Author Archives: Dan Lentell

EdFringe Talk: Lil Wenker: BOYKING

Posted in *EdFestivals 2026, *Written Interviews by

“I’ve learned that I can’t learn to tap dance at a professional level in six months.”

WHO: Lil Wenker

WHAT: “All hail BOYKING! Eight-year-old Prince Wilfred (Willy for short) seeks power at all costs including but not limited to: death, destruction and dastardly deeds. Nowhere near in line for the throne, Prince Wilfred ruminates on a plan for total world domination while guzzling mummy’s milk. Bow down – this coronation’s a killer. Created by the award-winning performer / director duo Lil Wenker and Cecily Nash. ‘Sheer, brilliant, well executed madness’ ***** (ThreeWeeks). ‘A masterclass in clowning’ ***** (VoiceMag.uk). ‘A pure hour of genuine laughs’ **** (BroadwayWorld.com). ‘Farcical and whip-smart’ **** (Fest).”

WHERE: Bunker One at Pleasance Courtyard (Venue 33) 

WHEN: 21:45 (60 min)

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Is this your first time to Edinburgh?

I’ve been to the fringe in many capacities — first as a flyerer, then a tech, then in a double act, and a few times as a solo performer. It’s been great seeing the festival from many different sides because it makes you realize just how many people / roles go into making it all possible.

Where I’m from in Minnesota, there is an incredible (slightly horrible) place called Old Country Buffet. It’s an all you can eat restaurant with daily rotations of breakfast, lunch, and dinner options. The clientele? A whole host of extremely unique characters chowing down on unlimited roast beef and potatoes. The fringe is like this … pardon my metaphor. It is endless — you can consume show after show and still go back for more if you’d like. Is this metaphor good? Maybe I just miss home. But you get my point. It’s brilliantly saturated with talent.

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

I’ve learned that no matter how hard I try to make a show that fits into a backpack, I love spectacle too much to ever action that. Pretty soon I have a crown that is literally too big to carry to my previews and an entire red velvet curtain backdrop. One day I’ll learn this lesson.

I’ve learned that I can’t learn to tap dance at a professional level in six months.

I’ve learned that making a new show after doing the previous one 100 times is a huge challenge but hugely rewarding. I never thought I’d like doing a character as much as I loved doing Bangtail, but this show has taught me so much and given me confidence that I can make other projects I enjoy.

Tell us about your show.

BOYKING is an evil clown musical about a little boy who will stop at nothing to be the king. Last year, I thought I would make a show called DUNK about a little boy who wants to dunk a basketball but is too short. I got bored, but I found a note in my journal: BOYKING. I thought … I don’t know what this means, but maybe there’s a show in there somewhere! Cecily, who directed my previous show, BANGTAIL, came on board right away and we began chipping away at the character and story. It’s been such a joy working on another project together, especially now that we know each other so well as creatives and as friends.

I’ve done tons of previews around the UK and in several places around Europe already, and this has been immensely helpful. Playing to different audiences teaches me loads about how to reach people of different senses of humor / sensibilities. A Berlin audience is naturally different than a Bath audience.

As for what’s next … let’s see!!!

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

Maya Ricote
One of my dearest friends here in London and one of the most exciting and stupidest (best) clowns coming on the scene right now. The thing about Maya is she LOVES clowning. She sees it as a way of life — she truly lives and breathes it, and this comes across in her work.

Lara Ricote
Ok I’m biased towards this perfect family, but Lara is one of the most exciting stand ups working today. She is challenging what the art form really is, and she has that incredible ability to make her audience feel like they’re in the pub talking with her.

Bella Hull
Obviously Bella is actively taking over the world, so everyone should be interested in what she’s up to right now. This show is also hugely exciting and new for her — she’s really experimenting with style in a way that is incredibly captivating. She’s also fresh off of season one of SNL writing and brimming with new ideas. See her if you can get tickets.

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EdFringe Talk: In The Black

Posted in *EdFestivals 2026, *Written Interviews by

“I made my Fringe debut in 2025, and it completely exceeded my expectations. There’s really nothing like Edinburgh in August.”

WHO: Quaz Degraft

WHAT: “The gripping dark comedy of an ambitious Black accountant fighting for a seat at the table in the high-stakes world of Wall Street. Shortlisted for the Popcorn Writing Award, the show follows a man torn between love, family expectations, and the relentless pursuit of success, as he navigates power, class, and identity in a system never built for him. How far will he go to survive… and who will he become in the process? ‘Degraft is marked as a star of the future’ ***** (BroadwayBaby.com). ‘It’s a privilege to watch a young master at work’ ***** (TheRealChristparkle.com).”

WHERE: Daisy at Underbelly, Bristo Square (Venue 302) 

WHEN: 14:45 (60 min)

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Is this your first time to Edinburgh?

No, this will actually be my second time bringing In The Black to Edinburgh. I made my Fringe debut in 2025, and it completely exceeded my expectations. There’s really nothing like Edinburgh in August. You have thousands of artists from all over the world taking huge creative risks and sharing stories they’re passionate about.

What makes Edinburgh special for me is the sense of possibility. You can perform your show in the morning, spend the afternoon seeing incredible work from artists you’ve never heard of, and end the night in a pub having conversations with creatives from across the globe. As an artist, it’s inspiring.

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

The biggest lesson I’ve learned over the past year is to trust the process and keep showing up. The last twelve months have been full of incredible highs, but also plenty of uncertainty. I’ve learned that making theatre is rarely a straight line. Sometimes progress looks like sold-out performances and standing ovations, and sometimes it looks like rewriting a scene for the twentieth time because you know it can be better.

I’ve also learned the importance of community. Theatre is collaborative by nature, and In The Black simply wouldn’t exist without the artists, mentors, producers, and audiences who have championed the piece along the way.

Tell us about your show.

In The Black is a dark comedy that follows a first-generation Ghanaian-American who charms his way onto Wall Street, only to discover that success comes with a cost. The show explores ambition, identity, family expectations, and what happens when the version of success you’ve been chasing begins to unravel. Think Will Smith in the Fresh Prince of Bel Air in the world of Succession.

I am the writer and performer of the piece.The show originally began during my time in the MFA Acting program at the University of Southern California, where I first started developing it in a solo performance class. Since then, it has evolved through collaboration with directors, designers, and mentors who have helped shape it into what audiences will see in Edinburgh.

The show first premiered in Los Angeles before making its Edinburgh debut in 2025. Since then, it has continued to evolve through sold-out presentations at La Jolla Playhouse’s DNA New Works series. Following this year’s Fringe, we’re exploring future life for the piece in both the UK and the United States, with hopes of continued touring and eventually an Off-Broadway run.

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

They should see my fellow University of Southern California alumni Megan Tomei’s show: SpinQueen™ at Greenside at Geroge Street (Jade Studio). We had the same amazing solo performance teacher in Luis Alfaro and she is one of the most insane, charismatic and talented performers I know. To be doing our shows together at the Fringe is a dream!

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EdFringe Talk: Jerk Off!

Posted in *EdFestivals 2026, *Written Interviews by

“Every performer who steps on stage is doing something deeply generous; it’s a real act of love.”

WHO: Nadia P. Manzoor

WHAT: “A British Pakistani mother would like to tell you the story of her abusive relationship with an American man (yawn). And how her family psychologically set her up for it (double yawn). Featuring Ramadan, Jessica Alba, and a 5-foot-long female ball python, writer-performer Nadia Manzoor takes on multiple characters, the four elements of hip-hop and a tidy victim narrative that refuses to behave. Also: an alarming number of jerk offs. Jerk Off! is a ferociously funny show about grief, lust, and what happens when the story you’ve been telling yourself starts breaking apart in front of an audience.”

WHERE: Dairy Room at Underbelly, Bristo Square (Venue 302) 

WHEN: 11:35 (75 min)

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Is this your first time to Edinburgh?

Yes — my very first time, and I’m thrilled, bringing my whole family with two young kids in tow. I’d honestly never considered Edinburgh before because I didn’t really understand it until quite recently. But the idea of that much creative talent packed into one small place—how can it not be magical, just energetically? I’m excited to see and be inspired by so many shows, and to be in that space of pure artistry. Every performer who steps on stage is doing something deeply generous; it’s a real act of love. I can’t wait to give that generosity and receive it from others.

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

Two big ones. First: in any professional relationship—even one full of friendship and love—structure first. Sort out the nitty-gritty, the hard conversations, ownership, fees, and what happens if it all collapses, as early as possible. As a producer, if you’re paying for it, you hold the bottom line, and if someone can’t make that work, they’re not the right person for the job. Second, and bigger for me: I’ve spent a lot of my life putting collaborators on a pedestal, and I’ve learned that when you do that, you diminish your own artistry. So now when an incredible collaborator comes onto my project, I understand it’s because the project is incredible — because what I’m doing is worth their time. For someone who’s wrestled with self-worth most of her life, that’s been a real shift. And yes, I’m absorbing it — slowly, in real time.

Tell us about your show.

Jerk Off! is a solo show — I wrote it, I produce it, I perform it, and I play all the characters, with dance woven through it (hip-hop, specifically). It’s about the time in my twenties when my mother died of cancer at 42, and how that loss made my whole family disintegrate. I ended up in Boston, where I met a hip-hop dancer from the Bronx who pulled me into the underground world of street battling — who taught me to unleash my anger and inhabit my sexuality in ways I never had, and with whom I fell into a relationship that turned violent and toxic. For the first time, I’m telling this story not from a victim’s perspective, but from one where I reckon with the violence I inherited and how I have to take responsibility for, as a mother of two choosing to raise her children differently. It hasn’t premiered before Edinburgh, though we’re doing a preview at EdFest, a Brooklyn festival supporting New Yorkers heading to the Fringe. After Edinburgh, I’d love to take it to a beautiful theatre in London, tour the UK, and bring it home for a proper run in the right New York theatre.

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

Other solo shows tackling big, important subjects in a bold, fun, exciting way. Top of my list is Lizzy Sunshine by Liz Coin (Gilded Balloon Patter House) — a chaotic, five-star clown show about loving someone through addiction that’s hilarious and quietly devastating. Liz is a fellow Brooklynite who came up through the same improv world I did, and I can’t wait to cheer her on. And honestly: any and all clown shows. I’m endlessly fascinated by the art of clowning right now, so go find the clowns, give them your love, and let them break your heart a little.

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EdFringe Talk: Man or Bear

Posted in *EdFestivals 2026, *Written Interviews by

“We started with research and development workshops with girls and women from our local area. From this, we created our characters, heard stories that inspired our narrative and played games that fed into the playful, funny and absurd moments of the show.”

WHO: Sarah Hehir & Katie Hurley

WHAT: “Man or Bear is a fast-moving, darkly comic new play about fear, friendship and survival inspired by the viral question: Would you rather be alone in the woods with a man or a bear? Blending kitchen sink realism, music and bold physical sequences, it follows three generations of women in the lead up to an act of violence. Rather than centreing the perpetrator, the play turns its focus to women’s resilience, humour and solidarity, offering a poetic and unsettling reflection on modern day misogyny.”

WHERE: Red Lecture Theatre at Summerhall (Venue 26) 

WHEN: 13:45 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I’m the writer of Man or Bear and co-created the show with Katie Hurley who is also producing and acting in it. It’s my second time at Edinburgh as a playwright – the first time was in 2016 when Katie and I brought Zero Down to The Pleasance Bunkers.

Since then, Katie has been back with her hit one-woman show ‘You’re So F**king Croydon.’ (and as a punter most years). She’d hardly cleared the set for the last time before getting on the phone to me to chat about where and when and how we could make a show for EdFringe 2026.

The two of us were determined to return a decade after our first venture into Fringe land, with all the experience we now have. Man or Bear is a show made for Edinburgh and we’re excited to be at Summerhall with an amazing female cast and creative team directed by Ursula Martinez.

I’m looking forward to flinging my computer over my shoulder and spending a wild summer watching theatre and performance art. Even flyering feels like a thrilling prospect – a world away from my day job writing The Archers. Ask me if I’m still excited when you pass me flyering on a cold and rainy August morning when I’m being told for the thousandth time that bears are actually more dangerous than men. Grrrr.

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

That I couldn’t do the show on my own! I know that sounds ridiculously obvious but at some point, as the writer, you have to sit down and write the words in an order that’s compelling and entertaining and makes people laugh and cry. When I’m in role as a poet or novelist, I really am on my own but in this team, gathered together by Katie, the script was only ever one part of the Man or Bear puzzle.

We started with research and development workshops with girls and women from our local area. From this, we created our characters, heard stories that inspired our narrative and played games that fed into the playful, funny and absurd moments of the show.

And now we’re rehearsing, it’s such a privilege to be in the room watching the team work collaboratively – we’re still experimenting, still laughing and every now and then chilled to the bone by the stark reality of the story we’re telling.

Have I absorbed the lesson yet? I think I have – the lesson that if you work with a fierce and friendly troupe of talented women, you’ll create a great show without losing your mind.

Tell us about your show.

Man or Bear is a new piece of theatre exploring violence against women and girls. It was co-created by myself and Sarah Hehir, and is being produced in collaboration with Croydonites.

The company has come together through a mixture of long-standing creative relationships and exciting new collaborations. Our director, Ursula Martinez, was someone I’d wanted to work with for a long time, so it’s been a joy to finally collaborate. Our movement director, Nevena Stojkov, is someone I work with on all of my projects, while our lighting designer, Imogen Clarke, is another returning collaborator. Our sound designer, Jovana Backović, and costume designer, Moa Johansson, both joined the team through recommendations, and our stage manager, Millie Graham, is a recent graduate of Rose Bruford.

Our cast is made up of three performers: myself (Katie Hurley), Amaia Naima Aguinaga and Lesley Ewan. I first saw Amaia perform at the Edinburgh Fringe in 2024 while I was there with my solo show, and immediately thought, “She’s exactly who we need for Man or Bear.” Thankfully, she joined the project during the earliest stages of R&D and has been part of its journey ever since. Lesley joined the team more recently, and from the moment she auditioned, we knew she was the perfect fit.

Edinburgh will be the show’s official premiere, following preview performances at Jacksons Lane and Omnibus Theatre in London. After the Fringe, we’re heading out on a mini autumn tour with dates in Norwich, Colchester, Bedford, Croydon and Brighton. Looking further ahead, we’d love to bring the show to London for a full run in 2027.

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

There are so many brilliant shows, but I’d definitely recommend our friend Hannah Maxwell’s ‘Turn Your F**king Phones Off’ and Sh!t Theatre’s ‘Evita Too’, directed by our own Ursula Martinez.

I’d also send people to House of Life at Underbelly, and Abandoman is back at the Fringe this year. If you’ve never seen him before, he’s one of the quickest and funniest improvisers around.

They’re all completely different shows, but that’s one of the best things about the Fringe, there’s something for everyone.

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EdFringe Talk: Big Stuff

Posted in *EdFestivals 2026, *Written Interviews by

“We’ve already had our first proper Edinburgh experience and we hadn’t even arrived yet. We were scammed out of our accommodation by someone pretending to own a flat.”

WHO: Matt Baram & Naomi Snieckus

WHAT: “Acclaimed Canadian Second City comedy duo, Matt Baram and Naomi Snieckus, directed by genius collaborator Kat Sandler, bring their signature mix of storytelling and improvisation to Big Stuff – a hilarious and heartfelt exploration of the stuff we leave behind. This fast-paced two-hander unpacks the emotional and absurd aspects of loss – from basement clutter to memories that linger. With quick wit and sharp chemistry, Baram and Snieckus turn life’s big questions into big laughs. ‘One of those pieces of theatre you’ll carry with you for the rest of your life’ (Globe and Mail).”

WHERE: Roxyboxy at Assembly Roxy (Venue 139) 

WHEN: 14:55 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Matt:
Yes! It really is our first Edinburgh Fringe, which feels a little surreal because it’s been a dream for a very long time. We spent years creating improvised theatre, so we never really had a show that felt like it could travel in this way. Big Stuff became the first piece where we thought, “This is the one. This could connect with audiences anywhere.”

Naomi:
Yes, it’s good to have dreams realized. Now I can focus on meeting Phoebe Waller-Bridge and Batman. (Not in that order.) We absolutely love festivals. We’ve performed at improv festivals all over the world, and they always leave us with new friends, new collaborators, and usually a few future houseguests. So the idea of finally bringing our own theatrical work to Edinburgh feels incredibly exciting.

Matt:
I also grew up in Edmonton, which has one of North America’s great Fringe festivals. Some of my very first shows were there, so Fringe has always felt like home to me. Edinburgh is obviously the original inspiration for all of that, so finally making it here feels like completing a circle.

Naomi:
Fun fact. I actually thought we were going to the Edmonton Fringe (the spelling is so close), so I need to change some flights. We’re also discovering just how much work goes into producing a Fringe show. We’ve spent the better part of a year preparing, and we’ve been lucky enough to work alongside an incredible producing team who have taught us so much about everything that happens behind the scenes.

Matt:
We’ve already had our first proper Edinburgh experience and we hadn’t even arrived yet. We were scammed out of our accommodation by someone pretending to own a flat.

Naomi:
Yes, we’ve arrived! The good news is it happened early. It’s nice to get your Edinburgh scam out of the way before the festival starts.

Matt:
Exactly. We’ve already checked that box.

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

Naomi:
Have a great team. You can survive almost anything if you’re surrounded by smart, talented people who genuinely care about the work. If you’re surrounded by people that don’t know how to make an omelette, you just get a bunch of broken eggs.

Matt:
Making theatre at this scale is impossible to do alone. This past year has reminded us that collaboration isn’t just helpful, it’s essential.

Naomi:
And we’ve learned that no matter how much planning you do, the moment you arrive everything changes. You have to stay flexible and trust the people around you. We don’t know what we don’t know, but we know that we don’t know a bunch of things that we don’t know.

Matt:
No one says that.

Tell us about your show.

Matt:
Big Stuff was written by Naomi Snieckus and me, and co-created and directed by Kat Sandler. We perform it together as heightened versions of ourselves, exploring grief, family, and the surprising emotional lives of the objects we inherit.

Naomi:
We produced the original Canadian production ourselves through our company, Baram & Snieckus Productions. It premiered in Toronto to extended sold out houses before touring across Canada to sold-out audiences, and now we’re thrilled to be partnering with the wonderful team at WeeBox Productions to bring it to the UK.

Matt:
We actually met the WeeBox team after presenting the show in New York. We immediately connected with them and couldn’t imagine better partners for this next chapter.

Naomi:
After Edinburgh, we’ll be returning to Canada for more performances, including Vancouver, and we’re excited to keep finding new audiences for the show wherever it goes next. Ideally, London and New York.

Do you know what makes a great Fringe festival?

Matt:
Caffeine?

Naomi:
Good people. Good shows. Coffee. Is there a set location for “napping” at the festival? Apparently parties that start at two in the morning.

Matt:
I will let you go to those.

Naomi:
No, you’re coming with me. I’m going to sneak caffeine patches onto your body. That’s all there is to it. You have to change your sleeping patterns and your eating patterns.

Matt:
I just got a new hip.

Naomi:
Exactly. Your hip needs to take a spin around town. You’ve got to show your hip a good time.

Matt:
My hip might want to stay up until five in the morning, but the rest of me is going to want to go beddy-bye.

Naomi:
Then you and your hip and I are going to have a blast!

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

Naomi:
One of the great joys of Edinburgh is wandering into a show knowing absolutely nothing about it and walking out having discovered your new favourite artist. We definitely want to leave room for a few happy accidents.

That said, there are already quite a few shows we’re excited about. We’re looking forward to Shotgunned at Assembly George Square, Live From The Afterlife and Big Hair: A Rad and Wild Love Affair at Assembly, Broadguess at Greenside, and Mayflies at Brown’s of Leith.

Matt:
I’m also hoping to catch Alex Edelman: What Are You Going to Do at Pleasance Courtyard (Cabaret Bar) and Nina’s C*nti Cabaret* with Nina Conti at Underbelly Bristo Square. We’ve admired both of them for years.

Naomi:
I’m really looking forward to Heated Rivalry: The Musical Parody at Gilded Balloon Patter House, MONK SHOW at Pleasance Courtyard (The Attic), and whatever wonderfully unhinged thing Michael Rubinfeld is bringing this year. His venue is still to be confirmed.

Matt:
Plus we share the theatre with folks like Diary of a Mad Man and Bear Girl—those look great!
Honestly, though, the best recommendation is to take a chance on something you’ve never heard of. That’s the magic of Fringe.

Naomi:
I hear there’s a show called Lady and His New Hip.

Matt:
Really?

Naomi:
I’m writing it right now, actually!

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

Posted in *EdFestivals 2026, *Written Interviews by

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

WHO: Austin Jennings Boykin

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

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

WHEN: 22:05 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

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

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

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

Tell us about your show.

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

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

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

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

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

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

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

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EdFringe Talk: I’m Mom

Posted in *EdFestivals 2026, *Written Interviews by

“Everyone going is hungry for connection and creation—not necessarily just career-opportunities.”

WHO: Nate Wise

WHAT: “When he was 18, Nate’s mother died of breast cancer (he swears this show is funny). She was a beloved Chicago therapist; brilliant, generous, artistic and magic wizard lady. There was almost nothing she couldn’t do. Except one thing: she never told anyone she was dying, no one got to grieve with her, no one got to say goodbye. Years later, Nate’s therapist suggested Gestalt Therapy’s empty chair technique: speak to the dead, then respond as them. Nate said, Absolutely Not. Years later, acting now gives him the tools to step into his mom’s voice and unspoken wounds.”

WHERE: Pleasance Online (Venue 117) 

WHEN: 16:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes! It feels like a rite of passage for indie theater. I’ve been touring the show around the US this year but nothing as wild as EdFringe. Just from talking to friends who have attended previously, I can already feel the electricity. Everyone going is hungry for connection and creation—not necessarily just career-opportunities. I think staying open to the ups and downs, and appreciating it all is the best way to have a great experience.

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

In no particular order: Enjoy the ride. Don’t take any part of your work too seriously. Be present. Vulnerability is magnetic. Take care of your body. Try to give more than you take. And we’ll see if any of it has been absorbed when I land in Edinburgh.

Tell us about your show.

It’s a solo-show called “I’m Mom” where I use a real therapeutic technique to role-play a conversation with my late mother. I use a combination of therapy and acting as I conduct a character study on this woman who talked to zero people about her terminal illness (but I swear it’s funny). I wrote and produced it under my theater company Studio Nately. I was so tired of waiting for permission to make art/act that I took a box of my late mother’s journals and turned them into this show. I then brought what I wrote to director Patrick McCartney, a Second City alum, and he told me my show was about 6 hours too long.

We premiered last December in NYC and have been performing runs in Chicago and LA. We currently have no shows planned post-Fringe.

Besides screenplays and playwriting, StudioNately primarily provides coaching in acting and improv.

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

Olivia Raine Atwood is bringing her show OOPS to Gilded Balloon and her partner Max Davidson (power couple) is bringing his magic show STRANGERS to Subway Cowgate (he performs the slot directly after me!). They’re hilarious and a bit different than your typical solo-show.

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EdFringe Talk: The Tale of the Original Jekyll and Hyde (Told by a Mad Hatter from Stockport)

Posted in *EdFestivals 2026, *Written Interviews by

“I am originally from Manchester, my sense of humour is very dry. So people are often quite unsure as to whether I am joking or not. Sometimes, I’m not even sure myself!”

WHO: Andy Dickinson

WHAT: “Deacon Brodie isn’t that well known outside of Edinburgh. Yet he inspired Robert Louis Stevenson to write Jekyll and Hyde. Similarly, Stanley isn’t that well known outside of Stockport. Yet he’s campaigned with Napoleon and been up Everest with Mallory. Maybe. Perhaps. By day, in the 18th century, Deacon Brodie was a respectable cabinetmaker. By night, he was a masked burglar in Edinburgh’s Old Town. Against his will, Stanley gets roped into his escapades. And he could flipping well swing for it. A public hanging!”

WHERE: Willow Studio at Greenside @ Riddles Court (Venue 16) 

WHEN: On Demand (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This will be my 6th Fringe as a writer, and my 4th as a writer/performer. I’ve actually been living in Edinburgh since 2017, so if we include the Fringes that I attended in and around the pandemic I guess that I am up to 8!

As is well known Edinburgh Fringe is the world’s largest performing arts festival. As an artist/performer myself, I feel incredibly lucky to have it on my doorstep. I’m a comic storyteller, so I gravitate towards any theatrical storytelling. Yet I will go see circus, clowning, dance, fire eating, or even the odd silent bear in a rocking chair…

As a producer, to put on a show can be a little stressful, both financially and artistically. No matter how well a show is going, it is nearly impossible to do a full 3 week run without some ups and downs. So you have to be prepared to roll with the punches, knowing that an illness, for example, could be followed by a great review. As an audience member, you have none of this stress. You can go enjoy, and discover the undiscovered. Shows, drinks, food, shows, drinks. But less of the adrenaline . . .

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

Mostly to do with my sense of humour! Possibly, as I am originally from Manchester, my sense of humour is very dry. So people are often quite unsure as to whether I am joking or not. Sometimes, I’m not even sure myself!

Consequently, I’ve been working on making my show ‘land’ better. Some of that is to do with rhythm and timing, some of that the pauses, and some in using more comic physicality. Perhaps, more than anything, though, I’ve started to write some key lines over and over, just as stand-up comedians do.

Let’s see!

Tell us about your show.

For 2026 I will be performing ‘The Tale of the Original Jekyll and Hyde (Told by a Mad Hatter from Stockport).’ It is a very famous local story – one that all Edinburghers know, but perhaps not in the detail.

Deacon Brodie was a very respectable locksmith/cabinet maker by day, and a masked burglar by night. i.e a real Jekyll and Hyde figure. R L Stevenson grew up in Edinburgh, and had a piece of Brodie’s furniture at the foot of his bed. This very piece can be seen in the Writer’s Museum in Lady Stair’s Close! Through Brodie’s doings he was inspired to write his masterpiece. Both tales are very Dark Edinburgh, though I tell ours with a good deal of dark humour!

Re the company, it has mostly been myself and Dominic Brennan in recent years. Dominic is a superb sound designer. No doubt that his soundscapes enhance both the drama and the humour in my stories. For 2026, we have a US Director working with us – Ricci Dedola. I actually met her on a whisky tour least year and we got talking theatre . . . She’s hoping to spend a lot more time in Edinburgh, and really connects with all the Old Town lore.

Recent shows with Dominic have featured my alter-ago, Stanley. He’s already campaigned with Napoleon in ‘Napoleon’s 100 Days’. And been up Everest (not quite to the top!), with Mallory in ‘Everest Mallory 24’.

Our Deacon Brodie show played Leicester Comedy Festival and Brighton Fringe. Quite a lot of laughs in Leicester. Whereas in Brighton the show leant more into the dramatic . . .

We very much hope to tour the show post fringe. Partly, as I’m a tour guide (by day), and a performer (by night). So, I’m used to travelling all over Scotland. And I would love to take Deacon Brodie (and Stanley) up to the Highlands!

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

One Man Poe The Black Cat and The Raven (Threedumb Theatre)

Unlike many adaptations that attempt to modernize or rewrite the classics, this one uses Poe’s original 1840s text almost entirely verbatim! By preserving the musicality, rhythm, and rich vocabulary, Stephen Smith (the one man performer) has you experience the stories exactly as Poe intended. Well over a century later, they remain incredibly visceral and terrifying.

Mayflies (Grid Iron)

Grid Iron are very well known up in Scotland, and it is always good to support the local theatre companies. Their latest – Mayflies – is to be a heavy, aggressive ‘song’ about how fast time flies and how fleeting our existence is. i.e like a Mayfly’s . .

What interests me most, though, is that Grid Iron will be recreating the feel of an iconic, music venues from 1980s Manchester! Slightly before my time, but I was there by the early 90s . . . Specifically, they will be playing in a former metalworks, Brown’s of Leith. So it should be gritty, atmospheric, and real.

Alan Bissett: When Billy Met Alasdair (Alan Bissett)

A perfect show for me, as I’m a big fan of both Billy Connolly and Alasdair Gray. And this is a love letter to two of Glasgow’s greatest cultural giants! I’m expecting sharp humor and some storytelling magic.

Alan Bissett brings together the comedy of the Big Yin and visionary genius of the author of ‘Lanark ‘. Although very different as artists, they both had working-class roots, and profoundly impacted Scotland’s artistic soul.

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EdFringe Talk: Aditya Mayya Pretends to Be Sad

Posted in *EdFestivals 2026, *Written Interviews by

“In a way, the fact that so much of one’s responsibilities at a Fringe involve both producing and performing means that they’re constantly being exposed to people of all kinds, which is ultimately the best experience.”

WHO: Aditya Mayya

WHAT: “When he found out his younger brother had just committed suicide, Aditya had the same first thought we all do: how do I write a joke about this? Recounting his story in both hilarious and heart-wrenching detail, Aditya Mayya Pretends to Be Sad is an hour-long exploration of being earnest from someone allergic to sincerity. A tragicomic solo show for people who’ve seen a thousand tragicomic solo shows, this is an hour that both celebrates and satirizes the Fringe staple that we all know and love.”

WHERE: The Worker Room at Just The Tonic at The Hive (Venue 94) 

WHEN: 16:30 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes! This is my first time in Edinburgh and one of the first Fringe experiences I’ve had (prior to this I’ve attended the Fresno Rogue Festival with the same show). As a stand-up, my experience with comedy festivals are distinct from Fringes as they are traditionally pre-booked and organized spots where your performances are all produced by those running the festival, whereas the nature of a Fringe is inherently more scrappy and DIY.

EdFringe is of course the largest and most thrilling Fringe out there and as much as it feels like I’m jumping headfirst into the deep end, this show is something I care deeply about and want to showcase in front of the widest and most varied audience possible. A good festival to me is one that provides ample opportunity to connect with performers and audience members of all types and I see no better place for that than the Edinburgh Fringe. In a way, the fact that so much of one’s responsibilities at a Fringe involve both producing and performing means that they’re constantly being exposed to people of all kinds, which is ultimately the best experience.

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

There is always more work to do. From tinkering the show, to worrying about ticket sales, to submitting for press recognition, there is no such thing as being “done” when you’re bringing a show to this or any arts Festival. Initially, it was difficult to fully accept this as my disposition is naturally slug-like and in an ideal world, I would get up everyday in the late afternoon and ooze around for hours before I had to complete the 10 minutes of work I needed to. But, I’ve grown to love the constant barrage of tasks that need completion; a lot of life can feel overwhelming and that’s largely because of a lack of direction or perhaps an inability to know how to attack something even if there is a general direction. There is an immediacy and a clarity to putting a show on that can become comforting. I don’t have to decide what to think about; if I’m concerned with anything other than how good the show can be, I’m not doing my job.

Tell us about your show.

This show is called “Aditya Mayya Pretends to Be Sad” and it is written, performed, and produced by myself, Aditya Mayya and directed by Tessa Bagby and Avery Rose Pedell.

The show is a 50-minute long solo storytelling/comedy piece about life after the loss of a sibling to suicide – and how everyone is deeply uncomfortable when you start writing jokes about it. It’s both a proud example and a loving parody of the classic confessional show that has come to define the world of solo comedic performances that dominate the Fringe.

The show has its origins in “Feeling Feelings”, an episode of the popular storytelling podcast RISK! that I did. It was first featured in its entirety at the Fresno Rogue Festival in February of 2026 before making its way to the world-renowned YALL Comedy Fest in New York City later that year. I’ve subsequently been doing pop-up shows in New York prior to this year’s full-length run at Edinburgh.

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

There is a bevy of great New York comedians that are taking their shows to the Fringe this year, so to highlight just a few of them:

Meka Mo – New York Stories
Jamie Wolf – Psycho
Ben Miller – My Weird Body

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EdFringe Talk: Tom Waits War Songs

Posted in *EdFestivals 2026, *Written Interviews by

“We’ve crafted the songs into a loose narrative about a solider leaving for war, being at war, and coming home with PTSD. It’s a concert, but also a bit theatrical.”

WHO: Michelle McGregor

WHAT: “Tom Waits fans are leaving stunned – and newcomers are finally getting it. Tom Waits War Songs tears open songs by Waits/Brennan and stitches them together into a raw, dark, rock ‘n’ roll experience with live band, original animation and fever-dream storytelling. More than a tribute concert, the show transforms a carefully curated collection of war songs into one theatrical story arc. Gritty, visual and emotionally charged, Tom Waits War Songs is an immersive live performance for the Waits faithful, the curious and the unconvinced.”

WHERE: Just The Tonic at The Subway at Just The Tonic at Subway (Venue 27) 

WHEN: 12:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Technically, no. My grandfather took my twin sister and me to Edinburgh, Cork, and some other places in the UK when we turned 18. It was my first time drinking in a bar AND having Guinness!
This will be my first time at Edinburgh Fringe however, and I couldn’t be more excited… and overwhelmed hahaa.

The thought that we are 1 out of 3,600+ shows for audiences to choose from feels like a huge challenge, but I’ve heard that word of mouth is big at Fringe, and I just know we have a really strong and unique show that people are going to love, so that’s when the excitement kicks in!

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

You have to ask! You have to ask for what you want. No one is going to support your show, share about your show, or buy your merch unless. you. ask.

It’s tempting to just “put yourself out there” and hope for the best. But that’s not going to get you where you want to go. Especially with the cost of Fringe. We’re a 5 piece band coming from the U.S. I wasn’t going to find the money to fly us all, house us all, and put on a show by just crossing my fingers and hoping it all works out.

There’s a lot of people in LA right now with a Tom Waits War Songs t-shirt because I asked for that kind of support.

The fact that they look fabulous doing it? Well that’s just a great cherry on top 😉

Tell us about your show.

Tom Waits War Songs is a live concert experience featuring songs about war by Tom Waits (and Kathleen Brennan). I (Michelle McGregor) have been a huge Waits fan for decades, and noticed that throughout his career, Waits has a LOT of songs about soldiers and war.

I thought it would make a great show.

We’ve crafted the songs into a loose narrative about a solider leaving for war, being at war, and coming home with PTSD.

It’s a concert, but also a bit theatrical. We perform the songs in front of original animation (all hand drawn by artist Randall Kaplan), and these animations help with the story and the atmosphere.

We had a really successful run in LA and even attracted some attention from folks in the Waits circle. We’ve been encouraged by many to keep going, and we’re hoping that Edinburgh is just the next stop on the journey!

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

For Tom Waits fans there’s actually another Waits tribute at the festival! “Glitter and Doom: a Tribute to Tom Waits” is a free show and it’s the 5th year in a row that group has brought it to Fringe. I can’t wait to hear another band doing Waits songs live!

There’s also a show called Dracula: Lucy’s Dream that is all from Lucy’s perspective. I definitely want to see that!

And finally, I’m dying to see Endometriosis: The Musical. I’m so glad this horrible disease is hitting the main stream. I see more and more people talking about it these days, and I’m excited to see it talked about it musical form!

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