Author Archives: Dan Lentell

EdFringe Talk: Mythos: Ragnarök

Posted in *EdFestivals 2026, *Written Interviews by

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

WHO: Ed Gamester

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

WHERE: Music Hall at Assembly Rooms (Venue 20) 

WHEN: 21:25 (60 min)

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Is this your first time to Edinburgh?

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

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

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

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

Tell us about your show.

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

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

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

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

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EdFringe Talk: Long Way Home

Posted in *EdFestivals 2026, *Written Interviews by

“Every year I’d look through the programme to see who was performing and imagine what it would be like to be there as an audience member. So to now be bringing my own show to Edinburgh is a bit of a pinch-me moment.”

WHO: Layla Warren

WHAT: “Layla, an Iranian refugee, escapes war and rebuilds herself in American television. But when her dream begins to fracture, the past she once fled quietly returns. Long Way Home is a solo performance blending humour, storytelling and cultural insight. Tracing the distance between survival and identity. From Tehran to broadcast studios, it asks what must be sacrificed, reshaped or concealed in order to be seen. And how do you find home when it feels like you’ve left it behind? Directed by Sepy Baghaei. Dramaturg – Pilar Alessandra. Sound designer – Pouya Ehsaei.”

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

WHEN: 11:40 (60 min)

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Is this your first time to Edinburgh?

This is my first time at the Edinburgh Fringe, and for a long time it felt more like a distant dream than something that would actually happen. Every year I’d look through the programme to see who was performing and imagine what it would be like to be there as an audience member. So to now be bringing my own show to Edinburgh is a bit of a pinch-me moment.

As it’s my first Fringe, I feel like it’s going to be filled with so many firsts. It’ll be my first time in Edinburgh, my first time performing there, and my first time experiencing the Fringe as an audience member.

That’s exciting because I get to see the festival from both sides, as a performer and as someone who loves discovering new storytelling.

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

I think the biggest lesson I’ve learned over the past 12 months has been to just go for it.

It’s easy to wait until you feel completely ready or convince yourself that the timing isn’t right, but if you keep waiting until you’re 100% ready, life will pass you by.

The Edinburgh Fringe started as a passing thought “Wouldn’t that be cool?” and now I’m actually taking a show there. For me, this past year has been about listening to that inner voice and acting on it. Taking an idea, turning it into a script, and now being in rehearsals and preparing for the show.

Confidence doesn’t come before you start, it comes because you start. Sometimes you just have to trust yourself enough to take the first step.

Tell us about your show.

On the surface, the show tells the story of my journey from Tehran to England, and then all the way to Los Angeles in pursuit of my dream of becoming a TV presenter. But at its heart, it’s about more than that. It’s a story about identity, resilience, belonging, and what it really means to find home.

It’s about navigating different cultures, chasing seemingly impossible dreams, and discovering that home isn’t always a place…sometimes it’s the person you become along the way.

Right now, my focus is on giving everything I have to Edinburgh. I’ve learned that if you’re always thinking about your next move, you can’t give your full attention to the moment you’re in.

I want to embrace that: to be present, enjoy the experience, and give this show everything I’ve got.
I’m also incredibly fortunate to have my director, Sepy Baghaei, who has honestly been heaven-sent.

She’s incredibly thoughtful and intentional. She never speaks without carefully considering what she wants to say, and every note she gives is in service of making the show stronger.

She has no ego, and she’s someone you immediately trust. It’s been a gift to collaborate with her.
Because of that, I feel like I owe it to her, to the audience, and to the show itself to be fully present and focused on Edinburgh. I want to give this experience everything I have.

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

I have to admit, I don’t know many people at the Fringe yet…I’m not on social media, I only have an instagram account, and I haven’t posted in years! So as for as modern day society is concerned, I’m a recluse!

But I’m really looking forward to discovering new shows and supporting the talented artists bringing their work to Edinburgh this year.

I’m especially excited to support the other Iranian women at the festival, including Hajar Woodland’s, Hajar, Like Badger, and Sepideh Kaav’s, 1979: Persianility Disorder. At a time when there’s so much attention on Iran, seeing Iranian voices and stories represented at the Fringe feels meaningful, and I’m proud to be a part of that.

I also have to give a huge shout-out to the team at Gilded Balloon. They’ve been extraordinary!
I’ve never worked with a company like this before, and it’s been such a treat. Everything is run efficiently, everyone is responsive, the professionalism is exceptional, but it’s the warmth of the team that has left the biggest impression on me,

I imagine that’s a reflection of Karen and Katy Koren’s leadership. As a female-led company, they’ve clearly created a culture where people genuinely care, and you can feel that in every interaction with the Gilded team.

It goes to show, not only do women get the job done, they do it exceptionally well. I can’t wait to meet everyone from Gilded in Edinburgh and thank them in person.

And as for what I’m hoping to see, a few shows that have caught my eye are Church by Brit Barron, Olivia Xing: Baby of Colour, and The End of the World by Destiny Faith Nelson/ Rhymes with Purple.

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EdFringe Talk: The Lady Doth Protest

Posted in *EdFestivals 2026, *Written Interviews by

“I found a city that drops all pretense and lets art be messy, brave, and slightly unhinged.”

WHO: Nealy Glenn

WHAT: “A darkly comic, present-day battle of wits, of the sexes, and of Shakespearean bonafides. The Fool, a self-made “scholar,” clings to the Bard for relevance, until a stranger refuses to stay polite and the room tips into an absurd cage match. In 2026, when whose voice is heard is still a question, this show makes the classics feel urgent and hilariously combustible. Fast, physical and sharp. Come for the comedy, stay for the moment you realise you’re part of the argument. When the text is stripped bare, what humanity is left glowing beneath?”

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

WHEN: 11:20 (60 min)

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Is this your first time to Edinburgh?

Technically yes as a performer, but I came last year with my mom, and it completely recalibrated how I view theatre.

I expected a massive art market. Instead, I found a city that drops all pretense and lets art be messy, brave, and slightly unhinged. I sat in a room with 15 people watching a woman perform a solo show about walking the Camino Real, that show has stuck with me: Her bravery, honesty, and deep desire to tell her story were so moving. Later that week, I saw a Northern Irish play about generational trauma, at Traverse Theatre, that blew me away: the production quality, the acting, the writing.

Experiencing it as a ticket-buyer is thrilling; experiencing it as a producer is a lesson in stamina. You aren’t just putting on a show; you are fighting for space to be seen. And hoping someone will come see your little show. And that is the magic and joy. Everyone is here together as a community. We’ve had so much support from Greenside. It feels like a wonderful little family we are in. And the Fringe Society has been so helpful with resources and classes for producers. It is a 101 class in Producing in Real Time. And the goal is to not take ourselves too seriously—and enjoy the ride. Therefore, we will be out there with our accordion player (Will, who is part of the show) entertaining folks and offering half-price flyers. If you’re going to bring a show across the Atlantic, you might as well have fun!

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

I’ve learned that momentum is something you build with intention, community, and word of mouth.

A year ago, this play was just a discussion between friends over coffee. Twelve months later, we’ve taken it from a reading in Nashville to a sold-out Off-Broadway run at 59E59 in New York, and now to Scotland. Managing the logistics – my producing partner Melle Powers is based in NYC—were forced to figure out how to produce on the fly without second-guessing every move. She was in NYC and I was in Nashville.

The lesson I’m trying to actually absorb is to stop waiting for permission. If the story is strong enough and you feel passionate about the work, the path opens up. You don’t need a massive institution behind you to make art.

Tell us about your show.

The Lady Doth Protest is a darkly comic, present-day battle of the sexes. The play centers on “The Fool,” a self-made scholar who clings to Shakespeare as an authority shield until an unapologetic stranger corners him, triggering a volatile reclamation of voice between two deeply flawed people. Fast, physical, and sharply funny, the production treats the audience as an active presence in the room—their tension and laughter directly steer the scene, all underpinned by an original, continuous live accordion score performed on stage by composer Will Holshouser.

Written by Yale faculty dramaturg Mark Blankenship (from a concept developed alongside myself) and directed by Evan Zes, the production is co-produced by Melle Powers’ Joy Powered Productions and Feminine Productions. Our actors are Liam Craig and Nealy Glenn (myself) we went to NYU Tisch Graduate Acting together. That shared vocabulary allowed us to understand the Shakespearean peice of the production and the comedic mechanics rooted in Commedia Dell’arte that we studied in school together.

In 2026, the battle over intellectual agency is urgent. The play exposes how quickly “civilized” debate degrades into a raw power struggle when tradition is used as a weapon.

Before Edinburgh, we had a sold-out reading in Nashville and a sold-out run at 59E59 Theaters in NYC. Fringe is our international premiere, and from here, we’re taking the show into regional theatres and future festival stops. That is our Goal!

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

Traverse Theatre: I saw so many wonderful shows here last year. It is a writing focused theatre and you can’t go wrong

Greenside Venues — Spend an afternoon exploring whatever is on at Greenside; they consistently anchor some of the grittiest, most exciting indie theatre at the entire festival. Lot’s of new works

Extra Dry: One woman show written by Michelle Renee Johnson she was at 59E59 street with us. Highly recommend. Very funny and sharp! And she is from the South (USA) close to where I am so I very much relate.

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EdFringe Talk: Sid Singh: Love Bombing

Posted in *EdFestivals 2026, *Written Interviews by

“I was so burnout on politics that I went on a date with my stalker!”

WHO: Sid Singh

WHAT: “Award-winning comedian Sid Singh returns to fight the good fight! The only show that makes you laugh and teaches you how to stand up to the Trump administration! Sid will help you lament the world being on fire while also telling you about the only thing more disastrous than the state of the world: his love life. ‘This generation’s Jon Stewart!’ (Madrid Con Comedy).”

WHERE: The Lounge at Laughing Horse @ The Counting House (Venue 170) 

WHEN: 16:15 (60 min)

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Is this your first time to Edinburgh?

This is my 11th fringe since 2012! I love the Fringe it’s the biggest festival in the world and a chance to showcase your show to one of the most diverse collections of middle class Brits ever assembled!

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

The biggest thing I learned is that I’m burnout and have no idea how to fix that. I tried moving to Barcelona and I must admit it has made me happier on a day to day level but it has not changed how burnt out I feel about the world!

Tell us about your show.

My show Sid Singh: Love Bombing is a complete self produced show about the time earlier this year that I was so burnout on politics that I went on a date with my stalker! The show seeks to once again try to raise money for The Center for Gender and Refugee Studies in America! That is why after the fringe I will be taking it all over America, Europe, and India to try and raise money to fight the good fight!

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

Go watch Clayton Smith’s fundraiser “F*ck Donald Trump,” take a chance on Kanan Gill to see one of the best working comics in India return to the field, watch Mr Thing and bask in the silliness, watch Liz Coin and get inspired, check out Alex Farrow and feel deep, and watch as many compilation shows as you can so you know who to watch after that!

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EdFringe Talk: Mandy: Prince of Darkness

Posted in *EdFestivals 2026, *Written Interviews by

“Be bright, be excellent – and remember, nobody asked you to do this!”

WHO: Richard Stirling

WHAT: “Peter Mandelson, the Machiavelli of our times. His rise and fall, rise and rise and fall – and beyond? In nothing but his own words.”

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

WHEN: 10:30 (50 min)

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Is this your first time to Edinburgh?

I was last at the Edinburgh Fringe in 2022, in Cecil Beaton’s Diaries, about the famous photographer and designer (and caustic wit). After Edinburgh, this went to London and Off Broadway. So I know how the Fringe can act as a brilliant launchpad. And for me, the potential for discovery is what makes a great Festival, and this is one quality Edinburgh is never without.

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

Lessons reaffirmed, rather than learned, are what I have valued in the last year. Be bright, be excellent – and remember, nobody asked you to do this!

In other words, have fun. There is everything to play for.

Tell us about your show.

Mandy: Prince of Darkness goes in close on the Machiavelli of our times.

He has been part of the national psyche for over three scandalous decades.

Why did people always come back for more?

This is Mandy in his own words. Often appalling, frequently wickedly funny.

They say the devil has the best tunes.

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

After Party (Traverse). Excellent actors. Great co-pro house, Belgrade Coventry. And a cast of top-rank Scottish actors like Alison Peebles in it.

Ginger Johnson: Show Pony (WIP) (Shedinburgh). Funny! Ginger is always transgressive, in every way, with a sense of humour which bounces off the walls.

Wrap Party (Greenside George Street). In the same venue as me, so an easy hike. Looks like a real laugh, especially if you have been on film sets.

The Bloody Ballad of Bette Davis (Assembly Roxy). With a title like that, rude not to. And this looks a lot more imaginative than most horror-movie spoofs.

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EdFringe Talk: Meteors

Posted in *EdFestivals 2026, *Written Interviews by

“I worked in Ticketing at the Edinburgh Fringe last year, and feel like it’s given me a lay of the land.”

WHO: Melissa Pullinger

WHAT: “Grief. Stars. Mums. Lasagne. ‘Among the more than a thousand works on offer in the Fringe, Meteors is likely a standout – both entertaining and emotional, offering a chance for real connection’ ***** (InDaily.com.au). Grief isn’t part of the conversation. Especially not as a young person. No one knows what to say, so it’s simply left unsaid. An acclaimed breakout at the 2026 Adelaide Fringe, Melissa traverses the messy, non-linear aftermath of losing a mother at age 20, the vastness of the universe, too many lasagnes and the search for light in the dark.”

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

WHEN: 21:00 (60 min)

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Is this your first time to Edinburgh?

This will be our first Edinburgh Fringe as performers, and the first time our company, The CRAM Collective, have toured a show outside of Adelaide, Australia!

As Adelaide locals, we have worked at the Adelaide Fringe for multiple years and premiered this show, Meteors there this year. It was an incredibly successful season, resulting in multiple sold out shows, 5 star reviews and 4 awards, including the prestigious Create SA Edinburgh Fringe Award. This award has given us the opportunity to bring the show over to Edinburgh and we can’t wait to perform for international audiences.

I worked in Ticketing at the Edinburgh Fringe last year, and feel like it’s given me a lay of the land, so we’re really looking forward to coming over with our own show and performing at Summerhall.

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

The last 12 months have been pretty incredible for myself as a performer, and also for our company, CRAM.

The idea for Meteors began during my time at university, when I did a 3 minute devised piece on grief as a young person. Over the last 7 years, I slowly chipped away at writing a script and then last year we received the Centre Stage Residency at The Mill, a popular arts venue in Adelaide. It was incredible to have multiple development periods, honing the script and finding what it is to present an autobiographical, one-woman show. It was also amazing to see how Meteors resonated with audiences of all demographics, proving the importance of this story and the type of work that we can create as an emerging theatre company.

Throughout the season, I found the importance of being absolutely present with the audience, ensuring a vulnerability and connection that is vital to the show. I also learnt a lot about myself as a performer, including pacing myself and not getting swept up in the craziness of festival season – which I know is something that’ll be key for our month long run in Edinburgh!

Tell us about your show.

Meteors is an autobiographical, one woman show about mums, stars, grief and lasagne.

I started writing the show following the death of my mum when I was 20, when I realised how isolating grief can feel as a young person. Seven years since losing my mum, I have a deeper understanding of my own grief, as well as the ability to reflect back on harder times.
I know what it’s like to lose a parent, at a time when other young adults can’t even fathom it. I understand the waves of grief that hit when you least expect it, and I know how uncomfortable this conversation can be.

Meteors is produced and created by, The CRAM Collective, a South Australian independent theatre company. Co-founded by myself and 3 graduates from Drama School, we cram the most passionate and daring creatives into a room, making work that is both bold and authentic, encouraging audiences to challenge and redefine their points of view. Director of Meteors and co-founder of CRAM, Connor Reidy, also lost his mum when he was 24 and we’re incredibly proud to share this story.

Meteors premiered at the Adelaide Fringe, winning 4 awards and we now can’t wait to share it with Edinburgh audiences.

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

How Not to Make it In America by Theatre Republic – A fellow South Australian company with a one-man show performing next door to us! We’ve seen this piece grow since its premiere in 2021, and now we can’t wait to see it performed for Edinburgh audiences. Jim Smith is a powerhouse onstage and delivers a tour de force of a performance.

Millicent Sarre is Too Tired to Smash (Patriarchy) – Mim is an incredible cabaret performer and an icon at Adelaide Fringe. This is her first time in Edinburgh and we cannot recommend enough!

My Grandpa Doesn’t Follow Me On Instagram – Yoz is a very talented artist and we were lucky enough to both develop and perform our shows at The Mill in Adelaide! Get along and support this show full of queer joy!

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EdFringe Talk: Woman Seeking Cuddles

Posted in *EdFestivals 2026, *Written Interviews by

“I have tried to learn the art of letting go.”

WHO: Ren McAslan

WHAT: “Harper unknowingly slept with her sperm-donor father. After that, nothing was ever quite the same. Making its Edinburgh Fringe debut from New York City, this darkly comic, confessional one-woman show traces that event’s fallout – as shame, grief and reckless desire collide in one woman’s messy, defiant search for love. In a landscape of dating apps, modern polyamory and kink acronyms, boundaries blur and destiny feels algorithm-driven. Raw, funny and unflinchingly honest, Emmy-nominated writer Renwick McAslan asks, in a culture obsessed with connection, why is it still so hard to feel held?”

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

WHEN: Varies (50 min)

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Is this your first time to Edinburgh?

I was a student at Edinburgh University from 2008 – 2012. During that time, I co-founded a theatre company, and we took a show called 6766 to The Fringe in 2011. We were fortunate to perform at midnight for 20 evenings at The Roxy Arthouse. That said, I made the epic mistake of acting in the show itself. I was awful. My mum said I was 90% nostril flair. Now, I just stick to writing. It’s a rare gift to be able to head to The Fringe again. The city has my heart.

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

Oh, great question! I have tried to learn the art of letting go. Letting go of guilt, regret, behaviors, relationships – anything that feels ‘old’ has needed to go. Like skin I’ve attempted to shred. It’s a daily pursuit, but I’m trying!

Tell us about your show.

The show is a one-woman play called Woman Seeking Cuddles. It is about one woman’s struggle to find love and connection in a world where destiny feels algorithm-driven. We had a preview show in New York – a sell out at The Tank. It got a standing ovation, too. I wept.

The show follows Harper, who unknowingly slept with her sperm-donor father, and after that, nothing was ever quite the same. It’s darkly comic, confessional, and traces that event’s fallout – as shame, grief and reckless desire collide. The show asks, in a culture obsessed with connection, why is it still so hard to feel held?

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

There are over 3,000 shows at Fringe – and I suspect every single one will have great merit. Specifically, stand-up comedy has a great, rich history at The Fringe. Audiences should try to see as much as they can. The next Billy Connolly is likely to be out there, somewhere! I’m looking forward to seeing Keely Hazel’s ‘Everyone Has Seen My Tits.’

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EdFringe Talk: Craig Hill: You’re Not Even Safe Up the Back!

Posted in *EdFestivals 2026, *Written Interviews by

“I love doing Ed Fringe as much as I ever did. It’s like getting on a rollercoaster for a month.”

WHO: Craig Hill

WHAT: “You saw his entrance last year, now Craig bounces back so lock the exits! Belt up for a thrilling, quick-fire comedy flight, packed with razor-sharp wit and spontaneity. He’s behind you! Actually, he’s in front of you and there’s nowhere to hide! A Fringe favourite with wide appeal, Hill has audiences in paroxysms of laughter, barely able to breathe before take off again. Strap yourself in! Expect electric energy, fearless improvisation and the kind of live comedy that turns rooms upside down. ‘Craig Hill live is a revelation’ (Scotsman).”

WHERE: Just The Atomic Room at Just The Tonic Nucleus (Venue 393) 

WHEN: 19:25 (60 min)

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Is this your first time to Edinburgh?

I should’ve called my show ‘28 Years Later’, because this is my 28th year at the Fringe in row! But I felt like I’d heard that title somewhere? 😂

I love doing Ed Fringe as much as I ever did. It’s like getting on a rollercoaster for a month. I think each night brings the energy for the following night and as a comedian it’s unusual to do so many shows all in one month so it’s quite a buzz!

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

The faster paced life gets the more you need to make the time to chill and enjoy it. Put your phone on airplane mode for an hour and turn off. I’m getting a bit too good at that. Almost anything that comes up, can be managed an hour later.

Tell us about your show.

It’s me doing an hour of stand-up comedy about everything that has made me laugh in the last year and excitedly going to discover who the audience are and having great fun with them. The audience are such a big part of my show and I really get quite excited about meeting them! I just love that feeling of not knowing what’s gonna happen. It really keeps you on your toes!

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

Go see ‘Conk’ from Australia. The idea of someone doing a show where they sing the same song over and over again absolutely intrigues me and I can’t wait to see it. My friends in Australia were raving about it so I think that’s one to watch.

Also go see ‘Flop’, a brilliant one man musical show I saw last year that I’m really pleased is coming back

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EdFringe Talk: The Spy Network

Posted in *EdFestivals 2026, *Written Interviews by

“The original version of The Spy Network was over fifty pages long, packed with brilliant ideas, historical rabbit holes and unexpected twists. Refining it into a fast-paced 50-minute Fringe show has meant making some difficult decisions…”

WHO: Leanne Taylor

WHAT: “On the morning of February 8, 1587, Mary, Queen of Scots enters the great hall where she’ll soon be executed for treason. There she meets Barnaby Fulke, an enigmatic actor sent to provide merriment before the chop. With one last chance to set the record straight, Mary stages her story, revisiting the spies, secrets and betrayals that sealed her fate. Secret codes, espionage and treason propel this gripping three-hander through Scotland’s turbulent past. But history isn’t always written until the last act and in the life of Mary, there is still one final scene left to play.”

WHERE: Thistle Theatre at Greenside @ Riddles Court (Venue 16) 

WHEN: 13:50 (50 min)

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Is this your first time to Edinburgh?

As a company, this is actually our first Fringe experience. I’ve been many times as an audience member and our director performed a very long time ago. The things we remember most from those experiences are just feeling the excitement and buzz of the city. This huge monster of creativity, it’s incredibly powerful. The whole company are stupidly excited about being part of that. We have no real idea of what might happen and that’s very invigorating, as well as a little terrifying.

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

One of the biggest lessons has been learning how to take a show created through genuine collaboration with young people and prepare it for the Fringe without losing what made it special in the first place. We work with NEET (Not in Education, Employment or Training) young people over eight months, giving them the freedom to shape every aspect of a new production. They choose the subject matter, challenge ideas, question assumptions and work alongside professional theatre-makers to create a script that is truly their own.

The original version of The Spy Network was over fifty pages long, packed with brilliant ideas, historical rabbit holes and unexpected twists. Refining it into a fast-paced 50-minute Fringe show has meant making some difficult decisions, but we’ve been determined to preserve the humour, curiosity and originality that came from the young people’s imaginations. Their questions about history – whose voices are heard, whose are missing, and whether we can ever really know the truth – have become the beating heart of the production.

Perhaps the biggest lesson is the same one audiences discover in The Spy Network: never accept the first version of the story. Question it, test it, and be prepared to see it differently.

Tell us about your show.

The production was developed through Shooting Fish Theatre Company’s collaborative new writing process. Rather than beginning with a completed script, we spent eight months working alongside a group of NEET (Not in Education, Employment or Training) young people from Gainsborough, Lincolnshire, co-creating the story from scratch. Participants researched history, debated evidence, explored different interpretations of Mary’s life and helped shape the script alongside our professional creative team. The idea itself came from one young person with an infectious enthusiasm for Mary, Queen of Scots, and his passion quickly won the rest of the group over.

The final script was written by writer Neil Edwards, drawing together the ideas, research and creative contributions generated through the co-creation process. The production is Directed by Emily Bignell, produced by Leanne Taylor, designed by Laura Cordery with a team of professional actors bringing the story to life.

Our production offers audiences the chance to engage with the story of an incredibly important Scottish icon in a city steeped in history. The story is absolutely fascinating and will provide a refreshing take on historical events. It’s a quality production, performed by 3 incredible actors who give an absolute masterclass in performance, slipping seamlessly between characters.
The Spy Network premiered at Trinity Arts Centre in Gainsborough in 2025, where it received a fantastic response from local audiences. Since then, we’ve refined the production into a tighter, faster-paced Fringe version while preserving the humour, and collaborative spirit that made the original so distinctive.

Following Edinburgh, our ambition is to tour The Spy Network in 2027. We’re using the Fringe as a launchpad: testing and refining the production, connecting with venue programmers and presenters, and building a strong body of reviews and audience feedback. Every performance, conversation and opportunity in Edinburgh is part of our strategy to give the show the best possible life beyond the Festival and introduce it to audiences across the UK.

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

One of the best things about the Fringe is stumbling across work that surprises you, and we’re hoping to do plenty of that this year. We just need to find time to lock ourselves away with the programme (because who doesn’t love the printed version?) somewhere between PR, producing and performing!

If we had to pick a few shows, we’re really looking forward to Bloody Marys by Blue Fire Theatre Company at theSpace @ Venue 45. A show celebrating the many remarkable Marys throughout history feels like the perfect companion piece to The Spy Network, and we’re intrigued to discover which Mary we’d each invite to dinner.

Gravity & Other Myths (Main Hall at Assembly Hall) is also right at the top of our list. We saw them last year and were completely blown away by the athleticism, creativity and the insane precision of their work. It’s one of those rare shows that has you on the edge of your seat the entire show!

We’re also excited to see ROLEPLAY (Summerhall). As a female-led theatre company, we’re always interested in work that explores women’s voices and experiences in bold and original ways. Its darkly funny take on feminism, identity and the pressure of creating a personal brand really struck a chord.

And finally, Goodbye Dandelion (Belly Dancer at Underbelly) has caught our eye. It sounds funny, and moving, exploring friendship, loss and what it means to really live. It’s exactly the sort of storytelling that makes Edinburgh such a special place to spend a month.

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EdFringe Talk: Tomatoes Tried to Kill Me but Banjos Saved My Life

Posted in *EdFestivals 2026, *Written Interviews by

“We have found that the more vulnerable we make this show, the more profound the impact is on audience members.”

WHO: Keith Alessi

WHAT: “‘Storytelling at its best!’ (Playbill.com). Sold-out runs in 2023, 2024 and 2025. This highly awarded, internationally touring, inspirational true story is about overcoming obstacles, pursuing passions and the healing power of the arts, and is told with warmth, humour and banjo music! Through donations, including 100% of all artist fees, the show has raised over $1.2 million dollars (CAD) as of December 2025 for various charities, including cancer organisations, music programmes, community groups and artist funding and development. All proceeds from this Edinburgh Fringe run will benefit Summerhall Arts.”

WHERE: TechCube 0 at Summerhall (Venue 26) 

WHEN: 11:40 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is our 5th consecutive year performing this show at Edinburgh Fringe. It is the highlight of our touring year. We donate 100% of our ticket sales to our venues to support artist development for others. We will hopefully raise our 100,000th GBP during this run, which will remain in Edinburgh. It is important to us that we take away the financial barriers so that others get to have this experience. We love to pay it forward.

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

We have found that the more vulnerable we make this show, the more profound the impact is on audience members. It’s a true story and the authenticity is felt. We have learned that the more you reveal in a true and honest way, the more powerful the show is.

Tell us about your show.

The show is written and performed by Keith Alessi, directed and produced by Erika Conway. Keith first met Erika in Edmonton, Alberta, Canada where he was running a business. Years later, in 2018, this true story was presented at the Toronto Fringe Festival. Since then, it has been performed almost 500 times in 6 countries on 3 continents. Our 100th performance in Edinburgh will occur on August 11. After Edinburgh we will be touring Western Canada in the fall.

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

We always love David Colvin’s “Thunderstruck” and catch it every year. Fellow Canadian Melanie Gall is always doing something great, we are looking forward to seeing her new show “The Ballad of Isobel Gunn”. England’s Mason King is an outstanding mentalist and always brings a good show. He is bringing a show this year called “The Mind Spy”. And Canadian singer/ songwriter, Duane Forrest, has a Nat King Cole show “Tenderly” that we really want to see.

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