Author Archives: Dan Lentell

EdFringe Talk: John Achkar: His country is collapsing. He’s having a baby. So obviously, this is the right year…

Posted in *EdFestivals 2026, *Written Interviews by

“Fear is a much worse decision-maker than failure.”

WHO: John Achkar

WHAT: “During the Festival Fringe in Edinburgh, the Caves transform into a captivating labyrinth of creativity and performance unlike any other. Tucked away beneath the city’s bustling streets, these ancient underground chambers provide a uniquely atmospheric setting for an eclectic array of shows and events. Stepping into the Caves during the Fringe is like entering another world altogether. The dimly lit passageways and rugged stone walls create an otherworldly ambiance.”

WHERE: Just The Spare Room at Just The Tonic at The Caves (Venue 88) 

WHEN: 15:40 (60 min)

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Is this your first time to Edinburgh?

Not quite. I came to Edfringe last year as an audience member, so this is my first time performing at the Fringe. Experiencing it from the audience made me appreciate what makes it so special. For one month, the entire city seems to revolve around storytelling. You can walk into a room with no expectations and discover your new favourite comedian, or spend an hour watching something completely outside your comfort zone. There’s a real sense of curiosity that’s hard to find anywhere else.

Coming back as a performer feels very different. Last year I was watching people take risks on stage; this year I’m the one taking the risk. That’s exciting because the Fringe rewards originality and honesty. Nobody comes because they already know you, they come because they’re open to discovering something new. As someone performing his first full English-language show, I can’t think of a better place to test whether stories really can travel across languages and cultures.

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

The biggest lesson has probably been that fear is a much worse decision-maker than failure. This year I became a father, started writing stand-up in my third language, and realised I’d spent years convincing myself that my accent was the thing holding me back. It wasn’t. It was the fear of being judged, of starting over, of no longer being good at something I’d spent years building. I’m not sure I’ve fully absorbed the lesson yet because I still get nervous before every show.

But I have learned that confidence doesn’t usually come before you do something scary, it comes afterwards. Sometimes you have to act before you feel ready. Fatherhood reinforced that idea. You quickly realise there’s no perfect moment to take the next step. At some point, you just have to trust yourself and figure it out along the way. It turns out that’s true in comedy too.

Tell us about your show.

I wrote the show, but I’ve been super lucky to have an amazing team around me. It’s directed by my friend and performance Raffi Feghali, who has helped shape my Arabic tours over the past few years.

Producing the show are Salam & Holohan, who are behind some of the most exciting comedy shows at the Edinburgh Fringe. Having a team with that experience has made the whole process of bringing my first English-language show to the festival feel a lot less daunting.

The show has been developing over the past year through work-in-progress performances in different countries. It’s been an interesting process because I haven’t been translating an Arabic show into English—I’ve been rebuilding it from the ground up. Some stories survived almost unchanged, while others had to be completely be rewritten because what makes people laugh isn’t always the same as what makes them connect.

Edinburgh is the official premiere of the full show. After that, I’d love to keep performing it internationally. The whole project started with a simple question: can a story travel across languages without losing what makes it human? I hope Edinburgh is just the beginning of finding out.

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

One of the best things about the Fringe is accidentally discovering someone you’ll be talking about for years, so I’d encourage people to take a chance on someone they’ve never heard of. If you can, go and see Gianmarco Soresi, his writing is incredibly sharp and I’ve learned a lot from watching him. Alaa Shehadeh is another comedian I’m excited about because I love the way he tells stories, and if Janine Harouni or Daniel Sloss are performing while you’re there, they’re absolutely worth your time. More generally, I’d say this: leave a few empty slots in your schedule. Some of the best Fringe experiences happen when you wander into a tiny room knowing nothing about the act and walk out wondering why everyone isn’t talking about them already. That’s the magic of the festival.

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EdFringe Talk: 11½ Angry Men

Posted in *EdFestivals 2026, *Written Interviews by

“Clearly, I have not learned any lessons – because I am back.”

WHO: Guy Masterson

WHAT: “Edinburgh Fringe 2003’s legendary classic 12 Angry Men returns, hilariously spoofed as 11½ very angry comedians attempt to decide the fate of a boy accused of heinous murder in 1950s NYC… Will a lethal German sausage save him? Or send him sizzling to Old Sparky? The jurors: Stephen K Amos, Joe Pasquale (Fringe debut!), Tom Stade, Spencer Jones, Mark Maier, Glenn Wool, JJ Whitehead, Ian Coppinger, Terry Alderton, Phil Nichol, David Calvitto and Owen O’Neill seek a unanimous verdict while the evidence against him stinks, but can they find their way to a conviction? Director: Guy Masterson.”

WHERE: Pentland Theatre at Pleasance at EICC (Venue 150b) 

WHEN: 14:30 (80 min)

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Is this your first time to Edinburgh?

No… this is my 32nd consecutive Fringe – excluding COVID, of course. Some years have been busier than others. In my first, in 1994, I experimented with two shows. One of them – Under Milk Wood – has continued to now, and I have given over 2,000 performances.

Other years – such as 2013 – I have only presented a single performance, just to say I did it! Mostly, I have presented a raft of shows. In 2001, I presented 11! This year I am presenting five.

I use the word “presenting” for shows in which I have no creative input. I just mount them in Edinburgh because I want them to be seen there and, hopefully, go on to bigger futures. Usually, however, I have some creative involvement as writer or co-writer, but mainly as director, and many of these I actually “produce” – meaning I have financial responsibility for them, including any losses…

This year, I am producing or co-producing all five! (Gulp.)

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

Clearly, I have not learned any lessons – because I am back. Two years ago, I made a big announcement about never coming back! But I had made promises that I had to keep, so last year I put on two shows, and this year four projects that had been on the burner for several years came to fruition. The fifth is a 25th anniversary show.

Tell us about your show.

11½ Angry Men is a parody of the classic 12 Angry Men, which I and a group of stand-up comedians put on to great acclaim in 2003. In 2001, we tried to get the rights to remount it for its 20th anniversary but were denied them, so Owen O’Neill wrote the parody instead.

Again, we put together a cast of big-name comedians, who are all co-producers, inasmuch as they are sharing the risk to do it. They will only be paid if it makes a profit… so they are, in effect, banking on that! We hope that it will transfer to the West End.

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

Apart from all my shows and artists, rush to see anything by Twighlight Theatre (Play on Words by Brian Dykstra and Brian Parks’ The Problem), The Bob Ross Effect with Sarah-Louise Young, all at Assembly; Mike McShane in The Event… at Pleasance; Phil Nichol, The Naked Racist & Aren’t We Lucky, at Gilded Balloon; Spencer Jones, Dogs, at Pleasance; Glenn Wool Is Luv (sic) at The Beehive; Tom Stade Rules at The Stand; Mark Maier’s Jewvenile at Gilded Balloon; Joe Pasquale and Terry Alderton in Conversation at Pleasance Cabaret Bar; Andrew Maxwell at Pleasance EICC.

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EdFringe Talk: The New Year

Posted in *EdFestivals 2026, *Written Interviews by

“This play embarrassed me for a long time.”

WHO: Max Rosenblum

WHAT: “A romantic tragicomedy following lonely teenagers who meet on New Year’s Eve in an online roleplay chatroom. May is May. Perry is British actor Matt Smith. Their conversation that night, unexpectedly intimate, forms a bond between the two: they become each other’s best friend, confidant, and lifeline through the turmoil’s of adolescence. That is, until “real life” intrudes…”

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

WHEN: 13:55 (60 min)

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Is this your first time to Edinburgh?

It’s my first time both attending Fringe and having a show up. Ditto for the rest of the team. Needless to say, we’re all very excited — both to share our work with a generous and open-minded audience, and to experience the work of fellow artists. Fringe has a reputation for hosting weird, bold, and funny work — which are my three favorite adjectives.

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

“Be embarrassing.”

This play embarrassed me for a long time. In part because of all of the normal writerly anxieties, but also because — though the play is not at all autobiographical — in writing it, I drew on feelings and experiences from my adolescence, which was obviously a deeply embarrassing time. Showing it to people felt akin to displaying pictures of myself at fourteen — awkward, pimply, etc. But as I began to share the play with friends and mentors, then collaborators, then audiences, I found that the bits that I most embarrassed by were often the moments that people connected to the most. So now when I’m writing I often remind myself to “be embarrassing,” because I’ve learned that’s how I do my best work.

Tell us about your show.

The first draft of The New Year was written as my undergrad thesis. I wanted to write a play about the excitement and pain and terror of first love, with the internet as a setting that is at once a barrier and a catalyst for intimacy. I’ve always loved how theatre can build worlds out of words, which is also sort of what is happening when you’re falling in love with someone over text. I tried to create a language and a rhythm for the “online dialogue” that didn’t match the actual syntax of how people text (no “LOLs” or emojis) but instead captured the feeling of those late nights spilling your soul to a stranger via a glowing screen. I also tried to make it funny.

If I succeed in any of these intentions it is in large part due to the support and contributions of my friends and collaborators who will be bringing this show to life in Edinburgh. Jake Keville, our director, was the first person to whom I sent the first draft of this play, back when it wasn’t very good yet. Since then he’s been instrumental in helping me make it good. As a director, he’s got a precise eye for blocking and rhythm in service of character relationships, and knows when to make you laugh and when to break your heart.

Our producers and stage managers, Zoe Gray and Kenzie Packer, are both writers as well and were part of the writers group in which I finally finished the play. Apart from that, they’ve experience putting up productions everywhere from standard blackboxes to bars and public parks, and I’m so grateful to have their creative and logistical brains to help make this show happen.

Connor, who plays Perry, has been connected to this project since we were both 17 and suitemates at a pre-college program. I don’t remember this, but apparently I told him about an idea I had about a girl making friends on the internet — several years before I remember starting to actively explore the idea. What I do remember is watching him rehearse a monologue in our dorm and thinking “oh, this guy’s good.” Seven years later, he’s even better. His role is one that requires the actor to create the character from limited textual evidence, to read between the lines, and Connor has done that with great depth and specificity.

Katy is the one person I didn’t know very well prior to this production. Jake and I were fans of her work in other shows, so we invited her to an informal workshop reading — and she totally blew us away. She not only understands the sensitivities and neuroses of the character but also her strength and unwavering energy, bringing it all to life with precision and considerable physical acting chops. She has a lot of material where, while writing it, I thought to myself: “Good luck with this one, actor,” and she makes it all look easy.

We had a three-night run at The Tank in New York City, our home turf, in May. People seemed to enjoy it. Now we can’t wait to share it with the Edinburgh audience.

As for the future… The play is written to be a sort of playground for actors and directors. There are no stage directions in most of it, and there are lots of different ways to cast that would create different angles on the story while still maintaining the core emotions of the play. So it would be cool if this became a play people want to do their own takes on, in universities or community theatres or wherever. But right now, I just feel so lucky to get to put it on with this group of friends and collaborators. I can’t really ask for more.

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

Tim Kenneth Kicks the Bucket by Brandon Kiziloz.

Brandon is a friend to many on our production, and also my former roommate. His play is, similarly to ours, a dark comedy about teenagers. But unlike ours, it contains philosophical musings, a whoopie pie, and an assault on a French street cleaner named Jacques. I got to catch it in NYC before he brought it to Fringe last year, and found it riveting and hilarious. He tells me it’s gotten better since, so I’m very excited to see it again.

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EdFringe Talk: Ludwig: Unfinished Business

Posted in *EdFestivals 2026, *Written Interviews by

“I’ve never worked so hard in my life.”

WHO: Mike Hatchard

WHAT: “Van Beethoven has unfinished business! Pushed by his relentlessly ambitious father as “Ze next Mozart!”, battling a broken heart, broken body, broken ears, and certain he is nearing his demise, Ludwig reincarnates “to put ze record straight!” Combining virtuoso pianism with Teutonic stand-up comedy, concert pianist, Mike Hatchard, provides an hilarious insight into ‘The Mad Pounder’ coming to terms with life, death, music, Amadeus, Bach, Chuck Berry, and his wretched final sonata. Hatchard, who has accompanied Spike Milligan, Frankie Howerd, Cleo Laine and David Essex, among others. Directed by Olivier winner Guy Masterson (The Shark Is Broken).”

WHERE: Front Room at Assembly @ St Andrew Square (Venue 172) 

WHEN: 12:35 (60 min)

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Is this your first time to Edinburgh?

No, I started coming to the Fringe in the late eighties. I performed a show at the Pleasance where I used to interview a guest and draw their caricature at the same time; if I couldn’t find anybody famous I would use the guy who was on after me, an unknown comedian called Graham Norton. He was grateful for the exposure as even I was outselling his show…

I also used to run a show called (somewhat negatively) ‘Obscurity Knocks’ at the Festival Club. One of the first people to guest on this was an unknown Lee Mack who’d just won ‘So You Think You’re Funny’. The negativity of the title didn’t seem to affect him too profoundly.

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

I’ve learn that learning a script verbatim is very difficult. It’s a lesson I’m still absorbing.

I’ve also discovered that whilst I can play a Beethoven Sonata very accurately doing so whilst delivering a monologue over the top is very difficult. I’ve never worked so hard in my life.

Tell us about your show.

I wrote it with Guy Masterson. We discussed this around 1988 when I wrote a score for his new one-man-play ‘Under Milkwood’ (which went on to over two thousand performances). I think it was mooted because Guy liked my piano playing and thought I resembled Beethoven (something that many people have commented upon). Over the years we discussed bringing the concept to fruition but we were both too busy, I guess…and now, just thirty eight years on and we’re actually doing it!

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

Guy Masterson is bringing some other very interesting shows to the Fringe, and I am particularly excited to see 11 ½ Angry Men, I’ve heard it’s brilliant. Another of his show’s features Richard Shelton as Frank Sinatra, so for musically inclined audiences I think it will be a wonderful show. Masterson is also working on Call Me Elizabeth, a theatre piece about Elizabeth Taylor…Guy is also twice nephew by marriage to Burton, so to see a piece that does her justice is something I highly recommend.

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EdFringe Talk: Big Hair: A Rad and Wild Love Affair

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“EdFringe challenges you to make those connections, and explore other exceptional theater that has yet to be discovered!”

WHO: Maegan Mandarino

WHAT: “Not your “Abby Normal” relationship? Get ready for a whirlwind of laughter, music and storytelling in Big Hair: A Rad and Wild Love Affair, written and performed by Maegan Mandarino. This one-hour spectacle brings Gilda Radner and Gene Wilder to the stage, with modville-style musical numbers, film and interview clips highlighting their dynamic relationship in absurdist, fun theatre. ‘A nuanced, tender, life-affirming story about love and loss that you would not expect from a retro stand up vaudeville show, and I cherished every strange, hilarious, moving moment of it’ (BroadwayWorld.com).”

WHERE: The Annexe at Paradise in The Vault (Venue 29) 

WHEN: 18:15 (60 min)

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Is this your first time to Edinburgh?

This is my very first time! I’ve performed at fringe festivals from Hollywood to Vegas but this has been on my bingo card for some time. What excites me most is the idea that artists can market their own shows on the streets. It feels so scrappy, and energetic and I love it! It also challenges you to make those connections, and explore other exceptional theater that has yet to be discovered!

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

I’ve learned not to be vague. I think we associate vague with being mysterious, but vague is just vague and often people don’t want to read between the lines. They want immediate answers at face value. I’ve learned that when you promote you show, say exactly what it is. Give them the elevator pitch because you may only have a few seconds to dazzle.

Tell us about your show.

I wrote this first draft of this show in a bodega seven years ago. The story of Gilda Radner and Gene Wilder’s tumultuous love story has always fascinated me. I also knew I would like to portray them both, so I found a way to create a traveling suitcase show wherein I used large wigs to play both Dr. Frederick Frankenstein and Roseanne Roseannadanna. It all seemed to fit really well, and seven years later I’m still performing this show. Usually, when I have an idea, it fades….but this marked me. It still does, and every time I perform it I think, damn…I wrote that and it’s pretty darn good! And it’s always, evolving which I love. No show is the same. In all this I really couldn’t do it without my crew, which consists of a sound engineer, lighting designer and stage manager. We’re continually jumping from city to city, opportunity to opportunity, and enjoying the ride along the way.

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

After you experience my love letter to Gene Wilder and Gilda Radner, I hope you’ll make time for another unforgettable Old Hollywood story: Call Me Elizabeth. Created and performed by the incredibly talented Kayla Boye, this one-woman show celebrates the life of Elizabeth Taylor. I’ve had the pleasure of meeting Kayla at another festival, and she’s one of the hardest working artists I know. This is absolutely on my must-see list at Fringe and I hope you’ll add it to yours, too!

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EdFringe Talk: The Van Gogh Shogh

Posted in *EdFestivals 2026, *Written Interviews by

“I’ve been developing and touring my show for a couple of years now, but really only in the last six or so months have I felt like it’s really arrived where I’ve wanted it to be.”

WHO: Donna Oblongata

WHAT: “It’s a sip and paint. It’s Sotheby’s. It’s karaoke night. Strap in, because whatever it is, Van Gogh is back and he has a side hustle. This is the real Van Gogh Immersive Experience. Emphasis on immersive. Donna Oblongata (Leeway Transformation Award, Jilline Ringle Solo Performance Award) is ‘brimming with compassion and monstrously funny’ (PlayOnMKE.com). She has sold out theatres in NYC and LA and performed internationally in Slava’s Snowshow. ‘A delightfully unhinged gem of fringe theatre’ ***** (ShinyLife.co.uk). ‘An uproariously good time… side-splittingly funny’ **** (AdventuresInTheatreland.com). ‘Inspired lunacy’ (TalkinBroadway.com).”

WHERE: Front Room at Assembly @ St Andrew Square (Venue 172) 

WHEN: 18:25 (60 min)

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Is this your first time to Edinburgh?

It’s not! I attended last year for the first time and was blown away by the number of amazing shows I got to see and how many artists I got to connect with from all around the world. Edinburgh Fringe is truly unlike any other festival in the world– simply for the scale of it. There’s nowhere else you can see this diversity of performance in such a tightly packed time and place. It’s exhausting and dizzying, but so incredibly special.

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

Hahaha. Yes, there’s certainly a difference between learning things and actually absorbing the lessons, isn’t there? I’ve been developing and touring my show for a couple of years now, but really only in the last six or so months have I felt like it’s really arrived where I’ve wanted it to be. I think that’s one of the biggest lessons with theater and performance, is just how much time it can take to really hone something, and that it’s really worth sticking with a project long enough to see it become what you want it to be.

Tell us about your show.

I wrote it and I perform it, but I developed it in close collaboration with my amazing director, Francesca Montanile-Lyons, who really gets credit for some of the show’s best jokes. I have two producers I’m working with in Edinburgh– Jess Ducey of Duces Wild Arts, based in New York, and Barra Cohen, who has been a key supporter of my work since the beginning. I am thrilled to have them both with me on this, and look forward to where we’ll go next. Honestly, because I’m not a fan of winter, I’m definitely looking toward Australia and New Zealand for some sunshine in early 2027.

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

I cannot wait to see “Don’t Kill Daisy” by Soleil Kohl. She’s incredible. Also, “Gulp” by Prith Khalsa looks so good. “Be Good: with Paulette” is one of my favorite things ever. I’ve been hearing amazing things about “Bitch Eat Dog” which is exciting, because I love puppetry and actually had a hard time finding much of it at last year’s Fringe. I’m totally obsessed with “The Most Toast” but I’m pretty sure they’re only doing one performance this year. Also cannot wait to see “Emoji: The Hieroglyphics of Our Time” which looks completely delightful.

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EdFringe Talk: A Marriage of Inconvenience

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“We’re always the first person the other one tries a new bit on, so putting on a show together was less a decision than an inevitability.”

WHO: Harsh Thakar

WHAT: “Join best friends and rising comedy stars Abi Sharp and Harsh for a split bill that explores the intersection of Type-A ambition, queer identity and the chaotic search for love. United by their nerdy neuroses and a spectacular track record of romantic failures, the pair present A Marriage of Inconvenience: a show about the logistical nightmare of modern dating, and their pact to enter a sexless lavender marriage if they’re still single by 40. Until then, they’re saying ‘I do’ to the next best thing: awkwardly sharing the stage for half an hour each.”

WHERE: Just Up The Stairs at Just The Tonic at The Caves (Venue 88) 

WHEN: 14:25 (60 min)

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Is this your first time to Edinburgh?

It kind of is. We’ve done guest spots at other people’s shows before, but this is the first time we’re bringing up a full hour of our own – a four-day run at Just the Tonic, then straight down to London for two shows at the Etcetera Theatre for Camden Fringe.

It’s a bit surreal, because I’m a lifelong Fringe punter. I turn up with a giant colour-coded spreadsheet of everything I want to see. This year I’m a row on somebody else’s. I just hope it’s in the must-see category, which is green, obviously.

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

The big thing I’ve learned is that putting on a Fringe show is basically getting married. There’s a contract, there’s a venue we can’t get out of, there’s a photoshoot, there’s money neither of us has, and we’ve told everyone we know the date. We spent about three months arguing about a poster. And at the end of it we’re sharing a flat in Edinburgh for a week.

Tell us about your show.

We both wrote it. Abi and I met in a standup class a few years ago and became best friends more or less immediately. Since then we’ve done a hundred open mic nights together, sung in a video game music choir together, and sent each other the address of a dodgy hookup at midnight so the other one knows where to send the police. We’re always the first person the other one tries a new bit on, so putting on a show together was less a decision than an inevitability.

We ran the show at Brighton Fringe and London Queer Fringe first, which is where we worked out which bits actually worked. One of our Camden Fringe dates has already sold out, which we’re choosing to read as a good sign rather than a small room.

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

Queer Comedy Club is my local and my favourite place to perform – it’s where most of the material in our show got tried out, badly, before it worked. They’ve got three up this year: Married at Fringe Sight, David Ian: Bad Decisions and Best of Queer Fringe. If you’ve only got one hour spare, make it Best of Queer Fringe – it’s the cheapest way to find the act you’ll follow for the next ten years. If you’ve got two, add David Ian. Watching him do crowd work is the best thing at QCC.

Phil Green: The Boy Who Never Grew Up (WIP) – Phil and I did a few improv shows together years ago and I haven’t missed a run of his since. This one’s about refusing to grow up while middle age closes in on him, which, as I inch closer to 40, I find very relatable.

Alice Keys: Rocket Fan – Alice is bringing an Elton John sing-along rom-com to the Fringe. I’ve been to her sing-along piano nights and her sing-along pub quizzes, and she’s my choir leader. She could get you singing on your grumpiest day.

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EdFringe Talk: Armageddon Outta Here

Posted in *EdFestivals 2026, *Written Interviews by

“Every rehearsal and performance has pushed me creatively.”

WHO: Chris Roberts

WHAT: “An asteroid hurtles toward Earth, threatening total annihilation. Meanwhile ego, denial, faith and petty squabbles ripple through a world teetering on the edge. Dark, loud and gloriously anarchic, Armageddon Outta Here is the apocalypse we deserve. Written by Tom Johnson (Verbal Diary, Chortle’s Top 10 Comedy Plays Fringe 2024) and Chris Roberts, this full-length sketch show grew from their award-winning play, Sacrifice. Starring Tom Johnson and Rob Glenister. ‘Johnson is a comedic tour de force’ (VoiceMag.uk). ‘Tom Johnson is clearly someone we should be paying attention to’ (SALTMag.co.uk)”

WHERE: The Saloon Bar at Just The Tonic at Westside Rodeo (Venue 25) 

WHEN: On Demand (60 min)

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Is this your first time to Edinburgh?

This is my first time doing a show at the Fringe, and only my second time coming to Edinburgh. I always wanted to go to the Fringe; a lot of my favourite writers and performers made their break there, people like League of Gentlemen, Mighty Boosh, and Richard Gadd. Plus, having it in such a beautiful city like Edinburgh with its rich history and beautiful architecture made it all the more tempting to go.

So finally I managed to take a trip last year and had an absolute blast; saw a wide variety of shows, from big shows with large audiences to more intimate ones in little rooms with only a handful of people, but nonetheless still amazing to watch and be a part of. I never knew what I might come across, and it made it all the better. Plus the added experience of meeting fellow artists, getting a drink, chatting about art, and building connections made it more memorable.

Coming back with my own show this time, and not just seeing other shows, is a different experience. There’s now the added pressure to have your show stand out among the other 3000 shows being shown there and the challenges we face trying to get it all sorted. Less time to enjoy other shows and more time focusing on making sure our show has the best experience performing there (though I still plan to squeeze in a couple of shows while I’m there). But it’s not a negative thing going to the festival like this; it’s an exhilarating experience to have this challenge and the chance to be able to put a show on at a festival like the Fringe, to be a part of such a rich community, and a chance for your voice to be heard by a new audience every night makes the stress of it all worth while.

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

My previous experience in writing and directing was entirely in short films, so branching into theatre with my most ambitious project yet has been an incredible journey over the past year. Transitioning from screen to stage presents numerous challenges, including how to effectively tell a story for the stage and build a connection with the audience.

Every rehearsal and performance has pushed me creatively, showing me what it means to work collaboratively with people with different senses of humour and style, and the experience has been nothing short of transformative. It’s opened up new perspectives on storytelling and performance that I couldn’t have fully appreciated without immersing myself in live theatre.

Tell us about your show.

It’s an alternative comedy sketch show about an asteroid heading for Earth, featuring a variety of over-the-top characters in different situations, each dealing with the end in their own funny way. It was co-written by Tom Johnson, who is also performing in it, and me.

It was originally a 10-minute play I wrote for the Short+Sweet UK Festival about 2 bickering astronauts stuck on an asteroid, which is where I first met Tom, who came on to perform it and bring his own humour to the sketch. After a successful performance, we decided to take this a step further and create Armageddon Outta Here with the goal of bringing it to the Fringe. From there, the team grew, with Rob Glenister coming on board as a co-star alongside Tom, bringing his own humour and comedy talent to the show, and Rhys Puddin on as our technician and working behind the scenes, using his knowledge and experience of the Fringe to take this show to the next level. I can’t imagine this project being what it is now if it wasn’t for these three guys.

The show first premiered at our local theatre, Dixion Studio, before then heading to the Rik Mayall Comedy Festival, where it ended with a 24-piece brass band! It received a lot of praise, but we continue working on improving it and adding new things to the show to make it even better. While we’re currently focusing on getting the show ready for the Ed Fringe, we have talked about possibly taking it to other fringe festivals and venues in the future.

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

This is such a hard question, given all the amazing shows coming to the festival this year. The ones that have caught my eye, and that I plan to see for myself, are the comedy-horror Succubus, written and performed by Georgina Collins. I love a bit of horror, and this seems like such an interesting concept that I’m very much intrigued to see.

Another play I look forward to seeing is Boy King, starring Lil Wenker, whom I became a fan of after seeing their hilarious comedy western Bangtail last year. Very excited to see what they do with this new character of theirs.

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EdFringe Talk: Steffan Alun: Windows

Posted in *EdFestivals 2026, *Written Interviews by

“The best stuff I’d ever written.”

WHO: Steffan Alun

WHAT: “Winner of the Pegagus Award for Best Newcomer at the Edinburgh Fringe 2025, the bisexual Welsh optimist returns with a brand-new hour of brilliant comedy. With strong opinions on pub quizzes, Stranger Things, behaviour on public transport, and why his mother’s pretending his childhood home contained an extra bedroom. ‘Warmth, wit, a proudly offbeat perspective’ (BroadwayWorld.com). ‘His timing is on point and he’s incredibly engaging. If you like stand up, go and see Steffan Alun!’ (One4Review.co.uk). ‘Will lift the spirits of anyone in attendance.’ (AYoungishPerspective.co.uk). ‘Touching, accomplished and heartfelt storytelling’ (FringeHire).”

WHERE: Hoot 4 at Hoots @ The Apex (Venue 108) 

WHEN: 18:15 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I’ve been coming to Edinburgh for over ten years – but last year was my official debut, performing an hour’s show for the entire month. The culmination of 14 years as a standup comic! The best stuff I’d ever written.

And I’m coming back, because I LOVE the festival. Oh, we can moan about the cost of accommodation and the costs of running a show – but really, it’s the best feeling in the world, showing off an hour of new jokes to the festival’s audience.

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

I’ve learned that it’s VERY HARD to write a show in 11 months that’s better than a show that took 14 years.

And I’ve learned that I’m stubborn enough to do it! My dream was always to bring a “difficult second album” that’s even better than the debut. Last year was wonderful – a load of glowing reviews, coverage in major national newspapers, and even an award!

But … I reckon this show’s even better. Even funnier!

Tell us about your show.

I started writing it the moment I got back from last year’s festival. Typing up every idea I had. So many terrible ideas! But you have to write them to get to the good ideas.

I do have a team these days! My wonderful producer Ignacio Lopez, a brilliant comedian in his own right of course. My PR Flick Morris, who has such genuine love for comedy, and is so brilliant at spreading the word.

But the writing? That’s still all me. If last year’s show was an introduction to me, this year’s is a deeper dive. My weirder concerns, my more bizarre ideas – a show full of stranger things. I’ve tested it in various small venues across the UK, changing the show drastically after each performance to get it just right.

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

Jake Baker – a sweet, gentle, but devastatingly funny deep dive into modern masculinity.

Cerys Bradley – an hour of facts about road signs that’s also a celebration of the way we love the things we love.

Ignacio Lopez – the rock-solid comic presents a show packed with laughs, but with a twist I’ve never seen before.

Phil Cooper – an incredibly personal show from a wonderfully sweet and very strange man, looking at the past through a subversive modern lens.

2 Truths 1 Lie / Comedians Play Videogames – okay, I’m cheating, because I host most of these. But they’re my favourite game shows, with brilliant guests. 2 Truths 1 Lie is perfect for fans of Would I Lie To You, especially if you enjoy working it out for yourself. Comedians Play Videogames is a late show for the kind of people who love hanging out in a living room playing games with friends.

Shows I haven’t seen but will DEFINITELY catch at the Fringe – Alice Fraser, Robyn Perkins, Dave Chawner, Adele Cliff, Paul Dennis, Bella Humphreys.

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EdFringe Talk: 00:45:00

Posted in *EdFestivals 2026, *Written Interviews by

“I’ve learned a lot during our previous run of the play about how important it is to utilize everything the audience gives us and to be specific about what success looks like for each character to maintain a driving want in the story.”

WHO: Katie Gaven

WHAT: “Five people walk into a room, and only one will make it out alive. 00:45:00 is an experiment that plays out in real time through the lens of a scientist pursuing an answer to the philosophical question: is one person’s life more valuable than another’s and how can anyone make that decision? This story is about daring those who sit back and watch to do something and exploring what happens when they do.”

WHERE: Venue 45 at theSpace @ Venue 45 &  Stephenson Theatre at theSpace @ Surgeons’ Hall (Venues 45 & 53) 

WHEN: Varies (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes, we are all first time Fringers! My entire cast and crew is completely made up of BFA acting majors from the college, UNCSA, and we’re beyond excited to be going to Edinburgh! We’ve been incredibly lucky to talk with some amazing people who have been to the festival before, and everyone has been so kind and helpful with giving some insight on what the Fringe experience can be like. That being said, we have absolutely no idea what to expect beyond seeing some fantastic shows, being really tired at the end of each day, and having the experience of a lifetime!

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

Oh my gosh, I’ve learned so much from this experience already. 00:45:00 really plays with audience participation and invites the audience into the story in such a pivotal way, which leaves a lot of room for crazy and unpredictable responses. As the director/writer of this piece, I’ve learned a lot during our previous run of the play about how important it is to utilize everything the audience gives us and to be specific about what success looks like for each character to maintain a driving want in the story.

I’ve also just learned so much overall about what it takes to produce new work! Managing the technical components of putting up a show as well as working on publicity and still devoting time to re-writing and refining the material have been such great skills to develop.

Tell us about your show.

Well, do you have 45 minutes? Just kidding 🙂 Here’s what I can tell you:

Five people walk into a room, and 45 minutes later, only one of them will make it out alive. DUN DUN DUUUN!! 00:45:00, written and directed by myself, Katie Gaven, is an experiment that plays out in real time through the lens of a scientist pursuing an answer to the philosophical question: is one person’s life more valuable than another’s, and how can anyone make that decision? Audiences can expect a gripping, immersive story that challenges them to examine passivity and engage in actionable change!

00:45:00 is also so incredibly lucky to be fully supported by the amazing Thomas S. Kenan Institute for the Arts and fiscally sponsored by the renowned Producer Hub! We had our first few performances of the show at the college UNCSA and are hoping to be able to produce it in other venues across the UK and in the states if we get the opportunity!

Jake Bryant is our producer, Rosaline Hodgetts is our incredible publicist, and the cast is made up of 6 ridiculously talented actors; Mary Kathryn Brown, Paris Finch, Grace Hoy, Magda Riha, Zakiya Hall, and Sam Wade.

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

I’m horrible at choosing just one, so I have two recommendations!

Seleka, written by Uliana Klimchuk and directed by Lily Afghani, is a genuinely
incredible one-woman play about a Russian army official, General Seledka who forces
the audience into his recruitment program. The play is a political-satire that uses
comedy in such a brilliant way to make an incredibly important and poignant point about the war and the people of Ukraine who continue to tell their stories. I had the privilege of seeing this show back in March and spent the entire performance laughing and crying before leaving genuinely inspired.

For my second recommendation, I saw Chris Grace’s solo show Sardines in New York about a month ago and walked back from the show in the rain, sobbing to my mom on the phone about how incredible Chris Grace is. Chris combines the perfect amount of comedy and genuine vulnerability to provide audiences with an entertaining and inspiring experience. He’s bringing his hour-long comedy show Chris Grace: 88% to the Fringe this year, and although I haven’t had the chance to see it yet before this interview, I’ve already bought my ticket to what is surely going to be a show not to be
missed!

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