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.

Bedfringe 2026 Interview: Hasta La Vista… Bibby!

Posted in *Written Interviews, Bedfringe 2026 by

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“Rumours circulate that I only do Bedfringe because I was born in Bedford and only add this tour date as an excuse for a sesh with my old school mates. Poppycock. Bedford is the Las Vegas of the East of England.”

WHO: Dave Bibby

WHAT: “Amused Moose Edinburgh Comedy Award winner, Dave Bibby, is heading Back To The Future!

Join Bedford-born Bibby in a one-man Hollywood blockbuster. A journey in a Delorean through some of the greatest movies ever made. Along the way, the audience helps shape the show, contributing sound effects, lines, and key moments—each performance unpredictable and unique.

When this Bibby hits 88mph you’re gonna see some serious sh*t.”

WHERE: Quarry Theatre

WHEN: 26 July 2026 @ 18:30 (60mins)

MORE: Click Here!

Is this your first time to Bedfringe?

I am coming back to Bedfringe following my 2023 [ahem] award-winning show BABY DINOSAUR. This time though, it is not an Edinburgh preview, but a FINISHED show. Now I just need to remember it!

Rumours circulate that I only do Bedfringe because I was born in Bedford and only add this tour date as an excuse for a sesh with my old school mates. Poppycock. Bedford is the Las Vegas of the East of England and all comedians want to soak up the atmosphere. And what an atmosphere! My shows are massively interactive and semi-improvised so I need these audiences – Bedford crowds always get involved. I can’t wait. The countdown is on! We’re counting down from 10 but if you’re from Northampton join in at 2.

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

Since my last show I have chucked custard pies at Ant & Dec live on Britain’s Got Talent, fronted a TV campaign for Rangemaster ovens and doubled down on my unique style of madcap comedy.

Which is the opposite of learning lessons – this show is even more unpredictable than the last. No one knows what’s gonna happen, and if you don’t buy a ticket you never will!

Tell us about your show.

‘Hasta La Vista…BIBBY!’ is a love letter to cinema. A one-man Hollywood Blockbuster.

This is the opposite of those ‘what do you do for a living?’ comedians you see on TikTok. It is live and unpredictable. The audience will play parts in the movie, contribute sound effects and help shape the outcome of the night – each performance unpredictable and unique.

This is my most ambitious show yet – it dives into the chaotic, creative mind of someone with inattentive ADHD. It begins as an attempt to perform Back to the Future but quickly derails as distractions, temptations, and random thoughts take us on a journey through beloved films like Ghostbusters, Star Wars, and Labyrinth.

The question at its heart: would you go back in time and tell your childhood self that you are different?

This show celebrates the richness of neurodiverse thinking and live performance, incorporating audience participation in ways that can only be achieved on stage, making each performance one-of-a-kind. It thrives on the spontaneity and creativity of festivals like Bedfringe. Tbf I also said that about Brighton Fringe, Leicester and Edinburgh. But Bedfringe has always been my favourite. Promise.

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

Definitely check out The Vampire Run. Big Jonny Laury told me about this when he was developing the idea and it sounds exactly like the kind of thing we should be seeing at arts festivals.

We all love Max Fulham as well, don’t we? I did superLOLs at his last show about ham so no doubt this one will be even better and should provide more culinary meats.

Straight after me is Best of Castle Comedy. Great promoter, great acts, great way to close the festival. I think they have Josh Pugh and Angela Barnes on. Class.

I also saw one lad who’s main poster image was mostly a picture of his bicep. I would like to see that arm up close. Can’t remember his name but what a poster.

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EdFringe Talk: Father, Away She Goes

Posted in *EdFestivals 2026, *Written Interviews by

“I was blown away by the beauty of Edinburgh and I also met so many fabulous people; audience members fellow performers, it was completely absorbing.”

WHO: Electra Kolb

WHAT: “Introducing Sarah Jones – ‘A masterclass in the love-to-hate character. Think Succession. Think Fleabag, with teeth’ (Scotsman). A narcissist, compulsive liar and failed art-school hopeful, Sarah is exiled from the family home and stumbles her way through a farcical nightmare of parties, lies and fractured relationships. As her ambition curdles into something darker, she is pushed towards a final, devastating twist. So ask yourself – how far would you go to achieve your dream…? ‘Funny, ferocious and devastatingly controlled, it’s an impressive star-is-born debut’ ***** (FringeBiscuit.com). ‘A tour de force’ ****½ (One4Review.co.uk).”

WHERE: Playground 1 at ZOO Playground (Venue 186) 

WHEN: 16:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This will be my second visit to the Fringe. Last year I brought my production Father, Away She Goes up for a one-week run and oh my god it was such an amazing experience, by far the most exhilarating festival experience I’ve ever had! For starters the location; I was blown away by the beauty of Edinburgh and I also met so many fabulous people; audience members fellow performers, it was completely absorbing. I think the community is what makes Ed Fringe so special – it’s the people you meet! It’s also very slick and well organized despite its size, the organizers are superheroes!

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

Flyering is essential!! Not just for promoting your show, but for all the interesting people you will meet. And for this year, I am already mentally preparing myself to flyer like there’s no tomorrow!

Tell us about your show.

Father, Away She Goes is a bold, caustic tragicomedy by Electra Kolb that asks how far you would go to achieve your dream. Written and first performed at just 17, Kolb’s play is a fearlessly comedic interrogation into female ambition and the cultural discomfort surrounding it. Why are ambitious women still labelled ‘too much’, while men are celebrated as leaders? Why is female ruthlessness treated as something shameful rather than powerful? The protagonist, Sarah Jones embodies these tensions in their most extreme form; consumed by desperation, she is a 21st century Lady Macbeth whose drive to succeed overrides morality, loyalty and even self-preservation. Masterfully directed by Sophie Pierpoint and backed by her production house, Pierpoint Productions, the outrageous visceral in-your-face comedy promises to make audiences gasp and cover their faces in delighted horror. Teamed with Creative Director India Scarlet Kolb, and lighting designer Nikita Matthews, this creative team came together through their shared love of storytelling and commitment to championing young voices.

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

One Man Poe is an excellent solo-show at Greenside venues which I will definitely be seeing this year!

Sodom, The Quintessence of Debauchery at SpaceUK is a Cabaret farce and burlesque show which is on my must-watch list for this Fringe run – it sounds hilarious and outrageous!

David Willian Bryan – In Loyal Company is another one-man play at Pleasance which sounds incredibly moving and powerful, and I cannot wait to watch this!

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EdFringe Talk: Black Blues Brothers: Let’s Twist Again!

Posted in *EdFestivals 2026, *Written Interviews by

“Life is unpredictable… and so is live performance!”

WHO: Bilal Musa Huka

WHAT: “Fringe favourites the Black Blues Brothers return with their electrifying, family-friendly show. Having wowed over 65,000 Fringe spectators, they are back at McEwan Hall, ready to amaze audiences once again. Set in a smoky train station and driven by an unforgettable rock’n’roll soundtrack, expect jaw-dropping acrobatics, towering human pyramids and gravity-defying stunts. Featuring iconic music by Glenn Miller, Elvis Presley and Aretha Franklin, this is the ultimate experience for all ages. After five smash-hit Fringe seasons and appearances at the Royal Variety Show and the Moulin Rouge, this feel-good phenomenon is truly unmissable.”

WHERE: McEwan Hall at Underbelly, Bristo Square (Venue 302) 

WHEN: 17:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This will be our sixth time at the Fringe, and we’re just as excited as we were the first time!
We have some great successes under our belts: in previous years, our first show earned standing ovations every day and rave reviews. Last year, with Let’s Twist Again!, we moved to a larger venue — the beautiful McEwan Hall — and the success was even greater, with packed houses and 5-star reviews.

And yet, the adrenaline is always there: the Fringe is the best festival in the world, and we can’t wait to go back!

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

Life is unpredictable… and so is live performance!

We’ve been touring the world for years now, but the old saying about live shows – that every performance is different – is true. The audience changes, and so do we. That’s not a bad thing; in fact, it’s the best part: we take the stage and share something unique and special with the audience. And they respond with incredible affection. The lesson is: prepare as much as you can, but then just enjoy the moment.

Tell us about your show.

Let’s Twist Again! was written by our artistic director, Alexander Sunny, a professor of circus history and one of Europe’s leading circus experts.

The idea was to build on the path we started with our first show, The Black Blues Brothers: combining the virtuosity of the African acrobatic tradition (we are from Kenya) with Western pop culture to create a contemporary circus show for the whole family.

This time, the setting is a train station waiting room; thanks to a jukebox playing twist and rock ‘n’ roll, we launch into increasingly complex acrobatic routines, using everything around us, from chairs… to railway crossings!

At its heart, the show is all about fun and wonder.

We come from a social circus school in Nairobi called Sarakasi, and through this show, we share the joy we feel when performing acrobatics with the audience.

Taking it to the Fringe last year was a blast. The whole audience was dancing along with us!

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

The first show that comes to mind is Wolf by Circa. They are one of the best companies around, and that show is perfect. Contemporary circus at its peak!

We’re also going to see Afronauts. Not just because the performers are African like us, but because it’s a blend of circus and space adventure. What more could you ask for?

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EdFringe Talk: The Second Best School Shooting

Posted in *EdFestivals 2026, *Written Interviews by

“While this show isn’t inherently about the vileness of men, I do consider the piece a sparkly little jar of female rage. :)”

WHO: Alice Stanley Jr.

WHAT: “Two best friends struggle to process surviving a school shooting that is overshadowed by a much worse school shooting on the same day. A dark comedy about America’s traumatized, despondent, yet somehow hilarious youth. Developed with hundreds of students, teachers, and survivors whose gallows humour helps them cope with the United States’ gun violence epidemic. Written by former US public school teacher Alice Stanley Jr and directed by Riley Rose Critchlow. ‘Captivating, provocative, inspiring’ (Executive Producer Adam McKay – All the Empty Rooms, Succession, The Big Short, Step Brothers).”

WHERE: Baby Grand at Pleasance Courtyard (Venue 33) 

WHEN: 12:45 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I actually had the mindblowingly lucky opportunity to be in a Fringe play when I was just 18. That experience opened my eyes to what art can and should be. I still remember every single weird show I saw. I was totally taken by how even odd, poorly-funded plays in crummy spaces could impact audiences as much as the “prestige” productions. So The Second Best School Shooting premiering at Fringe is a real full-circle moment for me.

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

Keeping it light, I think a lot of us have learned that the men who run the world are even more selfish and vile than we’d previously thought. And I’d previously thought the men who run the world were pretty selfish and vile. So, hats off, vile men! You surprised even me!

Have I fully absorbed this lesson yet? I’m not sure. I’m probably, like many women, still a bit in shock. But I am also very angry. And I feel more determined than ever to explore/express that anger. While this show isn’t inherently about the vileness of men, I do consider the piece a sparkly little jar of female rage. 🙂

Tell us about your show.

I first wrote this show in 2022, inspired by my experiences as a United States public school teacher. My goal was to create something for and about young people that portrayed how they actually talk about school shootings. I noticed the way adults, even our politicians, discussed school shootings was “respectful”…but often ignorant, considering my students mostly processed their dread with dark humor.

As you can imagine, a comedy about school shootings isn’t the easiest commercial sell! A dozen or so premieres heartbreakingly fell apart over the years due to political roadblocks or producers simply getting cold feet. Finally, producer Jessica Green Harrison (Holler If Ya Hear Me) got hold of the script, loved it, and suggested debuting at Fringe–with literal distance from the inherent American taboos of the piece. Adam McKay (The Big Short, All the Empty Rooms), a longtime champion of the show, agreed. It felt like a nuts dream come true when Alison Zatta (Chriskirkpatrickmas, Beth Wants the D) and Hollywood icon Matthew Lillard, who related to the piece as a father of Gen Zs, hopped on too.

Of course, I’d love The Second Best School Shooting to find more life post-festival. Because I’ve developed the piece with hundreds of students and survivors, I know it (tragically) relates to almost every young person in the US. So I am hoping to find regional opportunities for the show, including but also beyond big cities like NYC and LA. That said, commercial viability aside, this project is first and foremost meant to serve young people. I intentionally wrote the script so underfunded actors could reasonably self-produce the show, and I currently allow for royalty-free educational productions.

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

I’ve got to shout out the improvised musical Baby Wants Candy for some good old-fashioned stupid fun. I’ll be sneaking away from my playwright post and occasionally popping onto shows with them throughout the fest.

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EdFringe Talk: You Come From a Long Line of Shallow People

Posted in *EdFestivals 2026, *Written Interviews by

“Don’t push… but do absolutely work your ass off.”

WHO: Joanne Green

WHAT: “This is a one-person stand-up comedy show about my mother who died recently. She was hilarious, beautiful, brilliant and brutal. I loved my mom but we never got along. We never really liked each other. I wrote this show to find the the places where my mom had loved me but I refused to notice. I wrote this show to celebrate my mom’s fabulous sense of style, her humour and intelligence and, despite her own demons, her deep desire to have her kids be substantial and happy people.”

WHERE: Just The Attic at Just The Tonic at The Mash House (Venue 288) 

WHEN: 13:20 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my first Edinburgh Fringe experience and I cannot wait! I know I’m gonna fall in love with Edinburgh because everyone I talk to says you can’t help it. The castles, the cobblestones..the ACCENT!! My friend Mark said there’s something I HAVE to taste this dish called Cullen Skink and it sounds terrifying but I’ll try it anyway because this trip is all about THE UNKNOWN!! I’m producing and performing my show and as a total beginner to the Festival circuit I’m practicing ‘beginners mind,’ so y’know trying to just go with the flow and see it all as meant to be which isn’t easy for a gal like me. I like that my last line rhymed, I think I’ll stop there.

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

Biggest lesson: Don’t push… but do absolutely work your ass off. I was going to try and come here last year with a torn meniscus and on crutches – because I’m crazy (good for comedy) and I can’t say no to a challenge – but I’m very glad my friends had a mini intervention and told me flat out I was crazy so I skipped last year for THIS year! Another lesson I keep learning and re-learning is to keep it all fun. I’m a comedian but I can get super intense and serious and just blow the fun right out of things and I have tried hard to remember that the point of my whole piece is about expressing and sharing JOY!!

Tell us about your show.

My show is about my mom and the very rocky relationship I had with her up until the end of her almost 95 year old life. She was beautiful, brilliant and brutal. And oh, yeah…HILARIOUS! She had a line for everything. The title of my show comes from when I told my mom once I thought I was ‘shallow” and without missing a beat, she says, “Oh Joanne, you come from a long line of shallow people!” I knew right then I wanted to write a show about her! I wrote this piece after my mom died as a way to honor her memory – her humor, her fabulous sense of style, her incredible strength – and to see if I could find a way to understand and even feel the love that actually did exist between us but was impossible for either of us to express. I hope that a lot of people can relate to my story and I really hope my show gets to travel to other places after Edinburgh!! I started my career in NYC and I would love to go back!!

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

Okay, after you see my show there are three people at Fringe that I really can’t wait to see. Number one is Lara Ricote in her show, INKLING. My daughter turned me onto her and she’s fabulous. I have watched her on YouTube and I cannot wait to see her live. She is original, inventive, hilarious, wild, honest and so crazy charming. Number two: Winnie Stack’s “@Jenna” is another must see for me. I don’t know her work well but I did work with her dad when we were both babies in our early twenties (in acting class together and then the Groundlings in LA) and if Winnie is half as insanely funny as her dad she’s going to kill it. And lastly, my guy Gianmarco Soresi, who is wildly popular right now so he doesn’t really need my plug but I just love him. . Go watch “Thief of Joy” on YouTube, it’s free and he is brilliant. I cannot wait wait wait to see him LIVE!!!

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EdFringe Talk: Mark Vigeant: OUT THERE

Posted in *EdFestivals 2026, *Written Interviews by

“I leave Edinburgh a funnier comedian, a better actor, and a humbler more inspired human. I also get my ass kicked and that’s important.”

WHO: Mark Vigeant

WHAT: “From comedian Mark Vigeant (whose last Fringe hour became a special on Dropout TV) comes a wildly inventive character-comedy hour. Meet Larry: a burnt-out engineer on a mission to gain fame by livestreaming a survival adventure from the Alaskan wilderness. Armed with a camera, unshakeable optimism and questionable survival skills, he livestreams his journey into the wild. But when the wilderness pushes back, his mission spirals into chaos. Blending live video, immersive tech and fearless clowning, OUT THERE is a hilarious, unpredictable descent into ambition, delusion and the things we do to prove our lives matter.”

WHERE: Downstairs at Assembly Roxy (Venue 139) 

WHEN: 17:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This will be my fourth consecutive year bringing a show to Edinburgh Fringe! But this is the first time I’m bringing *this* particular show. It takes a lot to get there from Los Angeles, but I keep coming back because it’s the only place in the world I can perform the outrageous, interactive, emotional, ridiculous shows I create every single day and expect anybody to come. I leave Edinburgh a funnier comedian, a better actor, and a humbler more inspired human. I also get my ass kicked and that’s important.

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

Big lesson: the artist’s career is non-linear.
Have I absorbed this? Not one bit.

Big lesson: Anything worth doing is worth doing badly.
Have I absorbed this? Hell no.

Huge f*cking lesson: Rest is a requirement, not a reward.
Have I absorbed this? Dude my eye is literally twitching from exhaustion as I type this.

Tell us about your show.

My show is called OUT THERE: It’s about a guy who travels to the wilderness of Alaska so he can make a YouTube video about surviving on his own, except he doesn’t really know what he’s doing – and the audience plays the wilderness. And the whole entire time I have a camera strapped to my chest that’s live-streaming everything I see to the projector. It’s really big and messy and outrageous and emotional and tragic, and I absolutely love it.

This is the 3rd solo show I’ve worked on with my director Joanna Simmons – my last show, The Best Man Show, was one of the best reviewed shows at Fringe last year and is now a special on Dropout TV. I came up with this show as I was preparing to go on a big Fringe tour and I was running out of money. To me, it’s about the tension and intensity of trying to be a working artist, the modern battle between nature and tech, and repression vs expression.

After Edinburgh, I want to tour the US before I bring it to Adelaide Fringe next year.

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

I’m a huge fan of the “Underground Monk Show,” also at Assembly. They’re some of the greatest, silliest, stupidest clowns out there. My friend Soleil Kohl has a really fun interactive clown show at The Space called “Don’t Kill Daisy” that is totally different every time. Sam Morrison’s show DUCK at Gilded Balloon is hysterical. Johnnie McNamara Walker’s show “The Heterosexuals” at Gilded Balloon is an extremely tight, funny, beautiful storytelling show. Daniel Noddler’s “Only Bones” also at Assembly Roxy is delightful physical theater. So fun and whimsical. I love Chris Grace, he has a new show going up at Assembly in one of the studios.

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EdFringe Talk: A Cat in a Box

Posted in *EdFestivals 2026, *Written Interviews by

“I worked painstakingly to make the show relatable, understandable, engaging, entertaining, heartfelt, and passionate. It had to be more than a series of memories. It had to work as theatre.”

WHO: Tom Nemec

WHAT: “A deeply personal solo play that tells a story everyone can relate to. Through darkly humorous and dramatic monologues, Tom explores love, loss and hope growing up in an alcoholic, dysfunctional family, showing how trauma shapes our lives. Offering that no matter how dark the past, the present holds the possibility of light. ‘Nemec avoids all of the flaws of the genre that make autobiographical solo plays cringeworthy’ (Showtones.com). ‘For a moment, we were united in our collective experience, and in our resolve to heal’ (ArtsIndependent.com).”

WHERE: Theatre 3 at theSpace @ Surgeons’ Hall (Venue 53) 

WHEN: 14:05 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes. I’ve never brought a show to Edinburgh before, so I’m excited and a little nervous. The Fringe is huge, and I know I’m going to be one person in one room trying to get people to come see a solo play. That’s scary, but it’s also why I wanted to do it.

What seems special about Edinburgh is that people go there looking for shows. They’re not just killing time. They’re there to discover things. That’s what makes a good festival to me: people taking chances on work they might not normally see.

I’m also learning how different it is to experience a festival as the person producing the show. You’re not just thinking about the performance. You’re thinking about flyers, posters, money, tech, reviews, audiences, and whether anyone is going to show up. But underneath all that, it still comes down to the same thing: get in a room with people and tell the story.

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

The show has been developing for longer than 12 months, but over the past year I’ve learned even more about how much care it takes to turn personal material into a real play.

There are so many things that are part of my story and happened in my life, but not all of them helped me drive this particular play forward. I worked painstakingly to make the show relatable, understandable, engaging, entertaining, heartfelt, and passionate. It had to be more than a series of memories. It had to work as theatre.

The show is grounded in my real experience. I didn’t add stories or invent things to make it more dramatic — though there is one moment where I imagine my Evel Knievel doll coming to life. That’s not there to exaggerate the story; it’s there because it shows how a kid’s imagination can become part of how he survives what’s happening around him.

I’m 60 now, and part of what I wanted was to finally give that 10-year-old boy the voice he didn’t have then.

I’ve also learned how much I really love telling this story. It’s something I’ve wanted to do since I was a child — and something I needed to do.

I’m proud of the piece I’m bringing to Edinburgh.

Tell us about your show.

A Cat in a Box is an autobiographical solo play about growing up in an alcoholic, dysfunctional family and what you carry from that.

I wrote it, I perform it, and I’m producing it myself. The show came together because this is a story I wanted to tell my entire life. After working for many years on and off as a stand-up comedian and actor, something happened in my life that finally pushed me to tell it.

I started looking for a director who would understand my vision and also help me shape the material into a play that would be relatable and engaging. That’s how I began working with Jim Mendrinos.

The show didn’t premiere before Edinburgh in a formal sense, but I did develop it through workshops and performances in New York, including at The Tank. I’m also presenting it in New York this summer before taking it to the Fringe. After Edinburgh, I’m going to continue touring it to theatres, festivals, and rooms where this kind of story can reach people. I believe the show’s life has just begun, and I believe it can be healing.

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

I’d recommend GLOB by Les Foutoukours. I first saw clips of it on Instagram and was mesmerized, and I can’t wait to see it live. Then I read the description on their website: “A peaceful, serene, deeply human, and comical work that amazes children and gives adults a break from the frantic pace of everyday life.”

That got me. My show is personal and language-driven. GLOB looks like the opposite in the best way — movement, clowning, silence, and wonder. That’s one of the reasons I want to see it.

I’d also recommend Jordan Brookes: The Part of You That’s Always Screaming. I don’t know exactly what to expect from it, which is part of the appeal. I like work that feels risky and not too polished or safe, and his show sounds like it goes into strange, funny, uncomfortable places.

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EdFringe Talk: 3 Times I Killed

Posted in *EdFestivals 2026, *Written Interviews by

“I’m plant-based and gluten free and I ate so well in Edinburgh last year I feared I wouldn’t fit into my costume by the end of the run.”

WHO: Andrea Coleman

WHAT: “Ever faced impossible odds? Stomach in knots? Needing a miracle? Well, New York attorney Andrea Coleman has. Then she gets Divine communication (yay!) that somehow makes things scarier (no!). As she debates whether to trust these otherworldly instructions or protect her professional image, the courtroom becomes a playground for resilience, identity and digestive distress. Blending courtroom drama and humour, this show celebrates the joy and absurdity of being alive. At its heart, the play asks what happens when you push your fear to the side and let yourself be a “killer”.”

WHERE: Playground 1 at ZOO Playground (Venue 186) 

WHEN: 14:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This will be my second time performing at Fringe! I went for the first time last year and absolutely LOVED my time there. The audiences are incredible. I received such great energy from the people I met, there is nothing in the world like an Edinburgh Fringe audience. After the shows people would share their stories with me and connect, I really caught the bug. Fringe is incredibly special. Not to mention the food in Edinburgh is NEXT LEVEL. I’m plant-based and gluten free and I ate so well in Edinburgh last year I feared I wouldn’t fit into my costume by the end of the run. I’m excited to feast again!

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

The creation process can be different for every show. The show I brought to Fringe last year flowed out of me really easily. The show I’m bringing this year was a bear to shape. I didn’t know what it would be or how audiences would respond. It took me a while to absorb that it’s ok if this show doesn’t feel like my last one.

Tell us about your show.

My show is called “3 Times I Killed”, it’s about the 3 most significant times I’ve gotten Divine communication in the courtroom. I’m a NY lawyer and the show is very much about how my identity evolved from being sweet polite Southern girl and turned into being a “Killer” in the courtroom. I wrote the show and Edinburgh will be it’s world premier. I’ve done a handful of work in progress performances here in NY and I’m discovering that the show is quite funny. I wasn’t expecting that, it’s always fun to see which moments an audience will respond to. I hope performing at Fringe gives me an idea of where I’m taking the show after Fringe. I’d love to tour it in London and do an Off Broadway run.

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

My audience should absolutely see the show “Japanese Grandma Funeral” by Kento Morita. Kento and I met a couple years back in the same solo writing class in NYC. I’ve had the pleasure of seeing Kento perform and he is INCREDIBLE. His show will be playing at the same venue as mine, ZOO Playground 1 at 17:45 – 18:45.

My audience should also see “EMOJI” by Aarushi Agni another NYC friend of mine. Her show is so full of energy, she sings, educates and tells risky text stories. It won a ton of awards at NY Fringe.

My audience should also go see “Hayes/Shah” about Real Housewife reality star Jen Shah and disgraced biotech entrepreneur Elizabeth Holmes. One of the performers is Meg Hayes who I had the pleasure of meeting and befriending many moons ago in San Francisco. She is a delight and a talent.

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EdFringe Talk: It’s A Struggle Coming Ou

Posted in *EdFestivals 2026, *Written Interviews by

“I taught international teaching assistants how to adjust to America… God. I really hope I learned something from all that.”

WHO: Alec Schwartz

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

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

WHEN: 18:05 (55min)

MORE: Click Here!

Is this your first time to Edinburgh?

As a first time comer to EdFringe, I am unbelievably excited to get to come here for the first time as a Director. EdFringe is renowned the world over for being THE theater festival. The very cutting edge of creativity, where artists the world over come to share and learn from each other. And now I get to participate in that exchange. I’m eager to broaden my horizons and let everyone else get a taste of what my freak flag can offer.

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

I’ve spent the last two years sponging up as much knowledge as I could. I’ve been majoring in acting, minoring in screenwriting, directing a production of Rocky Horror Picture Show, a one act play called Ratdog, this show. I’ve done four original sketch comedy shows. I’ve done weekly improv. I had a one act play of mine produced. I played Brutus in a production of Julius Caesar. I worked at a comedy club, taught international teaching assistants how to adjust to America… God. I really hope I learned something from all that.

Tell us about your show.

There’s vampires. I’d tell you there’s gay people, but you assumed that when you heard there’s vampires. It’s funny, it’s sweet, it’s sincere. It’s campy and fun. It’s a show about love, community, and being yourself. If you like Twilight, Mean Girls, or whimsy, you should see it.

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

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

Revelation, is running back to back with our production and is fresh off a sold-out run in New York and making its international premiere. It is a genuinely funny piece of new writing about the horror and hope of being American. The four horsemen gather at a Southern diner and toy with ordinary folks like puppets, all while wrestling with the one thing bigger than the end of the world: their own egos.

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

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

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EdFringe Talk: Deckhand

Posted in *EdFestivals 2026, *Written Interviews by

“While I have so much love for the Hollywood Fringe, I knew from the start that my ultimate goal was EdFringe.”

WHO: Grace Guy

WHAT: “Joseph, an abrasive pushing-40 talent agent, is awoken in the middle of the night to a call from his top-billing client – she’s on Catalina Island for a photoshoot without any of her wardrobe or glam. Joseph arrives at the dock ready to set sail but waits on one last thing: his assistant Fiona. Join Joseph and Fiona as they embark on a tumultuous journey aboard a failing speedboat in this comedic look at the divide between agent and assistant. Fresh off a sell-out run in Los Angeles, Deckhand makes its Edinburgh Fringe debut!”

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

WHEN: 18:10 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

When I was a senior at Emerson College, I studied comedy in London for a semester. During that time, I was lucky enough to go to the Fringe for the very first time. It was the most vibrant and lively festival, and though I got very little sleep between the shows and parties, it remains one of the best memories of my school years. EdFringe is a taste of everything. It’s the Mecca of theatre, comedy, clown, variety, stand-up—the list goes on. I knew then that one day I would come back with my own show.

Last year, my show DECKHAND made its debut at the Hollywood Fringe, and while I have so much love for the Hollywood Fringe, I knew from the start that my ultimate goal was EdFringe. Bringing this show to Edinburgh Fringe expands our audience beyond the American scope and helps us share a story that is universal to so many young people trying to break into a closed-off industry. At its core, DECKHAND is a comedic look at the divide between agent and assistant, focusing on two careerists of different generations, genders, and social backgrounds to examine the deepening divide between employer and employee.

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

In 2024, I was still working and grinding it out as a Hollywood assistant. I was grabbing coffees, getting yelled at over the phone, and hoping that one day the experience would lead to something great. It led me straight to DECKHAND. This story is based on my own experience as an assistant. My ultimate goal in writing this project was to shed light on the underlying torment assistants like me are subjected to day in and day out. This show became a cathartic love letter to every assistant I worked with along the way.

I’ve learned many lessons throughout this journey, the first of which is that speaking out against unfair treatment in an industry where you hope to find success is not without its challenges. Finding the courage to share my experience despite the risk of professional retaliation from men who benefit from silence has been an overwhelming challenge. None of this could have happened without the lighthouse of our project, our director, Wylie Anderson. Wylie and I shared in the misery of watching men parade around Los Angeles making demands while searching for parking. We took that hardship and turned it into the laugh-riot torture cruise that DECKHAND is today.

Tell us about your show.

DECKHAND is a high-speed comedy about power dynamics, confronting your reality, and how much work sucks. If you’ve ever worked a nine-to-five (or two to ten or four to one) and been promised more after years of soul-grinding service, then you’ll find something to laugh at here. The play uses a literal maritime disaster to explore a professional one. As Joseph and Fiona struggle to keep their speedboat afloat, their employer-employee relationship begins to unravel, revealing the absurdity and fragility of modern workplace hierarchies.

The show was written by me and directed by the incredible Wylie Anderson, whose recent film Thanks for Having Me premiered at the Palm Springs International ShortFest. She also directed How to Cry on Command, starring Christopher Cassarino, best known for his work on New Amsterdam (2018), NCIS: New Orleans (2018), and Mercy Street (2016). Scenic design is by Alex Mollo, whose work can be seen on stage in Ironbound (2023) and on screen in Euphoria (2025) and Yellowbelt Gallery (2024).

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

Honestly? All of our sister shows with Los Angeles Theatre Initiative! Guns In Dragonland somehow makes a show about gun violence in schools tender, hopeful, and impossible to look away from. It’s A Struggle Coming Out is camp to it’s fingertips and one of the sharpest queer comedies debuting in Edinburgh this year. And Revelation will have you laughing about the apocalypse in a diner in North Carolina and questioning what it means to challenge your beliefs and culture. Each show is student written and presented by young artists from the most esteemed universities in the states and I can’t wait to see them sell out!!

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