Category Archives: EdFestivals 2024

EdFringe Talk: Shower Chair

Posted in *Written Interviews, EdFestivals 2024 by

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“The Edfringe inspires creativity, serves as a stage for performance, and unites a community of artists.”

WHO: Ben Fallaci

WHAT: “Writer and comedian Ben Fallaci strips down and gets vulnerable while recounting how he lands broken and stuck in a geriatric shower chair. With irreverence and self-deprecation, Fallaci adds humour to a tale about a toxic friendship, slippery events, and a broken ankle. Where better to come clean than in the shower?”

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

WHEN: 20:50 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Edinburgh is where I started performing. During a semester abroad at the University, I performed with a sketch group (The EdRevue) and started stand up comedy. My first ever open mic was at the Wee Pub in Grassmarket. Five years later, I’d return to Edinburgh and pass the Wee Pub flyering for my one-man show Shower Chair during the 2023 EdFringe. Debuting my one man show at the festival, inspired my move to London and my decision to return to the festival this year for the entire run. The Edfringe inspires creativity, serves as a stage for performance, and unites a community of artists.

What are the big things you’ve learned since 2023 and have you absorbed any of the lessons yet?

The biggest lesson from performing in 2023/ 2024 is to have fun. After an entire day of flyering and networking about your show, the only thing left to do is to perform it. The Fringe is such a unique opportunity to workshop, experiment, and play with your performance each night.You have to let go and have fun to stay in the moment. Finding routine in performance is rare, so I try to appreciate it as much as possible while here.

Tell us about your show.

I wrote Shower Chair during a 3 month long dog sitting gig in Los Angeles. I work best with collaborators, so I invited my director and personal friend, Fiona Kelly to come on board. Together, we turned a family home into the ultimate rehearsal space complete with a mic stand in the living room, various rewrites in the home office, and choreography sessions in the backyard. In addition to my director, Shower Chair was sculpted by countless conversations over coffee in the kitchen with patient East Side comics, who listened to hours of rambling that eventually were whittled down to a crisp 60 minute monologue.

After previewing Shower Chair at the Broadwater Theatre in Los Angeles, it debuted at the 2023 Edinburgh Fringe Festival where it played 14 performances. Shower Chair reached diverse audiences in Edinburgh and it was met with emotional responses. Last year at the festival, I connected with Zoe Novello and Sophie Visscher-Lubinizki (Speakerphone Productions) who came on board as creative producers, and have helped to shape and develop the show – assisting the team in growing it from a humble stand up comedy set to a full theatrical experience.

The show continues to grow as a consequence of including more creative thinkers. Shower Chair is a queer production. Directed, produced, and choreographed by queer theater makers, it is a true product of queer collaboration and storytelling.

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

After Shower Chair, check out Elen Mcneil’s History of a Heartbreak – a show that heals raw emotions like a warm cup of Yorkshire tea. Serena Freda’s one woman show NO NO NO GOD PLEASE NO is another piece of creative storytelling that explores the psychology of hurt and healing.

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EdFringe Talk: Rollercoaster

Posted in *Written Interviews, EdFestivals 2024 by

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“A great festival is one where you’re going to be constantly surprised.”

WHO: Wes Peden

WHAT: “Ultra-modern pop-punk juggling! Surrounded by a huge inflatable blue structure and accompanied by electro beats composed of distorted rollercoaster sounds, Peden shares his cutting-edge tricks inspired by corkscrews, adrenaline and high-tech seatbelts. The show features a four-meter transparent tube making balls spiral around Wes’ body, contemporary spinning-plate rituals, epic three-ball disco juggling and invisible seatbelts providing the safety to perform some of the most difficult juggling ever done on stage!”

WHERE: Assembly Roxy – Central (Venue 139) 

WHEN: 17:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Last time I performed in Edinburgh was with the trio juggling show Water on Mars back in 2016. We had an incredible time! The shows had some of the most enthusiastic audiences we have ever performed for. The Fringe audience is really special. It feels like everyone there is curious and excited to experience something new. Luckily for me, tha’s exactly the type of person who’s likely to appreciate contemporary juggling inspired by rollercoasters!

A great festival is one where you’re going to be constantly surprised. Where you’ll see art forms you’ve never heard of and have real-life experiences that tickle your brain so much that you forget about your email inbox.

What are the big things you’ve learned since 2023 and have you absorbed any of the lessons yet?

I moved to France from Sweden in 2023 and since then I have learned that French people sometimes make a sandwich with baguette and a piece of chocolate bar. I’m happy to say that I have absorbed this lesson many times.

Tell us about your show.

Rollercoaster was written by Wes Peden, who is also the guy pushing the lettered buttons on his computer to write this. I have been juggling since I was 5 years old and have been part of the creation of over a dozen juggling shows including 4 solo shows. This show is by far my best solo work and I’m excited to share it with the Edinburgh crowd!

I’m very lucky to be working with the legendary company Gandini Juggling who are touring Rollercoaster and bringing it to Edinburgh this year. This will be the Scottish premiere of the show. I’ve performed the show 100 times around Europe and the US just to prepare for the Fringe. This is not a drill!

After Edinburgh we’ll tour in Switzerland, Ireland, France, Mexico, Italy, Spain, Portugal, and hopefully Japan. There are some really good rollercoasters there I’d like to check out.

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

Only Bones v1.9 by Matt Pasquet – Kallo Collective

Matt is an incredibly talented handstand artist and mover. The combination of his boundless
creativity, attention to detail, and humor creates a truly unique universe on stage. I highly
recommend checking out  ‘Only Bones’

Julieta by Gabriela Muñoz

Gabriela is a world-renowned clown, celebrated for her powerful, delicate, and hilarious stage
presence. The generosity and honesty in her performances consistently move me to tears. Make
sure you check the dates for her show as she'll only be at the festival for a week and I'm sure the tickets will go fast!

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‘Window Seat’ (Venue 29, until AUG 24th)

Posted in 5*, EdFestivals 2024, Rated: Outstanding by

“As Trix, Helen Rose Hampton puts the slightest of American spins on this very English two-handeer.”

Editorial Rating: 5 Stars (Outstanding)

“It can hardly be a coincidence that no language on Earth has ever produced the phrase, ‘as pretty as an airport. ‘ Airports are ugly. Some are very ugly. Some attain a degree of ugliness that can only be the result of a special effort.” Air travel is neither glamorous nor relaxing. It’s an endurance test – travelling with family doubly so.

Cleopatra Coleman’s script features a mother and daughter grounded on a flight to Florence. The contrast between the romance of the intended destination and the utilitarian claustrophobia of the present is the first of several carefully choreographed juxtapositions which keep this thoughtful and elegant script briskly moving even as not a lot of anything actually happens. Trix, the mother, has a past she wants to share. Like the Via di Francesco that she once traversed, this journey into her past will open up new vistas and perspectives of understanding for her daughter, Lois, who is struggling with the inertia of life post-graduation.

As Trix, Helen Rose Hampton puts the slightest of American spins on this very English two-handeer. Rose Hampton inhabits the part honestly and sincerely. Her authenticity is the confident choice of a classical dab hand and the key that unlocks the depths of this smart funny drama. Coleman’s direction is to still but not to silence Trix’s Eddie and Patsy incline. Instead, the focus is kept on the character’s abiding maternal bond rather than milking her bold and brassy personality for easy laughs.

As Lois, Maud May is an ideal counterweight. She’s equally poised and self-possessed. It’s the carefully curated contrasts which make Trix and Lois’ similarities shine through with the crystal clarity of dawn’s first light caressing the Arno. Louis could have been presented as a brattish nag. May does something smarter, picking up and picking out her character’s qualities, many of which (we can assume) have been natured or nurtured from Trix.

There is conflict. There is tension. There is uncertainty. There are geese on the runway. Here is a cracking script crackling with craic. It’s storytelling done right. An auld skool kitchen sink drama cross-checked by a one plus one equals five performance by two assured and assuredly most talented actors. Cleopatra Coleman is cleared for take off as a writer to watch out for.

Get your raincoats on (there’s a thunderstorm predicted for Tuscany today) and go see this!

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‘Doktor Kaboom: Man of Science!’ (Venue 33, until AUG 26th)

Posted in 5*, EdFestivals 2024, Rated: Outstanding by

“It is hilarious!!! I hope that I will be able to go every singe fringe.”

Editorial Rating: 7 out of 5 Stars (Outstanding)

A year ago, and for only the second time in our history, GetYourCoatsOn crowned ‘Doktor Kaboom: Man of Science!’ with a 7 (out of 5) star rating. I wrote that, “Doktor Kaboom is enlightening Scotland’s capital with a show that promotes learning for learning’s sake and which demonstrates that science done proper is really, really fun. To the mix he’s added an essential and urgent parabasis about how vulnerable our kids’ mental health is and what can be done to strengthen it.”

So is this latest instalment equally groundbreaking, breathtaking, and memory-making? SPOILER ALERT! Yes, this is an act that is getting better, but no less bonkers, with age. If anything the opportunity to encounter so many young minds on tour across the US and further afield has underscored Herr Doktor’s sense of urgency about his mission.

Lockdown hurt. It hurt our pockets, it hurt our sociability, it hurt our kids. In the buildings around George Square and elsewhere, historians will debate the rights and wrongs, the pluses and the minuses of Lockdown. The future, as Prof. Tom Devine likes to quip, is not my area of expertise. What matters now is the present, and there is a clear and present danger that the impact of Lockdown on our kids is being globally underestimated. Their confidence in themselves is not what is was or what it could be. Enter Doktor Kaboom the greatest comic creation since Professor Proton.

Some of the demonstrations are familiar – the makeshift hovercraft made out of an auld poker table ridden by a kid holding the most powerful electric leafblower money can buy remains the absolute crowd-pleasing favourite. It’s the pickle light bulb that reduces Granny to a helpless heap, she hasn’t laughed so hard since the ‘Wonkey Donkey’ viral incident of ‘14. On the cab ride home she keeps muttering, “Want more light? Add more pickles!” and she’s off again.

In her EdFringe24 notebook, the one with an etching of David Hume and Benjamin Franklin walking up Arthur’s Seat on the cover, Daughter 1.0 (9yrs) wrote: “I went to Doktor Kaboom at eh edfringe we went there last time and had soooo mutch fun and this time it was even better!! I loved seeing the hover craft zooom across the stage and seeing a pickle-powered Light-bulb and failed-pie-tin-alien-invashion! But one of my favourite bits was seeing his head getting bigger and smaller when our brains play a trick on us. It is hilarious!!! I hope that I will be able to go every singe fringe.”

There is (still) no escaping the boorish charm, the refined mayhem, the high nutritional value of this brain-smart and heart-healthy show. If this production were a number it would be 73 “The Chuck Norris of Numbers?” “Ha! Chuck Norris wishes.” Do I miss the Wheel of Even More Science? Yes. Is one essential prop not set? Sure. Are there fewer demonstrations and is one slightly dampened by braided hair? A little. However, this to the gunnels packed hour remains the gold-pressed latinum standard before all which other kids shows must bow, tremble, and scrape. Ya? Ya!

Get your white tie and tailcoats on and go see this show deserving of a Nobel Prize in science education.

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‘Napoleon’s 100 Days’ (Venue 29, until AUG 17th)

Posted in 4*, EdFestivals 2024, Rated: Outstanding by

“Andy is paced and pacey bringing us fresh and battle-ready for each new stage of the drama but at no point do I feel frogmarched.”

Editorial Rating: 4 Stars (Outstanding)

Andy D has a deservedly growing reputation as an out-of-left-field comic with a knack for telling tall tales that really happened. The 100 days in which Napoleon (almost) restored his former glory after his disastrous withdrawal from Russia are a gloriously tragic chapter which ended on the field of Waterloo. In the comet’s tail of one man’s superhuman ego was left a trail of death and destruction that boggles the mind and scarred Europe forever and a generation. The obvious stuff of comedy it is not. This is where Andy D’s drier than a glass of Bordeaux Blanc poured on the sand during a Sahara heatwave style comes in.

Andy is Little Boney’s unaccountably Mancunian but understandably laconic friend, telling us the story of how he survived the retreat from Moscow and how, along with Fido the dog, he was an up close and personal witness to the events of 1815. It is a feat of genuine historical insight to present one of the most colourful personalities of modern history in such a straightforward and unadorned manner. It is a feat of expert theatricality to bring such momentous events to life with nothing more than a Napoleonesque hat. There’s a lot of ground to cover and not a lot of time to cover it in. Andy is paced and pacey bringing us fresh and battle-ready for each new stage of the drama but at no point do I feel frogmarched.

The history on offer is properly researched and credentialled, although there are no known 19th-century recipes for the dish of beef first recorded in 1903 (in the L.A. Times) as ‘fillet of beef, à la Wellington’ which might be jarring if you are a ‘Sharpe’ mega-fan with a penchant for pastry wrapped tenderloin – which I am.

This is an exactingly minimalist production in need of a better frame. A more developed lighting design, one that could convey the sheer distances travelled by Napoleon and his armies in this short space of time, might be appropriate. Antoine-Henri, Baron Jomini, one of the earliest leading military writers on the Napoleonic art of war, cites epically bad weather as a major factor in Napoleon’s ultimate defeat on 18 June 1815. Would a change in the lights not help underscore that point? What really does work are the onscreen quotations attributed to Napoleon which add a perilous sense of vertigo to this tightly delivered tightrope act. “Never interrupt your enemy when he is making a mistake.” “If you wish to be a success in the world, promise everything, deliver nothing.”

Come for the solid history. Stay for the as solid performance. Get your redcoats on and go see this!

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‘Sent’ (Venue 29, until AUG 19th)

Posted in 4*, EdFestivals 2024, Rated: Nae Bad by

“As the wronged party, Áine Collier pitch perfectly plays the Faustian Hamlet of the piece.”

Editorial Rating: 4 Stars (Nae Bad)

This is a cracking show full of craic, sass, fizz, and pop. Four teenagers, besties for life (or this week at least), navigate the darker side of sociability in the age of instant social media takedowns. When a night on the tiles leaves one of our quartet publicly shamed the gang plot their cold and anonymous revenge – hell hath no fury and all that.

As the wronged party, Áine Collier pitch perfectly plays the Faustian Hamlet of the piece, a go-along-to-get-along type quickly out of her depth, possessed of a failing moral compass, and with a hurricane about to blow. Shauna Brady, Caroline McAuley, and Anna McLoughlin as the bitchy brattish buddies are the devils on her shoulder – goading, persuading, convincing and conniving. It takes real cajones to present such toxicity so unflinchingly. The honesty of this piece is as brutal as being sucker-punched by an iron-fisted gang of sea otters. Who would have thought that beneath such sweet and innocent exteriors lurked so much malice?

The performances are a highlight. The plot twist and reveal at the final curtain is genius. What is less successful is that this is still a production trying too much to be like something else comfortingly familiar. I would like to see this troupe searching harder for their own distinct voice. When they find it, sparks will fly, and a sparkling new set of talents will step into the limelight as EdFringe favourites. Still, you’re going to want to see this so as how you can boast that you were there in the beginning.

Get your coats on and go see this!

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‘Holy Sh*t I Lived: A Solo Show’ (Venue 29, until AUG 25th)

Posted in 5*, EdFestivals 2024, Rated: Outstanding by

“Those little rubber duckies have significance, they are the cute lynchpin that holds the show together in an hour that rushes on by like a very fast thing going very fast.”

Editorial Rating: 5 Stars ( Outstanding)

Billed as “comedy (storytelling, improv)” here’s a cracking wee show that might better be described as “comedy (storytelling, sketch)”. Sketch comedy can be hit and miss. It’s unusual, especially later in a run, for all the performers to be firing on all cylinders and it’s not usual for one or two skits in a set always to fall short of the mark. So here’s a cracking wee show where our one comedian is most definitely fired up and ready to go and where every scene is a winner.

George C. Owens was born in Tulsa, attended Loyola University, Chicago and recently moved to L.A. His material is smart, funny, self-deprecating, and what you might call accessible high-brow. What makes this show stand-out from the EdFringe crowds of standups are his superbly contrived audience work at the bookends as well as the storytelling and life insights dotted throughout the show. Those little rubber duckies have significance, they are the cute lynchpin that holds the show together in an hour that rushes on by like a very fast thing going very fast. There’s this one bit with no spoons and no bells that has to be seen to be believed. 

From the moment Owens takes the stage his mastery of his craft is evident. What’s really chuffing impressive is that the data points from his improvised audience work stick in his little grey cells all the way to the end. Reflections on neurodivergence, idiosyncrasy, grief, follies, flaws and foibles are batted out of the park with that confident humility which is the mark of a solid left footing in Jesuit training.

A couple of centuries ago a bloke like Owens was probably to be found hiding out in a piteously uncomfortable priest hole in what’s now a stately National Trust country house. England’s Elizabeth I warned her northern neighbour, James VI, “suffer not such vipers as the Jesuits to inhabit your land”. Far be it from me to argue with Gloriana, but Scotland (and the world) needs comedy of the quality of Owens and that ain’t going to happen without a solid education, a talent for people, a disciplined memory, a message to share, and a passion to share it.

This show is a masterclass of live performance expertly scaffolded from the tech board by Sara Stock, moonlighting from her day job at Chicago’s prestigious Second City, as well as direction by Andel Sudik who has been performing and teaching sketch comedy plus improvisation for the last 10 years. There is no mystery as to why this show is so good. There is no better bang for your comedy buck this EdFringe. This show is quality.

Get your coats on and go see this!

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‘Under Milk Wood’ (Venue 150, only AUG 14th)

Posted in 5*, EdFestivals 2024, Rated: Outstanding by

“Who but Guy Masterson could do unabridged justice to the 69 ebullient inhabitants of Dylan Thomas’ masterpiece?”

Editorial Rating: 5 Stars (Outstanding)

Fringe history was made tonight. A milestone in the journey of the world’s greatest arts festival has been passed. There is a new towering landmark on the past horizon. Since 1947 creative people have been telling stories in venues big and small. The EICC is not a small venue and I have been on transoceanic flights with less comfortable seats. My date tells me that her ancestors’ ancestors owned a wine merchants on the site – perhaps they might have used the Victorian-era postbox on the street outside when its first coat of red paint was fresh. I wonder what those distant denizens of Edinburgh would make of EdFringe. Would they feel any sense of pride or ownership? Yes, I think they would have, if they could have seen the history that was made tonight.

Guy Masterson’s first landmark production was his 2003 smash hit ‘Twelve Angry Men’. It created ripples in the fabric of space-time, tugging at the cultural consciousness with a fresh reminder that EdFringe is a place where rising stars can go supernova. Even more importantly, Masterson’s 2019 success, ‘The Shark is Broken’, was possessed of sufficient momentum to escape the blackhole that was Lockdown and burst out over Broadway – raining down oodles of boxoffice cashish and critical acclaim in a then all-too-needed reminder that the arts are not peripheral, but essential to a good life on earth.

‘Under Milk Wood’ is a more personal, but no less monumental achievement. Who but Guy Masterson could do unabridged justice to the 69 ebullient inhabitants of Dylan Thomas’ masterpiece? First performed at EdFringe94, this epic recital has been performed over 2,000 times globally. Tonight the crowds have gathered to hear Captain Cat, Mrs Ogmore-Pritchard, Mr Pugh and Mrs Pugh and all the rest as they go about their extraordinarily ordinary day. Who but Guy Masterson could bring so much depth of feeling, so much animation, so much vim and vigour to the party? SPOILER ALERT: No one else could do this, it’s why the crowds have gathered in such numbers to witness this bardic quality swansong.

This performance was not without a lighting error and Farmer Watkins missed his cue, but these served the purpose of those deliberate tiny flaws in the pattern of a Persian carpet, which remind the viewer that total perfection is totally preserved to divinity. For all that Masterson is a big performer, he is too proud a Welshman ever once tp step into that limelight which properly belongs to Dylan Thomas alone. The poet is the star. Without scruples or diffidence, the artist on the stage is but a supporting artificer.

Here is a performance that could fit into any venue large or small from the backroom of an auld Edinburgh wine shop to a (slightly soulless) mega-venue in the same location. A chair, a set of pyjamas, some carefully choreographed lighting changes and a storied titan of storytelling who might have sat at the feet of blind Homer or his Brythonic counterparts. 

At EdFringe each line spoken, each show performed, each production staged is, in reality, as ephemeral as a summer sea mist. But a few, a very few, live on in our collective memory setting the standard for art and artistry for all time to come. Scotland’s cultural capital and the world capital of Fringe theatre are richer for the work of Guy Masterson a genuine legend in his own day.

Get your coats on and hold onto your hats. There’s even greater things to come.

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EdFringe Talk: Chris Grace: Sardines (A Comedy About Death)

Posted in *Written Interviews, EdFestivals 2024 by

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“I plan on being here every August for the rest of my life.”

WHO: Chris Grace

WHAT: “Chris Grace returns to Fringe after his 2023 sell-out show, Scarlett Johansson. Sardines explores the tragic, hilarious and important questions of our time: Can we enjoy life if we know how it ends? Does making art actually help? And if Rihanna’s song is called Don’t Stop the Music, why does the music… stop? Find out in this insightful and vulnerable comedy. ‘If you’re cool like me, you’ll love Chris Grace’ (Ed Gamble).”

WHERE: Assembly George Square Studios – Studio Five (Venue 17) 

WHEN: 13:40 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Nope, this is my eleventh Fringe, and I plan on being here every August for the rest of my life. Aside from the lovely audiences, the universe of creative inspiration, and the beautiful city, the sheer creative upgrade to your work that comes from 27 shows in a row can’t really be matched anywhere else. Most of my creative identity and much of my success can be directly linked to eleven Augusts in Edinburgh.

What are the big things you’ve learned since 2023 and have you absorbed any of the lessons yet?

I’m still struggling with the shifting of expectations that comes with meeting your goals. Last year I said I would be happy if 25 people saw the show every night. Then it started selling out and I was overjoyed. Then when a show wouldn’t sell out, I’d be crushed. Ridiculous. This year I’m trying to keep my head out of looking at this year’s sales and reviews and nominations and comparing it to last year, and it’s proving difficult to impossible to do so. This is a huge part of me that I want to work on because I feel other people are so much better at it than me, or at least successfully pretend to be so. It’s hard not to look at other acts in the festival and measure yourself against them. Comparison is the thief of joy, someone said, and I wish I had said something as smart as that.

Tell us about your show.

My show “Sardines” is about five people in my life that died in a short period of time, and how I suffered and grew through the process. I wrote it and I’m co-producing it with Baby Wants Candy, my creative parents at the Fringe. I did some work in progress shows in Austin and Los Angeles but this is the full actual premiere (read: this is the first time I’ve actually memorized the lines. Wait, that’s a great line for the poster: FULLY MEMORIZED. And then under that a quote from my husband Eric Michaud who directed the show saying “… most of the time.”)

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

I saw The Dark Room again after not seeing it since 2012 and it’s still a hoot. Jonny and The Baptists have brought a corker of a show that’s different from years past but arguably better. I always love seeing Sofie Hagen and my friends Dave Ahdoot, Yola Lu, Box of Frogs, Grubby Little Mitts, and Ted Hill all have terrific shows you should put on your list!

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EdFringe Talk: The Cancer Comedy Cabaret

Posted in *Written Interviews, EdFestivals 2024 by

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“As a performer, you’re not just observing the magic, you’re helping to create it. That makes Edfringe an unparalleled experience – both humbling and exhilarating.”

WHO: Désiré Binam

WHAT: “Embark on a raw, transformative journey through one man’s battle with cancer. Laugh and cry as he delves into the depths of his experience, sharing the realities of living with a disease that is changing his life. From relentless chemotherapy to intimate scars, every moment is carving him a new identity, in ways he never could have imagined. Through heartfelt storytelling and exquisite humour, witness the transformative power of vulnerability as it slowly turns into courageous strength. Discover the manifesto for a new artistic movement. ‘This cancer is a true blessing’ (Fellow comedian).”

WHERE: C ARTS | C venues | C alto – theatre (Venue 40) 

WHEN: 15:50 (45 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I’ve been to Edinburgh before but it is my first time participating in the Fringe Festival, and I’m absolutely thrilled! There’s something uniquely special about Edfringe—it’s a melting pot of creativity where the city buzzes with the energy of artists and audiences alike. What makes this a great festival is this kind of vibrant, inclusive atmosphere where people from all walks of life, and from all corners of the world, come together to share and celebrate stories. As a performer, you’re not just observing the magic, you’re helping to create it. That makes Edfringe an unparalleled experience – both humbling and exhilarating.

What are the big things you’ve learned since 2023 and have you absorbed any of the lessons yet?

Since 2023, I’ve learned the profound importance of resilience and adaptability, especially when it comes to telling my story. Life doesn’t always go as planned – pancreatic cancer taught me that lesson. But how you respond to those challenges can shape who you become. I’ve also learned that humor is a powerful tool for healing, both for myself and for others. Absorbing these lessons has allowed me to turn my journey through illness into a funny show that can uplift and inspire others.

Tell us about your show.

My show, “The Cancer Comedy Cabaret” is a deeply personal piece that I wrote, drawing from my own experiences as a pancreatic cancer survivor. My wife suggested I see a psychologist to help me process everything. Instead, I prefer to get up on stage and tell my anguish to an audience – it’s like being a middle-aged rock star. I learnt a lot of my public speaking skills in an organisation called Toastmasters International. Last year I entered their speech competition (in District 91 – that covers Southern England including London, and South Wales). My 7 minute speech about my journey with cancer came second in the contest. I realized my story resonated with people, and that’s what inspired me to think about going to the fringe. With the support of a brilliant director and a passionate production team, I expanded that speech into a full-length show. Edinburgh is it’s premier, and I’m excited to see where the show might go afterward – hopefully to more festivals and venues where I can continue to share this journey.

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

1) “The Crow, (The Princess), and The Scullery Maid.”

This play is a delightful and imaginative journey that transports you to a world where stories are alive, and magic is woven through every word. I was drawn to it because it shares a common thread with my show: the power of storytelling to transform our experiences. Just as I’ve used humor and narrative to navigate my journey, this play explores the magic of stories themselves, showing how they can shape our lives in unexpected ways. The creativity and charm of this production make it a perfect follow-up to my own performance, offering a fresh perspective on the power of stories to change us.

2) “This Is Not the Autistic You Are Looking For.”

Mark’s debut show is a unique and insightful exploration of life on the autism spectrum, presented with humor and authenticity. As someone who has also used personal experiences to create a narrative that challenges perceptions, I admire how Mark blends his story with wit and charm. His award-winning performance promises to be both engaging and enlightening, offering a fresh perspective on neurodiversity that will resonate with anyone interested in the human experience. Don’t miss the chance to see this rising talent before he becomes a household name!

3) “Jo Caulfield Pearls Before Swine.”

Jo Caulfield is a master of sharp wit and biting humor. Her ability to turn everyday annoyances into comedic gold resonates with my own approach to finding humor in life’s challenges. Jo’s show is packed with brilliant lines and hilarious insights, offering a perfect blend of clever observations and laugh-out-loud moments. If you enjoyed the humor and storytelling in my performance, Jo’s show will be the perfect follow-up. Her reputation for consistently delivering fantastic comedy is well-deserved, and you won’t want to miss this opportunity to see one of Britain’s smartest comics in action!

4) “Edward’s Talk – What’s Driving You?”

This unique, interactive drama offers a fresh take on the concept of speed awareness, blending humor with thought-provoking content. Much like my own show, which uses humor to explore serious topics, Edward’s Talk uses an engaging and participatory format to encourage audiences to reflect on their behaviors and choices. The show’s clever mix of audience involvement and insightful observations mirrors my approach to making audiences think and laugh simultaneously. If you enjoyed the interactive elements and the deeper messages in my performance, you’ll find Edward’s Talk an intriguing and entertaining experience.

Also, I highly recommend checking out the events listed on Death on the Fringe. This series of shows explores the profound themes of death and dying in ways that range from serious to comical. What drew me to this collection is its focus on making us think deeply about what it means to live well and die well—something that resonates strongly with the themes of resilience and hope in my own performance. Whether you’re looking to reflect, be inspired, or find a new perspective, the shows in Death on the Fringe offer a unique and meaningful experience that complements the journey we’ve shared together.

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