Category Archives: *Written Interviews

From time to time we encounter an artist or producer toiling away at something pretty special. Here’s what they have to say, in their own words, about their work.

EdFringe Talk: Help! I’m Trapped in a One-Woman Show

Posted in *EdFestivals 2025, *Written Interviews by

“I suppose the lesson I’ve learned is to follow through on your dreams because they actually can come true.”

WHO: Kate Skinner

WHAT: “Alone in the world – as only a widow can be – Broadway actor, Kate Skinner’s moving journey through love, loss and online dating at 70. Navigating a landscape where ‘Man, 67, seeks woman under 30,’ her stories are wickedly funny and deeply poignant. Through it all, her love for Ron McLarty remains ever-present. ‘Kate touches on the deepest themes of our lives with the lightest of touches. If you’ve ever loved, lost or dared to love again, this is theatre not to be missed’ (Terry Johnson).”

WHERE: 10 Dome at Pleasance Dome (Venue 23) 

WHEN: 13:25 (60 min)

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Is this your first time to Edinburgh?

I have heard about the Fringe for decades. Friends have performed here and people I know have attended shows here and they always extolled the virtues of it as completely unique and a once in a lifetime experience, In the back of my mind I thought perhaps a show I was involved with would be asked to the Fringe but that never happened. So I was forced to bring my own show to the Fringe to make my dream come true.

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

Well, one is that in 2024 at a dinner party I was asked where do you see yourself in 2025. And out of my mouth came the answer–“I am going to take my one person show to Edinburgh” without actually having one to take! So I then had to create a solo show. I called upon a writer friend I’ve known for 45 years and got him to write it with my assisting and then we brought a director on board I’ve also known for 45 years and we managed to fashion a play that we were all proud of. And I suppose the lesson I’ve learned is to follow through on your dreams because they actually can come true.

Tell us about your show.

My friend, the writer Mark Hampton wrote it for the most part taking what I have told him in great detail about my life and recent experiences in the online dating world and fashioned it into something stage worthy, Then we brought the director Michael Edwards on board and he became intimately involved in the process from that point on. Before that I was introduced to Anthony of the Alchemist Arts Collective as a possible producer for the show at the Fringe by Terry Johnson (playwright and director). Anthony has been a godsend and I couldn’t have come other the Fringe without his expertise. He has guided me along with way for over a year in preparation of this moment. He also brought on board Fergus, who is our ace stage manager who does our lights and sound as well. I did a presentation in upstate NY at a small theatre that was doing a SoloFest in mid March and then another one in NYC in June. I have no current plans to bring it anywhere else but one never knows what the future holds!

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

Unfortunately I haven’t had a chance to see much as I’ve only been here a few days but I did see OUT OF MY HEAD at the Pleasance starring Jeremy Stockwell who is a superb actor and great storyteller. It is a show about Alan Watts who was a philosopher in the 60-70’s. I wanted to see THE CUT with Ben Pope today but it was sold out. I hope to see more over the next 10 days as there are so many splendid and interesting shows on in every direction!

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EdFringe Talk: Bad Immigrant

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“I’ve learned to embrace the experience more fully. Last time, I was so focused on ticket sales, reviewers, and the nerves of performance that I didn’t give myself enough space to enjoy being part of the wider festival.”

WHO: Jennifer Irons

WHAT: “It’s a roller disco about immigration. Obvs. Jennifer Irons, a UK immigrant from Canada, is told after Brexit to “go home”. But she hasn’t lived there in 25 years, and the kicker: Canada doesn’t want her either. Apparently, she’s too old, too broke and not sporty enough? Channeling her childhood hero, ‘Canada’s sweetheart’ Elizabeth Manley, Jennifer straps on roller skates and dives helmet-first into a glittering world of freewheeling misfits. With German techno, dancing salmon and absurd humour, award-winning choreographer and dancer Jennifer embarks on a chaotic, darkly surreal quest through colonialism, identity and the search for belonging.”

WHERE: Studio Two at Assembly George Square Studios (Venue 17) 

WHEN: 15:35 (60 min)

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Is this your first time to Edinburgh?

No, we love Edinburgh – and Scotland in general. I actually first came here within a couple of weeks of landing in the UK. I remember taking an overnight bus and waking up just as the sun was rising over the castle. It felt cinematic – like I’d stumbled into a movie. That first impression has always stayed with me.

The Fringe itself is indescribable. Everyone tries to pin down what makes it so special, but I think part of the magic is that you can’t. I call it a gameshow where no one knows the rules or what the grand prize is, but we’re all (shows and audiences) playing our hearts out. It’s a kaleidoscope of experiences: I have memories of drinking cocktails out of a skull, accidentally injuring the ref during an arm-wrestling competition, bumping into a Royal as they casually stepped out their helicopter and hearing bagpipes on a mountaintop. Cliché, yes, but unforgettable when it happens in real life. I grew up as a Highland dancer, so hearing bagpipes played just on the street felt like a wild flashback.

Festivals, and the Fringe in particular, are both exhilarating and exhausting. As a punter, it’s endless discovery: one moment you’re watching a singing pirate dinosaur, the next you’re weeping at a heartfelt story about a shark (that turned out to be about a father / son relationship). As a performer, it’s a marathon. You work so hard to make the show you want, but it only truly comes alive when you share it with audiences. Their reactions complete the work, and performing night after night for a month is when the real magic happens.

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

Haha! Have I?! If I’m honest, I’m a slow learner. It’s taken five years to make this new show, and part of me wonders if I’ve learned anything at all – if I had, maybe I wouldn’t be back! That said, I’ve definitely realised that doing 22 shows in a row is probably not going to happen these days. 7 is a good number.

More importantly, I’ve learned to embrace the experience more fully. Last time, I was so focused on ticket sales, reviewers, and the nerves of performance that I didn’t give myself enough space to enjoy being part of the wider festival. This year, I want to balance being a performer with being a punter, to celebrate the joy of being around other artists. As an independent maker, you often work alone, so to suddenly be surrounded by a community of creatives is energising – it really fills the well.

Tell us about your show.

The show was conceived after my last Fringe, when a reviewer wrote about how my work resonated with their experience as an immigrant. That planted the seed. The piece is mostly written by me, but our director, Tom Roden of New Art Club, insists I acknowledge that the funny bits are his. Working with Tom has been awesome. I actually emailed New Art Club straight out of dance school, asking if I could ever be their support act, so collaborating 20 years later feels pretty cool.

I’ve brought together long-time collaborators like composer Stew Baxter (Life Band), dramaturg Lou Cope, and designer Lucy Hansom, alongside new collaborators like projection designer Harshi Karunaratne, whose approach to starting with the body before layering in tech resonated deeply with me. I stalked them on Instagram. I have been fortunate to collaborate with artists exploring identity; Majid Dhana and Sophie Passmore. The conversations around immigrant/ indigenous/ settler have been incredible. We’ve also had input from cognitive anthropologist/ cultural psychologist Dr. Martha Newson, whose research into group identity and belonging helped ground the show’s themes, while Tom ensured we approached heavy ideas with humour and joy.

The show itself is part-documentary, part-roller disco. It explores the absurd expectations placed on immigrants; often to be “better” than everyone else– through the equally absurd lens of trying to become a championship roller skater. It’s glitter, rhinestones, and a banging soundtrack, but underneath, it’s about community, belonging, and questioning the systems that ‘other’ people. We’ve previewed the piece twice and are touring it to Cities of Sanctuary across the UK. Alongside the show, I run Skates4Mates, a project that provides skates, gear, and lessons for people seeking sanctuary. That community work has given the show even more meaning and taken it beyond being “about me.”

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

Definitely check out A&E Comedy’s “Do All The Things” – it’s wild, joyful, and unexpectedly moving. I laughed, disco-danced, hugged a tree, and, yes, got pegged by a stranger (which was more fun than it sounds!).

I also recommend Vic Melody’s “Bubble Double Trouble Bubble and Squeak” – Vic always creates work that’s funny, tender, and surprising.

And I’ll be going to see Ontroerend Goed because they scared the crap out of me last time, and clearly I didn’t learn my lesson about cramming too many shows into the schedule! I’ll be on the hunt for dinosaur pirates too.

Supporting fellow artists is part of the joy of the Fringe.

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EdFringe Talk: Edie

Posted in *EdFestivals 2025, *Written Interviews by

“If you love lesbians and history, you’ll love this 1 hour play!”

WHO: Jessica Toltzis

WHAT: “Never underestimate the power of a lesbian in love. Edie is based on the fabulous life of Edith Windsor and her sexy and tumultuous relationship with Thea Spyer. Edie sues the United States of America and convinces the Supreme Court to recognise the love that she and Thea share, changing the very definition of marriage. In her ground-breaking, decades-long journey, Edie struggles with the pain and joy of being herself while proving, once and for all, that love is love. This remarkable one-woman show stars award-winning actor, Jessica Toltzis.”

WHERE: The Annexe at Paradise in The Vault (Venue 29) 

WHEN: 21:10 (60 min)

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Is this your first time to Edinburgh?

This is my second time, but the first time on my own, with my show, Edie. The first time I was at the Fringe was in high school as part of the American High School Theater Festival, playing Touchstone in As You Like It! Fringe is so special–it’s filled with incredible performers, artists, and like-minded people who want to come here and change audiences–I had to come back again. Now, as a producer, writer, and actor, it’s a lot more work (and fun)!

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

ENJOY IT AND TAKE YOUR TIME! There’s a lot to do at Fringe–too much, in fact–and you have to give in to the fact that you can’t do it all! Once I arrived in Edinburgh, it took me a few days to remember and accept this truth, but now that I have, it’s made the festival more fun!

Tell us about your show.

Edie is inspired by the fabulous Edith Windsor, who sued the US government, won, and went on to legalize gay marriage in the US. So if you love lesbians and history, you’ll love this 1 hour play! I wrote, produced, and am starring in it! I have an amazing director and associate director/stage manager who have helped this piece come to life. We sold out off-Broadway at 59E59 Theaters and are now at the Fringe! After Fringe, the hope is to continue performing this show and turn it into a TV show or movie!

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

You have to see The Marriage of Alice B Toklas by Gertrude Stein, Jack Offerman’s Big Uncut Flick, and Shell! These shows are funny, moving, and worth the ride!

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EdFringe Talk: The C Word

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“You have to really believe in a story to devote yourself to something like that, and that is what I think connects all Fringe performers in this very tangible way.”

WHO: Claire Houghton Renoe

WHAT: “Back by popular demand! The C Word is a radical awakening to the extreme objectification, competition, and overall nonsense women face today. This play explores the hypothesis: All women Hate themselves with a capital H. Trapped in a museum while waiting to interview for an Associate Curator position, five young women must select a tribute to fight a terrifying C-word monster. In a reality where women are constantly pitted against each other, what must we learn about ourselves to truly know and love one another?”

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

WHEN: 18:15 (60 min)

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Is this your first time to Edinburgh?

This is my second time at Fringe and my second time directing The C Word, which made its international debut last August. I absolutely jumped at the opportunity to return to the festival. The community of such uniquely passionate, devoted, determined artists and storytellers is unlike any other arts event I’ve experienced. Being in a city teeming with creativity, bursting at the seams with performances in alleyways, classrooms, and storage closets, proves that fantastic theatre can be made by anyone, anywhere, with any budget.

I am incredibly grateful that our company gets to further develop this show, and that I, as an individual artist and lover of theater, have the opportunity to return with some understanding of the scope of opportunity here. I hope to take advantage of every second this year, and to soak in the vibrant, glorious community that surrounds me. Just SEEING the shows here! So many make me think– ‘Yes! This is why I do this!’

There would, of course, be more time to see things if I weren’t working on a show of my own, but that is the other half of the rich experience at Fringe. Coming together with a group of people you respect and admire to ship yourselves and your set overseas, to rehearse in the park, tech in two hours, and open to an international audience. It’s thrilling like nothing else. You have to really believe in a story to devote yourself to something like that, and that is what I think connects all Fringe performers in this very tangible way.

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

I feel I’m returning to Fringe this year with a greater sense of camaraderie and community. It has been amazing how many people, artistic friends and collaborators, have descended on Edinburgh from a multitude of places and from so many chapters of my life. I trust that the people I meet this summer will become the familiar faces of future years.

I’m learning the importance of this network– of finding the people whose work ethic and collaboration style feeds your own. You never know when the opportunity might arise to work with them, maybe in six months, maybe in five years. Maybe here, or in New York or LA. This feels like the origin point for so many opportunities and relationships, and how exciting that it is the same for thousands of artists all around me.

Tell us about your show.

The C Word asks: “Is it possible to be a ‘girl’s girl’ in a world determined to make us hate ourselves and each other?” A feeling of never enough-ness has been ingrained so deep within us that we don’t notice it anymore. Sarah Lina Sparks began developing this play at UCLA, before it was picked up by Los Angeles Theatre Initiative for its run at Fringe last year. I think Sarah Lina’s writing is brilliant because it uses magic and laughter to uncover tensions, the ones that are supposedly “fixed,” that rest just beneath the surface.

We’ve been lucky enough to perform the show to sold out audiences at Hollywood Fringe since our run last year, and witnessing people connect intimately to these characters has been incredibly rewarding. The show unearths the complexity and ugliness that can exist in female relationships, and in doing so can also discover their beauty. Sarah Lina’s writing investigates what women must overcome to really love one another. To selflessly root for another woman’s success. Is it even possible? The C Word argues that it is.

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

One of my favorite shows I’ve seen at Fringe is Xhloe and Natasha’s A Letter to Lyndon B Johnson or God: Whoever Reads This First. The story is nuanced and beautifully written, the choreography and design stunning to witness, and the audience left the theater incredibly connected to the characters while discussing their interpretations of the gripping final moments. I recommend anyone go see this show.

I also highly recommend Liv and Ken Productions’ The Family Copoli: A Post-Apocalyptic Burlesque Musical. Incredibly music, amazing performances, and a blast to watch while leaving the audience real themes and questions to consider. So well produced and performed, an exciting new piece of theatre.

I very much enjoyed Kate Barry’s intimate storytelling performance, Kate, Allie and the ‘86 Mets. I felt invited into the story and was absolutely touched. I was completely absorbed and loved the design and the personal touches from Kate’s childhood.

I also loved the one person comedy show, Why I Stuck A Flare Up My Arse For England. It uses humor to explore toxic masculinity in such an effective way. I’ve heard so many people rave about this show. Highly recommend it!

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EdFringe Talk: Jerry’s Girls

Posted in *EdFestivals 2025, *Written Interviews by

“What I really love about the Fringe is the inclusivity, it’s a place where everyone can have a voice.”

WHO: Aoife Summers

WHAT: “Broadway’s leading ladies rise again in this haunting reimagining of the classic Jerry Herman revue. Set in a forgotten theatre where echoes of the past linger, this spooky and stylish production brings a ghostly twist to beloved songs from Hello, Dolly!, Mame, La Cage aux Folles and more! Featuring live music and ethereal glamour, Jerry’s Girls is a dazzling celebration of showbiz legends who never really left the spotlight. A must-see for musical theatre lovers and anyone who believes the show must go on – even from beyond the grave.”

WHERE: Sanctuary at Paradise in Augustines (Venue 152) 

WHEN: 21:25 (90 min)

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Is this your first time to Edinburgh?

This will be my second time at the Edinburgh Fringe with Never Ending Theatre. We brought The Last Five Years last year, and I had the absolute best time. It was such a whirlwind of rehearsals, flyering, quick turnarounds, and meeting audiences from all over the world. I came away buzzing with ideas and feeling so inspired by the sheer variety of work on offer.

What I really love about the Fringe is the inclusivity, it’s a place where everyone can have a voice, whether you’re a brand-new company performing in a tiny room or a big-name act on a major stage. There’s a real sense that all stories are welcome, and that makes it incredibly special.

Coming back this year with Jerry’s Girls feels like we get to build on that first experience, but with a show that’s pure joy to share. I love the challenge of producing and directing in such a fast-paced environment, but I also love being a punter! Ducking into something I’d never normally see, and leaving with a huge grin on my face. The Fringe is all about that mix of planned highlights and unexpected discoveries, and I can’t wait to dive back in.

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

Since 2024, I’ve learned that running a show at the Fringe is as much about stamina and teamwork as it is about artistry. Last year taught me to rely on and celebrate my team, we all wear so many hats here, and you can’t do it alone. I’ve also learned to embrace the chaos rather than fight it; the unexpected often leads to the best moments.

One big shift for me has been confidence! I now feel braver in my creative choices and bolder in telling our company’s story. I’ve also made peace with the fact that you can’t see everything at the Fringe… and that’s okay. What matters is being present, supporting others, and making the most of the time you have here.

Tell us about your show.

Jerry’s Girls is our ghostly love letter to Broadway. It’s a reimagining of the classic music by broadway composer Jerry Herman, but instead of the glitzy Vegas-style staging you might expect, we’ve set it in a forgotten theatre where phantom showgirls belt out these iconic numbers! Think Hello, Dolly!, Mack and Mabel, La Cage aux Folles, with a mix of glamour, mischief, and a little bit of haunting.

I’m directing and producing, with the brilliant Jack Gardner as our Musical Director. We’ve got a fantastic team of performers and creatives, many of us worked together on last year’s The Last Five Years, so it feels like getting the band back together but with a bigger, bolder concept.

Never Ending Theatre is a young company based in Edinburgh, founded in 2022, and made up of female, LGBTQ+, and non-binary artists. Our mission is to make theatre that’s accessible, inclusive, and unapologetically creative. Whether that’s a rock musical, an intimate two-hander, or a ghostly cabaret. We’re all about bringing diverse stories to life and making sure audiences of all backgrounds feel welcome in our spaces.

This is the show’s Fringe premier! The show was previously directed by Kris Harding (Blood Brothers, Starlight Express, The Last Five Years) in 2023, and he has passed on his concept to us allowing us to build this adaption specifically for the Fringe. We’re not locking ourselves into a plan for what’s next just yet, but I’d love to tour it or bring it back for another run, because these songs and this concept have so much life in them… even if our characters are technically dead.

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

Once you’ve joined our ghostly showgirls in Jerry’s Girls, I’d say keep the musical theatre train rolling—there’s so much brilliant work at the Fringe this year. Come From Away from Captivate Theatre is a masterclass in storytelling and ensemble work! and If you want something darker, Sweeney Todd, also from Captivate Theatre, is a deliciously twisted treat.

Derby Day is totally different again: fast-paced, funny, and packed with big personalities—it’s like spending an afternoon with your most chaotic friends.

For rock lovers, Mary Queen of Rock! by Pretty Knickers Productions is pure joy—a mash-up of history and head-banging you didn’t know you needed. Frozen Love from Era Productions is another must-see, a powerful musical journey that blends vibrant storytelling with unforgettable music. And School of Rock from Forth Children’s Theatre? Just try to watch it without grinning the whole way through. The energy is infectious and the kids are insanely talented.

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EdFringe Talk: Shiva for Anne Frank

Posted in *EdFestivals 2025, *Written Interviews by

“I love the number 23 bus. Shout out, number 23 bus! I sit in the front row on the top level, and I love every second of it.”

WHO: Rachel McKay Steele

WHAT: “A celebration of Jewish Identity, girlhood, and community mourning. Can one Jewish comedian relate herself to Anne Frank? Although one of the most famous and recognisable young women in the world, Frank’s legacy is often simplified so she can remain a saintly beacon from one of humanity’s darkest chapters. Now that we find ourselves in yet another dark chapter, come laugh, celebrate, and mourn as filtered through her nose-job, Bat Mitzvah, and a one-night stand with a German. She’s trying to meet the moment but showing up fashionably late (with snacks) instead.”

WHERE: Playground 2 at ZOO Playground (Venue 186) 

WHEN: 14:20 (60 min)

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Is this your first time to Edinburgh?

It is! I think it’s absolutely incredible that there is a huge performing arts festival and people are coming from all over to perform in it and/or to watch and enjoy art. For a month, this beautiful city just celebrates art. I wish I was expressing this sentiment in a more articulate manner, but it’s just so cool and awesome!

As a performer, it has certainly been hard, and I’ve had days where I am exhausted and anxious and lonely except for the one hour I’m on stage. It’s been a dream come true to come here, and I think it’s a testament to the festival that the dream isn’t ruined by just how overwhelming it can be sometimes. It’s starting to feel less insane, so I’ve been able to enjoy myself more.

Also, as someone who spends a lot of time in a car in Los Angeles, I love the number 23 bus. Shout out, number 23 bus! I sit in the front row on the top level, and I love every second of it.

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

I just got engaged, and it’s so new I’m still being really annoying about it. But in the year leading up to it, I learned even more about what it means to be present in a relationship and for someone you love. And not just when things are hard, but I’ve been trying to learn how to show up and make someone feel loved when things are going well too. It can be too easy to go into auto pilot sometimes.

I’ve also learned how much the heart can expand. I got to spend some really quality time with my best friend and her daughters recently. We don’t live even remotely close to each other, and I hadn’t seen her and her family in 6 years. And my heart just got bigger in the best way possible to contain her girlies too. The movie “In Her Shoes” is a criminally underrated Romcom that also features a character reading the e.e. Cummings poem, “I carry my heart in your heart,” and I’ve come to believe our hearts can carry so many hearts.

Continuing the love theme, one thing I haven’t learned is who won Love Island UK. It airs behind the UK schedule in the US, and I haven’t been able to catch up on it since I got here. NOBODY LET ME LEARN WHO WON LOVE ISLAND UK BEFORE I GET TO WATCH IT.

Tell us about your show.

I wrote it! Yay me!

Shiva for Anne Frank celebrates girlhood, horniness, and being an imperfect human (so being a human). It’s about growing up Jewish in the American south and trying to define chutzpah. I’m honoring and mourning Anne Frank, not the idea of her, but the fullness of who she was in her short life. She was really funny! People should know/remember how funny she was.

This show started as an ill conceived, one-off bit in a comedy show, yet I thought this could be something. I was re-reading the diary and connecting with it in such a new way as an adult. I had also just started working on it it when those Party City, Hitler youth, knock-offs marched in Charlottesville, Virginia chanting “Jews will not replace us,” so it felt politically relevant in a new way too. And it certainly doesn’t seem to becoming less politically relevant, though I would love that, not just because I’d like less fascism and fewer bad things to happen, but then I could spend more time talking about Anne (and myself!)

I first workshopped it in 2018. I performed it a handful of times at the 2019 Hollywood Fringe, but then took several years away from it. I started reworking and revising at the end of 2023, and it’s such a different show now, I debating changing the title to reflect just how much it has changed. But I love the title.

I hope to keep performing the show after the festival. I don’t know where I will be taking it, but I will let as many people as possible know when I do!

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

Honey Honey, Moon Moon- Couplet. They are hilarious and delightful. They are incredibly talented musicians and songwriters. If you like joy, you will love it. I saw the show in LA at Hollywood Fringe, and then I saw it again here.

Medium Dead- Eleanor Shaw. She’s the show in Zoo Playground 2 after mine, so you can literally see it right after you’ve seen mine. I really loved it. It is deeply funny and deeply dark. Eleanor is a gifted performer and is so charming in a role that shouldn’t be able to charm you. Really inventive and very human.

The Butterfly Who Flew into a Rave- Oli Mathiesen with Lucy Lynch and Sharvon Mortimer. I’ve never seen anything like it. It’s like if Pina Bausch and Daft Punk had a love child and raised it on Red Bull and then it just went harder than you’ve ever seen modern dance go before.

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EdFringe Talk: Jack Offerman’s Big Uncut Flick

Posted in *EdFestivals 2025, *Written Interviews by

“I’ve learned the value of being present and engaged in as many rooms, conversations, and spontaneous moments as possible.”

WHO: Melissa Firlit

WHAT: “Buckle up, buttercup! In Jack Offerman’s Big Uncut Flick, a quirky 1970s small-town broadcast unravels into a chaotic collision of campy commercials, outrageous characters and a gripping 1930s noir-style crime story. Enjoy the meltdown.”

WHERE: Downstairs at Assembly Roxy (Venue 139) 

WHEN: 15:50 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my fifth time at the Edinburgh Fringe, and every year I’ve worn a different hat. My first visit was as a company manager, young, determined and debaucherous. I soaked up everything this incredible festival and city had to offer. I had no idea what I’d signed up for, but I knew I’d landed somewhere special, where art in every imaginable form bursts to life during that wonderfully wild August stretch.

The second time, I returned as a performer with a dance company, still wide-eyed, still learning. After that, I came back as director and producer for Marrow in 2019 and 2022 – one pre-COVID, one post-COVID – both a crash course in adapting to a constantly shifting landscape. And now, in 2025, I’m back with Jack Offerman’s Big Uncut Flick at the Roxy Downstairs, equipped with lessons from the past and a focus on what truly matters: making meaningful connections, taking the time to see people, and building community.

That’s what makes the Fringe, and any great festival, special: the sense of community. There’s space for everyone here, and the camaraderie is real.

And of course, you have to be a little bit mad, bold, and wildly courageous to produce a show here. It’s no small feat, no matter the scale. But there’s a shared understanding among those who make the leap: the sacrifice, the risk, and the joy are all worth it.

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

In 2023, I returned to Edinburgh as an audience member. What struck me most was how many of the connections I’d made in 2022 were still alive and thriving. Those relationships hadn’t faded. It was a beautiful reminder that the bonds you forge here are part of an ongoing creative family.

As a producer, I’ve learned the value of being present and engaged in as many rooms, conversations, and spontaneous moments as possible. The curated events at Fringe Central have been a gift.

My best advice? Throw caution to the wind. Make that bold introduction. Remember that we’re all artists and are connected in lasting ways.

Tell us about your show.

Jack Offerman’s Big Uncut Flick is theatre of the ridiculous at its most delicious – a 1930s film noir flick, hosted by a 1975 afternoon local TV personality who knows absolutely nothing about movies but everything about hamming it up for the camera (or so he thinks). It’s an ode to theatrical styles, packed with physical comedy, camp, vaudeville, slapstick, and more winks to the audience than you can count. Four actors. Twenty-eight characters. What a delight!

Written by Todd Michael, who also plays an array of characters, the show uses a story-within-a-story device to keep the play fast-paced, buoyant, and full of surprise. Todd has a rare gift for capturing period style while still letting the absurdity run wild.

It’s produced by Resolve Productions, a two-person New York City-based team: Craig Dolezel and myself. We came together working on Misterman by Enda Walsh, needed a company name, spotted one on a bottle of rug cleaner (yes, really), and figured: if it fits, it sticks. Well, it’s stuck for 10 years now. Our mission is to create work that’s playful and gives a platform to voices and stories that don’t always get the mic.

Before landing here at EdFringe, Jack Offerman’s Big Uncut Flick was part of the East to Edinburgh series at 59E59 Theaters in NYC, a program that gives US shows an opportunity to jumpstart their EdFringe runs.

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

One of the joys of being at EdFringe is getting swept up in the sheer variety of art. You can go from belly laughs to heartbreak to a full-on dance party and all in the span of a single day. We’re thrilled to share a few of our must-sees so far, in no particular order:

Smile: The Story of Charlie Chaplin – Physical comedy at its finest, with audience engagement, humor, and a surprising amount of heart.

Delusional: I Killed a Man – Stunning, vulnerable, and gripping, a powerful piece of theatre.
Ten Thousand Hours – Captivating, playful, and wildly inventive.

Dangerous Goods – Passionate, awe-inspiring, with a message that sticks.

Frisky’s – An incredible singer with a stunning voice, high energy, and fun audience collaboration.

Ohio – One for the books; trust us on this one.

Club NVRLND – Pure dance party joy.

Van Gogh Shogh – Unhinged, asymmetrical, and utterly loveable.

Best Man Show – Bizarre, silly, heartbreaking, fun, and completely relatable.

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EdFringe Talk: Everest Mallory 24 (With Stanley)

Posted in *EdFestivals 2025, *Written Interviews by

“Obviously, it’s great to go and watch the established acts. But the really special experiences are when you come across an extraordinary performer in one of the small, intimate spaces.”

WHO: Andy Dickinson

WHAT: “A comic storytelling show, based on the 1924 British Mount Everest expedition. It follows Mallory on the SS California to India, on a train across to Darjeeling, and on ponies across Tibet. In tow is Stanley from the Mad Hatter’s town of Stockport, Manchester. All of this is new to Stanley, who has barely been up Helvellyn in the Lake District! Once reaching Mount Everest, they must tackle it with feet, ropes, and possibly some oxygen. Knowing his own limitations, Stanley absolutely does not make a summit attempt, alongside Mallory and Irvine…”

WHERE: The Vault at Paradise in The Vault (Venue 29) 

WHEN: 19:15 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, this is my fifth Edinburgh Fringe, and my third as a solo performer!

As a producer, there is no better place to get a show on its feet. With over 3000 other shows on, you know that you have to bring your very best work. Moreover, there is the concentration of reviewers, agents, and producers. If you do do the right show, at the right time, things can really take off for you. So far, we have had 2 quite big successes – Shackleton and his Stowaway, which went on to play a Sold Out run in Park 90, London, and Tam O’Shanter, Tales and Whisky, which Sold Out for 2 performances in the Traverse Theatre, Edinburgh, for Burns Night 2023.

As a festival goer, there is endless variety, and genuinely something for everyone. Obviously, it’s great to go and watch the established acts. But the really special experiences are when you come across an extraordinary performer in one of the small, intimate spaces. To be a spectator there is a true privilege.

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

Since 2024, I believe I have developed quite a lot as a solo performer. Till now, I have been performing with a hand mic and stand, in what was effectively a mix of theatre, storytelling, and stand up comedy. For 2025, I have dropped the hand mic and stand. This has been liberating! Storytelling is, of course, words embodied, and I am no longer constricted by the mic. Also, by roaming the whole stage, I can create whole scenes, far more effectively. You may even come to believe that we are approaching Everest, AND then climbing up it, in my current show.

Also, I have learnt to pace myself. 3 weeks, with 20 shows, is quite a serious commitment. Obviously, my principle focus has to be my own show. But it’s worth trying to fit in some other shows every few days, to connect with other artists, and also to give yourself a proper breather!

I also learnt how to categories my show, more carefully, so that audiences will find it easier to get to me – Theatre, Storytelling, Comedy!

Tell us about your show.

For 2025 my show is ‘Everest Mallory 24 (With Stanley)’, which I wrote myself. It is based on the very famous British Mount Everest Expedition of 1924. This is the most famous of all the British Everest expeditions. However I tell it in a new way, with a new character!

The character is Stanley, who comes from the mad hatter’s town of Stockport. He has been ‘up Kinder once. Not quite to the top.’ So yes, he’s not the best person to be tagging along on such an expedition. Mallory certainly doesn’t make him feel welcome! Stanley is, in effect, an everyman. He reacts to the increasing dangers and jeopardy in a way that most of us would. He’s ‘probably’ not going to be making an attempt on the actual summit . . .

Stanley is something of an alter ego for me. I am also from Stockport. I am also a fan of the early Himalayan adventures. I also have been known to go up Kinder, Helvellyn, Ben Nevis. I’m not as bad as Stanley is at it, though! At the same time, I would never be going beyond Base Camp at Everest.

We did some previews of the show at Leicester Comedy Festival, Brighton Fringe, and Keswick Mountain Festival. Not surprisingly, they were familiar with the story down in Keswick. Fortunately, the history has all been solidly researched!

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

Tomatoes Tried to Kill Me but Banjos Saved My life, which I think is worth attending just for the title. Not quite a banjolele, but I do play the Ukulele myself. Its’ theme is one that is close to the heart of all artists, in respect of art being the flame that keeps us all ever marching on.

A Mad Mad Wonderland. Jason Woods has a marvellous flair for bringing numerous characters to life, from Lewis Carroll’s works. Not only bringing them to life, but giving them his own spin, particularly with a range of celebrity voices. Unbelievably, James is actually doing 2 shows at this year’s Fringe!

I’ve also seen Make it Happen but that comes to an end on 9th Aug. And National Theatre of Scotland don’t exactly need a plug from me! Other shows on my list are The Truman Capote Talk Show, Air Heart, and Amazons.

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EdFringe Talk: GENDAI

Posted in *EdFestivals 2025, *Written Interviews by

“As a performer, it’s both exciting and humbling to be part of such a huge mix of talent from around the world.”

WHO: Gendai

WHAT: “A Japanese laser show combining custom-made paper costumes, expressive body performance and original music featuring traditional Japanese instruments. Movements are sharp, precise and unpredictably playful – designed to surprise and engage. Laser light becomes a visual masterpiece: meticulously designed, immersive and breathtakingly beautiful. This performance invites audiences to feel, see and experience a world where energy flows through light, sound and movement. In a space where tradition and innovation meet, rhythm, texture and emotion – born from the body – carry the audience on an unexpected journey beyond the visual.”

WHERE: Temple at WU (Venue 396) 

WHEN: VARIES (15 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes – this is my first time performing in Edinburgh, and it’s been incredible to experience the scale and energy of the Fringe. What’s special about EdFringe is the way the whole city becomes a stage, and how audiences arrive ready to discover something new. As a performer, it’s both exciting and humbling to be part of such a huge mix of talent from around the world.

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

We want the audience to feel a deep emotional connection—through awe, serenity, and wonder. The performance is designed to be immersive and meditative, offering moments of stillness and intensity that reflect the contrasts found in Japanese culture.

Tell us about your show.

I personally programmed the laser sequences to sync with my dance. One of the biggest challenges was blending automated light patterns with the human body’s texture and movement. The soundtrack is also self-produced, incorporating subtle elements of Japanese sound culture throughout.

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

After our show, I’d love for you to experience The Proust Effect by Eden Choi—a mesmerizing close-up magic performance with a global twist. He invites the audience to a journey around the world through sleight-of-hand, seamlessly blending humor, warm connection, and astonishing finesse.
His tricks are performed just a few feet away, making every moment feel intimate and magical. According to reviews, “His sleight-of-hand is so smooth, so astonishingly clean… Tricks that should be impossible unfold right in front of your eyes.”

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‘1457, The Boy at Rest’ (Venue 17, until AUG 24th)

Posted in *EdFestivals 2025, *Written Interviews, 5*, Theatre by

“This was my first experience of Korean national theatre and I am left wanting more! More! MORE”

Editorial Rating: 5 Stars (Outstanding)

The story of the 15th-century Korean boy King Danjong has been told and retold down the ages. A child, too young to govern. An uncle, too ambitious not to seize the throne. A devoted wife, doomed to a lifetime of regret.

We enter to find that some of the most elegant and effective set dressings anywhere this EdFringe have transformed one of the University’s more functional lecture spaces into a sensual backdrop perfectly attuned to the pansori-style session of storytelling about to unfold. Contemporary pansori has been described as the sound of han – the sound of that uniquely Korean form of grief and sorrow. The genius of this production lies in what has been built on that melancholy foundation. Here is a production that is vibrant, laugh-out-loud funny, as well as poignant and thought-provoking. Three goblins (dokkaebi) act as our chorus, framing the narrative with puckish light-heartedness and head-shaking regret at what fools these mortals be.

Thanks to an ultra-contemporary byeokgeori / backdrop displaying colour-coded subtitles, nothing is lost in translation. Sitting in the back row of the theatre, I found the blending of live performance and visual tech aides fairly seamless, although those up front in the spit zone might feel differently. Pansori’s focus on emotional depth, singable narrative arcs, and traditional drum-based accompaniment were delivered by the bucketload by a company of stellar performers who hit all the high notes while also being accessible and (most importantly) really chuffing entertaining. The dokkaebi stole the show with their mix of clown and frown but there were also flashes of pure brilliance from across the company.

This was my first experience of Korean national theatre and I am left wanting more! More! MORE! Drawing on 5,000 years of history, troubled by outsiders, this production is a perfect showcase of national feeling, talent, and identity. Come for the spectacle, stay for the masterclass in professional stagecraft, get your durumagi on and go see this!

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