Category Archives: *EdFestivals 2026

EdFringe Talk: Lizzy Sunshine

Posted in *EdFestivals 2026, *Written Interviews by

“The lesson that I’ve absorbed the most is you must rest as hard as you work. I’ve prioritized rest, breaks, and my health in the last year so that when it’s time to go Beast Mode I’m well-equipped!”

WHO: Liz Coin

WHAT: “When her partner doesn’t show, Lizzy Sunshine makes the audience her co-star. She promised a two-person show. She got… you. Following sold-out runs at Soho Playhouse and beyond, Liz Coin is BACK with this chaotic, feel-good spectacle! Expect a fast-paced hour packed with gags gone wrong, big characters and something real just beneath the surface. ‘A smart piece of theater masquerading as a clown show’ ***** (TheatreVillage.co.uk). ‘A master of comedy & audience engagement’ ***** (RichardsTheatreReviews.com). ***** (Young-Perspective.net). ***** (EvulveProductions.com). ****** (Liz’s Mom).”

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

WHEN: 14:20 (60 min)

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Is this your first time to Edinburgh?

This will be my SECOND time in Edinburgh! I came to the Fringe for the first time last summer for the first 2 weeks with a more work-in-progress version of Lizzy Sunshine. It was incredible and a WHIRLWIND – everything was new to me and so exciting! This year I’m doing the full month, fundraised 5x the amount of money, have a team of 4, and know a bit more of what to expect/how to succeed. And I know better than to call it “EdinBERG” so that’s a start.

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

This last year has felt like my necktie was caught in a rocket ship – SO much growth, new opportunities, and a bit of a “level up” on my social media and general resume. I’ve learned that the more you put yourself out there the more you get picked up, which I suppose seems obvious but is easier said than done. I’ve learned a ton about content creation, crowdfunding (we raised $14k for Fringe), and touring with a solo show. In the last 12 months I’ve done my show in Chicago, North Carolina, New York City, and London. Some major lessons include: film every show because you never know which will be “the good one,” cancel the show if you are actually too sick to perform (I had pneumonia & still performed… dumb), and you will always feel like you’re behind. You’re not, you’re right on time.

The lesson that I’ve absorbed the most is you must rest as hard as you work. I’ve prioritized rest, breaks, and my health in the last year so that when it’s time to go Beast Mode I’m well-equipped!

Tell us about your show.

I wrote Lizzy Sunshine and have been developing it since 2024! The original idea was an over-the-top charismatic, energetic young girl putting on a show with her addict brother who promised to show up but never does. Lizzy Sunshine was a nickname from my mom because I’d always make the bad times brighter, and this show is for all the people who had to learn how to become sunshine.

I promise it’s not sad – Lizzy sees her shows as giving Broadway spectacle, in reality it’s giving church basement and the Glee soundtrack.

I first developed the show with Tim Murray (Witches, HBO) into a 20 minute piece for Solocom NYC. It matured into a full-fledged hour through trial and error shows in NYC, Minneapolis, and even my Iowa hometown community theatre! I worked with Holly Mandel on plot strengthening, and eventually brought on my now-director Makena Reynolds. Makena is an incredible director who saw my very first 20-minute piece ON ACCIDENT in 2024.

I have been my own producer from the jump, even as we dove into uncharted waters Off-Broadway at Soho Playhouse (sold-out baby!) and Off-West End in London at the Drayton Arms Theatre. This summer I’ve brought on some associate producers (Lauren Herd and Ron Weiss) to help, as well as a few Northwestern University students to be my production support staff.

After Fringe, I will be taking the show back to the states to be turned into a special! My dream is to have Dropout produce it. I am really hoping to meet more industry people this Fringe and make connections in the Film/TV space. The plan is to develop the show concept/character into its own pilot and work on pitching that! Lizzy Sunshine is just the beginning of my writing career and I’m so proud that it will always be the first big chance I took on myself.

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

YESSS go see Sid Singh’s Love Bombing – I saw him do it in London and it’s hilarious and lowkey VERY touching. I’d also recommend Alexis Sakellaris’s “Child Star” – he talks and sings about being in the German Glee and it’s ridiculous and perfect.

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EdFringe Talk: I Almost Died for This?! (A love story. Sort of.)

Posted in *EdFestivals 2026, *Written Interviews by

“The huge challenge of Edfringe is probably a big part of what makes it such an amazing and satisfying experience overall.”

WHO: Kristina Libby

WHAT: “‘A powerful piece about love, loss, and choosing connection’ ***** (AllAboutSolo.com). ‘All Soul’ (Forbes). Winner: Best Storytelling Show – United Solo Fest. I Almost Died for This?! is a one-woman show about a good girl who meets her soulmate, gets in way over her head, suffers a brain injury, and comes roaring back. Kristina Libby has been published in The New Yorker, McSweeney’s, Elle, and appeared on ABC, NBC, CBS and PBS.”

WHERE: Space 1 at theSpace on the Mile (Venue 39) 

WHEN: Varies (55 min)

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Is this your first time to Edinburgh?

No! I went last year as an audience member and fell in love with the whole experience. I loved it; it felt spiritual and magical and I wanted to be part of that. I love the small spaces and big, ambitious shows. As an audience member I felt like I received so much wisdom and of course, there is so much joy and laughter. I was already developing my show, I Almost Died for This, but attending gave me rocket fuel to really make a great show and bring it back.

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

In the last twelve months, I’ve really seen how essential authentic and transparent communication is with each other. My show is my true story, laid as bare as possible, so as to allow other people to see themselves and find a sacred space to share their feelings.

So much of my life was about being a “good girl” and required that I behave with a mask on my true wants and needs. But, when I was able to finally be myself, I was also to really have deep, compelling and meaningful conversations with people who then felt free to be themselves. I think that is the power of this show but also the power of living as holistically as we can.

Tell us about your show.

My show, I Almost Died for This?!, is autobiographical. It’s the story of a good girl, who gets in way over her head, finds a soulmate, loses a soulmate, gets a traumatic brain injury and then comes roaring back. The recovery is due to the twinned healing power of art and community.

It’s self-written and self-produced. But directed by Padraic Lillis with violin accompaniment by Daniel Lee. We performed in NYC twice – both times for 3 night runs to sold out audiences and great reviews. All About Solo gave the show five stars and said “May we all have Kristina Libby’s heart.” On the strength of those runs, we are taking it to Fringe – but also I love the festival. It’s a beautiful month celebrating creativity and creative voices. I can’t wait to be there!

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

Friendliest by Drew Lausch – a twisty story with an ending you won’t expect.

Once Upon A Wall Street by Jerry Topitzer – Jerry takes on the secret nature of the financial world with real wit. It’s sharp, funny, and surprisingly moving.

How to Poop in an Outhouse at 54 Below by Kona Morris – The title alone should be enough! Kona is a fearless storyteller who commits fully to the bit and takes you somewhere completely unexpected.

Stay by Sally Brooks – Sally’s work is deeply human and tells a beautiful story of how one unexpected act can change an entire life.

American Assholes: Escape to Edinburgh by Lauren LoGiudice – Lauren is one of the funniest people I know, and this is her at her best: irreverent, self-aware, and a total blast.

Duck by Sam Morrison – Sam is a brilliant performer with a sharp eye for the human in the comedy. A must see!

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EdFringe Talk: It’s A Struggle Coming Out

Posted in *EdFestivals 2026, *Written Interviews by

“I have learned that it is okay not to always have every answer. In fact, it is better to ask for guidance than to allow the fear of potential judgment to dampen my productivity and faith in myself.”

WHO: Paige Iacobacci

WHAT: “When four Evangelical teens plan to convert citizens for their debutante ball, a closeted goth teen falls for a vampire, igniting a campy crusade of repression, romance and religious hysteria – forcing her to choose between her church, friends and thirst for authenticity. Written and performed by students at USC and fresh off a sold-out run in Los Angeles, It’s A Struggle Coming Out makes its international debut!”

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

WHEN: 18:05 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes, this is my first EdFringe experience! In fact, this is my first experience participating in any arts festival. As the On-Campus Producer for “It’s a Struggle Coming Out,” I am thrilled to take our show abroad and to attend productions from around the world. I am so grateful to be traveling to Edinburgh and look forward to being surrounded by thousands of inspiring artists and audience members who share the passion for theatre as I do.

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

Two of the biggest lessons I have learned while producing this show are to trust my ability to take on roles that intimidate me and to recognize that honesty and humility are essential to good leadership. When I applied to produce “It’s a Struggle Coming Out,” I was nervous to take on the position because I had never produced a theatre production before. However, since accepting the role, I have learned that it is okay not to always have every answer. In fact, it is better to ask for guidance than to allow the fear of potential judgment to dampen my productivity and faith in myself. Like the young women in our show, who face uncertainty and struggle with self-doubt, I was often insecure, too. However, being surrounded by such an amazing cast and crew and with Fiona’s guidance, I was able to trust myself and let go of some of the pressure, leaving me truly ecstatic for EdFringe and the work that lies ahead.

Tell us about your show.

Our show, “It’s a Struggle Coming Out,” written by Ben Berman and directed by Alec Schwartz, is a witty farce that combines early 2000s humor and film references with themes of religion, friendship, and sexuality. Produced by Los Angeles Theatre Initiative, led by Fiona McGrath, the production features a cast and crew of students from the University of Southern California. In February, we debuted the show in Hollywood in a sold-out, three-show preview run. Since then, the production team, cast, and crew have been working tirelessly to make the show as polished, hilarious, and meaningful as possible for our run in theSpace at Niddry Street. Throughout our EdFringe performances, we hope to foster vibrant, interactive audiences, build momentum for the show, and lay a strong foundation for potential future productions beyond our own.

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

After It’s A Struggle, go see the rest of what LATI is bringing to Fringe this year!

Be sure to catch Revelation which is running back to back with our show! It is making its international debut following a sold out run in New York and boldly examines the horror and hope of being American through the lens of the four horseman of the apocalypse.

Guns In Dragonland is back after a critically acclaimed run at last year’s festival with a new production and cast. It’s a powerful and moving show about the very timely subject of gun violence in American classrooms. The show is somehow tender, inventive, yet quietly devastating, the kind of hour that gets people talking long after they leave the theatre.

I would also make sure to catch DECKHAND which received 5 stars at Hollywood Fringe and makes its international debut in the last week of the festival, it is a fast paced comedy set aboard a sinking ship that explores the toxic and nuanced relationship between an assistant and their boss.

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EdFringe Talk: Guns in Dragonland

Posted in *EdFestivals 2026, *Written Interviews by

“There is something so special about a singular event that brings thousands of artists of many mediums, countries, and stages of their careers together to celebrate what we all love most in the world: performing arts.”

WHO: Kathryn Hansen

WHAT: “Navigating youth is a universal challenge, but with the constant threat of firearms, American students are faced with their own mortality before they stop wearing tutus to school. Fortunately, these kids don’t have to face this horror alone, meet the guardian angels of America’s youth: dragons. Created and presented by students, Guns in Dragonland is a series of vignettes exploring American school society and its shocking overlap with America’s gun culture. Witness as these children and their dragon guardians grapple with the dangers of gun violence with humour, bravery, and compassion. ‘Surprising and extraordinary’ (David Henry Hwang).”

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

WHEN: 18:05 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my first EdFringe! I am so honored to be a part of such a vibrant community of artists that overtake the city of Edinburgh. There is something so special about a singular event that brings thousands of artists of many mediums, countries, and stages of their careers together to celebrate what we all love most in the world: performing arts.

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

This year, I have had a lot of time to reflect on the role that art plays in my life. I was struggling with my relationship to art, felt burned out, and couldn’t find that creative spark that used to burn so bright. I had the realization that I stopped letting my curiosity take the lead; I wasn’t allowing myself to just explore things that I loved just for the sake of loving them. It’s definitely a difficult balance to find when your career is in a creative field, but I have been trying to more consciously follow my curiosity and allow myself to be inspired again by the world around me. Sometimes, you need to allow yourself to nerd out about the little things, like the way the trees rustle or a really good song!

Tell us about your show.

I am stage managing “Guns in Dragonland” written by Eislinn Gracen, and produced by Los Angeles Theatre Initiative. LATI brings groups from different universities across the US to the Fringe every year, and I am lucky enough to be a part of the incredible team of students from Loyola Marymount University in Los Angeles who worked on this project! This play premiered last year at the Fringe with another one of LATI’s groups and will continue to develop after this production!

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

After Guns In Dragonland, go see the rest of what LATI is bringing to Fringe this year.

Revelation and It’s A Struggle Coming Out are both making their international debuts following sold-out runs in New York and Los Angeles! Revelation explores the horror and hope of being american through the lens of the four horsemen of the apocalypse and It’s A Struggle brings you everything you could want in the form of campy queer vampires and their thirst for authenticity.

I would also make sure to catch DECKHAND which received 5 stars at Hollywood Fringe and makes its international debut in the last week of the festival, it is a fast paced comedy set aboard a sinking ship that explores the toxic and nuanced relationship between an assistant and their boss.

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EdFringe Talk: Mel Hudson: Richard Ashcroft Revived My Libido

Posted in *EdFestivals 2026, *Written Interviews by

“Who knows what will happen? Hopefully either a stratospheric career jump or a deep and long-lasting friendship with myself.”

WHO: Mel Hudson

WHAT: “See how Mel Hudson revived her libido, courtesy of Richard Ashcroft. In 2022 Mel thinks her love life is over. She is prepared to go to her grave as a sexually redundant cat lady. Then 3 things happen: lockdown ends, the cat dies and Mel attends a momentously revitalising musical event at Crystal Palace Park Bowl. Suddenly men are not so paused. From Alan Partridge, The Catherine Tate Show, Hudson and Pepperdine. ‘What an honest, funny show, cleverly insightful and life affirming’ (Phil Clarke, Producer of Peep Show).”

WHERE: Wee Room at Gilded Balloon Teviot (Venue 14) 

WHEN: 16:20 (60 min)

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Is this your first time to Edinburgh?

No! I was here way back in 1998 and 1999 with my double-act, Hudson and Pepperdine. Our first show was called ‘Beaver Pitch’ – we had a really successful Edinburgh, despite a couple of awful moments (a reviewer for The Herald hated us and our respective childminders fell out very badly on the same day) – we got a pilot for Radio 4 from it, which grew into 4 series of The Hudson and Pepperdine Show. I was back in 2011 with a sketch group, Sketch Department, and our show Please Retain for Your Records, which grew into some very deep and long-lasting friendships. ‘Richard Ashcroft’ is my first solo show! Who knows what will happen? Hopefully either a stratospheric career jump or a deep and long-lasting friendship with myself.

I love coming as a punter – I’ve been up many times when not performing myself. As a performer it’s slightly harder work, but still liberating and exhilarating. Unique.

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

I think the huge thing is to do with managing doubt and fear – imposter syndrome if you like. When I did my first preview for an invited audience back in December, I couldn’t sleep the night before, and the ‘I just can’t do this/who am I kidding?/ why would anyone want to hear this?’ voice was loud in my head all day. My poor fantastic daughter (who is in the show – briefly) and my amazing director, Sam, practically had to scrape me off the floor and drag me to the Museum of Comedy (where the show was happening – not where I was being permanently housed as an exhibit. Hopefully one day.)

But as soon as I got there – something kicked in. I felt happy in the venue, I always feel happy in theatres, I remember that I know what I’m doing and it’s not really about me – it’s about the audience, and love. It went really well, and so you move on to the next one. Sam (Holland-Bunyan) always says, as older women, ‘We hold our nerve and we take our space’ – and every time the doubt creeps back in, I remember that. It’s taking me time to ‘absorb’ that lesson – maybe you never fully do – maybe you never fully SHOULD do. But I’ve done the show 11 times now and it’s always a total blast, to be honest. I love it.

Tell us about your show.

The show is called Richard Ashcroft Revived My Libido, and it’s obviously about my own experience. It’s about how, aged 56, I accidentally repeated a level on the multi-player RPG of life, one you’ve normally completed, as a heterosexual woman, by about 16 – that is, developing an adolescent infatuation with a rock star – and finding that that’s a gateway drug to men in general. In my case, I was resigned to life as a celibate cat lady – then I went to a gig at Crystal Palace Bowl, fell in love with Richard Ashcroft (ex-The Verve) and finally got my libido back, after a ten-year drought. But it’s also a sort of history of my libido from birth to now – libido in all senses, including your creativity. And it’s a paean to Richard Ashcroft. 

It’s self-penned and self-produced, with amazing help from Ripley North (my daughter) who’s just left drama school (The Bridge Theatre Training School in London) and who inspires me every day. So she has a role in the show, as herself.

Sam I’ve known for years, she’s a fantastic director, and has really been co-producer. Again back in December, I had booked the venue to do the first outing – and it occurred to me to ask for her input. The first thing she suggested I do was actually write it. I was wavering about it and thinking of cancelling the booking. She said ‘I strongly urge you to commit’. So I wrote it in ten days, sending bits to her as I went, and saying ‘does any of this work? It needs editing doesn’t it?’ – and she said ‘yep just keep vomiting it all out and we can cut it later.’ (We are still cutting it.)
As for after Edinburgh – so far we’ve got one more follow-up date booked in October (16th) at Museum of Comedy in London again – but I’d like to do more dates in different parts of the UK – so hit me up! (C/O Blue Book Artist Management).

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

Do see ‘Am I Losing My Mind Or Just My Figure’ – (Playground 1 at Zoo Playground, 12.45pm, 7th-30th August) – a wonderfully moving and funny piece about a young woman navigating relationships, pregnancy and miscarriage in the modern age. They’re not on Twitter, sorry! Insta is @amilosingmymindorjustmyfigure

And Dan Tiernan (Quartz and All, 22.25pm, Monkey Barrel 1, 3-30 August) is my pick of standups for this year – so funny. Again not on Twitter.

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EdFringe Talk: Hannah Byczkowski: Killer

Posted in *EdFestivals 2026, *Written Interviews by

“Wherever you walk into you can expect to see something you’d never seen before, whether that’s a bloke eating cheese on stage at 4am or a half-naked person covered in slime. What’s not to love?”

WHO: Hannah Byczkowski

WHAT: “Winner of the first season of BBC’s The Traitors, Hannah Byczkowski digs into death in her debut hour. In her hilarious, no-nonsense style, Hannah explores everything from craft projects for loved one’s ashes, funeral faux pas and why she’s not running from serial killers. Hannah is the co-host and creator of the hit podcast Ghost Huns with over 5 million listens and 1.3 million followers on TikTok. NTA winner. TV also includes The Stand-Up Sketch Show (ITV2) and Celebrity Weakest Link (BBC One). ‘Want to howl with laughter? See Hannah. She is a comedy goddess’ (Claudia Winkleman).”

WHERE: Turret at Gilded Balloon Teviot (Venue 14) 

WHEN: 17:10 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It’s my third year in Edinburgh performing, but my first time doing an hour for the whole run! I’m so excited to do my show every single day, run (I use that term loosely) around Edinburgh doing different gigs.

What I love about the Fringe is that every venue gets involved, wherever you walk into you can expect to see something you’d never seen before, whether that’s a bloke eating cheese on stage at 4am or a half-naked person covered in slime. What’s not to love?

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

The biggest thing I’ve learned is that for your show to be good it needs to be consistent, it doesn’t matter how big or small the audience is, or who’s actually there, every show during Edinburgh needs to be the best I can do it. And I think I’m getting that now!

Tell us about your show.

I wrote the show with fabulous direction from the wonderful Rob Deering. It started as a show about my funeral but then I thought….that’s a bit self obsessed and self obsession is certainly not a trait of a comedian. It’s now become something else with a hint of true crime!

I really wanted to delve into what death means to me, how I feel about my own death, but the show had other ideas and it’s become something totally different, and I’m really excited for people to see it.

No plans as yet to do anything for after Edinburgh but things may change so watch this space!

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

Rachel Fairburn is absolutely amazing and hilarious, you should definitely see her. Also Adam Greene and his show ‘The Wizard of Ozempic’ is one of the funniest things I’ve seen in ages!

I think people should see things they wouldn’t usually watch. If you see something interesting, a poster by someone you’ve never heard of, take a punt on the show. Edinburgh is a place for exploration and taking chances, so do it!

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EdFringe Talk: Citizen Otherplace

Posted in *EdFestivals 2026, *Written Interviews by

” I felt especially skilled to talk about how INSANE the American medical and medical- billing system is.”

WHO: Stacy Price

WHAT: “What happens when a diagnosis makes you a target? As the audience “checks in,” a medical crisis spirals into a surreal chase led by Mike, a relentless billings collector. Through a kaleidoscope of uncomfortable characters, this show satirizes the absurdity of the American medical system. Wildly funny and deeply unsettling, it’s a high stakes journey into the heart of a broken system. Hilarious yet harrowing glimpse into a future the UK may soon inherit. Created by viral sketch artist Stacy Price (Groundlings, Actors Gang) this show blends comedy with total chaos, leaving the audience asking: is this real?”

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

WHEN: 13:45 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

The Edinburgh Fringe is a once in a life time experience and I have never been before! One of our producers hasn’t been in 20 years! She found a picture of herself on a staircase and wants to re-take the photo. It’s a real full circle moment for her. Our Creative Producer attended as recenty as last year and has a real lay of the land! I think remembering that this is a great opportunity to SEE not just be SEEN is very important. We are so lucky to come across the artists we will in this fantastic place! AH, I’m so excited!

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

Patience, patience, patience. After months of development, our first workshop was in NYC, right by 34th street the day of a huge New York Knicks’ game, which meant wild problems with transit and then there were about 5 other disasters. Just because things aren’t what you planned, doesn’t mean you don’t have a lot to be grateful for! In preparation, I also had a moment or two of panic, expectation or negativity and sometimes that all can distract you: getting to do our shows is the best time ever, I’ve learned never to forget to have the best time ever! Shows have a life of their own and you can learn a lot from an audience, even a single audience member can teach you about what your show is, what it wants. Maybe it’s woo woo, but I’m SO thankful for it all.

Tell us about your show.

Citizen Otherplace is a Mel Brooks-ian, David Lynchian, nightmare comedy about the United Stated healthcare system. I am a cancer survivor and the actor/writer and creator of Citizen. I felt especially skilled to talk about how INSANE the American medical and medical- billing system is. Citizen Otherplace is interactive and wild. Audiences will throw felt fruit. Audiences will meet 5 different characters. Audiences will witness all this as a one-person show. Citizen takes its title from a Susan Sontag quote “Illness is the nightside of life, a more onerous citizenship…we are each obliged, at least for a spell, to identify ourselves as citizen of that other place.” While we have had three fantastic feedback workshops, this will be the WORLD PREMIER of CITIZEN OTHERPLACE. I began working on Citizen at Groundlings and SAG AFTRA workshops. I had no idea what it was, just that I had a lot of things to say, alot of people to be and it was funny.

Citizen started off as a pilot, and the first scene of it was written during treatment. As I began to perform pieces of it for small groups, I realised it was actually a FULL on theatrical PLAY. It’s a real talking piece and I’m so proud to get to show it to the world! Many long time talented friends and producers came together to make this happen Creative Producer, Lara Clear,a producer and actress who I’ve worked on several projects with, has had recent credit such as executive producing the true-crime thriller Dead Man Wire, directed by Gus Van Sant, starring Bill Skarsgård and Al Pacino. Jen Issacson, Producer, is not only a long time friend but a two-time TONY Award Winning Producer. Amy DePaola, a director of past production LODGED, is billed as Consulting Producer. Providing Direction on the project is a collection of incredibly talented individuals including Development, Govind Kumar, a Groundling Sunday Company member, and Bredan Gill, Executive Producer, current direction for Edinburgh. Additional team members include Kaitlin Burkes, Sound Design, Gregory Craft, Light Design and Amit Gajwami, Costuming.

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: Gagula: The Panto with Teeth!

Posted in *EdFestivals 2026, *Written Interviews by

“The first Fringe I did was probably the best week of my life – it was so intense, and just a life goal to perform comedy in front of a paying audience.”

WHO: Mackenzie Galbraith

WHAT: “An inept lawyer, his strait-laced girlfriend, a Dutch polymath, two sock puppets and an asylum owner walk into a castle. What could go wrong? When the not-at-all sinister Countess Gagula and her manservant Igor invite Jonathan Harker to help with… “acquisitions”, he and his gang find themselves thrust into a battle between good and as much evil as we can pull off under a 12+ age rating. Gagula: The Panto with Teeth! is a 50-minute romp through Victorian Europe, packed with jokes, blood and audience participation! It’s Dracula. It’s pantomime. What more could you want?”

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

WHEN: 11:40 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

As a company, this is our second Fringe, but for me personally, it is my fifth Fringe bringing a show and sixth visiting.

My first visit to the Fringe was what sold me on comedy writing as both a pastime and as a career path. Just being sat in the backroom of a church seeing a comedian I vaguely recognised from the radio with such a varied group of people and laughing – and thinking, yeah, this is probably what I want to do with my life.

The scale of the Fringe, the absolute variety of it, and the platform it provides to smaller acts and companies is what makes it so special, along with the fact that it is such a historically storied event – it commands a lot of cultural capital and there is something very cool about telling people that you are doing the Fringe festival.

Even if you are only doing your show for ten people, it truly legitimises you as a creative – and you’re experiencing that in a city that swells to 3x its population across hundreds of venues and thousands of shows from early morning to midnight.

The first Fringe I did was probably the best week of my life – it was so intense, and just a life goal to perform comedy in front of a paying audience. Out from 9am, doing two shows, seeing comedy, theatre and music in places that wouldn’t normally be showing them and then going out to a bar or a club, stumbling home at 3am and then doing it all again. I remember my voice was so hoarse that by the end of the week, I couldn’t speak to anybody because I couldn’t be heard.

The thing about the Fringe is that everyone does it completely differently – that might be my experience, people might come in for one or two big ticket shows or go back-to-back all day. Everyone can engage with it and experience the Fringe in their own way, and that’s so special.

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

Always have a show concept before you have a show name – as a writer, it’s much easier to write when you know what the general idea of the play is rather than trying to make something fit a pun that you thought of.

Crucially, everything that can go wrong, will go wrong.

12 months ago, I was writing, directing, producing and acting in a show, and trying to move house with a broken phone. Main lesson: never do that again.

Make sure your tech isn’t submitting her Masters thesis and also moving house two days before the show.

Make sure your actors are full of cold medicine – if one of them gets the flu, they all get the flu.

So, yes, give yourself as much time as you can to fix things when problems arise – because they will, and it is almost always things you would never had anticipated.

Otherwise:

Always start early.

50 minutes is an evil time slot. As a writer, yes, unfortunately, you do have to cut things.

Have a scary producer who can make colour coded schedules and spreadsheets – and, crucially, knows where you live. Healthy fear is a good motivator. (Producer’s note: I am nice, promise <3)

Basically, last year was for figuring things out. This year was for doing all the things I wish I had done last year (correctly).

Have we truly absorbed any lessons? Questionable.

P.S. yes, we do understand that by saying that we have learned from our mistakes of last year and that things are now more or less fine, something is about to go dramatically wrong… come see the show to see what that is, hopefully we don’t have to Weekend at Bernie’s an actor.

We do have fun, promise.

Tell us about your show.

After the most tumultuous Fringe run, possibly of all time (not to be exaggerated), I (the writer) vowed that I would never do the Fringe ever again. Then my mum asked me, over dinner, what’s next? I said no, not doing it again.

And yet.

Immediately post cast party and show celebration, like a paladin receiving visions from an angry god, the idea of Dracula but it’s a pantomime came to me.

I started to pace around our (writer and producer) living room (like I am doing now, whilst my producer types this all down), and after two hours of walking, talking and generally shaking my head and gnashing my teeth, the concept for Gagula was born.

A month and a half and a full read of Bram Stoker’s Dracula later, we had a full script. And here we are now, I guess.

The main idea for the show is what if Dracula were a pantomime dame, and every time she bit someone, they became a panto character too. It’s a fun, heightened, farcical version of Bram Stoker’s text, lovingly hacked into a 50 minute time slot that just gets bigger, and weirder, and sillier as the show goes on. There are sock puppets, all the gags you’d expect from a classic panto, fake teeth, a pop up coffin and a bag of 1000 communion wafers.

Pig’s Ear sort of came out of a successful Fringe done under another blanket – the Mermaids Performing Arts Fund through the University of St Andrews, where most of the Production Team met. We thought why not give it a go, it’ll be a bit of fun. We are still a relatively new company, but independently, all of the cast and all the creatives involved have a lot of theatre experience, and most have Fringe experience which makes it great to experience as a group.

I’ve done five Fringes – three years of improv comedy with Blind Mirth, and this is my third written show that is going up. It is still just as terrifying every single time – but that’s what makes it worth doing, and that’s what makes it fun (apparently).

This is Leia’s (our producer’s) second Fringe as a producer, second show with the company and third Fringe show on the Production Team. She is also moonlighting as our technician, costumer and makeup artist, among other things.

This show is premiering at the Fringe and we would love to scale it up in the future – whether that be stay in Edinburgh, and scale up to bigger theatres, do a longer run at the Fringe in the future or similar. Obviously it would be a dream to tour the show, or translate it into a (not so) short film. There is also always the nearly 2 hour version of the script…

There’s a lot in there that people are going to enjoy and get a lot out of, and I would like it to be seen by as many people as possible.

We think it’s good fun, we hope you will too!

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

Generally, we’d say catch the interestingly large amount of other Dracula inspired shows at Fringe this year, seems there has been a bit of a hive mind formed…

Other than that, you should totally go see:

Moving On: A New Musical – a new musical by Happy Sad Productions, who recently put on an amazing production of Spamalot at Portobello Town Hall so we’re excited to see what they’re doing next (you may also have seen one of our cast as one of their immensely talented featured dancers)

Waiting for Wonka – this is being directed by our fantastic intimacy and fight co-ordinator, so we think it’s pretty self explanatory why we’d love you to go and see this one!

A Brief History of Musical Theatre – featuring our multi-talented publicist, the executive PT took a little group trip to see the company’s production of Footloose at the end of last year – if the quality of that was anything to go by, this should be an amazing show!

The PowerPop Girls: A New Diva Religion – put the word camp in your show description and we’re there.

Support grassroots theatre!!

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EdFringe Talk: Fool’s Goldmine

Posted in *EdFestivals 2026, *Written Interviews by

“I’m addicted to Fringe. I will keep writing new shows until the ideas or I expire (whichever one comes first).”

WHO: Stacie Burrows

WHAT: “Stacie Burrows was blissfully growing up rich in 1980s Houston, Texas, only to find out it wasn’t real. The phone rang constantly. Why wouldn’t her parents answer? She adores her father, though he made every financial blunder under the sun. She swore to never live like that. And yet, she’s deep in debt, raising her own family in Los Angeles where wealth is on display. Instead of keeping up with the Joneses, she’s just trying to keep up with herself, remaining true to the roots that matter. Burrows goes from well-to-do to well-to-don’t in this solo music show.”

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

WHEN: 19:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Nope! This is my 4th Fringe show (new work!) in 5 years

I took Bulletproof Unicorn in 2022, Laughable in 2024, and No Good Drunk in 2025.

I’m addicted to Fringe. I will keep writing new shows until the ideas or I expire (whichever one comes first). I love meeting artists from all over the world along with seeing all my Edinburgh local friends. It’s the loveliest reunion.

Edinburgh Festival Fringe is a phenomenal festival because the artists have access to so many resources, The Fringe Marketplace, especially. Artist support is so appreciated, too. The Fringe is well-staffed and well organized. It didn’t become the world’s premiere Fringe festival without a lot of effort and a compounding positive reputation.

As a producer/performer, I’m quite happy to see my little show represented alongside of the GIANTS of Fringe – I’m not talking the well-established comedians, but rather those of us who show up year after year with a new offering.

As a punter, good lord, there is no other place in the world that offers such broad choices from music to theatre to dance, to clowning.

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

I have learned to let go of the illusion of control. I have learned to level my expectations of myself and others. And, because of Fool’s Goldmine, I have become extremely thrifty. Because the show is about living beyond your means, I have embraced letting my friends know that I’m Broke and still finding ways to socialize and have a good time without spending gobs of money.

Tell us about your show.

The inception of Fool’s Goldmine was one simple song that I put into a some of my music shows. It always got a lot of positive feedback and audiences wanted to know more about the meaning of it. I would always get a little choked up while performing it, so it was clear there was a lot behind it. So, one song became 9, and the stories that connect the original music really tell my truth about growing up a “rich kid” in the 80’s in Houston, Texas. From afar, we looked loaded, but it was a façade.

I’m self-producing again. I feel comfortable in the role for Fringe, but I would love to add a professional producer to my work moving forward. I can wear the hat, but it’s not my favorite.

I workshopped Fool’s Goldmine at the Hollywood Fringe in June 2026. It was helpful to see what worked, what could be cut, what needed finessing.

My intrepid director Katierose Donohue Enriquez and I have worked on my two previous shows. She’s whip-smart and we work really well together. Her solo show Queen of Fishtown blew me away and I began stalking her immediately!

My music co-writer is Sam Small. Sam and I have been friends for years, performing in a local rock cover band in Topanga, Canyon called Kummerspeck as well as drinking whiskey til dawn. We started writing together during COVID, so we could keep our wits about us.

My sound engineer Kevin Jarvis (Sonic Boom Room, Venice, CA) is an absolute dream. Not only does he offer the most gorgeous, iconic room to record, he also generously plays drums on the album. I pinch myself quite often to remind myself that this is my team.

My tech & lighting designers, Cat Pitt and Claire German are a force! With the development of the work, the script changes daily and so do the cues. But they always accommodate me without making me feel like a chore.

After Fringe, I’m taking the show to London. I’m talking with a couple of producers there and working out all the details. I’d love to tour the show as well.

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

“Be Good!” with Paulette
Daniel Maseda plays the part of a kind-hearted fool who is desperate to “get it right” And by “it,” I mean EVERYTHING: from entering a room to walking to the stage to finishing the show. But he won’t do anything without your permission. It’s fun to watch Maseda interact with audience members. And, man, if you’re not into the show, he’ll acknowledge it and make you the absolute target for the humor. I can’t remember being more pleasantly surprised or thoroughly entertained.

Jessica Barton “Dirty Work”
Jessica Barton takes the simple premise of being tired of picking up after other people’s messes and makes a huge statement about it. Lots of audience participation, here and I’m here for it. She cleverly makes her subtle point and almost brought me to tears with the message. But, I won’t spoil it for you. Go! See Dirty Work, but for god’s sake, clean up after yourself when you leave the room!

“Blizzard” by Piotr Sikora
Polish clown Piotr Sikora is one of those artists that will always be the first show I book at Fringe. He makes a bold character choice right at the top that might make some worry for their own well-being or safety, but much like a timid animal who barks first, then licks your face, he endears himself to the audience with such a shocking pivot, that you root for him and wind up adoring him. This is a HIGH ENERGY show that will remain in your conscious long after the Fringe has ended.

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EdFringe Talk: Join the Club! A Story About the Sex You Never Wanted

Posted in *EdFestivals 2026, *Written Interviews by

“It’s so much harder to get people to see your show if you’ve only got a team of one or two as opposed to five or more.”

WHO: Erica Jensen

WHAT: “One woman’s journey to reclaim agency after trauma, blending humour and heartbreak to transform silence, shame and survival into connection and empowerment. Between hook-ups, vibrators and Tinder, she navigates the chaotic hellscape of modern dating. With wit and no-holds-barred honesty, it confronts a culture of sexual misbehaviour while celebrating resilience and desire. Raw, funny and disarmingly intimate, it asks the unaskable – like whether survivors should wear matching sashes – and invites audiences to laugh, reflect and heal alongside her as she rewrites her story on her terms.”

WHERE: Snug at Paradise in Augustines (Venue 152) 

WHEN: Varies (45 min)

MORE: Click Here!

Is this your first time to Edinburgh?

We’re so excited to participate in this year’s Edinburgh Fringe! This is our first time attending (first time in Scotland!) and we’re looking forward to the energy and excitement of being in a mush of thousands of shows. We’re excited to support other artists, and we can’t wait to perform our show at Paradise Green. The folks at Paradise Green have been so supportive. We just found out that our show was chosen to be part of the Taste of Paradise Green which gives us the opportunity to share a bit of our show with the people who will also have shows at PG. Our show runs about 30 minutes (only 30 minutes!) and the subject matter is heavy, but it’s also very funny. Kate (the writer and performer) is super charming and I think audiences will connect with her and her story.

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

First, it takes A LOT of work to produce a show. A LOT! There are so many things we’ve learned and continue to learn. Fundraising was tough, but I think I smart thing we did was over budget so when we didn’t reach our goal, we still raised enough to pay for the necessities. Marketing materials have cost more than just about everything else, which was a learning. Booking a good PR person has made a huge difference. My advice to others is to book your PR person early – they book up fast. I’d also advise budgeting for flyer distribution help if you are a solo show. It’s so much harder to get people to see your show if you’ve only got a team of one or two as opposed to five or more.

Tell us about your show.

Our show, JOIN THE CLUB! A STORY ABOUT THE SEX YOU NEVER HAD is a solo show written and performed by Kate Daley. I (Erica Jensen) am the producer of the play, and Kate was my student. This piece was originally her college thesis project, and I advised her on it. I loved the piece and encouraged her to get it out in the world. Producing in NYC is very difficult, and some friends had just done Edinburgh and they talked with us about how to produce a show for the Fringe. We doing a three-performance run in NYC before we head to Scotland. We don’t know where the winds will take us after Edinburgh, but it would be great to have a run in the States, maybe a tour of colleges or other festivals.

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

After our show, folks should see THE LADY DOTH PROTEST. I’m excited for that one.

LIZZY SUNSHINE looks great. She gave us great advice about the Festival and we’re excited to support her!

THIS IS NOT HANSEL AND GRETEL was directed by a dear friend so I’m super excited about that one, too!

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