Category Archives: *EdFestivals 2025

All our features from the 2025 festivals.

‘Fly, You Fools!’ (Beyond @ Pleasance Courtyard, until AUG 25 – not AUG 7 or 18)

Posted in *EdFestivals 2025, 5*, Pleasance, Rated: Outstanding, Theatre by

“As an obvious spoof (of Lord of the Rings), the melodramatic action and pastiche dialogue presented by the cast draw gales of laughter from the audience.”

Editorial Rating: 5 Stars (Outstanding)

Hot on the heels of Hold On To Your Butts at the same venue (see my earlier review) the New York-based theatre company Recent Cutbacks have another hit on their hands with a matching piece of comic theatrical spoofery of a relatively recent movie classic, Lord of the Rings.

Once again, the company presents a fast-paced “lo-fi” scene-for-scene parody, this time of Peter Jackson’s blockbuster, performed by a small troupe of three actors making frantic use of DIY props, back projection, shadow puppetry, mime, and knockabout physical theatre to create a hilarious take on the epic fantasy adventure. The comic mayhem is enhanced by an on-stage Foley Artist (that’s a Hollywood term for a sound-effects creator) who sits at a desk stage right with a laptop, a microphone, and a huge selection of musical instruments, sandboxes, crinkly paper, a cutlery drawer, and other assorted noise-making thingumajigs with which to enhance the tomfoolery.

The company create a vivid sense of the gothic sword-and-sorcery ambience of the movie as a backdrop to their merciless satire of the Tokien universe. The opportunities for parody are particularly good verbally as well as visually in this show, with much tongue-in-cheek pastiche of the portentous tone of Tolkien’s language and the apocalyptic register in which his lines are delivered by some of the grandiose actors who play his characters: yes, I mean you, Sir Ian McKellen (think: “Morrr-dorrr!”). Fans of the film will revel in recognising the parodic spoofs of key scenes, whist those unfamiliar with the source work and even young children (Over 8s) will enjoy the knockabout action and silly posturing of actors doing comic impressions of orcs, elves, dwarves, and wizards.
As an obvious spoof, the melodramatic action and pastiche dialogue presented by the cast draw gales of laughter from the audience. But it occurred to me whilst watching the show, that the sheer inventiveness of the physical theatre and the imaginative use of mime and suggestion by the cast – even if done straight-faced – could well have brought a theatrical adaptation of the book to the stage 40 years ago, when such a thing was thought impossible. However, there is nothing straight-faced about this laugh-out-loud romp through Middle Earth – I’ll never be able to read the novel again without giggling.

Like its co-production Hold On To Your Butts, this show runs at the Pleasance Courtyard (though in the Pleasance Beyond auditorium) until 25th August (not 7th or 18th), so book early as I suspect it will be yet another of the hottest tickets in town.

 

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EdFringe Talk: The Sound of Water

Posted in *EdFestivals 2025, *Written Interviews by

“Growing up it seemed that someone else had to give me permission to do my art.”

WHO: Julia Ott

WHAT: “When the rain stopped falling, we returned to the beginning. A drought has been plaguing the crops of Tobias’s farm for five years. He believes that the answer to where the water went lies in the soil. Katherine believes the answer lies in the desert and canyons surrounding the farm. One night, Katherine goes into the canyon in search of the missing water, but what happens when a flash flood comes and washes everything away?”

WHERE: Venue 45 at theSpace @ Venue 45 (Venue 45) 

WHEN: Varies (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes! This is my first time visiting Edinburgh and experiencing The Fringe. I am so excited for people to see ‘The Sound of Water”, but I am also so excited to experience art from around the globe. I have a long list of shows I want to see and I am hoping I can get to them all and more!

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

One big lesson that I have learned since 2024 is that no one has to give you permission to make art, you just have to be brave enough to take the first step. I used to always wait around hoping someone would give me the opportunity to perform and create. Growing up it seemed that someone else had to give me permission to do my art; I was always anxiously awaiting the next time someone said “okay now it’s your turn!” But as I’ve gotten older, I’ve started to create my own work more often and take my artistic life into my own hands.

Tell us about your show.

“The Sound of Water” is an original devised physical theater piece presented by Center Heart Theater Company. The Sound of Water explores climate change, scarcity of agricultural resources, and the stories we lose when our homes disappear. This show was created out of a desire to understand how Climate change is impacting communities in rural areas and how AI is playing into the climate crisis.

The show is written and directed by myself, Julia Ott – I’m a graduate of the prestigious University of North Carolina School of the Arts (UNCSA), and I formed Center Heart Theater Company alongside fellow creatives from UNCSA.

After the Fringe, I hope to keep doing developmental workshops in New York and expand upon the story. After New York, I hope to do a full length, fully supported, version of the play in my hometown.

This is our debut production, and was developed with support from The Thomas S. Kenan Institute for the Arts and is powered by Producer Hub.

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

After audiences come see our show, they should go see “Hold onto your Butts” presented by Recent Cutbacks. Although I haven’t seen the show in person, I followed their run at last year’s Fringe on Instagram and the clips from their show had me laughing out loud. If you love dinosaurs, foley artists, and laughter this is the show for you!

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EdFringe Talk: More Songs for a (Brave) New World

Posted in *EdFestivals 2025, *Written Interviews by

“It doesn’t matter how good your own show is; if it’s not surrounded by other shows and /or on a main fringe route, you will be struggling.”

WHO: Richard Lewis

WHAT: “Whether it’s politics or digital dating, climate change or political correctness, Richard finds a musical angle to spotlight the natural absurdity of the human race – and if that’s not your cup of tea, just sit back and enjoy the piano playing! ‘The show is a masterclass of original parodies that would grace the finest of theatres, and Richard Lewis is a musician everyone should see whilst at the Fringe’ (ThreeWeeksEdinburgh.com).”

WHERE: Speakeasy at PBH’s Free Fringe @ Voodoo Rooms (Venue 68b) 

WHEN: 16:50 (55 min)

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Is this your first time to Edinburgh?

No, I did my first performance in Edinburgh at age 10 for the International Festival! (I’m from Edinburgh). I then did some more shows in my 20s and after a break and back and enjoying the Fringe experience again.

Two shows this year, the one above and the show on the life of Liberace.

The variety on offer is always Edinburgh‘s calling card. Yes, it can be hit and miss. But if you don’t like something today, you’re bound to find something you like tomorrow…

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

Location is everything in Edinburgh. As well as having a vibrant venue, it doesn’t matter how good your own show is; if it’s not surrounded by other shows and /or on a main fringe route, you will be struggling.

Tell us about your show.

I did a show of satirical songs last year which went well and thought I would follow it up with a new one. I’ve kept the best songs from last year but added I think even stronger material. Hopefully, the mixture of politics, social affairs and silliness will appeal to a wide range of people.

My other show is on the life of Liberace – in the beautiful ballroom of the Voodoo Rooms. A venue the man himself would have appreciated.

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

If you’re not from a big city, I would always suggest that people would check out the International Festival. It includes some of the best artists in the world, some of whom only appear once in a generation.

In terms of the fringe, a friend of mine is producing a show called the ‘Queen is Mad’, which looks fun (a bit like a dark ‘Wicked) other than that I’ll need to check out the buzz as it starts coming in this weekend!

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‘Mitch Benn: The Lehrer Effect’ (Venue 302, until AUG 25th)

Posted in *EdFestivals 2025, 5*, Theatre by

“It’s a fast-paced, blend of showmanship and showcasing that is, most importantly, properly entertaining and worthy of its august subject.”

Editorial Rating: 5 Stars (Outstanding)

Mitch Benn should be made to stand in the arrivals hall at Heathrow, Gatwick, or Turnhouse and welcome people into the country. He is a national treasure forged in the Bedlamic crucible of Edinburgh in and beyond the Fringe. His voice is possibly probably the finest vocal instrument this side of Brian Blessed. As one of the two most admired comic songsters of the current age, who better than Benn to deliver a 60-minute lecture on the wonder and wonderosity of the late, great Tom Lehrer?* Thomas Benjamin Wild Esq., perhaps, but Bedford’s own was too busy elbowing your not especially humble correspondent in the ribs and making shushing noises during all my best singing along – like he was Maturin meeting Aubrey.

*Leher was the latter, but not quite yet the former when the curtain went up on the night of 26 July at Bedfringe.

Articulate, intellectual, sceptical, musical. If you need to be sold on Tom Leher there’s a chance you cannot be redeemed for a pocket full of winning lottery tickets. Have you been living under a rock since 1944 – when Lehrer first put notes to paper with his “The Subway Song”? HCCKKCC PW if you didn’t know that or that there have been 16 new elements discavard since 1959.

This is a show that rests on zero laurels, Benn’s or Lehrer’s. It’s a fast-paced, blend of showmanship and showcasing that is, most importantly, properly entertaining and worthy of its august subject. Here’s a show that has ‘regular retirement cruise ship gig’ written all over it. Lehrer recently placed all of his songs in the public domain, so we can expect a tribute act or three down the line. Will they have this pace, this energy, this level of insight? Glass coffin / remains to be seen.

Come for the nostalgia. Stay for the freshness. Get your leather elbow-patched coats on and go see this!

 

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EdFringe Talk: The Strongest Girl in the World

Posted in *EdFestivals 2025, *Written Interviews by

“We have also learned a lot about visual storytelling—mainly from watching children’s shows.”

WHO: Truly Siskind-Weiss

WHAT: “Gather round the campfire for this funny and nostalgic play about love, loss and summer camp. Truly doesn’t remember her dad. Not really. Instead, she’s collected songs, objects and stories to build a picture of who he was. Join her as she embarks on a journey to discover her father, and uncovers her childhood self along the way. You’ll laugh, you’ll cry, you’ll yearn for the early 2000s. Come see this story of fear and bravery that examines how we remember those we’ve lost.”

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

WHEN: 14:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Dark Skies Ensemble brought a work in progress production of The Strongest Girl in the World to the Edinburgh Fringe Festival in 2023. Since then, our company has expanded the show, and we’re so excited to share the full production with Fringe audiences. The Fringe is an amazing opportunity for artists to connect with one another, and support each other’s work. We met our now producer, Alexandra Scordato, at the 2023 Fringe and feel lucky to now have her as a member of our team. We look forward to the connections we will forge this year, and can’t wait to see all of the other creative work on offer!

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

One big thing that we’ve learned since performing the show as a Work In Progress in 2023, is that it’s important to invite the audience to laugh from the very beginning of the show when you’re sharing a story that is so personal and, on the surface, very somber. Watching other performances that handled dark stories with a bit of humor, we noticed that audiences were more comfortable laughing when the actor and script gave them permission to take the story a bit less seriously. We’re excited to share this new script with audiences, and we know that they will come away feeling lighter. We have also learned a lot about visual storytelling—mainly from watching children’s shows. We find that theatre for young audiences often does a better job at engaging the audience visually, and finding exciting and unexpected ways to tell the story through set. Our show uses pop up books to bring our audience on a journey, and to bridge the gap between Truly’s childhood self, and her teenage and adult selves.

Tell us about your show.

The Strongest Girl in the World is a poignant and surprisingly funny one woman show about love, loss, and summer camp. Truly doesn’t remember her dad. Not really. Instead, she’s collected songs, objects, and stories to build a picture of who he was. Join her as she embarks on a journey to connect with her father, and watch as she uncovers her childhood self along the way. This universal story thoughtfully examines how we remember those we’ve lost. It’s a love letter to Truly’s father, and the sassy and young girl who was the Strongest Girl in the World.

The play was written and performed by Truly Siskind-Weiss and it details her own personal experience of loss. Director Ellie Stevens studied with Truly Siskind-Weiss at the Bristol Old Vic Theatre School, where they bonded over a love of rainbow sprinkles, Gilmore Girls, and art that centers and celebrates teen and tween girls. They have worked together for nearly 3 years to bring this personal and important story to life, and have performed works in progress of the play at London’s Bread and Roses Theatre, Bristol’s Alma Tavern Theatre, and the 2023 Edinburgh Fringe. They have a reading of the finished script at Manhattan Theatre Club this fall, and are thrilled to be returning to Truly’s homework of New York City for a preview run in 59E59 theatre’s East to Edinburgh Festival. The show has been coproduced by American company Forgotten Ones and Scottish Company Dark Skies Ensemble.

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

We’re excited to see our friend Anaïs Gralpois’ stand up show, American Fetish! We also think An Ode to the Casting Director by Sophie Fisher looks great! And, we love anything that comedian Cat Cohen does! We’re also excited to see our producer’s other show on at the Fringe: Behind by Sibet Partee.

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EdFringe Talk: Cardstock

Posted in *EdFestivals 2025, *Written Interviews by

“As migrant women and student creators, we spent a long time waiting to feel “ready,” “qualified,” or “legitimate enough” to speak.”

WHO: Lin Cao

WHAT: “BL web novelist Mae is about to publish her first print book, but censorship forces her to revise it – triggering backlash from her obsessive fan Lily. As Lily’s buried trauma surfaces, Mae’s fantasy world begins to unravel, growing increasingly surreal and absurd. Drawn into the same interrogation room by surveillance and fate, the two women slowly build a fragile trust. This is a story about internet fringe culture, gender identity and female desire. It’s a torrent of images including abandoned manuscripts, folded posters and paper-thin characters. They attempt to rewrite a creased cardstock between fiction and reality.”

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

WHEN: 11:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes — this is our first time bringing a show to the Edinburgh Fringe, and it feels both thrilling and terrifying in the best way.

As emerging migrant artists and students, we’ve long admired EdFringe from afar — not just for its scale, but for the values it claims to uphold: openness, experimentation, and decentralised creative voices. This is the kind of platform we dreamed of when we began working on Cardstock — a story that sits between categories, between cultures, and between fiction and reality.

We’ve attended other festivals as audiences, volunteers, and student artists — but producing for EdFringe is a completely different scale of responsibility. You’re not just sharing work; you’re negotiating space, attention, survival, and visibility in a system that’s exciting but also overwhelming.

What makes a great festival isn’t just the shows — it’s the chance to be in a space where you’re reminded that someone else, somewhere, might be folding a story too — and that your voices might crease, overlap, or echo. That possibility is worth everything.

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

Since 2024, the biggest thing we’ve learned is that permission doesn’t come — you have to claim it.

As migrant women and student creators, we spent a long time waiting to feel “ready,” “qualified,” or “legitimate enough” to speak. But the world didn’t wait for us — and neither did the stories we needed to tell. Cardstock was born from the urgency of voices that don’t fit, that aren’t easily platformed, that carry contradiction and risk. In 2024, we started listening to those voices — including our own.

We’ve also learned that making work collectively doesn’t mean compromising vision — it means expanding it. We learned how to fold scarcity into innovation, and how to hold space for each other’s pain, humour, and creative edges. Producing this show taught us to stop asking for approval — and instead, to write our own structure, even if it’s made of paper.

Some lessons are still being absorbed. But we’re no longer waiting for the right time. This is the time.

Tell us about your show.

Cardstock is an original play written by Qianyue Ang and co-produced by Lin Cao, Dina Nan, and Yuqi Wen — all of us migrant women who met while studying in the UK. The show is presented by HERstage & Seagull Sisters Productions, both collectives formed by emerging Asian artists seeking to tell stories often excluded from mainstream stages.

The idea began in a university dorm room, sparked by a single line from a real news story: “I feel like a piece of paper. And paper can’t stand.” That sentence stayed with us. We started folding it into a play — literally. Everything in our show is made from paper: the set, the metaphors, the memory.

We premiered Cardstock at Brighton Fringe in May 2025 — no marketing budget, just a suitcase full of foldable props and a lot of hope. To our surprise, we received a four-star review and powerful audience responses. Edinburgh is our next leap. After that, we hope to tour in London and return to Asia, especially to spaces where censorship and silence still shape how women are allowed to speak.

This play isn’t perfect. But it’s standing — creased, but upright.

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

After Cardstock, we hope you go see Is This Normal? by Ansa Edim — a one-woman show that’s sharp, hilarious, and unexpectedly intimate.

It’s for anyone who’s ever rehearsed break-up speeches in the mirror (guilty). With wit and warmth, Ansa unpacks heartbreak, self-worth, and the delusions we wrap in bedsheets. It’s solo storytelling at its best — punchy, personal, and beautifully written.

We left the trailer smiling, and the title alone deserves a standing ovation.
Catch it at theSpace @ Surgeons Hall, Aug 13–15. You won’t regret it.

Fringe isn’t just about scale — it’s about truth. And Is This Normal? tells it with grace and laughter.

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EdFringe Talk: Too Much Light Makes the Baby Go Blind (30 Plays in 60 Minutes)

Posted in *EdFestivals 2025, *Written Interviews by

“The script is a selection of 90 plays performed and written during the company’s first 25 years, hand-picked by Greg Allen, the creator of the genre.”

WHO: El Belilty

WHAT: “A variety show that melds together a myriad of different genres, each connected by audience interaction. From raunchy comedies to honest confessions, each play presents its own story, statement and/or improvisation that will take you through a rollercoaster of emotions. The ensemble will both guide you and be guided by you throughout the 60 minutes of our show. Every performance will be unique and entirely dictated by you – our audience! If you sit close enough, you may even star in the show yourself…”

WHERE: Upper Theatre at theSpace @ Niddry St (Venue 9) 

WHEN: 18:15 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes, this is my first time in Edinburgh! Although I’ve participated in Fringe before (Hollywood Fringe Festival), the Edinburgh Fringe is an entirely new and unique experience. As the largest and first Fringe Festival in the world, the HFF was only a tiny taste of the energy, art, and creativity of EdFringe—which excites me beyond compare. The sheer amount of art brought here, both new works and old, and the range of every genre imaginable, make this the most inspiring environment to be in as an artist. I hope to leave this experience with new perspectives on art and creation, as well as a deeper understanding of the cultures, countries, and walks of life represented by those around me.

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

Honestly, since beginning this project in 2024, I’ve grown as both an artist and a person. This project has taught me patience, self-confidence, trust (in myself and others), and leadership. Transitioning from assistant directing at HFF24 to directing this production, I’ve become more self-assured, confident, and clear about the kind of art I want to put into the world. In times like these—marked by war, famine, fascism, genocide, and climate change—theatre is more important than ever. It remains a medium for true connection and change, and it’s an honor to bring joy to everyone who walks into our show. I know this is only the beginning of my journey of growth, and I cannot wait to see what more I can learn and gain from my actors, crew, and all the artists I’ve yet to meet!

Tell us about your show.

Too Much Light Makes the Baby Go Blind (30 Plays in 60 Minutes) is a neo-futurist play originating in Chicago that has never been performed the same way twice. Since 1988, the Neo-Futurists have developed a multitude of short plays that change weekly—each relating to the current state of the world, politics, or even the actors’ personal lives. The script is a selection of 90 plays performed and written during the company’s first 25 years, hand-picked by Greg Allen, the creator of the genre. From these 90 plays, I selected 30—ranging from comedy, drama, improv, and confessions to political commentary—to be performed by my cast of eleven USC students, ages 18–23. For the past nine months, we’ve been working, rehearsing, and perfecting our show, building on the success of our sold-out Los Angeles run. The ever-changing nature of this play and its elements of audience interaction capture the essence of live theatre and leave our audiences with smiles on their faces, sore abs, and—hopefully—fresh reflections on their reality.

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

I wholeheartedly recommend seeing Swamplesque—the energy, talent, and spectacle of the show are truly next level.

I’m also a huge fan of Xhloe and Natasha—their performances in every production are utterly captivating and not to be missed.

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‘Snow White Rose Red Bear Brown’ (Venue 30, until AUG 17th)

Posted in *EdFestivals 2025 by

“Here is a show to which parents and carers can take a medley of ages.”

Editorial Rating: 5 Stars (Outstanding)

Andy Lawrence is Fringe Treasure. His Theatre of Widdershins has been delivering exquisite quality theatre for the young and the young at heart since 1993. Audiences are guaranteed something special, something magical, something memorable. ‘Snow White Rose Red Bear Brown’ is a full-hour feature-length production that packs the 60 minutes with what must now be a trademark’s worth of family entertainment that hits all the high notes in all the right places.

We enter to find the ever-affable Andy on stage surrounded by some of his best and most understatedly elaborate props to date. There’s colour and craft in every item, a cornucopia of art and artistry is on display. It’s as if Merlin is running a pop-up roadside emporium. What makes Theatre of Widdershins such a delight for us aulder, increasingly less whimsical types, is how the puppetry seamlessly scaffolds the storytelling rather than vice versa. For all the gorgeous kit and kaboodle, it’s the story that’s the star; everything else is amplification and accentuation.

Here is a show to which parents and carers can take a medley of ages. We took our 3, 7, and 10 year aulds. The littlest liked best (and is still talking about) the “snipping the beard” bit. The 7 year auld’s favourite part was “when they first introduced the kids who turned into 8 years.” Daughter 1.0 wrote in her notebook (the one with Lilo and / or Stitch on the cover): “I really enjoyed ‘Snow White, Rose red and Bear Brown! I thought it was very touching, yet funny. I loved all the hilarious characters and interesting personalities. I thought that the detailed setup was very coulor-full and attracting for little ones. He was very interactive getting the audience to perform different sound affects and noises.”

Theatre of Widdershins is genre-defining quality. Every other act looking to reach this audience needs to see this show and see how they measure up. Get your best forest school coats on and go see this!

*THIS REVIEW IS FOR THE 26 JULY BEDFRINGE PERFORMANCE.

 

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EdFringe Talk: House Party

Posted in *EdFestivals 2025, *Written Interviews by

“This is my Fringe debut with my own production company and my first big girl show!”

WHO: Chakira Alin

WHAT: “One young woman from East London is on a mission to bring back house parties. She just needs the house. Skip is an aspiring actor just trying to stay afloat. It’s her versus her peers with generational wealth. Armed with the perfect playlist, Skip takes us on a dance party through her changing hometown and the forces she contends with daily. A one-woman show exploring the housing crisis, gentrification, and the state of Britain today, House Party is all about how the future looks bleak right now, and how one great party can change the world.”

WHERE: Attic at Pleasance Courtyard (Venue 33) 

WHEN: 15:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I went up for the first time ever as a student in 2022 with the Cambridge Footlights and was involved in two shows that year, writing and performing in one, and having written another, so it was a real baptism of fire doing double duty. I was running between venues like a headless chicken going to check in on the play I had written in the morning then going to perform in the other show in the evening. It’s no surprise that I burnt myself out and I took 2023 off. I went back in 2024 for a week to see shows as research, knowing I wanted to take up my own show this year. This is my Fringe debut with my own production company and my first big girl show!

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

I’ve grown massively in the last year, around the same time period from when I first started developing the piece, which I don’t think is a coincidence. Writing this show has been incredibly cathartic. The thing about writing a show that’s autobiographical is you have to be self-aware. So I’ve done a lot of soul-searching. I’ve let go of a lot of resentment I didn’t even know I had and have embraced the party. I’ve learnt not to compare myself to anyone else, especially if we’re not starting from the same place. My self-esteem has skyrocketed. I believe in myself, my sauce and my work. Oh and I’m learning to do the splits. That’s pretty big.

Tell us about your show.

‘No one has house parties anymore.’

One young woman from East London is on a mission to change this. She just needs the house.

Skip is an aspiring actor just trying to stay afloat. It’s her versus her peers with generational wealth. Armed with the perfect playlist, Skip takes us on a dance party through her changing hometown and the forces she contends with on a daily basis. Home Counties transplants. The mullet and moustache army. Those weird skinny expensive dogs.

A one woman show exploring the housing crisis, gentrification, and the state of Britain today, House Party is all about how the future looks really bleak right now, and how one great party can change the world.

The show was inspired by my own experiences of homelessness, the rental market and witnessing the gentrification of my hometown firsthand. It uses the humble house party as a lens through which to dissect housing inequality in Britain.

I am producing through my company Quite The Cowboy, a bold new production company creating work that is comedic, irreverent and offbeat with a biting political core. Rae Morris is directing.

Shortlisted for the Charlie Hartill Award 2025, House Party has been developed with the support of Seven Dials Playhouse, Side eYe Productions, Hackney Empire and Soho Theatre. Extracts of the show have been performed at venues such as the Southbank Centre, Royal Court Theatre, Omnibus Theatre and EartH Hackney, all to rapturous reception. We performed Work In Progress versions of the show at Pleasance London and Theatre Peckham.

We have two more London previews at Seven Dials Playhouse on the 18th and 19th of July. The plan is to have a longer London run as well as a UK tour post-Fringe and adapt the piece for TV!

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

I’m super excited to see Just The Two Of Us by Soft Play, Eggs Aren’t That Easy To Make by Maria Telnikoff/Big Sofa Theatre, Eat The Rich (but maybe not me mates x) by Jade Franks and Funny Though by Clare Noy.

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EdFringe Talk: Tides (An Autism Story)

Posted in *EdFestivals 2025, *Written Interviews by

“Make sure that the team you assemble are not only some of the most talented people on planet Earth, but are as passionate about the project as you are.”

WHO: Joe Dennis

WHAT: “Dylan Ward is autistic. He has his own way of thinking and his own way of doing things, but no one seems to understand him. How do you navigate a world which operates on a completely different wavelength to the one that you’re on? Following its critically acclaimed run at Camden Fringe last year, and based on real experiences of growing up autistic, Tides (An Autism Story) combines Monty Pythonesque humour with a touch of real-world drama to offer an insight into the wonderful, yet challenging world of autism… From one particularly silly individual.”

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

WHEN: 16:10 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes it is! However, it’s not the first time we’ve performed at a big Fringe festival. Last year we performed as part of Greater Manchester Fringe and in Camden Fringe, both of which were hugely acclaimed runs. This year we performed a SOLD OUT show at Wimbledons ‘FromtheFringe’ season and we’re hot off the heels of a great run at Newcastle Fringe as well.

Having done so well at all of these other Fringe festivals, it was high time we had a crack at Edinburgh. It’s such a beautiful city, vibrant in art and culture, and I can’t wait for people to see what we have in store!

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

Number 1). Be organised! Make sure you plan everything well in advanced. Number 2). Make sure that the team you assemble are not only some of the most talented people on planet Earth, but are as passionate about the project as you are. And Number 3). Probably the most important lesson of all: Enjoy every minute of it!

I’ve certainly absorbed the latter above all else.

Tell us about your show.

My show is a semi-autobiographical one-person show that tells the story of Dylan Ward’s attempts to fit in whilst living on the autism spectrum. It was written and performed by me, based on real experiences I’ve had, and how being autistic impacted my life. It is frequently funny, often sad, and has an important message… We’re all just human, so let’s be kind to one another. The show was directed by my good friend Will Sutherland whom I met at Drama School, with additional lighting and sound design by the talented Will Woodward.

The show actually premiered for Autism Acceptance Week at Londons Hope Theatre whereby we raised £100 for Autism Awareness. It then toured to Guildford, Manchester and Camden Fringe last year, and this year has performed at London, Wimbledon and Newcastle. This year’s Edinburgh Fringe will be the shows Edinburgh debut!

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

I think he’s on before me, but audiences absolutely have to see Matty Edgars ‘Daniel Moore’s Definitive Guide to Failure-Free Living’. Matty’s one of the most talented actors I know and the show is incredibly funny and thought provoking. After this, audiences should see ‘Mr Jones’ a heart wrenching tale based around the 1966 Aberfan disaster and how this affected the lives of the villagers. Written by and starring Liam Holmes alongside Mabli Gwynne and directed by Michael Neri, this is an incredibly powerful play that shook me to my core.

Also wanna give a some shout outs to CFACOLAB’s ‘That Show About The Hot Dog’ Jens Goosens ‘Sense: The Musical’, Jen DiGiacomo’s ‘Woman in the Arena’, Ruben Sparks’ ‘Chameleon’ and finally Holly Gow’s ‘How Can(t) I Help?’ So all in all, an amazing line-up this year!

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