“Set small goals that stretch you a bit but are achievable.” – Author Ian Robertson talks about ‘How Confidence Works’

“An enhancer believes you can do it and communicates that belief. A saboteur fears you will fail…”

WHAT: “Why do boys instinctively talk bull more than girls? How do economic recessions shape a generation’s confidence? Can we have too much confidence and, if so, what are the consequences? Imagine we could discover something that could make us richer, healthier, longer-living, smarter, kinder, happier, more motivated and more innovative.

Ridiculous, you might say… What is this elixir? Confidence. If you have confidence, it can empower you to reach heights you never thought possible. But if you don’t, it can have a devastating effect on your future. Confidence lies at the core of what makes things happen.”

WHO: “Ian Robertson is Co-Director of the Global Brain Health Institute (Trinity College Dublin and University of California at San Francisco) and T Boone Pickens Distinguished Professor at the Centre for BrainHealth at University of Texas at Dallas. A trained clinical psychologist as well as a neuroscientist, he is internationally renowned for his research on neuropsychology.

He has written five books and numerous newspaper and magazine articles and comment pieces in the Guardian, Times, Telegraph, Irish Times, Time magazine and New York magazine, amongst others. He has appeared on BBC Radio and featured in several major television documentaries. He is a regular speaker at major futurology and business conferences in Europe, the USA and Asia.”

MORE? Here!


Why How Confidence Works?

Because confidence is the most precious resource a person can have – and it is therefore important to understand how it works.

What is anxiety and is there an alternative?

Anxiety is an essential emotion to get us to take action when we are under threat. The problem arises when our brain’s ability to project into the future extends and expands that sense of threat to lead to excessive or long-lasting anxiety. We need to learn to control our attention so as to control that sense of threat. Methods such as mindfulness can be useful for this, among others.

As there differences in how men and women experience anxiety?

Not really, but women are on average less over-confident than men and confidence is one of the most powerful antidotes to anxiety.

What has Padraig Harrington golf caddy got to tell us about confidence?

The words you say to yourself – particularly after failure – are crucial. These words help focus our attention on the next small goal and take our minds away from the what-ifs and potential bad things in the future that make us anxious and so disrupt our performance, creating a vicious cycle.

What’s the most important thing everyone needs to remember about confidence?

Set small goals that stretch you a bit but are achievable. Build on small successes that you define as success, not in comparison with other people. Congratulate yourself when you achieve them. Focus your attention on these small goals and not on big future achievements or risks.

What’s the difference between a confidence enhancer and a confidence sabateur, and is there a way to spot them while speed dating?

An enhancer believes you can do it and communicates that belief. A saboteur fears you will fail – or in some cases, maybe unconsciously or consciously wants you to fail to make them feel better.

I’m thinking about climbing a mountain. When I imagine my assent, what should I be doing to help me get to the top?

Talk yourself up – “I can do this’ – “push through this” …

What does it mean when a parent hides the ladder?

Most success is 90% luck, grit and persistence but too many successful people come to believe that their success is a result of some specialness in them. Their children pick this up and believe that they can’t succeed because they don’t have that specialness.

I’ve got daughters – an 8 year auld, a 5 year auld, and a 1 and some spare change year auld – what do I need to read next to better understand the road ahead?

When they are older get them to follow The Female Lead on social media.

What re you currently working on?

I’m working on a book on virtue.

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“Nothing was more important to Stalin than ideas.” – Author Geoffrey Roberts talks about ‘Stalin’s Library’

“What surprised me most about Stalin’s library was his high regard had for Trotsky’s writings, especially the defence of Bolshevik authoritarianism in Terrorism and Communism (1920) – a book that Stalin read with relish and gushing agreement!”

WHAT: “Stalin, an avid reader from an early age, amassed a surprisingly diverse personal collection of thousands of books, many of which he marked and annotated revealing his intimate thoughts, feelings, and beliefs. Based on his wide-ranging research in Russian archives, Roberts tells the story of the creation, fragmentation, and resurrection of Stalin’s personal library. As a true believer in communist ideology, Stalin was a fanatical idealist who hated his enemies―the bourgeoisie, kulaks, capitalists, imperialists, reactionaries, counter-revolutionaries, traitors―but detested their ideas even more.”

WHO: “Geoffrey Roberts is an historian, biographer, and political commentator. A renowned specialist in Russian and Soviet foreign and military policy and an expert on Stalin and the Second World War, his books have been translated into Arabic, Chinese, Czech, Estonian, Greek, Finnish, French, German, Japanese, Korean, Persian, Polish, Portuguese, Romanian, Russian, Spanish, Swedish and Turkish.

His latest book is Stalin’s Library: A Dictator and His Books (Yale University Press 2022) – selected as a Book of the Year by The Australian, History Today, and India’s Open magazine.

He is Emeritus Professor of History at University College Cork and a Member of the Royal Irish Academy.”

MORE? Here!


Why Stalin’s Library?

Because the remnants of his personal book collection – especially the hundreds of books that he marked and annotated – is such a fantastic source. Nowadays we have many confidential sources about Stalin’s life and career but none so personal, spontaneous and revealing as the evidence of his private library. My book explores the books Stalin read, how he understood them and what they taught him. Stalin’s books – those he wrote and edited as well as those he read – allow us to glimpse the world through his eyes. We get to wear his spectacles, so to speak.

Stalin amassed more than 20,000 books in his lifetime. Are they all still together in one collection?

I estimate that by the time Stalin died in 1953 there were about 25,000 items in his personal library. Mostly books but also pamphlets and periodicals. It was a working library, scattered about his office and living spaces, but from the mid-1930s the bulk of the library was housed at a newly constructed dacha for Stalin on the outskirts of Moscow. Nicknamed ‘nearby’ because it wasn’t too far from the Kremlin and easily accessible by a fast road, one of this mansion’s biggest rooms was the library, a place in which Stalin spent a lot of time. Indeed, that was the room in which that he suffered a fatal stroke.

Stalin’s book collection was broken up after he was denounced as a brutal dictator by his successor as Soviet leader, Nikita Khrushchev, at the 20th party congress in 1956. But a remnant of 5,500 books survived this purge of Stalin’s personal effects, including about 500 texts that he had written in. These latter books are kept in an archive in Moscow, while the unmarked texts – most of which bear his ex-libris stamp – are housed in the city’s main historical library.

Was Stalin an intellectual?

Indubitably. Nothing was more important to Stalin than ideas. He spent most of his life reading, editing and writing. Stalin believed that ideas, when allied to revolutionary practice, could shape not just people’s consciousness but human nature itself. He sought and used power ruthlessly but that was a means not an end, He wielded power in the service of communist ideas.

Importantly, Stalin felt the ideas he believed in – he was an emotionally engaged intellectual. It this feature of his intellectuality that screams at you from the pages of the books he marked.

Stalin made many notes in the margins of his books. Are there any signs that Stalin ever fundamentally challenged any of his intellectual, spiritual, or moral assumptions?

Stalin read to learn, and he derived his ideas and information from any useful source, including the writings of his enemies.

Stalin was a fanatic with no secret doubts. In all the thousands of pages of books that he marked there is not even so much as a whisper of a hint of doubt about his Marxist ideology and communist beliefs. That does not mean that Stalin’s ideas did not change during the course of his lifetime. Stalin adapted his belief system to practical realities, whether that be in relations to strategies for revolution, the problems of building the world’s first socialist society, the requirements of military strategy or the changing nature of international politics.

Stalin was blinkered by his dogma but not blinded by it. He could see out and beyond the Marxist canon when he needed to. But that never led to any fundamental reappraisal of his basic beliefs.

Who are the most surprising authors to have been read and admired by Stalin?

As a Marxist, Stalin believed his ideology was an all-encompassing framework for understanding human history and its social dynamics. Most of his library’s books were written by Marxists or other varieties of socialist. His favourite and most-read author was Vladimir Lenin, the founder of Bolshevism, and Stalin’s role model as an intellectual and political leader. His favourite historian, however, was Robert Vipper, a non-Marxist who wrote lively narratives about ancient Rome and Greece and the history of early Christianity. Vipper also published a study of Ivan the Terrible – a book that was enormously influential in shaping Stalin’s view of Russia’s history, especially the various Tsars’ struggles to build a strong Russian state that would defend its peoples from foreign attack. While Stalin had a lot of time for the Terrible, Peter the Great and other Tsars, mostly he looked upon them with disdain and thought that he and his comrades could do a better job defending the country.

What surprised me most about Stalin’s library was his high regard had for Trotsky’s writings, especially the defence of Bolshevik authoritarianism in Terrorism and Communism (1920) – a book that Stalin read with relish and gushing agreement!

Stalin’s personal split with Trotsky came much later than most people think. The political rivalry began in earnest after Lenin’s death in 1924 but not until the the late 1920s was Trotsky expelled from the USSR, supposed because he was an ‘anti-party’ element. In the 1930s Stalin increasingly saw Trotsky as not just a political rival but a personal enemy who was allied with Nazis and Fascists and attempting to overthrow the Soviet socialist system.

In 1940 Trotsky was assassinated in Mexico by a Stalinist agent. Yet Stalin didn’t think Trotsky was all bad, telling a private gathering of creative workers that even enemies of the revolution should be painted in complex human colours.

Did Stalinism have any unique or innovative intellectual features or was it an entirely derivative worldview?

Stalin contributed ideas about nationalism to the Marxist canon and propounded the damaging theory – which he derived from Lenin -that the stronger Soviet socialism became the more desperately its enemies would seek to undermine it – an idea that was key to Stalin’s Great Terror in the 1930s when many millions of innocent people were deemed enemies of the revolution and perished in a maelstrom of political violence.

While Stalin had his own spin on Marxist theory, his greatest strength as an intellectual was the simplicity and clarity of his thinking and articulation. He was a hugely effective populariser of Marxist ideas. He was also enormously attractive to fellow intellectuals. As the Austrian Marxist art critic, Ernst Fischer wrote in his memoirs, intellectuals ‘succumbed’ to Stalin because of the dictator’s ability to combine ‘the critical reason of the thinker with the élan, the all or nothing of the man of action.’

If you could own one of Stalin’s books, which would it be?

There was a Russian translation of Hitler’s Mein Kampf that Stalin may well have read. It would be interesting to see if Stalin marked the book in any way, but no such copy is known to exist. There is also a lot of speculation about whether or not Stalin read Machiavelli’s The Prince and took on board its realpolitik precepts. Some people claim they have seen Stalin’s marked copy of this book but there is no actual evidence. Personally, I think Lenin and Trotsky, not Machiavelli were Stalin’s teachers when it came to power politics. Also, influential was that master of realpolitik, the ‘Iron Chancellor’, Otto von Bismarck, whose books Stalin certainly did read and engage with.

But the book I would really like to own would be Stalin’s copy of The Bible when he was a seminary student. It would be fascinating to see how he marked that book!

Stalin turned his back on Christianity as a rebellious teenager when he embraced Marxism and revolutionary socialism. By all accounts, the boy Stalin was a dedicated reader and emotionally attached to his Christian creed – a habit and sensibility that he transferred to his new-found secular socialist faith.

If you could ask Stalin anything (and not end up in a gulag) what would it be?

I would like know to what extent Stalin really believed that Trotsky and his other former allies in the Bolshevik party were guilty of the conspiracy, treason and subversion that they were accused of at the Moscow show trials of the mid-1930s.

But I can’t think of a way posing the question to Stalin that would have kept me out of the Gulag!

If you were going to gift Stalin a book published after 1953, perhaps as a birthday present (and you knew he would read it), what would you give him?

Stalin’s Library, of course– in the hope that he would pepper it with his favourite annotation – NB, indicating that I really had discovered what made him tick. More likely, though, is that he would utilise his second-favourite annotation – the derisive ha ha!

What are you currently working on?

A book called Stalin’s Peacemakers – a history of the communist-led peace movement after the Second World War. The experience and lessons of that movement’s valiant efforts to avert nuclear Armageddon have never been more relevant.

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EdFringe Talk: Ideation

“Aside from the flattery, we want you to talk about our play because that is what it’s about.”

WHO: Lowenna Wagstaff: Company Artistic Director

WHAT: “Hypothetically speaking, if you were in a boardroom with a ticking clock, the survival of humanity on your shoulders and a growing sense of a darker reality, would you succeed… no matter what? A group of corporate consultants battle morality and mystery with logic in this hilariously dark play. Do hypothetical actions have very real consequences? Is everything just as it seems and how do you know that? Can we trust you to let the paranoia sink in, as comedy and thriller distort the truth of this hypothetically real Ideation!”

WHERE: theSpaceTriplex – Studio (Venue 38) 

WHEN: 13:20 (80 min)

MORE: Click Here!


Is this your first time to Edinburgh?

This is our first time to Edinburgh as both a company and a production and, while it has been a LOT of work alongside our degrees at Exeter, it has been worth every minute of sweat, tears and (thankfully no) blood. The Edinburgh Fringe offers a completely different environment to our previous Exeter venues in which we can spark the play’s discussion around the “delineation between fact and fantasy.” With its sheer number of people and perspectives, this venue allows us to instigate the ripple of enquiry that the play demands: what do we know, what don’t we know, and who is in control? We hope that this will continue past our audiences and into the wider crowd at Fringe. Aside from the flattery, we want you to talk about our play because that is what it’s about.

What are the big things you’ve learned since 2019 and have you absorbed any of the lessons yet?

The biggest thing we have learned is adaptability. Having had our slot at the Space booked since 2019, EUTCo’s trip to Fringe has been a longgg time coming but we have certainly stuck with it. Due to restrictions, our Fringe show last year was re-organised to be performed in an Exeter festival instead, and in 2020, we didn’t get further than online performances. But, we remained adaptable, and this has only strengthened our practice as a company to deliver intimate, small-scale productions with high-quality acting on our way back to perhaps larger spectacles.

Tell us about your show.

Our director Chlöe Hallsworth first came across and read the script (by Aaron Loeb and published in 2016) about four years ago. As a play that is not widely known in the UK, Chlöe was excited by the possibilities that could take it from page to stage. When the opportunity to pitch it as a Fringe play for Exeter University Theatre Company came about, it had to be done. Although produced by EUTCo, the production company is made up of students across various years and degrees, some of whom have just graduated having never studied drama! As such, our previous performances were local to Exeter but we are thrilled with the reception we’ve been receiving in Edinburgh and hope that our team will continue with their talent and abandon their seemingly safe(?) career path from a history degree.

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

There are so many brilliant shows here this year and Show Me What You’re Maid Of and the Last Words are just two of our fellow groups from Exeter (us, biased…?). But new company favourites from further North for have been ‘When We Were Normal,’ Leaves on the Line,’ and ‘Careless’. All five shows (and our own!) have brilliantly strong female minds behind them and are putting raw, thoughtful characters on stage. Plus, they’ve been friendly faces amongst the chaos!


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EdFringe Talk: REDEEMher – How I Screwed Up My Perfect Mormon Life

“This is truly a full-circle moment for me to be bringing such a personal story to Ed Fringe. I will never forget this.”

WHO: Tatum Langton

WHAT: “Tatum, a university student, becomes the virgin bride of her sweetheart, entering an eternal marriage in the the Mormon church. Her big dream is to move to London with her husband but years begin to slip by, and so does London. The pressures of marriage, money and their Mormon community, the couple gets into discord. Dejected, Tatum becomes vulnerable to the overtures of another man. After just one night of illicit sex, Tatum is plunged into a deep well of guilt, sorrow and remorse.”

WHERE: Gilded Balloon Patter Hoose – Dram (Venue 24) 

WHEN: 15:40 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

Not only is this my first time to Edinburgh, it’s my first time acting in the UK, which if you see my show you know it’s been a dream of mine for a while. This is truly a full-circle moment for me to be bringing such a personal story to Ed Fringe. I will never forget this.

What are the big things you’ve learned since 2019 and have you absorbed any of the lessons yet?

The big things I have learned are: I am more capable then I give myself credit; there’s no time like the present; community is everything. I wrote my show in 2021, decided to bring it to Ed Fringe March 2022, and miraculously raised the money to get it here with help from an amazing community back home. Not to mention the incredible community that is Fringe. I have found my people!

Tell us about your show.

REDEEMher is autobiographical. I wrote and perform this one-woman show about my first marriage, being Mormon, and the infidelity that screwed everything up….seemingly. It was directed and developed with Jessica Lynn Johnson in Los Angeles, and had a soft premier at the Hollywood Fringe Festival before having it’s world premier here at Edinburgh Fringe. Ines Wurth came recommended to me. She loved the show and came on-board to produce for Ed Fringe. No plans as of yet on what’s next, but I think I’m now addicted to fringe and may have to check them out all over the world.

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

The Funny Thing About Death by Kim Kalish. It’s another stand-out one hander that will make you laugh and cry and hold the ones you love closer.

Vermin by Triptych Theatre Co at Gilded Balloon Teviot. It’s dark-comedy-drama done exceptionally well. Top-notch storytelling and thrilling performances that have you on the edge of your seat.

Hannah Pilkes: A Woman on the Verge. Underbelly. A clowning comedy show that is delightful and somehow relatable in its absurdity. She reminds you why the world is so funny and you instantly want to be her friend. In fact, you should follow her on instagram. Comedy gold.

Famous Puppet Death Scenes at Assembly Roxy. Incredibly talented, dark, funny, and charming. It’s not every day you get to see puppetry at this extraordinary skill level. Take advantage while at Fringe.


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EdFringe Talk: KITES

“The festival is incredible in its diversity – the open-access nature of it allows all styles and experience levels to share their work, which I love!”

WHO: Tzarini Meyler

WHAT: “‘Come on Angel, don’t you ever want to fly?’ 1948. Cork City’s crying. Rations. Unemployment. And those unforgiving clouds. But two girls are plotting a new planet. Kitty’s a native, desperate for adventure, and Angel’s a blow-in searching for home. Through flying kites, dress-up and play, they leave behind their broken families and war-time grief, and let their fantasies find wings. But what happens when the line gets caught and reality beckons? KITES is a fast-paced, visually striking play about the rite of passage from girlhood to womanhood in post-war Ireland, exploring gender roles, sexuality, friendship, love and rage.”

WHERE: Gilded Balloon Patter Hoose – Dram (Venue 24) 

WHEN: 14:20 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

I did a short run in 2018 as a director, but this is my first time performing, as well as my first long run. As an Irish playwright, it is a wonderful opportunity to share my work with a UK and international audience and gain their feedback. As a performer, it is a real workout, and every day I feel sharper, not only in my acting capabilities but in my resilience and strength, both physically and emotionally. The festival is incredible in its diversity – the open-access nature of it allows all styles and experience levels to share their work, which I love! However, with the huge amount to see, there is great competition amongst the acts to promote their show, which makes it harder for young artists with limited funding to stand out.

What are the big things you’ve learned since 2019 and have you absorbed any of the lessons yet?

We never know what life can throw at us, so I just want to keep telling stories that speak from the heart. Art and entertainment is what brings us all together and keeps us sane in hard times. I wanted to explore this in my play KITES, how the power of pretend is sometimes our strongest weapon.

Tell us about your show.

KITES is all about longing to escape. As a writer, my work begins with a physical stimulus. I was fascinated by the childhood object of a kite, how it can be both flimsy and fragile, and yet strong enough to withstand storms and fly away. I wanted to explore the icon of a kite through the lens of womanhood. I had grown up hearing about my great grandmother who longed to be an actress and travel the world whose brothers became performers; one a musician in Australia and the other a magician in Canada, whilst she stayed at home in Ireland and became a housewife. That longing to be somebody else, and to escape, feels incredibly relevant to women today, well to anyone today in fact, our generation has so much pressure to ‘have it all’ and yet all these things (housing, stable income) seem to be so out of our reach. This show is all about growing up from young girls to women in a suffocating society that only offers two options: conformity or the big bad world.

I wrote the play – I was awarded a residency earlier this year at the Pavilion Theatre in Dublin to finish my script. Ana produced it and plays Angel, whilst I play Kitty. We are a small Irish company formed in 2016, we have been steadily growing and have produced many works. Most recently a sold-out run of ‘Dublin in a Rainstorm’ at the Smock Alley Theatre. It is our goal to create work that is truthful to the artist and vital to the audience. After Edinburgh KITES will return home to Cork. Next year we hope to do a small Irish tour.

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

For some incredible dance theatre, head to ‘Night Dances’ at Zoo Southside. Fellow Irish company United Fall have created something truly unforgettable.

For laugh-out-loud comedy check out Elf Lyons’ show Raven at Gilded Balloon.

For gorgeous new writing head to Summerhall for the wonderful Eva O Connor’s Mustard.


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EdFringe Talk: Cat

“I first wrote a five-minute monologue in the character of Cat for a competition, and then I decided I liked her too much to leave her there!”

WHO: Connie Harris: Writer/performer

WHAT: “Cat is a one-woman, twisted comedy show by Connie Harris. A razor-sharp, subversive exploration of life at its darkest; ranging from the benefits of tapeworms to what to do with an unwanted grandparent.”

WHERE: RSE Theatre – Welcome East (Venue 431) 

WHEN: 14:00 (50 min)

MORE: Click Here!


Is this your first time to Edinburgh?

Yes, this is the first time I’ve ever been to Edinburgh! I was really little when I first heard about the Fringe, and I imagined it to be just a big field where everyone brings tents to pitch up and perform (you can tell I’m from Norfolk!) – and now I’ve realised what a beautiful city Edinburgh is.

What are the big things you’ve learned since 2019 and have you absorbed any of the lessons yet?

Try not to think too much. I know it sounds weird, but if you get on with life and just do it, instead of always thinking everything through a hundred times, things usually turn out alright in the end.
Only sometimes put it into practice though!

Tell us about your show.

I first wrote a five-minute monologue in the character of Cat for a competition, and then I decided I liked her too much to leave her there! I find there’s something really refreshing about playing someone who’s a little bit twisted, and whose morals aren’t quite right. I can make her say all kinds of horrible, outlandish things but justify them for her character. My play premiered at the Fringe, and at the moment I’m not planning to take it anywhere after – but I’m always open to offers or suggestions!

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

Everyone needs to see Medea the Musical! I keep saying this because it needs to be said! It was amazing – honestly indescribably good.

The Anniversary at The Pleasance was such brilliant physical comedy, and so so funny!

And for people with darker senses of humour (like me!), The Tiger Lilies’ One Penny Opera is perfect – I love the perfect combination of hauntingly good music and pitch-black stories.

A great one-woman show is Pash, which was fast-paced, honest and hilarious!

There are so many more!


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EdFringe Talk: Beg For Me

“It will take more than a global pandemic to kill our industry – we’ll be here after the apocalypse, creating puppet shows with the ruins.”

WHO: Rosa Maria Alexander

WHAT: “6/1/2021: One day replayed on repeat in @R3alAm3rican99’s head. In this riveting new play by Rosa Maria Alexander, follow how one young man’s radicalisation leads him to the steps of the US Capitol. Beg For Me explores the implosive intersection of violent misogyny, the alt-right and digital extremism. One year on from the storming of the Capitol, the US has experienced a “peaceful” transfer of power – but have the forces that brought thousands to protest the results of the election changed? Beg For Me delves into the mindset of toxic male behaviour – with dark consequences.”

WHERE: Underbelly, Bristo Square – Jersey (Venue 302) 

WHEN: 13:00 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

I’m local to Scotland (Perth) so I’m no stranger to Edinburgh and the Festival! I’ve attended for years, both as a performer and as a punter, but it is my first time bringing my own show here and it has been a completely fresh, exciting experience!

I think it is easy to forget how much work goes into the Festival when you attend for the day – you get to go home shattered after a day of watching incredible shows and recover your hangover with plenty of sleep but performers and creatives never get a day off. It’s a constant cycle of flyering, social media, fixing any problems that go wrong, press & marketing, seeing other shows, finally doing your own show and then more flyering!

What are the big things you’ve learned since 2019 and have you absorbed any of the lessons yet?

It will take more than a global pandemic to kill our industry – we’ll be here after the apocalypse, creating puppet shows with the ruins.

Tell us about your show.

I was asked by my wonderful friend Alex Conder about a week after the insurrection on the Capitol in January 2021 if I could write a one-man show on the alt-right. Oh, and could I do it in less than 3 months? Of course, I said yes and Beg For Me was born. Beg For Me takes a look at the violent nature of the alt-right, the effect that digital platforms has had on amplifying these voices and the highly nuanced modern-day ‘sex positivity’ movement and the role media plays in normalising ‘rough’ sex – often with kink becoming the baseline for new sexual encounters – and examines whether this trend of more intense intercourse is acting as a cover-up for acts of violence against women. Shortly after it was written, it was put on as part of Mountview’s Catalyst Festival and from there, the show has grown with short runs at the Pleasance in London and at Camden People’s Theatre SPRINT Festival (all produced and directed by the wonderful Olivia Munk, Creative Director of Part of The Main).

The show has changed alot since then and even more so now that I have taken on the roles of producer and director but I am always excited to see how it evolves with new directors, new producers and new actors at the helm.

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

My lovely friend and collaborator, Olivia Munk and her production company Part of The Main, have 3 amazing shows on this year which you cannot miss!

Bloody Mary Live! – Teen Queen Mary Tudor takes to the mic to rehab her ‘bloody’ image. In this gleefully vicious stand-up special, Bloody Mary tackles the drama every #queenager deals with: divorced parents, sibling rivalry and religious purges (…oops). (On everyday until 29th Aug 2022, Lammermuir Theatre – Pleasance at EICC, 10:00pm)

Fritz & Matlock – In a Sheffield basement, two men try to bury the bodies of their past to find a hopeful future. With no way out, will Fritz make it to his wedding? Will Matlock get away with murder? Or will the police finally raid the marijuana grow in the attic? A new dark comedy with a fresh take on men’s mental health, the care system and addiction. (On everyday until 29th Aug 2022, The Attic – Pleasance Courtyard, 2:05pm)

All By Myself – POV: you’re a vlogger. A productive (but chill!) DIYing vlogger. It’s the end of the world. What do you do when everyone’s left the internet? This is a show with no words about being your best self when no one will watch. (On everyday until the 28th Aug 2022, Playground 3 – Zoo Playground, 6:25pm)


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EdFringe Talk: Notflix: Binge

“Our Edfringe is never complete without at least one pilgrimage to Arthur’s Seat!”

WHO: The Notflix ensemble cast

WHAT: “The Spice Girls of improv return for a fifth triumphant year in their five-star, sell-out, totally improvised musical comedy. Inspired by audience suggestions, the all-female cast improvise the musical version of your favourite films, creating movies with 100% more singing, 99% more women and a full live band. Broadway World Best Comedy nominee. As seen on Sky TV, STV and BBC 5 Live. ‘Notflix might very well be the best show you see this year, the year after that and hopefully forever’ ***** (BroadwayBaby.com). ‘A little piece of theatrical genius’ ***** (NorthWestEnd.com).”

WHERE: Gilded Balloon Patter Hoose – Big Yin (Venue 24) 

WHEN: 17:00 (60 min)

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Is this your first time to Edinburgh?

No, we’ve been a few times before, regular punters might recognise the red jackets! However, this is our first outing with the amazing production team we have today. The Fringe is where Notflix became Notflix, we have really honed our show over the years and are very excited to be heading back after such a gap. The Edinburgh Fringe is a real wonderland for punters and artists. You never know how the day will end, or what hidden gems you will find. Maybe you’ll discover the next big thing before it hits the West End or maybe you’ll end up clasping some garlic while watching a group of actors reenacting Dracula on a bouncy castle at midnight.

As a performer, you can’t help but feel inspired by all the weird and wonderful acts out there. Then the great thing is, you are able to immediately bring that energy and zeal to your own show when you perform it. We love the fact that most shows are just an hour long, meaning you can fit lots in. You’ve also got shows at different price points, so you can organise the festival according to your own budget. In addition to all this, Edfringe takes place against the backdrop of a beautiful historic city. Our Edfringe is never complete without at least one pilgrimage to Arthur’s Seat!

What are the big things you’ve learned since 2019 and have you absorbed any of the lessons yet?

We’ve learnt that we’re survivors and we are ready to hustle and adapt when needed. When the Pandemic hit and theatre was essentially cancelled, we experimented with what we could do online and basically created a little community, streaming online shows, having a weekly tweet along film club, composed and recorded original film-inspired songs and created accompanying music videos. For the first time, the Notflix team will be bringing two babies to the Fringe, so that will definitely require some level of adaptation! The hiatus has made us appreciate the opportunities we have even more and to make the most out of every performance we have. To be bold and big and leave it all on the stage. Lockdown also gave us the opportunity to watch and analyse even more films, which is very useful for our shows as we want to give the audience what they’ve asked for (and more!). We want to lampoon those movie tropes.

Tell us about your show.

The audience suggests a film and 5 actresses and a live band turn it into an hour long joy-filled, high energy comedy musical. You’ll see the iconic moments and characters from the films you love (or love to hate), mixed with pop culture references, original catchy tunes, physical comedy and a lot of heart. It’s the brain child of our director Sarah Spencer and is being produced by Mick Perrin and his brilliant team. Notflix: Binge is on everyday at 5pm in the Gilded Balloon’s Big Yin. After the Fringe, we’ll be heading to Northern Stage, Newcastle on the 1st October and Hull Truck Theatre on the 28th October. However, we will be announcing more dates and venues for our Autumn tour soon, so it’s always worth checking our socials. You can find us @notflixmusical on Instagram and Twitter.

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

“Katie Pritchard: Disco Ball” – a ball of energy, hilarity, music and talent – basically a human disco ball.

Our sibling show “Les Quizerables” – the ultimate musical theatre quiz with a hilarious host and special guests.

“Briefs: Bite Club” – an amazing group of cabaret/circus/burlesque performers who have teamed up with other worldly singing powerhouse Sahara Beck.

A spot of improvised Shakespeare with “Impromptu Shakespeare”.

“Dance Body “ – in which Yolanda Mercy reclaims space for plus-sized bodies.

The joyful “My Son’s a Queer”.

Thought-provoking theatre like “Blue and Pip” and “Block’d Off”.


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EdFringe Talk: Zach Zucker: Spectacular Industry Showcase

“Just because you are willing to get naked onstage DOESN’T MEAN YOU HAVE TO!”

WHO: Zach Zucker

WHAT: “Winner: Comedian’s Comedian Award, Chortle Awards (2020). After touring the world five times with Zach and Viggo and a historic run of Jack Tucker: Comedy Stand-up Hour at the 2019 Fringe, award-winning clown and international bad boy Zach Zucker returns to Edinburgh with a brand new show! ‘Zach Zucker is… popular’ (New York Times). ‘A rip-roaring hour of top-notch clowning’ ***** (Edinburgh Festivals Magazine). ‘Raucously hilarious 60 minutes’ ****½ (Chortle.co.uk). ‘A God amongst men’ **** (Scotsman). ‘A terrible comic’ ** (Times). ‘A fraud who is completely out of his depth’ * (Skinny).”

WHERE: Monkey Barrel Comedy – Monkey Barrel 4 (Venue 117) 

WHEN: 19:50 (60 min)

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Is this your first time to Edinburgh?

This is my sixth fringe (would’ve been eight had the pandemic not gotten in the way) and I’m so excited to be back here. I love my Fringe family more than myself, nothing makes me happier than being onstage in front of the Edinburgh audience with all of my favorite friends and people from around the world. For a month, everything feels right and perfect and I just can’t express how grateful I am to be a part of this mad festival.

What are the big things you’ve learned since 2019 and have you absorbed any of the lessons yet?

Just because you are willing to get naked onstage DOESN’T MEAN YOU HAVE TO!! Turns out, people like it way more when you just “tell jokes” which is something I’ve never really understood but I’m trying to give it a go this year. Can confirm it’s way easier to just not do that and get the goods out instead.

Tell us about your show.

Soooo I made this show with my best buddy Lucas Tamaren who is the frontman of the funk-punk band, Thumpasaurus, as well as my Canadian comedy partners Dylan Woodley and Jonny Woolley. I epicly produce the show under Stamptown and it’s premiering at the Fringe!! We’re hoping to tour it across the US, UK and Australia, with a 3 week run in India with our buddy Sumendra Singh who runs That Comedy Club in Mumbai!

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

I’m certainly biased here because I produce a bunch of shows under the Stamptown banner (Jordan Gray, Randy Feltface, BriTANicK) but aside from all our shows, my bestie and genius clown Tom Walker is back, my favourite comedian Sam Campbell, gorgeous Australian comedy darling Michelle Brasier, my circus family Cirque Alfonse, New Zealand sweetheart Paul Williams, the frustratingly talented Reuben Kaye, some of my picks for newcomer Ania Magliano, Leo Reich and Emily Wilson are all solid shouts. Also, my buddy Kevin Quantum is a killer magician and I love his shows.


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EdFringe Talk: Bird With Kylie Vincent

“I think a new Kylie will come out of this and will make me a stronger person and performer with the learning curve of balance.”

WHO: Kylie Vincent

WHAT: “How does a queer, GenZ comedian survive her past, the pandemic, and the indignities of a stand-up career? Vincent (aka Bird) takes the audience on a (seriously) funny flight, often through taboo comedy territory. Audiences say Vincent is a ‘badass, punk rock, hilarious’ storyteller and Bird is ‘…emotional, dark, and funny! Go see Bird!'”

WHERE: Gilded Balloon Patter Hoose – Coorie (Venue 24) 

WHEN: 19:40 (60 min)

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Is this your first time to Edinburgh?

Yes, this is my first time at the Fringe! It is so special because I have never cried this much in my life. Just kidding, but not really. It’s amazing that I get to consistently do my solo show everyday, on top of doing stand-up sets on other people’s showcase. To see great art everyday and be surrounded by that is definitely special and some people don’t even get to experience in a lifetime. It’s hard to be a person here since you’re constantly working, I think a new Kylie will come out of this and will make me a stronger person and performer with the learning curve of balance.

What are the big things you’ve learned since 2019 and have you absorbed any of the lessons yet?

In my show, I talk about my childhood sexual abuse and in 2019 I had not told anyone about it. In 2020, I started working on my show and it became a huge part of my identity. I think I’ve learned particular strength in identifying and feeling supported a part of an art and survivor community and that there often is freedom in letting that go and putting it into your art. I’ve also learned that I am addicted to chickpeas. I’ve lived off of them, like there’s a shortage or something. The other night, I fell asleep with a can of chickpeas and a fork in it next to my pillow and I woke up and rolled over and was shocked. I said to the chickpeas, “did we…?”

Tell us about your show.

I wrote my solo show! Barbara Pitts McAdams is directing & producing, and we also have David Calvitto on, co-producing. I met Barb about 4 years ago when I was advocating for gun control at a rally when I worked for the organization March For Our Lives (a non-profit gun violence prevention group). Barb is with Tectonic Theatre Project which creates activist devised work, like The Laramie Project, and at the time was working on a play about gun control activists. She interviewed me, we hit it off, and I started working on projects with her. She became sort of a mentor to me and when I was working on my show Bird, I sent her an early draft for feedback and she took interest in the piece and said she would like to produce and direct it. She also brought David on to help us with the Fringe run, as he’s been to like 17 Fringe’s total or something like that? I don’t know he’s old and it’s a high number.

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

Sam Morrison’s show “Sugar Daddy” such a hilarious, beautiful solo show. Sam is also a NYC comedian and is very well respected in the comedy community, but was blown away when I saw his show out here…his ability to make you laugh until you cry and then you actually cry, is so special and I highly recommend it.

Lucy Hopkin’s “Dark Mother” is an experience and I would do no justice explaining it if I tried. Such a fearless, talented, spiritual artist.


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