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: Lunchbox

Posted in *EdFestivals 2025, *Written Interviews by

“Edinburgh Fringe is the Mecca for performers, and I say that as a Muslim person.”

WHO: Lubna Kerr

WHAT: “Lunchbox is about the impact of bullying, through the eyes of a troubled Scottish boy, Steven and Pakistani girl, Lubna. Can two teenagers brought up in the same street in Glasgow have different outcomes in life? Can Lubna navigate being bullied without telling her parents about it, not wanting to add to their burden? What role do school lunchtime clubs play? Can Steven the bully be redeemed and find his purpose in life? Do teachers have influence in shaping their students’ lives? Or is a life of crime destined for Steven? This play examines the nature vs nurture debate.”

WHERE: The Green at Pleasance Courtyard(Venue 33) 

WHEN: 16:45 (60 min)

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Is this your first time to Edinburgh?

I first performed at the fringe in 2013 when I did my first 5 mins of stand up. Well, it was meant to be 5mins but ended up being 6mins 30 sec. It was a fabulous experience, and in my eyes stand up is like doing a monologue on stage.

Edinburgh Fringe is the Mecca for performers, and I say that as a Muslim person. It’s the place to be in August, it’s where you will bump into people in the coffee queue and start up conversations which could take you to perform in places you can’t even spell.

I produce all my own shows, it’s easy as it’s a one woman show but it’s not easy as there is so much to do and no one to pass it onto. It’s been a long time since I’ve been a proper punter I can’t remember what that feels like.

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

I have learned a lot of things in my many years at the fringe. Pacing is crucial. Do not attempt to do more than my body and mind can take. Remember I am not 25 anymore though I might feel it. Look after myself better, take appropriate rests and find places to sleep. The latter is not easy, but I have secret sleeping places.

When you perform having the right eating pattern is very important. Eat healthy, cut the cakes and drink more water. In fact these could be lessons for all year round!

I flyer for my own shows and actually enjoy it. It allows me to engage with people and tell them about the show. I mean who better? I wrote it, I’m in it and it’s my life story. The only issue is that this takes about 3 times longer, but I think its worth it. This way I get audiences who want to be there and are invested in me.

When flyering, only approach people who look open and want to talk to you.

Tell us about your show.

Lunchbox is about bullying in high school as seen through the bully’s eyes.It’s the final part of the box trilogy. I wrote it, and then my son improved it!

I worked with Jen McGregor as dramaturg, followed by Charity Trimm as editor, followed by my son Ihsan Kerr and finally with Emily Ingram as director. I am planning to work with Adam Gibson as music director.

It will premiere at Buxton Festival fringe in July which is really exciting as it’s a lovely part of the world. I will take it to Dundee festival and Pleasance London as my two previous BOX plays have been. Then who knows where else, I’m open to taking it anywhere in the world. I am also performing my show Chatterbox too, after being asked to bring it back by Pleasance. This will occur from the 18th August to 25th at 1pm and is to help engage with school children.

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

I want to see shows that come from abroad that will be cheaper to see them at the Fringe.

“Kanpur 1857” by Niall Moorjani at Pleasance courtyard.

“She’s behind you” by Johnny McKnight at Traverse.

I will go to a book launch by Chris Barkey of his first novel at Blackwell on the 7th August and apart from that I will rest.

I am actually performing two of my own shows, my choir SING IN THE CITY is in the Edinburgh tattoo and I will also be in Singin’ I’m No a Billy Jr, He’s a Tim Jr at the EICC with Scott Kyle et al.
We get free access to shows at the Pleasance so I will try and see as many as I can as they have world class acts on there.

Any free time I have will be spent sleeping and resting.

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EdFringe Talk: Kanpur: 1857

Posted in *EdFestivals 2025, *Written Interviews by

“I love how good your show gets in the doing it every day for a month.”

WHO: Niall Moorjani

WHAT: “Strapped to a cannon, an Indian rebel finds themselves answering to a British officer for the crimes of Kanpur – an Indian uprising against British colonial forces. Based on historical events, this new play comically satirises contemporary conflicts around gender, colonial violence, and making art in times of crisis. Written by and starring ‘storytelling genius’ ***** (Scotsman) Niall Moorjani and co-directed by and starring Jonathan Oldfield, director of 2024’s Best Newcomer Award-winning show. But who is the hero and who is the villain? Whatever happens, it’s going to be explosive. Winner of the Pleasance’s Charlie Hartill Fund.”

WHERE: Beneath at Pleasance Courtyard (Venue 33) 

WHEN: 15:40 (60 min)

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Is this your first time to Edinburgh?

It’s my 6th festival as a performer and 9th as a worker, I’ve been going since 2009 and still love the festival so much. Whilst it’s flawed and has so many issues to solve, I still feel so much joy at all the amazing work there is to see and I love how good your show gets in the doing it every day for a month.

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

I guess I’ve learned to believe in my work a lot more and to challenge myself and audiences a little more. It’s good to be on the edge of your seat both artistically and as an audience member. Like so many of us, I deal with some form of imposter syndrome still all the time, but I do feel like I’m starting to feel like I belong at fringe.

Tell us about your show.

So I (Niall Moorjani) wrote it and have sort of been lead artist on the project with the amazing Emily Ingram producing with me. I put the team together, the amazing Jonathan Oldfield was the only person I had in mind to co-direct and perform with me. Quickly after consultation with our wonderful dramaturg Nikita Gill we learned that we needed live music and turned to the brilliant sodhi for his tabla magic. Mohammed Tonsey provided sensitivity consultancy and Helen Coyston did the set and costume design. Then we were incredibly lucky to win the Charlie harthill award with plesance and have been working with them ever since. The show has had 4 previews so far, including Soho rising and the Scottish international storytelling festival but will premiere officially at fringe, afterwards we are heading to Pleasance for two shows in the London main house theatre, I’m buzzing and who knows where next.

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

Gods so many amazing things, ok, Lorna Rose Treen, Kathy Manura, Sanjay Lago, xhloe and Natasha and Nish Kumar’s show brought me to tears last fringe in the best way, please go see it.

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EdFringe Talk: I Was a German

Posted in *EdFestivals 2025, *Written Interviews by

“So those new details, they’ve filtered into my updated script. Does that count as absorbing a lesson? My script has absorbed some new facts.”

WHO: Clare Fraenkel

WHAT: “Berlin, 1933. Heinz goes out to the cinema and never comes home. London, 2023. Clare claims the German citizenship her grandad Heinz gave up, but is it hers to take? In the shadow of Brexit, Clare shines a light on her grandfather’s extraordinary true story, taking a journey from the cabaret scene of 1930s Berlin to becoming an ‘enemy alien’ in 1940s Britain, getting arrested by everyone from the Soviets to Winston Churchill along the way. A vivid account of one Jewish refugee trying to find his way home, and his granddaughter searching for her roots.”

WHERE: Studio at ZOO Southside (Venue 82) 

WHEN: 13:50 (60 min)

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Is this your first time to Edinburgh?

First time with my own show! But third time as a performer, and I’ve also been a bunch of times as a punter – in fact I seem to have lost count on exactly how many times overall. Don’t make me do the maths! I actually did a cheeky research trip way back in 2019, when I started to have a notion that I had a show I’d like to write – I had an absolute blast soaking up as many one-person shows as I could. That’s one of the great things about the Fringe – you can watch a wild variety of things, or you can pick your niche and still see a wild variety within that. I mean every show I saw that year was massively different in so many ways – the only constant was the number of performers (One!). And last time I was at the Fringe – in 2023 in Out of The Forest’s Brief Life and Mysterious Death of Boris III -it was, for me, the most buzzing and energetic year yet. I’m excited to see what 2025 brings!

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

Hmm, have I learned anything since 2024? Great question. I do like learning new things. A couple of years ago I did some adult ‘improvers’ swimming lessons and got my 200m swimming and they gave me an actual badge to sew on my swimming costume! Because I GUESS adults like swimming badges too? But who has the nerve to sew it on? Do you reckon I should??

Anyway, as far as learning anything since 2024? No new badges, but I’ve done a bunch of research and learned loads of new details about my grandads’ story – including fascinating stuff from people who’ve heard about the show and reached out to me with information I didn’t know about. So those new details, they’ve filtered into my updated script. Does that count as absorbing a lesson? My script has absorbed some new facts.

Tell us about your show.

I Was a German has been a labour of love for several years, from a scratch at JW3 in London via a 45 min work in progress at CPT’s Sprint Festival and then we had a fab short run at VAULT in 2023.

It all came about after I applied for a German passport after Brexit, but then had a dilemma because my grandparents were Jewish refugees and my right to the passport was because of the Nazis taking their citizenship. They died when I was a child so I couldn’t ask them – but THEN I discovered my grandad wrote a book all about his escape from Nazi Germany, specifically to explain why he never claimed his citizenship back. When I read it – Farewell to Germany – it felt like nothing I’d heard before, and I had even more questions.

I found his story fascinating, and as an actor of many years I had a huge urge to explore this dilemma by taking our two narratives and twisting them into a play. I wanted to use a variety of media to tell the story – as it felt important to make my grandfather’s storyline feel urgent and alive, and I very fortunately I received ACE funding to get a fabulous team together. The team has included members of Shadowboxer Theatre – specialists in shadow puppetry and projections (and includes IWAG director Lowri James) and composer Arran Glass who created a beautiful soundtrack and songs. As a solo artist, that funding was essential – the show simply would never have existed without it, as I needed to be able to assemble a crack team to create the work I had in my head! It was bigger than anything I could just whack on a stage.

Now I’ve polished up the script with some added details and looking forward enormously to a full Edinburgh debut, and then … who knows? I’ve been delighted by how this story seems to really connect with audiences, so I’d love to tour the show – I’d be fascinated to take it around the UK, and also think it has scope to connect with international audiences. Berlin is definitely on my wishlist, I think performing this show in my grandad’s hometown would be magical.

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

Ok Out Of The Forest’s Bury The Hatchet is going to be spectacular, the team is so talented, I’m really excited by what they’ve got in store for all of us. While All Fired Up: an 80’s Mixtape Musical had me at ‘80’s mixtape’. I’m there. Also.. I’d love to see Fish in a Dress’ The City for Incurable Women – when medical misogyny is so absurd, it’s funny. Sadly their show is at the same time as I Was A German– so see us both on different days!

Of my fellow ZOO shows several have caught my eye – I thought Onterond Goed’s ‘Funeral’ in 2023 was very moving, and I’d love to catch their latest Thanks For Being Here which is also on at Zoo Southside, except it’s ALSO the same time as me. So come over to Zoo Southside on different days to see us both! Also The Legends of Them – Here & Now Showcase looks well worth catching, as does The Queen is Mad – all female centred story telling, which I am very keen to support. A Drag is Born looks rather marvellous too – clowning and drag, two of my weaknesses.

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EdFringe Talk: Falling: A Disabled Love Story

Posted in *EdFestivals 2025, *Written Interviews by

“Fringe is such an amazing place to connect with people and I’m just so excited to see the other work that will be there!”

WHO: Aaron Pang

WHAT: “Aaron walks with a cane, and everyone asks ‘what happened?’. Aaron answers the question twice, first with a story you’ve heard a thousand times, and then with one you’ve never heard before. Faced with a spinal-cord injury, follow Aaron’s journey to understand this new body in the uncertain world of first loves, online dating and sex. The show untangles his own understanding of his body and the stories he tells himself. Falling is an uncomfortably sexy and hilariously vulnerable stumble through Aaron’s misadventures searching for love, lust and life after disability. Directed by Connie Chen.”

WHERE: Bunker Two at Pleasance Courtyard (Venue 33) 

WHEN: 15:00 (60 min)

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Is this your first time to Edinburgh?

Yeah and I’m so excited and so scared! I think Edinburgh Fringe has always been a dream and goal ever since I started pursuing this storytelling and comedy career. It’s just such a rich place for boundary pushing art! I think a great festival really fosters a community and dialogue among the artists and between the artists and audience. Fringe is such an amazing place to connect with people and I’m just so excited to see the other work that will be there!

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

Hmmm, I think a big lesson I’ve learned this year is that selling tickets is hard. I’ve performed all my life but I’ve never had to sell tickets and I think that getting up close and personal with it through a few of the festivals I’ve done has really gotten me comfortable learning to promote without overwhelming my people.

Another more personal lesson is a lesson about care. Through my amazing partner I’m learning a lot about what different forms of care for different people can look like, and changing my own perspective around the world to allow for me to receive more care.

Tell us about your show.

The show is called Falling: a disabled love story. You will watch me try not to fall on stage for an hour while I tell you a story about trying to fall in love after becoming disabled. I’m self producing the project with my director and creative and life partner Connie Chen. Connie and I met while attending the University of Iowa’s writing program. This show was a product of doing standup in Los Angeles for a summer. I noticed how people were so eager to help me because I walked with a cane. Those underlying assumptions really made playing with their expectations of me really fun and strange and slightly mischievous. The show was my Master’s thesis and it first premiered in the US, first in Iowa City and then with the Elysian Theater in Los Angeles. Right now I’m focused on having a successful Edinburgh run, but I think the next step would be to bring it to New York and hopefully have a run there!

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

My friend Woody Fu has a great show at Assembly this year called Woody Fu: One man John Wick! It is such hilarious and absurd character work and I just never get tired of watching it.

Also Mark Vigeant’s Best Man Show which is an interactive wedding reception where a drunk best man speech goes really off the rails!

Olivia Atwood is doing a double header at Greenside with her shows Oops and Faking It. Oops is a story about her job as a matchmaker, and Faking It is about her time being a fake patient that helped test the US healthcare system. Her physical comedy is hilarious and the laughs never stop!

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EdFringe Talk: Dear Annie, I Hate You

Posted in *EdFestivals 2025, *Written Interviews by

“Don’t let your joy or experience of the fringe be stripped or altered by someone else’s perceived successes or failures. Their work is their own, and yours is yours.”

WHO: Samantha Ipema

WHAT: “The award-winning 2024 smash-hit is back – bigger, bolder and more visceral than ever. Based on Creator Sam Ipema’s real-life experiences, this darkly comic, deeply heartfelt show dares you to find comedy in the chaos of the unknown. Hailed as ‘masterly’ (Stage) and shortlisted for BBC Popcorn New Writing Award, expect immersive soundscapes, full 90s nostalgia and a glimpse into the liminal space of the mind. With Director and Dramaturg James Meteyard (WILDCARD) and Olivier-nominated Sound Designer, Dan Balfour.”

WHERE: Pleasance Two at Pleasance Courtyard (Venue 33) 

WHEN: 12:00 (60 min)

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Is this your first time to Edinburgh?

No, it’s my second! We actually brought the first iteration of the show last year as my and its debut year. But this year we’re very excited to be at Pleasance with the new iteration. The festival is such an incredible place to launch, debut, and test new work — whether it be a new iteration or a new piece altogether — so we’re thrilled to be back and trying it out with new and returning audience members.

As a writer, I think that Edinburgh fringe is one of the best places you can try out new ideas. I also think as a performer, its an incredible experience via a sort of “trial by fire” and really will shape an understanding of the craft and stamina required for a long run. But as a producer, I will say that while it is magical and certainly has the ability to put your company’s name on the map, it is a tough playground and expensive sandbox to play in. Which isn’t necessarily a bad thing, but it is something to be aware of. And as an audience member? What better way to spend a few days on holiday in the summer?!

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

So many. How much time do you have…? But I can try to distill it down to a few points. First— treat your team well, because it’s their extra time, love, and effort that is going to make your show get to that extra little level that is required to make it stand out and be a unique experience for an audience member. Second— don’t get caught up in the competition. I think it can feel like a comparative environment, seeing other shows get traction, stars and reviews, and/or industry interest. So for that, I would say just stick to your lane and focus on what you came to do. If it’s getting audiences excited about your piece, then focus on that. If its to get a new agent, focus on that. Don’t let your joy or experience of the fringe be stripped or altered by someone else’s perceived successes or failures. Their work is their own, and yours is yours. Easier said than done, but it’s the best way to also get to enjoy and celebrate others work, apart from your own, which is an important part of the experience and being fed as an inspired artist as well.

See as much as you can, is my final advice. But also… rest. I know that’s contradictory and I’d probably roll my eyes reading this. So I’ll adjust it to— prioritize yourself, self care, and rest for the piece’s wellbeing and your own. But then go out and see new things and make new friends. Those connections can bud into exciting collaborations and at the very least, you’ll leave more open and inspired by other’s weird quirky brains and art than when you came.

Tell us about your show.

I wrote it! And my company is producing it! Yikes! The show is about my life at age 20 when I was a lost little mess of a human and the rollercoaster journey it took to “finding myself” over nearly a decade. It’s a really delight to wear all the different hats on it. But, would I recommend wearing all those hats? Not really. If it’s what’s necessary in order to get the piece out there in the way you want though, then yes. Absolutely. It’s a wonderful, crazy ride with many opportunities to learn alongside.

We’re hoping to take the piece internationally following the Fringe and also hoping to find a new and bigger home and production company for it to help get to the next level. All very ambitious stuff. But I think the piece has universal themes that are important and have been resonating far beyond those with personal experiences like mine. So, we will see! Fingers crossed.

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

As many things as possible. Go see something completely different afterwards like circus performance, some clowning, some improv… see it ALL. But, for specific recommendations, I would say—
Xhloe & Natasha’s work @ The Space is amazing. They’re rotating all 3 of their shows this year. Brown Girls Do It Too: Mama Told Me Not To Come @ Underbelly — I don’t know their work personally but I’ve heard whisperings about it and am excited to see it.
Otherwise, I’d say get there and follow your nose really.

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EdFringe Talk: Basically Nocturnal

Posted in *EdFestivals 2025, *Written Interviews by

“You also learn a lot about what “home” really means. It’s not just where you sleep or drop your bag—it’s made up of people, community, familiarity, and the small comforts you didn’t even know you’d miss. Like Vegemite.”

WHO: Thomas Currie

WHAT: “Fresh from sell-out success in Australia, Thomas Currie blends powerful vocals, razor-sharp piano, electric cello and witty storytelling in this all-too-relatable late-night cabaret. Featuring original music and some reimagined classics, be immersed in a collection of gripping tales from around the world. This show is perfect for night owls, insomniacs and anyone who has ever tossed, turned or are now two days past their bedtime. ‘We laughed, we listened, we marvelled’ (Melbourne Observer). ‘A natural storyteller… star quality to spare’ ***** (TheatrePeople.com.au).”

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

WHEN: 21:40 (60 min)

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Is this your first time to Edinburgh?

Yes, this is my first time performing at the Edinburgh Fringe—and I couldn’t be more excited. I’ve done similar festivals in other parts of the world, but there’s something truly iconic about Edinburgh. The sheer scale of it is wild! It’s like the entire city transforms into one big, buzzing creative engine.

What makes festivals like this so special is the incredible variety—you’ll stumble across genres of theatre and performance you didn’t even know existed. One minute you’re at a high-concept physical theatre piece, and the next you’re in a karaoke comedy horror musical in a basement. That’s the magic of it.

It’s one of the few places where every doorway might lead to a show that changes how you think about art—or just gives you the best laugh of your year. I’m so looking forward to being part of that chaos and creativity.

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

Well, I moved countries! I packed up from Australia and moved to London—like so many Aussies in their 20s—and I’ve honestly loved every second of it.

Just figuring out how to navigate London was a lesson in itself (I think I’ve officially conquered the Tube now), but more than that, I’ve really enjoyed diving into British culture. It’s definitely different from back home. One thing I’ve learned very quickly: I talk very loudly. But that’s part of it—learning how you fit into a new place, and what still belongs to you.

You also learn a lot about what “home” really means. It’s not just where you sleep or drop your bag—it’s made up of people, community, familiarity, and the small comforts you didn’t even know you’d miss. Like Vegemite. Which, by the way, is definitely better than Marmite. I refuse to move on that.

Tell us about your show.

The show is a mix of music and storytelling—funny, high-energy, and a little bit magical. It’s me at the piano, singing and sharing stories, joined by a brilliant electric cellist. Together, we take the audience through a series of individual tales, inspired by those unforgettable nights we’ve all had: sitting around with close friends, a favourite drink in hand, trading stories that are equal parts hilarious, haunting, and heartfelt.

When I lived in Australia, these late-night gatherings were a regular thing—we’d stay up into the early hours talking, laughing, and sharing. I’ve never been a great sleeper (my parents even sent me to “bad baby sleeping school” when I was a kid… no success there). But I’ve always felt the night holds a certain kind of magic. This show is really a love letter to those nighttime hours—intimate, funny, a little quirky, and full of great music.

I first created the show for the Melbourne Cabaret Festival in 2021 and had plans to tour it around Australia. Of course, over that time there was a certain pandemic that meant a string of lockdowns put certain performances on pause. So, bringing it to Edinburgh Fringe now feels like a kind of unfinished business—in the best way.

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

There’s so much I’m excited to see this year—it’s hard to know where to start! Of course, you’ve got legends like Alan Davies and Miriam Margolyes doing shows, and that’s always worth a ticket.

Personally, I’m really keen to check out fellow Australian acts—it’ll be a nice little taste of home. Shows like Bibbity Bobbity Bondi, Ten Thousand Hours, Triptych Redux, and Arthur Hull’s Flop are all on my list.

And I’ve heard great things about I Wish My Life Were Like a Musical and Princess Melancholy by Sophia Wren—both playing at Gilded Balloon alongside my own show, so there’s no excuse for me not to make it there.

Go out, support some new work, and take a few wild punts—that’s what the Fringe is all about.

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EdFringe Talk: Strangewife

Posted in *EdFestivals 2025, *Written Interviews by

“There’s an old Hewlett Packard report that cites men will often apply for jobs they’re only 60% qualified for, whereas women will only apply for jobs they’re 100% qualified for; I’ve certainly found myself contributing to this statistic.”

WHO: Brooklyn Boukather

WHAT: “What if you could build the perfect partner from scratch? When Lauren’s husband dies, the young widow stumbles upon an unsettling solution to her loneliness – one that involves moulding someone to her exact specifications. But as her desires grow increasingly specific and strange, the facade starts crumbling. Inspired by the absurd humour of Yorgos Lanthimos and the power games of Harold Pinter, Strangewife is a darkly comic two-hander exploring identity, power and love in a world where every aspect of our lives is under threat of commodification.”

WHERE: Front Room at Assembly Rooms (Venue 20) 

WHEN: 19:45 (65 min)

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Is this your first time to Edinburgh?

This is not my first time to the city, but it IS my first time at the Fringe. I’ve grown up in performance spaces, so the idea of Edinburgh Fringe has always been present in my mind – almost as this radical, larger-than-life hub where everything artistic must pass through. The lore around it might be bigger than the Festival itself, but I’m eager to see for myself. I’m honoured to be jumping right into the deep end as both a performer and producer of my company’s debut production, Strangewife. Though I’m classically trained as a theatre actor, this is my first time producing (anything, ever!) so it’s been an enormous learning curve. Luckily, I’m working with a trusted and proactive team, we have Storytelling PR handling our press and marketing, and we’ve been working in collaboration with Soho Theatre Labs; altogether, this is possibly the smoothest introduction to producing an artist could have. As an actor, I’ve never performed at a Festival – let alone one as chaotic and prolific as Fringe – so I’m bracing myself to be challenged creatively, physically, and emotionally.

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

For me, the past couple years have been consistent growing pains. My mother passed in 2022, and as life threatened to continue on without me, I realised that it’s essential for me to do things without waiting for the moment to be right because I knew nothing would feel right for a very long time. This philosophy – of jumping before you’re ready – led me to earn my Masters degree in Writing for Stage and Broadcast Media (despite never writing professionally before) at Royal Central School of Speech and Drama. Here, in 2024, I was presented another life lesson: do things even if you think you’re unqualified. There’s an old Hewlett Packard report that cites men will often apply for jobs they’re only 60% qualified for, whereas women will only apply for jobs they’re 100% qualified for; I’ve certainly found myself contributing to this statistic, especially as someone who already feels out of my depth in a new field. I was hesitant to take action with creating my own work until my company co-founders both suggested what I had privately been dreaming of – taking a show to the Fringe. As I navigate producing Strangewife, I find myself applying this lesson with every unfamiliar task and new fire to put out. It would be bold to say yet if it’s been fully absorbed, but we’ll see how I feel post-Fringe.

Tell us about your show.

Strangewife follows one grieving woman’s quest to satiate her needs after the death of her husband. The actor who arrives to play the part of companion is a seemingly acceptable stand-in, but as her demands become increasingly disturbing, they both must decide what they’re willing to endure for the façade of love. Written by Frazier Bailey, it is a dark, off-kilter

Strangewife is written by Frazier Bailey, produced by and starring myself, Brooklyn Boukather, and Daniel Barney Newton. Together, the three of us comprise Capgras Theatre Company. We met in the Royal Central Masters program and we were immediately drawn to each other. Since the inception of our friendship less than a year ago, it quickly became clear we wanted to make work together, and all three of us were willing to jump into the deep end. Since the moment it was suggested we create a show with the aim of bringing it to Fringe, it’s been a long, winding road of us.

Strangewife will debut at Edinburgh, but we have three London previews at the Lion & Unicorn Theatre in Kentish Town (July 21st – 23rd). We are in negotiations with several London venues for a continued run, but we are also very tempted by the possibility of bringing it to New York and expanding our audience and network across the pond.

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

Through our collaboration with Soho Theatre Labs, I’ve been in the room with a lot of fiercely talented, interesting artists. I would recommend the following: Bairns, a one woman dramedy by Annie Davidson about sisterhood, selfishness, and surrogacy; House Party, Chakira Alin’s one-hour mission to bring back house parties, via a dance party exploring the housing crisis, generational wealth, and the state of Britain today; and Clare Noy’s Funny Though, a stand-up comedy routine about a comedian’s terrible life choices that interrogates how much performers must give of themselves. All these productions are equal parts funny, poignant, and cleverly crafted, and I’d recommend prioritising these pieces in your crazy, Fringe schedules!

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EdFringe Talk: Alice Tovey: Glass Houses

Posted in *EdFestivals 2025, *Written Interviews by

“You spend a lot of a career in the arts waiting for the “right” time. For the moment when you’re finally cooked and ready to serve (slay). The longer I waited for that, for that feeling that I was “done”, I realised that there is no right time. Just now.”

WHO: Alice Tovey

WHAT: “Just before her wedding, Alice’s father returned home from prison. Glass Houses is a love letter to family, showing us that love conquers all – even the prison industrial complex. Through stand-up, stories and original song, Alice Tovey tells the story of a cancelled wedding, budgies, and a chef in a show about learning our parents are human, and choosing empathy over isolation. ‘Tovey is at the forefront of a new age of comedy excellence’ ***** (TheMusic.com.au). Written and performed by Alice Tovey. Directed by Gen Fricker.”

WHERE: Delhi Belly at Underbelly, Cowgate (Venue 61) 

WHEN: 21:55 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It’s been a dream of mine since I was a teenager to perform at the Edinburgh Fringe. When I turned 21, as a birthday gift all of my friends gathered money in a hat as a “Get Alice to the Fringe Fund.” 11 years later, I’m making a dream come true. Do I have any of that 21st birthday money left? Let’s say yes and not check my bank statements, out of respect.

The one thing that makes a festival truly great is the punters. I love crowds that are willing to take a risk on something new, or something batshit. As a debut artist who is luckily a bit insane, I look forward to meeting my people. Come and get me, fellow nutbars!

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

I’ve learned to trust my gut and go for it. You spend a lot of a career in the arts waiting for the “right” time. For the moment when you’re finally cooked and ready to serve (slay). The longer I waited for that, for that feeling that I was “done”, I realised that there is no right time. Just now. It sounds like something you’d chuck on the side of a scented candle, but I am enough. Guts and all.

Tell us about your show.

I wrote the script and songs for this show, with the guidance of my director, and composed the songs on a little keyboard at my desk.

But enough about me, let’s talk about THE GIRLS.

I am thrilled to be working on this show with two of my favourite girlies: my director Gen Fricker, and my producer Penny Gleeson. I work with both of these legends on the TV show ‘Gruen’ in Australia. I asked Gen to direct this show because she’s one of the best stand up comedians in the country, and I am a worm with so much to learn. It’s a privilege to observe her brain at work. And the same can be said of Penny, who will one day run this industry with a well manicured fist. Penny is a queen who saw that I am an organisational black hole and was like “when are you gonna finally let me produce your show.” And now she is and oh my god am I grateful for this beautiful woman. Also, shout out to my hard working, darling publicist Marissa Burgess, who handles too many emails and does it with so much grace.

The show premiered at the Melbourne International Comedy Festival 2025; my home town. I was so happy with it then, and it’s only getting better with age. Like wine or yoghurt (I hope). As to where it goes next, the sky’s the limit babbbyyyy. We’re taking family trauma comedy on the road for all to see! Clear the Globe Theatre, tell Broadway I’m coming. If you want to see this show, I will jump on a plane and bring it to you.

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

Get out and support the Australians! You should see Grace Jarvis, Eloise Eftos, Breaking the Musical, Ben Volchok, Mel & Sam, Jeromaia Detto, Garry Starr, and anyone else that shares my silly accent.

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EdFringe Talk: AL! The Weird Tribute (and How Daniel Radcliffe Got Mixed Up in This Nonsense)

Posted in *EdFestivals 2025, *Written Interviews by

“I realized it was something special when I was promptly handed twenty flyers, and then was asked if I’d like to rent a room for the night for £450 plus a kidney.”

WHO: Steve Goodie

WHAT: “Weird Al Yankovic and Daniel Harry Potter Radcliffe were destined to be together onstage, and now they are (sort of)! This loving tribute to two icons of entertainment will leave you giggling as your toes are tapping. American comedian/musician Steve Goodie brings it all together with songs and accordions and guitars and visual effects that cost many dozens of pounds, all for your amusement! Plus, there’s a lot of Tom Lehrer! Nerds rejoice!”

WHERE: Band Room at Laughing Horse @ Freddy’s (Venue 194) 

WHEN: 14:15 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my fourth time doing a run of shows at the Edinburgh Fringe. But many years before that I stopped in Edinburgh on a motorbike tour of the UK, not knowing what the Fringe was. I realized it was something special when I was promptly handed twenty flyers, and then was asked if I’d like to rent a room for the night for £450 plus a kidney.

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

Since Edinburgh 2024 I’ve learned that if I leave my home in the US for even three weeks, the place goes mad and elects a lunatic. This year, I figure the damage is done so I may as well come over again. Lesson absorbed… I’ll stay home in 2028.

Tell us about your show.

I have two shows, back to back every day. Both are solo, with me having written and produced and designed everything. Well, I did have the help of my friend Bob, who is a small yellow plastic springy toy… but his contributions are limited mostly to encouragement and distraction. The first show is a tribute to the musical comedian legend Weird Al Yankovic, and I wrote it specifically for Edinburgh. I learned that though there are plenty of nerds in the UK (like myself), shockingly few are aware of the genius of Weird Al… and I am here to solve this crisis in the Nerd Community. Well, to be fair, first I’ll make everyone aware of the crisis, and then I’ll solve it. My second show, entitled “Steve’s Big Dumb Show,” is a potpourri of songs and shtick and nonsense, and has been roaming the cities and towns of America for many years. This year the show and I aim to showcase many naughty and politically dangerous new songs (while it’s still legal). Where will I take it after Edinburgh? We’ll see which countries allow me in.

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

I recommend that you see a qualified counselor, first of all. After that, I highly recommend Tom Greaves and his show “Fudgey,” Alison Larkin and her show “Grief… A Comedy,” and Mark Vigeant and his show “The Best Man Show.” Why these shows? Well I enjoyed them all immensely. And each one stars a particularly talented solo performer who is digging into the darkness to find that extra-meaningful humor. “Fudgey” is about a boy’s harrowing experiences at boarding school; “Grief” is about losing a soulmate; and “Best Man” is about the family lunacy that comes out at a wedding. Two of them incorporate improv to a masterful degree, and all three take us somewhere familiar and then somewhere completely unexpected. One has a piano player. I like pianos, and I also like people who play pianos. And none of these shows is a “personal journey of discovery of who I am.” I mean, sure, go ahead and do that sort of show if you like… but I’ve seen far too many of those shows to wish for more. I like the grit and humor that comes ten or twenty years after that sort of show… where the weary adult finds their childishness once again, and that child/adult explodes out with a funny and meaningful tale of insanity and joy. Sometimes with a piano.

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EdFringe Talk: Animal Farm

Posted in *EdFestivals 2025, *Written Interviews by

“I have presented 122 shows,
performed in 33, directed 42, and written 15. The rest I’ve either produced, co-produced or presented (There is a difference!) I’ve had 5 West End transfers one of which reached Broadway, An Olivier award and a couple more nominations… all of which shows that EdFringe can be a place where you can launch theatre and reach the skies… which is reassuring.”

WHO: Guy Masterson

WHAT: “Olivier winner Guy Masterson directs the phenomenal Sam Blythe in his legendary solo of Orwell’s allegorical masterpiece, returning for its 30th anniversary. Blythe assiduously inhabits every quadruped on the farm: Boxer, Clover, Napoleon, Snowball, Benjamin, Molly, Muriel, Moses, dogs, sheep, hens, cows, ducks, cat – and Squealer is a tour de force! The political power of the work is undeniable and its inherent warning as shockingly poignant today as ever. I mean, it could never happen to us, could it? ‘Animal magic! Not to be missed!’ (BBC Radio). ‘Some shows are more equal than others!’ (Times).”

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

WHEN: 13:00 (75 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is not the first time I have “done” Edinburgh. It is, in fact my 30th (but for Covid 19, they would have been consecutive)… That makes over 2.5 years of my life spent in one of the most exciting places on Earth during Fringe time… That’s a lot of adrenaline! Over which I have presented 122 shows,
performed in 33, directed 42, and written 15. The rest I’ve either produced, co-produced or presented (There is a difference!) I’ve had 5 West End transfers one of which reached Broadway, An Olivier award and a couple more nominations… all of which shows that EdFringe can be a place where you can launch theatre and reach the skies… which is reassuring. A good festival for me is when the weather is dry throughout (very rare!), all my shows sell plenty of tickets and I go home having not lost money for myself or the shows I present (which is also rare!) and where I reconnect with the many ex colleagues and friends I have made over the years in the Assembly Club Bar… A “great” fringe is where one or more shows hit big, there’s a bun fight for tickets and a shark fight between London producers! There’s been a few of those along the way. I’ve gone from “The Next Stephen Berkoff” in 1994, to ‘Prince of Edinburgh’, to ‘King’, to ‘Legend’ and now to ‘Leg End’. I’ve vowed never to come again, yet I’ve always come back. I’ve vowed I’ll never work with friends again, yet I can’t help myself… and I’ve lost nearly 3 times as much as I have earned – yes, I took the time to calculate that – and yet EdFringe remains unparalleled and unparalellable… and important and vital and I still want to be a part of it… even as it becomes harder then ever…

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

I learned last year that punters are taking fewer risks with their money. Strong Show titles and big names and 5 star shows… also that people don’t really read reviews, only clock the star ratings… which is why they should be banned… and yet, as a producer, I’d be insane to leave them off my publicity!

Tell us about your show.

ANIMAL FARM – SOLO – was the 3rd show I brought to Edinburgh in my second festival in 1995. I adapted it from the book. Like my solo UNDER MILK WOOD from 1994, I opened it at the Traverse earlier in the year and brought it for the festival so Edinburgh audiences had a heads up which helped shift tickets… Both shows sold out before the Fringe started. I was totally spoiled. Both shows went to the West End and toured around the world. I brought both shows back to the Fringe periodically over my 30 years culminating last year in two 30th year performances. I vowed last year that I would never perform ANIMAL FARM at Edinburgh again – but with authoritarian politics on the rise around the globe, rarely has Orwell’s masterpiece been so relevant… So I recast it… I saw the brilliant Sam Blythe in METHOD IN MY MADNESS at Assembly 24 and invited him to take the reins… So I am now presenting BOTH shows at Assembly this year…Hopefully Sam will enjoy longevity with this title and galavant around the world with it as I did, while my aching bones enjoy some relaxation!

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

This is a little difficult as I have not had time to look at the programme yet… as I am in Martha’s Vineyard directing THE SHARK IS BROKEN for JAWS 50… so I can only recommend people I know who are coming and who have always been BRILLIANT – like Pip Utton in KING LEAR (He’s older than me, so he got their first… (besides, I never want to learn another solo show again… my brain can’t take it!) He’s at the Pleasance;. And David Calvitto in I SEE YOU WATCHING by John Clancy; TILLY NOBODY AND DREAMSCAPE both produced by Andy Jordan; Arthur Hull’s FLOP; THE MARRIAGE OF ALICE B TOKLAS BY GERTRUDE STEIN… all at Gilded Balloon. REUBEN KAYE (what would Edinburgh be without a taste of him IF he’s coming?) Nigel Miles-Thomas in SHERLOCK HOLMES – THE LAST ACT; HAMLET with New York Theatre Project; Trish Lyons in BUZZ, all at Assembly Fest:. The brilliant Kayla Boye in SHAKE IT AWAY; THE ANN MILLER STORY at The Space; and Mike Blaha – INTERNATIONAL JOKE at Greenside. There are many more I could recommend if I had the time…

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