. Like Vegemite. Which, by the way, is definitely better than Marmite. I refuse to move on that.

Tell us about your show.

The show is a mix of music and storytelling—funny, high-energy, and a little bit magical. It’s me at the piano, singing and sharing stories, joined by a brilliant electric cellist. Together, we take the audience through a series of individual tales, inspired by those unforgettable nights we’ve all had: sitting around with close friends, a favourite drink in hand, trading stories that are equal parts hilarious, haunting, and heartfelt.

When I lived in Australia, these late-night gatherings were a regular thing—we’d stay up into the early hours talking, laughing, and sharing. I’ve never been a great sleeper (my parents even sent me to “bad baby sleeping school” when I was a kid… no success there). But I’ve always felt the night holds a certain kind of magic. This show is really a love letter to those nighttime hours—intimate, funny, a little quirky, and full of great music.

I first created the show for the Melbourne Cabaret Festival in 2021 and had plans to tour it around Australia. Of course, over that time there was a certain pandemic that meant a string of lockdowns put certain performances on pause. So, bringing it to Edinburgh Fringe now feels like a kind of unfinished business—in the best way.

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

There’s so much I’m excited to see this year—it’s hard to know where to start! Of course, you’ve got legends like Alan Davies and Miriam Margolyes doing shows, and that’s always worth a ticket.

Personally, I’m really keen to check out fellow Australian acts—it’ll be a nice little taste of home. Shows like Bibbity Bobbity Bondi, Ten Thousand Hours, Triptych Redux, and Arthur Hull’s Flop are all on my list.

And I’ve heard great things about I Wish My Life Were Like a Musical and Princess Melancholy by Sophia Wren—both playing at Gilded Balloon alongside my own show, so there’s no excuse for me not to make it there.

Go out, support some new work, and take a few wild punts—that’s what the Fringe is all about.

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EdFringe Talk: Strangewife

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“There’s an old Hewlett Packard report that cites men will often apply for jobs they’re only 60% qualified for, whereas women will only apply for jobs they’re 100% qualified for; I’ve certainly found myself contributing to this statistic.”

WHO: Brooklyn Boukather

WHAT: “What if you could build the perfect partner from scratch? When Lauren’s husband dies, the young widow stumbles upon an unsettling solution to her loneliness – one that involves moulding someone to her exact specifications. But as her desires grow increasingly specific and strange, the facade starts crumbling. Inspired by the absurd humour of Yorgos Lanthimos and the power games of Harold Pinter, Strangewife is a darkly comic two-hander exploring identity, power and love in a world where every aspect of our lives is under threat of commodification.”

WHERE: Front Room at Assembly Rooms (Venue 20) 

WHEN: 19:45 (65 min)

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Is this your first time to Edinburgh?

This is not my first time to the city, but it IS my first time at the Fringe. I’ve grown up in performance spaces, so the idea of Edinburgh Fringe has always been present in my mind – almost as this radical, larger-than-life hub where everything artistic must pass through. The lore around it might be bigger than the Festival itself, but I’m eager to see for myself. I’m honoured to be jumping right into the deep end as both a performer and producer of my company’s debut production, Strangewife. Though I’m classically trained as a theatre actor, this is my first time producing (anything, ever!) so it’s been an enormous learning curve. Luckily, I’m working with a trusted and proactive team, we have Storytelling PR handling our press and marketing, and we’ve been working in collaboration with Soho Theatre Labs; altogether, this is possibly the smoothest introduction to producing an artist could have. As an actor, I’ve never performed at a Festival – let alone one as chaotic and prolific as Fringe – so I’m bracing myself to be challenged creatively, physically, and emotionally.

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

For me, the past couple years have been consistent growing pains. My mother passed in 2022, and as life threatened to continue on without me, I realised that it’s essential for me to do things without waiting for the moment to be right because I knew nothing would feel right for a very long time. This philosophy – of jumping before you’re ready – led me to earn my Masters degree in Writing for Stage and Broadcast Media (despite never writing professionally before) at Royal Central School of Speech and Drama. Here, in 2024, I was presented another life lesson: do things even if you think you’re unqualified. There’s an old Hewlett Packard report that cites men will often apply for jobs they’re only 60% qualified for, whereas women will only apply for jobs they’re 100% qualified for; I’ve certainly found myself contributing to this statistic, especially as someone who already feels out of my depth in a new field. I was hesitant to take action with creating my own work until my company co-founders both suggested what I had privately been dreaming of – taking a show to the Fringe. As I navigate producing Strangewife, I find myself applying this lesson with every unfamiliar task and new fire to put out. It would be bold to say yet if it’s been fully absorbed, but we’ll see how I feel post-Fringe.

Tell us about your show.

Strangewife follows one grieving woman’s quest to satiate her needs after the death of her husband. The actor who arrives to play the part of companion is a seemingly acceptable stand-in, but as her demands become increasingly disturbing, they both must decide what they’re willing to endure for the façade of love. Written by Frazier Bailey, it is a dark, off-kilter

Strangewife is written by Frazier Bailey, produced by and starring myself, Brooklyn Boukather, and Daniel Barney Newton. Together, the three of us comprise Capgras Theatre Company. We met in the Royal Central Masters program and we were immediately drawn to each other. Since the inception of our friendship less than a year ago, it quickly became clear we wanted to make work together, and all three of us were willing to jump into the deep end. Since the moment it was suggested we create a show with the aim of bringing it to Fringe, it’s been a long, winding road of us.

Strangewife will debut at Edinburgh, but we have three London previews at the Lion & Unicorn Theatre in Kentish Town (July 21st – 23rd). We are in negotiations with several London venues for a continued run, but we are also very tempted by the possibility of bringing it to New York and expanding our audience and network across the pond.

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

Through our collaboration with Soho Theatre Labs, I’ve been in the room with a lot of fiercely talented, interesting artists. I would recommend the following: Bairns, a one woman dramedy by Annie Davidson about sisterhood, selfishness, and surrogacy; House Party, Chakira Alin’s one-hour mission to bring back house parties, via a dance party exploring the housing crisis, generational wealth, and the state of Britain today; and Clare Noy’s Funny Though, a stand-up comedy routine about a comedian’s terrible life choices that interrogates how much performers must give of themselves. All these productions are equal parts funny, poignant, and cleverly crafted, and I’d recommend prioritising these pieces in your crazy, Fringe schedules!

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EdFringe Talk: Alice Tovey: Glass Houses

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“You spend a lot of a career in the arts waiting for the “right” time. For the moment when you’re finally cooked and ready to serve (slay). The longer I waited for that, for that feeling that I was “done”, I realised that there is no right time. Just now.”

WHO: Alice Tovey

WHAT: “Just before her wedding, Alice’s father returned home from prison. Glass Houses is a love letter to family, showing us that love conquers all – even the prison industrial complex. Through stand-up, stories and original song, Alice Tovey tells the story of a cancelled wedding, budgies, and a chef in a show about learning our parents are human, and choosing empathy over isolation. ‘Tovey is at the forefront of a new age of comedy excellence’ ***** (TheMusic.com.au). Written and performed by Alice Tovey. Directed by Gen Fricker.”

WHERE: Delhi Belly at Underbelly, Cowgate (Venue 61) 

WHEN: 21:55 (60 min)

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Is this your first time to Edinburgh?

It’s been a dream of mine since I was a teenager to perform at the Edinburgh Fringe. When I turned 21, as a birthday gift all of my friends gathered money in a hat as a “Get Alice to the Fringe Fund.” 11 years later, I’m making a dream come true. Do I have any of that 21st birthday money left? Let’s say yes and not check my bank statements, out of respect.

The one thing that makes a festival truly great is the punters. I love crowds that are willing to take a risk on something new, or something batshit. As a debut artist who is luckily a bit insane, I look forward to meeting my people. Come and get me, fellow nutbars!

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

I’ve learned to trust my gut and go for it. You spend a lot of a career in the arts waiting for the “right” time. For the moment when you’re finally cooked and ready to serve (slay). The longer I waited for that, for that feeling that I was “done”, I realised that there is no right time. Just now. It sounds like something you’d chuck on the side of a scented candle, but I am enough. Guts and all.

Tell us about your show.

I wrote the script and songs for this show, with the guidance of my director, and composed the songs on a little keyboard at my desk.

But enough about me, let’s talk about THE GIRLS.

I am thrilled to be working on this show with two of my favourite girlies: my director Gen Fricker, and my producer Penny Gleeson. I work with both of these legends on the TV show ‘Gruen’ in Australia. I asked Gen to direct this show because she’s one of the best stand up comedians in the country, and I am a worm with so much to learn. It’s a privilege to observe her brain at work. And the same can be said of Penny, who will one day run this industry with a well manicured fist. Penny is a queen who saw that I am an organisational black hole and was like “when are you gonna finally let me produce your show.” And now she is and oh my god am I grateful for this beautiful woman. Also, shout out to my hard working, darling publicist Marissa Burgess, who handles too many emails and does it with so much grace.

The show premiered at the Melbourne International Comedy Festival 2025; my home town. I was so happy with it then, and it’s only getting better with age. Like wine or yoghurt (I hope). As to where it goes next, the sky’s the limit babbbyyyy. We’re taking family trauma comedy on the road for all to see! Clear the Globe Theatre, tell Broadway I’m coming. If you want to see this show, I will jump on a plane and bring it to you.

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

Get out and support the Australians! You should see Grace Jarvis, Eloise Eftos, Breaking the Musical, Ben Volchok, Mel & Sam, Jeromaia Detto, Garry Starr, and anyone else that shares my silly accent.

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EdFringe Talk: AL! The Weird Tribute (and How Daniel Radcliffe Got Mixed Up in This Nonsense)

Posted in *EdFestivals 2025, *Written Interviews by

“I realized it was something special when I was promptly handed twenty flyers, and then was asked if I’d like to rent a room for the night for £450 plus a kidney.”

WHO: Steve Goodie

WHAT: “Weird Al Yankovic and Daniel Harry Potter Radcliffe were destined to be together onstage, and now they are (sort of)! This loving tribute to two icons of entertainment will leave you giggling as your toes are tapping. American comedian/musician Steve Goodie brings it all together with songs and accordions and guitars and visual effects that cost many dozens of pounds, all for your amusement! Plus, there’s a lot of Tom Lehrer! Nerds rejoice!”

WHERE: Band Room at Laughing Horse @ Freddy’s (Venue 194) 

WHEN: 14:15 (60 min)

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Is this your first time to Edinburgh?

This is my fourth time doing a run of shows at the Edinburgh Fringe. But many years before that I stopped in Edinburgh on a motorbike tour of the UK, not knowing what the Fringe was. I realized it was something special when I was promptly handed twenty flyers, and then was asked if I’d like to rent a room for the night for £450 plus a kidney.

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

Since Edinburgh 2024 I’ve learned that if I leave my home in the US for even three weeks, the place goes mad and elects a lunatic. This year, I figure the damage is done so I may as well come over again. Lesson absorbed… I’ll stay home in 2028.

Tell us about your show.

I have two shows, back to back every day. Both are solo, with me having written and produced and designed everything. Well, I did have the help of my friend Bob, who is a small yellow plastic springy toy… but his contributions are limited mostly to encouragement and distraction. The first show is a tribute to the musical comedian legend Weird Al Yankovic, and I wrote it specifically for Edinburgh. I learned that though there are plenty of nerds in the UK (like myself), shockingly few are aware of the genius of Weird Al… and I am here to solve this crisis in the Nerd Community. Well, to be fair, first I’ll make everyone aware of the crisis, and then I’ll solve it. My second show, entitled “Steve’s Big Dumb Show,” is a potpourri of songs and shtick and nonsense, and has been roaming the cities and towns of America for many years. This year the show and I aim to showcase many naughty and politically dangerous new songs (while it’s still legal). Where will I take it after Edinburgh? We’ll see which countries allow me in.

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

I recommend that you see a qualified counselor, first of all. After that, I highly recommend Tom Greaves and his show “Fudgey,” Alison Larkin and her show “Grief… A Comedy,” and Mark Vigeant and his show “The Best Man Show.” Why these shows? Well I enjoyed them all immensely. And each one stars a particularly talented solo performer who is digging into the darkness to find that extra-meaningful humor. “Fudgey” is about a boy’s harrowing experiences at boarding school; “Grief” is about losing a soulmate; and “Best Man” is about the family lunacy that comes out at a wedding. Two of them incorporate improv to a masterful degree, and all three take us somewhere familiar and then somewhere completely unexpected. One has a piano player. I like pianos, and I also like people who play pianos. And none of these shows is a “personal journey of discovery of who I am.” I mean, sure, go ahead and do that sort of show if you like… but I’ve seen far too many of those shows to wish for more. I like the grit and humor that comes ten or twenty years after that sort of show… where the weary adult finds their childishness once again, and that child/adult explodes out with a funny and meaningful tale of insanity and joy. Sometimes with a piano.

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EdFringe Talk: Animal Farm

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“I have presented 122 shows,
performed in 33, directed 42, and written 15. The rest I’ve either produced, co-produced or presented (There is a difference!) I’ve had 5 West End transfers one of which reached Broadway, An Olivier award and a couple more nominations… all of which shows that EdFringe can be a place where you can launch theatre and reach the skies… which is reassuring.”

WHO: Guy Masterson

WHAT: “Olivier winner Guy Masterson directs the phenomenal Sam Blythe in his legendary solo of Orwell’s allegorical masterpiece, returning for its 30th anniversary. Blythe assiduously inhabits every quadruped on the farm: Boxer, Clover, Napoleon, Snowball, Benjamin, Molly, Muriel, Moses, dogs, sheep, hens, cows, ducks, cat – and Squealer is a tour de force! The political power of the work is undeniable and its inherent warning as shockingly poignant today as ever. I mean, it could never happen to us, could it? ‘Animal magic! Not to be missed!’ (BBC Radio). ‘Some shows are more equal than others!’ (Times).”

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

WHEN: 13:00 (75 min)

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Is this your first time to Edinburgh?

This is not the first time I have “done” Edinburgh. It is, in fact my 30th (but for Covid 19, they would have been consecutive)… That makes over 2.5 years of my life spent in one of the most exciting places on Earth during Fringe time… That’s a lot of adrenaline! Over which I have presented 122 shows,
performed in 33, directed 42, and written 15. The rest I’ve either produced, co-produced or presented (There is a difference!) I’ve had 5 West End transfers one of which reached Broadway, An Olivier award and a couple more nominations… all of which shows that EdFringe can be a place where you can launch theatre and reach the skies… which is reassuring. A good festival for me is when the weather is dry throughout (very rare!), all my shows sell plenty of tickets and I go home having not lost money for myself or the shows I present (which is also rare!) and where I reconnect with the many ex colleagues and friends I have made over the years in the Assembly Club Bar… A “great” fringe is where one or more shows hit big, there’s a bun fight for tickets and a shark fight between London producers! There’s been a few of those along the way. I’ve gone from “The Next Stephen Berkoff” in 1994, to ‘Prince of Edinburgh’, to ‘King’, to ‘Legend’ and now to ‘Leg End’. I’ve vowed never to come again, yet I’ve always come back. I’ve vowed I’ll never work with friends again, yet I can’t help myself… and I’ve lost nearly 3 times as much as I have earned – yes, I took the time to calculate that – and yet EdFringe remains unparalleled and unparalellable… and important and vital and I still want to be a part of it… even as it becomes harder then ever…

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

I learned last year that punters are taking fewer risks with their money. Strong Show titles and big names and 5 star shows… also that people don’t really read reviews, only clock the star ratings… which is why they should be banned… and yet, as a producer, I’d be insane to leave them off my publicity!

Tell us about your show.

ANIMAL FARM – SOLO – was the 3rd show I brought to Edinburgh in my second festival in 1995. I adapted it from the book. Like my solo UNDER MILK WOOD from 1994, I opened it at the Traverse earlier in the year and brought it for the festival so Edinburgh audiences had a heads up which helped shift tickets… Both shows sold out before the Fringe started. I was totally spoiled. Both shows went to the West End and toured around the world. I brought both shows back to the Fringe periodically over my 30 years culminating last year in two 30th year performances. I vowed last year that I would never perform ANIMAL FARM at Edinburgh again – but with authoritarian politics on the rise around the globe, rarely has Orwell’s masterpiece been so relevant… So I recast it… I saw the brilliant Sam Blythe in METHOD IN MY MADNESS at Assembly 24 and invited him to take the reins… So I am now presenting BOTH shows at Assembly this year…Hopefully Sam will enjoy longevity with this title and galavant around the world with it as I did, while my aching bones enjoy some relaxation!

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

This is a little difficult as I have not had time to look at the programme yet… as I am in Martha’s Vineyard directing THE SHARK IS BROKEN for JAWS 50… so I can only recommend people I know who are coming and who have always been BRILLIANT – like Pip Utton in KING LEAR (He’s older than me, so he got their first… (besides, I never want to learn another solo show again… my brain can’t take it!) He’s at the Pleasance;. And David Calvitto in I SEE YOU WATCHING by John Clancy; TILLY NOBODY AND DREAMSCAPE both produced by Andy Jordan; Arthur Hull’s FLOP; THE MARRIAGE OF ALICE B TOKLAS BY GERTRUDE STEIN… all at Gilded Balloon. REUBEN KAYE (what would Edinburgh be without a taste of him IF he’s coming?) Nigel Miles-Thomas in SHERLOCK HOLMES – THE LAST ACT; HAMLET with New York Theatre Project; Trish Lyons in BUZZ, all at Assembly Fest:. The brilliant Kayla Boye in SHAKE IT AWAY; THE ANN MILLER STORY at The Space; and Mike Blaha – INTERNATIONAL JOKE at Greenside. There are many more I could recommend if I had the time…

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EdFringe Talk: In the Black

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“Now that I’ve recently graduated, I’m ready to pour all my heart and energy into this piece and hope it resonates with audiences abroad.”

WHO: Quaz Degraft

WHAT: “Every wolf starts as a cub… some just have to claw their way up. In The Black is a gripping, dark comedy solo play about an ambitious Black accountant fighting for a seat at the table in the high-stakes world of Wall Street. Torn between love, identity and the relentless pursuit of success, he must navigate power, class and identity in a system that was never built for him. How far will he go to survive… and who will he become in the process?”

WHERE: Stephenson Theatre at theSpace @ Surgeons’ Hall (Venue 53) 

WHEN: VARIES (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes, this is my first time in Edinburgh. I’m excited to take this story that I’ve been dreaming up while studying for my MFA at the University of Southern California. Now that I’ve recently graduated, I’m ready to pour all my heart and energy into this piece and hope it resonates with audiences abroad. I’m just as excited to see the plethora of other incredible shows. I keep hearing the festival is life changing and I can’t wait to experience it all.

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

The biggest thing I’ve learned is not being afraid to fail. Especially during grad school, I came in thinking I had to do things “right,” but I’ve learned there’s no such thing. There’s the truth and then there is everything else. In writing this solo play, I’m searching to get as close to my truth as possible and in performing it, I’m doing the same. Letting go of the fear of looking bad or messing up has led to more honest discoveries and more interesting work.

Tell us about your show.

In The Black is a dark comedic solo show about Kofi, a first-generation Ghanaian American climbing the ladder of Wall Street. It’s loosely based on my own experiences working as an accountant before making a complete career shift into acting. As the first born in an African home, there’s this unspoken pressure to please your parents and be the model child. With money tight and 50 Cent’s “Hustler’s Ambition” playing in my ear, I grew up wanting to change my life and my family’s life by any means. So what happens when you throw all that into the mix and place it inside the greed fueled environment of Wall Street? This show also explores what it means to be Black in Corporate America and how we navigate those spaces.

I did a two-show run in Los Angeles to get the piece in front of an audience, which gave me a chance to tinker and improve it even further. Right now I’m fully focused on the Edinburgh Festival Fringe, but who knows where In The Black will go next.

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

After seeing my show, the audience should definitely check out Role Play (or the Hottest Day in Belgian History) by my fellow USC Trojan alum Cameron Murphy. It’s another solo show with a distinct voice and perspective, and it’s going up at the Ivy Studio at Greenside. I think it’s exciting to see how different performers tackle solo work in their own unique way. Cameron’s show is smart, funny, and full of heart.

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EdFringe Talk: Wilde Women

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“Producing a solo show for the Fringe is a huge undertaking financially, artistically and logistically. Don’t try to do it alone! Get help! Pay them!”

WHO: Krista Scott

WHAT: “Lillie Langtry, celebrated British actress and consort to Edward, Prince of Wales, anxiously awaits a telegram in her backstage dressing room from her dear friend, Oscar, recently released from incarceration for ‘gross indecencies’. With the help of her backstage visitors, she begins to assemble the material for their grand stage comeback, Wilde Women, featuring all the iconic playwright’s illustrious ladies, from Cecily to Salome, who set the stage for the era of the strong female protagonist. Which will be the centerpiece of their creation? Mrs. Cheverly? Lady Windermere? Lady Bracknell? Oscar must decide!”

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

WHEN: 14:00 (50 min)

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Is this your first time to Edinburgh?

This is my third time to visit Edinburgh but my first time as a performer at the Fringe Festival. The Edinburgh Fringe is THE festival to perform in and attend, bar none. It holds more cache than any other in the world. But…is it, maybe…TOO big now?? I think many really good shows will be lost in the shuffle of the thousands of options.

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

Producing a solo show for the Fringe is a huge undertaking financially, artistically and logistically. Don’t try to do it alone! Get help! Pay them!

Tell us about your show.

I wrote the script of WILDE WOMEN and “Stagewright Productions” is my company, created specifically for this project. The director is my boss, the stage manager is my husband. That may sound really junior varsity, but my husband and I ran a professional theatre company for 10 years and my boss is a professional director and head of a university theatre deptar. The production had three preview performances in Fort Worth TX in June, but it’s premier will be at the festival. I hope to get more offers for performing it in the States, and to publish the script with a major theatre publisher.

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

For light relief there’s Edinburgh’s own international superstart magician Kevin Quantum (@kevinquantum) with Unbelievable Magic for Non-Believers and the astonishingly bouncy Australian comedy hypnotist Matt Hale (@HypnoHale) with Funbelievable! 90s Rewind. Very different is a piece of autobiographical theatre – with lots of music – from classical pianist Jeremy Rafal called The Boy from Bantay (@boyfrombantay). For anyone interested in experimental theatre, try Exhausted Paint from Flying Solo Presents! (@PresentsSolo) which explores the chaotic life of Van Gogh.

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EdFringe Talk: Ginger’s Problem Area

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“If I love my show, and people can see I love my show, they will enjoy it … and I LOVE my new show more than any of my previous work.”

WHO: Aunty Ginger

WHAT: “Ginger has had a problematic year! No, not like that. She’s been answering her fans problems on Instagram and TikTok and its gone viral. No, not like that. In the last year she has become the UKs favourite Pansexual Manchester based drag Agony Aunt, and now, by popular demand, she’s ready to take her services… on the road. No, not like that. Come and share her story of a crazy year, have your problems solved, and get ready to laugh, cry and singalong as you enter Aunty Gingers Problem Area.”

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

WHEN: 22:40 (60 min)

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Is this your first time to Edinburgh?

This is my second full run at Edinburgh. I last came in 2024 with my show ‘Finding Splashman’ which got fabulous reviews from North West End UK, Pride Nomad, Broadway Baby and One 4 Review. What I love about Edinburgh as an artist is all the amazing and talented people that you get to meet from all over the world, and, as a lover of entertainment, getting to see as many shows as possible (I aim for at least 2 per day). I think there’s over 3000 shows that come up, so there’s really something for everyone, and I think the vibe of the city is just magical during Fringe.

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

The main thing I learned is just to do what I do best, rather than what I think people want from me or what I think a reviewers want to see. If I love my show, and people can see I love my show, they will enjoy it. I’ve definitely taken this lesson into creating my 2025 show ‘Gingers Problem Area’, and I LOVE my new show more than any of my previous work.

Tell us about your show.

Ginger’s Problem Area is a show where she aims to solve ALL of the problems in the world! Ginger has become an internet sensation and the UK’s number one Manchester based Pansexual Dragony Aunt, she’ll tell you about how she reached her fame, she’ll solve your problems, you’ll laugh, you’ll sing with her and even learn how to douche in under a minute! It’s a fabulous smorgasbord of Crowdwork, Standup, Songs and Sketches, and not for the faint of heart!

The show has been written, produced and will be performed by me, Aunty Ginger, it evolves a a number ideas of the Problem Area section of my previous show ‘Finding Splashman’, and the Celebrity Problem Letter section of’ from my Edinburgh Fringe show ‘I Consent’ in 2023. I feel this evolution of the show is the strongest and by far my favourite thing I’ve ever created.

I must also give credit to some fabulous people who supported me on Ginger’s Problem Area, Martin Mor (my Comedy Mentor) and Mikey Smith (a Director I worked with in 2024) who also wrote some additional material for the show.

I hope that people will come and enter the warm embrace of Ginger’s Problem Area!

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

SEE EVERYTHING! This is a chance to experience many of the plethora of shows of the Fringe in a more accessible and affordable online format. Our wonderful friends The Wardrobe Ensemble are presenting The Great Gatsby which has taken on a digital life after live shows were cancelled in January, and which Tamsin from Popelei happens to also star in. Patricia Gets Ready (for a date with a man that used to hit her) also looks incredible. We were lucky enough to see the brilliant Gobby live and we will certainly be re-watching on the sofa with a bag of popcorn.

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EdFringe Talk: Triptych Redux

Posted in *EdFestivals 2025, *Written Interviews by

“The collisions of art and ideas pull artists and audiences from every corner of the world, and there’s something magical about being in a place where art feels so alive, so urgent.”

WHO: Lewis Major Projects

WHAT: “For those that missed Lewis’ entirely sold-out run in 2024, you’re in luck – his life-changingly beautiful show is back, reduxed – if you managed to snag a ticket last time to this multi award-winning, highly decorated work, you’re in for a surprise: Lewis has choreographed a new opening so the triple bill is now wholly his. See ‘intense movers trip the light fantastic’ (Guardian) for the last time before Lewis answers the call of the International Festival. A collocation of sound, light, movement, space, shape and form guaranteed to stir the emotions.”

WHERE: Main House at ZOO Southside (Venue 82) 

WHEN: 21:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is our second year at the Edinburgh Fringe. Last year, we brought Triptych, and now we return with TRIPTYCH Redux, an evolved version reworked with new choreography by Lewis Major. It’s particularly special because Lewis is returning to the stage after 15 years with his piece Unfolding, adding a deeply personal layer to the work. Edinburgh Fringe is unlike any other festival we’ve ever been part of. We’re huge fans of our home festival (the Adelaide Fringe) but the sheer scale of Edinburgh is something else. The collisions of art and ideas pull artists and audiences from every corner of the world, and there’s something magical about being in a place where art feels so alive, so urgent. We’re honoured to be part of House of Oz’s program again, and we’re so grateful for the support of that organisation and their founder, Georgie Black – she’s our biggest cheerleader! A full run at Edinburgh is hard work, but we’re also going to enjoy the festival as audience members. We’ve already got our tickets booked!

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

We’ve learned that endurance is just as important as inspiration. Touring at this level isn’t just about showing up and delivering every performance; it’s about sustaining the energy, focus, and well-being of the entire company over the course of months of travel. It’s a balancing act. We want to experience everything the festival has to offer, to see as much work as possible, connect with fellow artists, and enjoy the experience. But we’ve also learned the value of pacing ourselves, of saving some of that fire for the stage. Because when the lights come up, the audience deserves nothing less than our best. Last year taught us to prioritise rest, to listen to our bodies, and to find moments of stillness even in the whirlwind of a 24 show season. I mean, you don’t have to go to the festival club EVERY single night.

Tell us about your show.

Lewis Major, our director and choreographer, began his career as a sheep shearer, then transitioned to ballet before an injury led him to choreography. From growing up in rural South Australia to building an international career, his work has always been rooted in raw, human storytelling, just at home in shearing sheds back home and on the world stage. TRIPTYCH Redux brings together pieces from across his career, some reimagined, some entirely new, all united by a focus on audience-facing vulnerability and connection. The company comprises a mix of Australian and UK dancers, and we’ve been touring extensively—recently in Ireland, followed by Brazil and Italy, and then landing squarely in Edinburgh. After the Fringe, we head to South Korea, Portugal, Manchester, and Sydney. It’s a demanding schedule, but it’s also a privilege to share this work with such a diverse range of audiences.

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

Skinny – Michelle Pearson. Michelle is an incredible cabaret artist telling challenging stories with heart and soul. Drawing on personal experiences, she weaves a narrative of hope in modern society.

Lady Macbeth Played Wing Defence – Crash Theatre Company. A hilarious new take on Lady Macbeth and her desire for power, full of original songs by the team from Perth, Western Australia

Orpheus and Eurydice – Circa with Scottish Chamber Orchestra and Scottish Opera. This is set to be a spectacle of incredible proportions, exploring love, loss and everything in between.

Ten Thousand Hours – Gravity and Other Myths. The Gravity and Other Myths team have such an amazing energy on stage. They are the best at what they do and they have levity and fun while wowing!

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EdFringe Talk: Delusional – I Killed a Man

Posted in *EdFestivals 2025, *Written Interviews by

“It’s such a beautiful mess! thousands of shows squeezed together in one city, all craving to connect with people.”

WHO: Diana Salles

WHAT: “A contemporary circus solo that embarks on a trans woman’s journey. The show explores the haunting feeling of having murdered one’s former self, a common experience for many trans people when leaving their assigned gender behind. Through a multidisciplinary repertoire such as aerials, dance, singing and physical theatre, Diana Salles invites us to reflect on the physical and emotional strength it takes to honour one’s truth. The combination of aerial silks, beautiful images and mesmerising music makes you want to hug the artist. A heart-stopping circus show that unravels the beauty of self-discovery.”

WHERE: Main Hall at Summerhall (Venue 26) 

WHEN: 15:05 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Not my first time at all! I’ve been before as an audience member and absolutely fell in love with the wild chaos and pure energy of the Fringe. It’s such a beautiful mess! thousands of shows squeezed together in one city, all craving to connect with people. Experiencing the Fringe as a performer is a whole different beast… this time, it’s my story on the stage. That’s terrifying and delicious all at once. Festivals remind me why I chose this life… looking forward to it!

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

Oh, so much. Since 2024 I’ve really felt how grief and rebirth can exist side by side. I am proudly a trans woman and I do all I can to create space, not just to survive, but to actually enjoy life. So I think I’ve learned to be more present? Yes, that’s a fact! Artistically, I learned that if you wait for ‘perfect’, you never do it. So I absorbed this: do it anyway, even when you feel unprepared, unpolished, unfinished. That’s the point — we are all unfinished.

Tell us about your show.

My show is called Delusional. It’s a one-woman contemporary circus piece that I co-created with the brilliant Firenza Guidi. We shaped it as I was transitioning, so the piece was built in real time… out of my lived moments, thoughts, fears, and triumphs. It’s produced by me and proudly presented by Quartier Libre, with Firenza’s guidance and a tight team who believe in raw, brave storytelling through circus. Delusional premiered and won Best of Fringe at the Amsterdam Fringe Festival in 2023 and was awarded Show of the Year at the Freiburger Leiter in 2025. We had a beautiful first run and now we want to take it further!! Edinburgh is our biggest leap yet, and after this we’re dreaming even bigger: more international stages, more festivals, and wherever people want to hold this story with us.

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

Oh I have to shout out Apocalipsync by Luciano Rosso.. an explosion of skill and charm that you won’t forget!! // Bernie Dieter’s Club Kabarett! // Lily Blumkin: Nice Try

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