Category Archives: *EdFestivals 2026

EdFringe Talk: Target Audience

Posted in *EdFestivals 2026, *Written Interviews by

“After our run, the theatre went into liquidation, and we lost £6.5k… So I suppose the big thing I learned over the past 12 months is that even if you do a really successful show at Edinburgh and get a transfer, you can still lose thousands and thousands of pounds.”

WHO: Dan Bishop

WHAT: “A TV production company gets word from Whitehall that they must adapt their programming to align with the government’s new policy to rapidly prepare the country for war. Panicked, the producers offer writer Tobias an exorbitant amount of money to pen a ‘pro-weapons sitcom’, forcing him to choose between his morals and his mortgage. Comedy play from Dan Bishop, writer of smash hit Brainsluts. Previous praise: ‘Bishop writes so well’ **** (Guardian). ‘Laughs come fast and furious’ **** (Stage). ‘Bishop’s witty play could easily be the pilot for a sitcom’ **** (Times).”

WHERE: Above at Pleasance Courtyard (Venue 33) 

WHEN: 16:50 (70 min)

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Is this your first time to Edinburgh?

I’ve actually been to quite a few Edinburgh Fringes and this is my second year on the trot. Last year, I brought up my comedy play Brainsluts and as soon as I got home I knew I had to go back. The adrenaline is so addictive. Last year I was performing in the show too, but this year I’m quite glad to be more behind the scenes.

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

Well, last year we were successful enough at Edinburgh that we managed to secure a London transfer! However, after our run, the theatre went into liquidation, and we lost £6.5k… So I suppose the big thing I learned over the past 12 months is that even if you do a really successful show at Edinburgh and get a transfer, you can still lose thousands and thousands of pounds. But something that awful can’t happen two years in a row… can it?

Tell us about your show.

So, Target Audience is a new comedy play about a TV production company which is owned by a tech company with links to a weapons manufacturer. The producers are then tasked with developing a ‘pro-weapons sitcom’ in an attempt to sanitise the image of the defence sector.

The show was inspired by the current domination of big tech companies who seem to have infiltrated all aspects of our lives, particularly our media landscapes and the military industrial complex. Take Amazon for example, they are simultaneously a huge movie studio whilst also owning a platform that hosts AI software used in drone warfare. I find all of this confusing and weird, so I thought I’d try to make it funny.

The cast is composed of four actors who I just find really, really funny. One of them, Molly Windust, is actually my comedy partner – we do a sketch act together called Mudfish. Our venue, Pleasance, are helping produce the show and we really couldn’t have done it without them. Edinburgh will be the show’s debut, but after Fringe, we’re hoping to tour it around the UK and possibly the world.

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

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

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EdFringe Talk: Spin Cycle

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“‘Spin Cycle’ is by lesbians for lesbians (and allies too!). It’s queer, it’s Irish, it’s absurd, and it’s bittersweet- it’s for anyone who has a first love who still spins around in their head.”

WHO: Zofia Zerphy

WHAT: “Eternal Sunshine of the Spotless Mind meets The L Word in this bittersweet, absurdist launderette meet-cute. Eyes lock. Hearts thump. Palms sweat. But something is off. Secrets of the past are whispered, hidden under the thrum of the washing machines – can what’s forgotten be remembered? This OffWestEnd Award-nominated five-star Irish play examines the space between loving someone and not, forgetting and remembering, dirty and clean clothes. A seriously refreshing show on queer love, whirring memory and finding the truth in it all. ***** (AYoungishPerspective.co.uk). Part of the 2026 Culture Ireland Edinburgh Showcase.”

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

WHEN: 14:25 (60 min)

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Is this your first time to Edinburgh?

This will be our first time in Edinburgh with a show, and we are excited to see how the piece develops by performing it every day in August. I love how the city transforms for the fringe, and, as a theatre kid, it is so incredible to see so many people making and enjoying theatre. Unfortunately, there can also be a lot of pressure around the fringe, and I think it’s important to remember that while this is an opportunity to showcase your work and develop it further, it is also a huge celebration of all the work that has brought us to this point, and we plan on doing an equal amount of celebrating and hustling.

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

The biggest thing that we have learnt in the past 12 months is PUT YOURSELF OUT THERE. Showing up imperfectly is miles better than not showing up because of fear or wanting it to be ‘right’. Social media and networking are tools that can be used to your advantage and connect you with some amazing people that can bring opportunities or even better – friendships!

We are still figuring out the social media part and sometimes ‘putting yourself out there’ can feel relentless, followed by a wall of rejection. Sometimes it’s just a numbers game and you can’t “be in the right place at the right time” if you don’t try and put yourself in as many places at once.

Tell us about your show.

“Spin Cycle” is by lesbians for lesbians (and allies too!). It’s queer, it’s Irish, it’s absurd, and it’s bittersweet- it’s for anyone who has a first love who still spins around in their head. In typical lesbian fashion, Zofia and Rhiannon, who play Kitt and Noel respectively, are a real-life couple. “Spin Cycle” was written by Zofia, but it was co-created and workshopped by the team in three countries over two years to make it the play it is today. It debuted last year at the Camden Fringe to sold-out audiences and 5-star reviews, and we were incredibly grateful for both the audience and critical response. This was followed by an Off West End award win in April of this year, which has propelled us toward Edinburgh at full speed!

There are endless people along the way who have supported us by showing up, providing rehearsal space, feedback, and fundraising support, and we quite literally could not have made it to Edinburgh without them. As for what’s next, that’s a great question. I guess like any lesbian we’d love a nice theatre to ask us to move in with them- we’ve got our U-Haul ready.

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

Our audience should try and see as many shows as they possibly can at Edinburgh Fringe – it is the richest theatre festival and best opportunity to see any kind of show you can imagine. Our “Can’t Miss List” is ‘Redacted’ by Voloz Collective, ‘Trans People are Awful’ by Ros Watt, and ‘Pitch Play’ by Moya Jane Productions .

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EdFringe Talk: Remember, Remember!

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“When you’re working as a collective of 4 writers, you are constantly having to compromise and adapt because we naturally all have different tastes and processes.”

WHO: Lucy Buncombe

WHAT: “Gather around the bonfire, girlies. You think you know the story of the Gunpowder Plot? You don’t! Get ready for an incredibly misinformed, inaccurate retelling of one of Britain’s most infamous tales of treason. Expect hilarious songs, forbidden love and explosive action in this ridiculously camp new musical by WIT? – four razor-sharp actor-writers from Fringe-favourite comedy show, NewsRevue. ‘If Operation Mincemeat and SIX had a child’ ***** (FairyPoweredProductions.com). Winner of the Glitch Award at the Lambeth Fringe 2025 and the Pleasance’s Charlie Hartill Fund 2026.”

WHERE: Queen Dome at Pleasance Dome (Venue 23) 

WHEN: 17:15 (60 min)

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Is this your first time to Edinburgh?

It’s WIT?’s first time taking a show up to the fringe, however a few of us have gone up in previous years as audiences and performed in other shows. We’re really excited to be heading up to the festival and have the opportunity to share Remember, Remember! with wider audiences and see how the show lands. I think what makes EdFringe so special is the sheer quantity and variety of productions on offer – there’s no place like it.

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

As a company we’ve definitely learned more and more about how to adapt and evolve with each iteration of the show. We’ve performed several short runs of Remember, Remember! in various theatres, and each time we’re tweaking and tailoring, and really fine tuning down to the last second so the piece is as strong and as current as it can be. I think when you’re working as a collective of 4 writers, you are constantly having to compromise and adapt because we naturally all have different tastes and processes, so we’ve really learned how to truly collaborate as a team.

Tell us about your show.

Remember, Remember! is a comedy musical about the Gunpowder Plot. It follows the story of Robert Catesby, our unlikely protagonist, who was the true mastermind behind the infamous tale of treason. Audiences can expect hilarious songs, forbidden love and explosive action in our incredibly silly, very camp show. It also features the voice of Sir Stephen Fry as the Narrator!

Our theatre company WIT? first met in 2024, working on NewsRevue together. We started co-writing the show in 2025 and took it to Lambeth Fringe, then to the Old Red Lion for Bonfire night, and then to HullTruck. We are currently co-producing the show with the Pleasance after winning the Charlie Hartill Fund this year, which has opened so many doors in so many ways. After Edinburgh, we are transferring the show to the Pleasance in November – (perfect for Bonfire Night!) and then we’d love to tour it elsewhere.

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

I absolutely love what TheatreGoose are doing and am very excited to watch The Plot that’s on at Summerhall – another show about the Gunpowder Plot! Emma Howlett is fantastic, and actors Sophie and Abby are both beyond brilliant.

I also can’t wait to watch Thermodrama from Love Lock Productions, at Summerhall. Their previous production BLANDY was one of my favourites last year – it was so excellent – and Coco Cottam’s writing is 10/10, so I think this will be equally as exciting. And it’s set in a sauna?!?!

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EdFringe Talk: The Tao of Lloyd

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“I’m finally at a point in my career where I’m making the thing that pleases me.”

WHO: Dennis Trainor Jr

WHAT: “Boombox romantic, Lloyd Dobler (Say Anything) returns! Seriously unserious, devoutly disobedient, still refusing to buy, sell or process anything. Now a Zen-punk dissident duct-taping ancient spiritual wisdom to the collapse of the American empire, with deep gratitude and zero credentials, like a sticky note saying: ‘Be kind. Rewind. Revolt’. Join Lloyd in a kinda-sorta guided meditation to survive late-stage effin’ everything… Like a vinyl record spinning in a microwave of manifest destiny, humming: ‘Oh well. Whatever. Never-mind.’ Written and performed by Dennis Trainor Jr. (Manifest Destiny’s Child), directed by Olivier winner Guy Masterson.”

WHERE: Drawing Room at Assembly Rooms (Venue 20) 

WHEN: 12:25 (60 min)

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Is this your first time to Edinburgh?

No, this is my second time bringing a solo show to the Fringe. I came in 2023 with Manifest Destiny’s Child, which was one of the great artistic adventures of my life. Scotland very kindly responded with generous audiences, thoughtful conversations, and enough 4- and 5-star reviews to trick me into coming back.

What I love about the Fringe is that it rewards the strange, the urgent, and the deeply specific. A great festival makes room for the thing that maybe shouldn’t work on paper but absolutely has to be done. That’s what brings me back.

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

The big lesson I’ve learned is that, yes, I would love great reviews and a small avalanche of five-star ratings—but also, f*ck that.

I’m finally at a point in my career where I’m making the thing that pleases me. I hope it pleases a lot of other people too, obviously, but I wrote the play I wanted to see onstage. Rick Rubin talks about making work for yourself first, because your own creative response is the only thing you can actually control. I can’t control the reviews, the audience, the weather, the ticket sales, or whether someone sitting in the front row decides halfway through that they hate me.

I can control whether I follow my own artistic impulses honestly. And I can honestly say that I’ve done that with this show.

Have I fully absorbed that lesson? Ask me again after the first two-star review.

Tell us about your show.

The Tao of Lloyd is written and performed by me, Dennis Trainor Jr, and directed by Olivier Award winner Guy Masterson, who is also presenting the show through Theatre Tours International.
The play grew out of my podcast of the same name, which combines political satire, guided meditation, Gen X mythology and the Tao Te Ching into a weekly attempt to remain human during late-stage America. The stage show takes that world and pushes it into a darker, funnier, and much more theatrical realm.

Guy and I first worked together on my 2023 Fringe show, Manifest Destiny’s Child, and this feels like picking up a conversation we started there: about power, complicity, American collapse, and how we somehow keep living inside systems we swear we’re resisting.

This is the world premiere. We’ll have preview performances in England before Edinburgh, but Assembly George Street is where the production officially meets the world. After that, the plan is modest: you know… tour it internationally, turn it into a Netflix special, and become successful enough that I can finally stop describing unpaid artistic labour as “development.” The universe may have other plans, of course, in which case I’ll need to change my name to avoid the mountain of credit-card debt I’m accumulating to make this show.

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

After everyone comes to see The Tao of Lloyd, here are a few shows that I’m interested in, and, if you’ve read this far, chances are you might be interested in them as well:
I loved Truth’s a Dog Must to Kennel when I saw it in 2022, and will most definitely be going back this year for its limited run. It is a fiercely intelligent and deeply funny show that challenges the question of why—or whether—we should still be gathering together to make theatre at all.

An Echo in the Void sounds like a darkly funny AI thriller about memory and identity, and it comes from the producers of BLUE, one of the shows I absolutely loved at the Fringe in 2023.

Don’t You Forget About Me sounds like a sharp, nostalgic identity crisis built around The Breakfast Club—which, as a Gen X theatre person still arguing with the movies that raised me, feels unavoidable.

Baby Everything sounds like a hypochondria-fuelled doomscroll through American collapse—which is exactly what inspired me to write my show, The Tao of Lloyd.

ALOK: Eat Pray Leave looks like a razor-sharp comedy about love, heartbreak, poor decisions and the end times. So, right up my alley/

Boy in a Box sounds like a provocative American solo show about race, history, and the stories a country tells itself to avoid confronting its own culpability.

Also, I’m part of Guy Masterson’s lineup, so yes, I’m going to shamelessly plug the other four shows presented by Guy Masterson: Scaramouche Jones, Call Me Elizabeth, Ludwig: Unfinished Business, and 11½ Angry Men.

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EdFringe Talk: Stephen Catling: Clown Fish Out Of Water

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“Nothing is too niche or too bizarre for the fringe and my new show is implicitly a love letter to that.”

WHO: Stephen Catling

WHAT: “When clowns can’t breathe water and fish can’t breathe air – what’s a poor Clown Fish to do in this cruel world? In 2025, Catling (Keep It Fringe Award Winner 2023, Malcolm Hardee Award Nominee 2023 and 2025) lost his slug mask. It was an essential part of his cult hit show Moving On…Really Really Slowly. This time, Stephen explores his life now that Autism has been “unmasked”, as well as his fin flapping rage against an increasingly soulless entertainment industry. Who knows what is going to be in store?”

WHERE: Wee Container 1 at Hoots @ Potterrow (Venue 243) 

WHEN: 22:30 (60 min)

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Is this your first time to Edinburgh?

This is not my first rodeo in fact this is my third full Edinburgh Fringe run and my 5th time as a performer and 6th time coming if you include puntering.

What makes the Edinburgh fringe so wonderful and special is that the festival is like a surrealist fever dream, you can see shows where people are talking about their lives in more conventional standup , to musicals about a plant named Potty who is in love with human. You can see the wonderful minds and characters like my friends Phil O’Shea or Rob Duncan and his printer and watch cult sensations like the magnificent beast that is John Robertson who oozes with anarchic fun and energy.

Likewise as a performer it is a chance to do the thing that I love everyday many people who will then adore you or be baffled and befuddled as you break their sense of reality as you bring them into your own world. It is a hotbed of imagination, dreams and nightmares. What’s not to love? And if you see something you don’t love, who gives a fuck? It was only an hour max there is probably another 10 shows that will resonate with you and you might just find something that is truly special and unique. Nothing is too niche or too bizarre for the fringe and my new show is implicitly a love letter to that.

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

It has been said “No man is an island” and this is why I am proud to say I am working with my producers Ingenious fools to take on board some of the pressure of the Fringe for me ; Susanna and Jen do excellent work.

I have also learnt to take even greater risks in my comedy and play with the audience even more though I do not wish to reveal all within this interview.

Tell us about your show.

The show New Show which is my third is called Clown Fish Out Of Water , it’s either about not fitting in society as an autistic individual either within my day jobs or sometimes in the entertainment industry which is valuing less creativity and invention and more relying on what is safe such as cashing in on nostalgia or might be just an excuse for me to do a Bunch of silly shit.

The show is written by myself, directed by the wonderful Phil Green and is produced by the fine folk of Ingenious Fools. Phil has directed all 3 of my Edinburgh Fringe show and Ingenious Fools came in after mutual recommendations that made us want to collaborate, probably due to the successes of the first two cult hit shows Beehavioural Problems… something something autism and Moving on…really really slowly, both of which got Malcolm Hardee nominations for comic originality.

This new show has actually done more previews then any of my previous shows and has also done festivals I have never done before such as Cambridge Fringe. After the Fringe it will do Birmingham and Nottingham Comedy festivals. It is my dream to get a Soho theatre run, either for the alumni festival or The London clown festival.

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

You must go see Molly McGuinness and Paul Campells cult show Heron Foods at Monkey Barrell, now if my word alone is not good enough I like to highlight Molly is an Edinburgh comedy award nominee and also helps in the writing and directing of Joe Kent-Walters aka Frankie Monroe (who you should also see because he is absolutely brilliant and his manic energy and charisma is out of this world) and Paul is a great surrealist comic mind who won the Malcolm Hardee award and knows his supermarkets (his show last year was on Somerfield).

Other people I would love to give some love are Consignia because they are truly the bravest most daring of comics on the circuit bar none. I will also recommend Nate Kitch , Lil Wenker , Dru Cripps, Bec Hill , Jordan Brookes and Paul Hilleard as they are all fun and inventive folk in their comedy.

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EdFringe Talk: Rob Preston: Amazing Global Solutions

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“I think a great festival is one where don’t overextend, take it easy, take it at a nice pace, you’re there for a month so just cool your jets.”

WHO: Robert Preston

WHAT: “Character comedian Rob Preston just wants everything to be perfect again. Join him and his unlikely cadre of alter-egos on their quest to dominate the content space, end mental health and bring lasting international peace to the entirety of the globe globally. A big ask? Sure. But someone’s got to pull their finger out. BBC New Comedy Award and Pleasance Reserve Shortlist. Soon to appear in Leo Reich’s Channel 4 and A24 sitcom It Gets Worse. Star of Fringe 2025 sell-out comedy play Brainsluts: **** (Guardian). **** (Times). **** (List). ‘Crowd favourite’ (BroadwayWorld.com).”

WHERE: Below at Pleasance Courtyard (Venue 33) 

WHEN: 20:20 (60 min)

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Is this your first time to Edinburgh?

No! I performed twice when I was at Uni with The Leeds Tealights sketch comedy group in 2018 and 2019, then last year I was in the play Brainsluts which reignited my love of the Fringe. When I was at Uni I was basically drunk for an entire month, I was so ill from about day 3, it’s remarkable I survived. Last year was a much more professional affair which was nice! I think a great festival is one where don’t overextend, take it easy, take it at a nice pace, you’re there for a month so just cool your jets.

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

I’ve learned that I am a procrastinator and a perfectionist, but that both of those are KEY blockers to ever creating anything. I think I’ve overcome them – largely – but need to keep an eye on them. Sometimes I do need to clean my shoes and put several washes on though, sometimes I actually do need to do that.

Tell us about your show.

It’s been a while in the making. It’s sort of an amalgam of stuff I did when I was a stand up, mixed with all newer character stuff. I did a VERY rough version of it as a WIP last year which was so useful and really got me on the path to the finished show today (at the time of writing the show isn’t finished but I anticipate it will be by start of Fringe, right? right??) It’s being produced by the unbelievably brilliant Queenie Miller who has made the whole process so smooth and easy, and directed by Dan Bishop who also wrote Brainsluts last year – he’s got another play this year too, Target Audience, the guy is addicted to writing acerbic satires. I’d love to take it SOMEWHERE after Edinburgh but nothing confirmed yet. Maybe a mini tour of despotic nations. North Korea. Belarus.

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

The list grows every day as I see and hear about more exceptional comics who are taking shows up. In no particular order. Em Humble. Emmeline Downie. Maia Tassalini. Target Audience. Rockpools. Freddie Meredith. Ele McKenzie. Rory Marshall. Dom McGovern. Marty Gleeson. Rosalie Minnitt. Burger & Pint. Will & Noah. Bella Hull. Josh Glanc! There are so many.

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EdFringe Talk: Dinosaurs

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“I’ve learned that I need to make rest a priority and be intentional with my time.”

WHO: Mandy Rubeli

WHAT: “Dinosaurs begins when Claire comes home to an unexpected guest: a real-life dinosaur rummaging through her apartment. After retracing her steps, she concludes the dinosaur is a strange manifestation of unresolved trauma she carries after being sexually assaulted as a teenager. Claire then determines the only way to send the dinosaur back in time is to find closure. For fear that the very fabric of time and space could collapse at any moment, her quick solution is to confront her abuser, and somehow, what she discovers in the process is even more unexpected than a spontaneously appearing dinosaur.”

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

WHEN: Varies (50 min)

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Is this your first time to Edinburgh?

I first came to Edinburgh in high school, when I performed with my high school theatre troupe. Returning now, after studying theatre in college and growing as a performance artist in Los Angeles, feels like a homecoming. I’m really excited to experience the Fringe with fresh eyes and discover how it continues to challenge, inspire, and transform me as an artist.

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

Over the past year, I’ve learned that I need to make rest a priority and be intentional with my time. The Fringe is full of incredible opportunities, but I can’t say yes to everything. Staying focused on my “why” helps me decide which shows, events, and experiences I want to prioritize. I’m not sure I’ve fully absorbed those lessons yet, but I’m hoping Edinburgh will be a great place to try putting them into practice.

Tell us about your show.

The Nightmare Lizards are a collective of multifaceted artists specializing in creating work that is absurd, existential, and somehow, still sort of funny. They have produced several ensemble pieces at the Hollywood Fringe Festival, each earning critical acclaim and multiple accolades, amassing a total of ten awards and nominations. Their work has been featured in over fifteen local and international publications and highlighted on two podcasts. Certified reviewers have praised their work, with one calling their sophomore piece Dinosaurs, “The best play I have ever seen.”

Dinosaurs is a dark comedy about time travel, healing your inner child, and revenge, written and produced by Nightmare Lizards founder Mandy Rubeli. The show begins when Claire comes home to an unexpected guest: a real-life dinosaur rummaging through her apartment. After retracing her steps, she concludes the dinosaur is a strange manifestation of unresolved trauma she carries after being sexually assaulted as a teenager. Claire then determines the only way to send the dinosaur back in time is to find closure. For fear that the very fabric of time and space could collapse at any moment, her quick solution is to confront her abuser, and somehow, what she discovers in the process is even more unexpected than a spontaneously appearing dinosaur. The piece has been performed twice at the Hollywood Fringe, and we hope to keep touring the piece after Edinburgh.

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

Two shows I’m especially excited about are Mark Vigeant’s Out There and Greg Nussen’s QWFWQ. They are both fantastic artists whose work has thrived at Hollywood Fringe. Mark’s work will make you laugh so hard it hurts, and Greg’s piece will take you on an introspective journey through your mind that will leave you feeling transformed.

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EdFringe Talk: Angela Bra – Secret Diary of a Bingo Call Girl

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“I always love bringing my show here as I get to meet plenty of like-minded people and have the opportunity to perform in the most unlikely of venues at the most unlikely of times.”

WHO: Angela Bra

WHAT: “Angela Bra has seen it all. Hen do high jinx, butlers in the buff, glamorous grandmas, and mothers escaping their family for the night. She’s handled more balls than a gynaecologist on a pay-per-view contract and can do it whilst leading the Macarena. She returns to Edinburgh with a brand new show packed with original songs and stories from the front line of the party bingo circuit, wrapped up in a round of her very own great British bingo for everyone to play. Critics Choice Award Winner, 2025 Bay Fringe.”

WHERE: Upstairs at Laughing Horse @ Bar 50 (Venue 151) 

WHEN: 21:00 (50 min)

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Is this your first time to Edinburgh?

This will be my fourth Angela Show at the festival and the first where I perform an hour about my life on the north-west party bingo circuit, before hosting an hour of the bingo cabaret show itself thirty minutes later across the road! I always love bringing my show here as I get to meet plenty of like-minded people and have the opportunity to perform in the most unlikely of venues at the most unlikely of times.

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

I’ve learned that social media isn’t everything. Year in year out a loyal number of people return to my shows and tell their friends and family. Whilst it’s lovely to get thousands of views, likes and comments – it’s the real people in the room that matter.

Tell us about your show.

‘Angela Bra – Secret Diary of a Bingo Call Girl’ is the follow-up to my show of the same name from last year. This time around there are new songs and stories from my life calling numbers at party bingo across the country alongside stage games and a round of my own “Great British Bingo” which celebrates the positive, inclusive and progressive views of our country whilst occasionally poking fun at those who seek to turn back the clock.

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

I would definitely recommend going to see Ali Woods if you haven’t already. He regularly performed at my tiny shows in London many years ago and I’ve watched him grow and grow without over-reliance on mainstream conventional channels.

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EdFringe Talk: Sinatra: One Last Shot

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“Producing means you wear two hats because there’s money on the line so you’re keen to get an audience in, but it also gives an edge to performing and it’s a full-on experience.”

WHO: Richard Shelton

WHAT: “Sinatra and the 70s are not a good fit. He hates retirement and his comeback album flops. Concerts prove he can still pull in a crowd but he feels out of step with the times. Will he ever find that one big hit to redefine him? Told as a monologue from his Palm Spring’s den, this brand-new show stars Richard Shelton after his critically acclaimed Sinatra: Raw show wowed critics worldwide. Written and directed by Bert Tyler-Moore, creator of The Windsors. ‘Shelton is phenomenal. He captures the essence of the man perfectly’ (BBC Radio 4).”

WHERE: Dirty Martini at Le Monde (Venue 47) 

WHEN: 15:30 (60 min)

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Is this your first time to Edinburgh?

This is my twelfth Fringe and whilst each time is different, the excitement is the same. Bringing a show to the Fringe a life affirming experience and this show is special because it’s the continuation of ’Sinatra: RAW’ which started it’s life here before getting global critical acclaim, so it feels like coming home. Producing means you wear two hats because there’s money on the line so you’re keen to get an audience in, but it also gives an edge to performing and it’s a full-on experience. It’s an Alice in Wonderland experience being a punter.

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

I had an epiphany with this show! I live in Los Angeles and after having spent time in Palm Springs and visiting the second of Sinatra’s homes by private invitation, I was staring out at the mountains from my home, which stretch through to the Palm Springs desert from LA and it stuck me right between the eyes like a bullet – this is the next stage of the Sinatra story that needs telling. It came to me, not the other way around. It demanded telling of me, through me. It’s powerful stuff. I’m a big believer in manifestation.

Tell us about your show.

I conceived the idea and collaborated with Bert Tyler Moore who writes ‘The Windsors’ on Channel 4 TV to write the script. I am producing it. We have a London try-out and will wait to see what the public thinks before making plans for the future. After the Fringe, I will bring it back over to Los Angeles and develop a screen play concept from it.

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

Audiences should certainly see what they love but also what challenges them. I like seeing work that stretches me. Some of the most memorable shows have been those I didn’t think I would necessarily enjoy but they stayed with me. I recommend a mix – some music, some comedy, something late night and something to make your brain tick.

I am excited to see Mike Hatchard in Ludwig: Unfinished Business, Kayla Boyle as Elizabeth Taylor in Call Me Elizabeth, and 11 ½ Angry Men.

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EdFringe Talk: Dystopia 26: The Rock Opera

Posted in *EdFestivals 2026, *Written Interviews by

“I’ve seen the Fringe change in many ways over the years. It’s become more difficult to put on a show because of the technical and administrative demands, while the ever-growing number of productions means you’re competing for people’s attention like never before. Cost is another huge consideration.”

WHO: Justin Skelton

WHAT: “A five-star, two part, immersive political satire and electrifying rock spectacle. You’re not just an audience – you’re a Dystopian, summoned to join a state “Dystopiation” event where you will vote. From martial law to election to a glittering new cult of happiness, this two-part odyssey skewers power, greed and propaganda with monstrous masks, biting lyrics and a ferocious live band. Performed as if from prison by disgraced spin doctor Beldon Haigh and arsonist Helen Raiser, it’s bold, provocative and unexpectedly human – a defiant, beacon of hope.”

WHERE: Auditorium at Bedlam Theatre (Venue 49) 

WHEN: Varies (100 min)

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Is this your first time to Edinburgh?

Edinburgh Fringe is a magical place and time. I grew up attending Fringe shows and performing in various productions and gigs. Dystopia: The Rock Opera has been here in 2024 and 2025, and every year the show gets bigger, sharper and better. This year will be the whackiest one yet.

As a writer, performer and producer, I’ve seen the Fringe change in many ways over the years. It’s become more difficult to put on a show because of the technical and administrative demands, while the ever-growing number of productions means you’re competing for people’s attention like never before. Cost is another huge consideration.

But if you’re fortunate enough to bring a show to Edinburgh, it’s a tremendous privilege. There’s nowhere else quite like it. It’s one of the greatest learning experiences a creative person can have, and something never to take for granted.

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

The biggest lesson has been: be careful who you listen to.

Spend more time listening to people who increase your energy, and less time listening to those who quietly dull your creative flame. Hold firm to your creative standards.

I’ve also learned that simplicity is a wonderful thing – but so is complexity, and there’s nothing wrong with trying to achieve both.

Finally, building a great show is only half the job. You have to work every bit as hard on getting people through the door as you do on creating the thing they’re coming to see.

Tell us about your show.

I wrote Dystopia: The Rock Opera because I wanted to create a musical satirical spectacular about the chaotic times we’re living through. It’s a rock opera built around eighteen original songs – each one telling its own story – exploring politics, money, power, greed, authoritarianism and, ultimately, happiness.

I wanted the show to be immersive, full of energy and relentlessly optimistic, especially in the face of the challenges we’re living through today.

Some people say politics has become too bleak for satire – that reality has overtaken comedy. I don’t subscribe to that. I think art often does its best work when dark forces are banging on the door.

So I wrote Dystopia: The Rock Opera because now felt like the only time to write it. And I keep writing it. Every performance changes something because that’s what the show demands. It reflects the world around it. But one thing never changes: it will always be a work of optimism, hope and joy, because I choose to make it one.

It’s political satire, rock gig, comedy and a surprisingly optimistic story all rolled into one.

I’m also producing the show. The company has become a community of brilliant musicians and performers who completely understand the gig-theatre approach. We’re not interested in preaching to anyone. We’d much rather audiences sing, dance, laugh and even cry first—and think afterwards.

The show has had previous productions and has evolved enormously through performing it. Every run teaches us something, so Edinburgh isn’t the destination; it’s another stage in its evolution. After the Fringe it’ll head back out on tour because, if anything, the world seems to be catching up with the story rather than the other way round.

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

Go and see shows you know absolutely nothing about.

Seek out original productions. Shows that look like they’ve been made with more imagination than money. Personally, I tend to avoid the big names—that’s not really what the Fringe is about for me.

If you’re in the mood after Dystopia, go looking for artists who are taking risks. There are plenty of them at Bedlam Theatre, and all across Edinburgh you’ll find people who’ve mortgaged their savings, maxed out their credit cards and spent years creating something they believe in.

Support them. They’re one of the reasons the Fringe remains unlike anywhere else in the world.

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