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: Baxter vs The Bookies by Andy Linden

Posted in *EdFestivals 2025, *Written Interviews by

“As a punter, Edinburgh festival is an embarrassment of riches, as a performer it’s a joy, a slog and an unforgettable month.”

WHO: Andy Linden

WHAT: “The bets are laid. We’re off! Actor Andy Linden (Harry Potter, Count Arthur Strong, The Business, Not Going Out) in a one-man play recounting the fluctuating fortunes of an ageing horse-racing tipster adrift in the modern world of technology. Baxter dreams of one day having a great win and bashing the bookies. But let’s face it, no one ever beats The Bookies. Do they? ‘A masterclass of thoroughbred character acting’ ***** (GetYourCoatsOn.com). ‘Mesmeric, the hour passed in an instant, but stays in the memory much longer’ **** (NorthWestEnd.com).”

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

WHEN: 13:00 (60 min)

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Is this your first time to Edinburgh?

So not my first Edinburgh! The first time was in 1985 with a show called ‘The Malvinas Cabaret’ at The Pleasance with my then-comedy-partner, actor Cliff Parisi (Fred in ‘Call the Midwife’). Since then, I’ve done loads of theatre and comedy, including: ‘Columbian Cousin’ at the Gilded Balloon in 1987 with Cliff, Arthur Smith and Caroline Quentin; my hugely successful award-nominated one-man-show ‘Barry Sorts it Out’ at the Gilded Balloon in 1997; and loads of stand up at The Gilded Balloon and The Pleasance.

The Edinburgh Festival is a special experience because you’re involved in the largest arts festival on the planet and doing it alongside so many of your mates from theatre and comedy. As a punter, Edinburgh festival is an embarrassment of riches, as a performer it’s a joy, a slog and an unforgettable month.

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

Since I last did Edinburgh in 2022, the world seems to have gone mad and I realise that I shouldn’t take any of my little performing worries too seriously. And added to this, in 2022, I had a heart problem half way through the festival and was on my hands and knees waiting for the cavalry to arrive in an ambulance. The Edinburgh Royal Infirmary is a marvel and it put me back together again and I’m hugely grateful. The wonderful Karen Koren who runs The Gilded Balloon eased any admin problems with cancelled shows and I’m so glad to be back at The Gilded Balloon again this year. I’m now fighting fit, but that whole experience taught me to enjoy every moment of the Fringe this time round.

Tell us about your show.

‘What’s the difference between saying your prayers at church and saying them at the racecourse. At the racecourse, you mean it.’ I’m an actor (Harry Potter, Not Going Out, Count Arthur Strong) but in my downtime I love horse racing and have developed a show about the ups and downs of a down at heel horse racing tipster pitting himself against the might of the bookies.

Baxter vs The Bookies is inspired by a book of the same name by Roy Granville. I have developed and added to this inspiration in making my own one man show. It’s a theatre show, with poignant moments, but with a light touch and lots of humour.

I premiered this show with a short run in Edinburgh 2022. This is the first full run. I’m doing a couple of nights at Barnstaple Theatre Fest in June, a preview at The Hen & Chickens in London and hope to tour it next year.

Like horse racing? It’s the show for you.

Like a story about an aging, outmoded underdog, struggling in the modern dizzying world of technology? It’s the show for you.

Like good story telling and passion. It’s the show for you.

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

Alan Davies: Think Ahead
Alan hardly needs my trumpeting, but I saw a work in progress performance recently for this show and was blown away by his comedic brilliance. Hugely funny, manic and oh so human!

The Improv All Stars
Side-splittingly hilarious seat-of-your-pants-impro from Ian Coppinger, Stuart Murphy, Stephen Frost, Richard Vranch and comedy star guests. I’ll definitely see this one.

Gavin Webster – The Gathering of the Gav
I never miss seeing brilliant comic Gavin Webster in Edinburgh with his always enthralling stories of his Geordie upbringing, his adoration of Newcastle football team and of being an all round top-notch northern lad.

Ben Moor: A Three Thing Day
Ben is always genuinely surprising and quirky. He is a consummate performer and thoughtful writer. I’m sure this show will be another winner.

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EdFringe Talk: Ah-Ma

Posted in *EdFestivals 2025, *Written Interviews by

“True inclusivity isn’t about ticking boxes; it’s about creating a culture where everyone belongs, and where all stories are given equal value.”

WHO: Cathy Lam

WHAT: “Ah-Ma – Fujianese for grandmother. Ten years ago, Ah-ma was diagnosed with dementia, struggling each day to remember the names of her loved ones. ‘Ah-ma, if one day you forget everything, please try not to forget love’. Fringe First award (2023) and Hong Kong Young Artist award (2024) winner returns with a hauntingly beautiful new play, weaving together natural and social disasters, bodily deterioration and family sorrow. A lyrical, poignant tale of resilience, faith and humanity. A story of memories slipping away – only to be gently reclaimed.”

WHERE: Studio at theSpace @ Niddry St (Venue 9) 

WHEN: 11:00 (40 min)

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Is this your first time to Edinburgh?

This is not my first time in Edinburgh. What keeps drawing me back to the Edinburgh Festival Fringe is the unique sense of possibility it offers—both as an artist and as a producer. The diversity of shows, the openness of the city, and the people it gathers make August in Edinburgh unlike anywhere else. It’s a place where connections are sparked across borders and disciplines. Some of my most meaningful artistic collaborations and lifelong friendships began here. Each visit sends me home with fresh inspiration and a renewed vision for my own work, including the development of festivals in Asia that bridge East and West.

To me, a great festival is defined by its openness—a space that embraces difference not just in programming, but in people. It should be a place where artists from all backgrounds feel seen and heard, and where audiences are invited to engage with a rich range of perspectives. True inclusivity isn’t about ticking boxes; it’s about creating a culture where everyone belongs, and where all stories are given equal value.

EdFringe has consistently offered that space for me. That’s why I continue to return—not only to present work, but to keep learning, connecting, and contributing to a global creative conversation.

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

I made many new friends during EdFringe 2023, and it was also the year I received the Fringe First Award. It was a huge encouragement—but I’ve never seen the award as something for me alone. To me, it simply means more people came, sat down, and listened to our story. That’s a gift, but also a responsibility. It makes me ask: What story will I tell next? Why does it matter? And why should anyone listen?

Since then, I’ve been thinking a lot about chaos—how fragile things are in the world. In early 2025, I experienced the Eaton fire. Our home was spared, but the destruction, the displacement—it shook something in me. The world often feels like it’s burning, whether through disaster, war, or deep division. And yet, I still believe in the power of story—not to fix the world, but to help us see it. To remember. To feel. To imagine something different.

I keep reminding myself to stay humble in the work. Not to chase success, but to keep asking: What do I truly care about? What is my personal reflection? And how can art carry that reflection—not just for myself, but for others who might see themselves in it?

Tell us about your show.

The show is called Ah-Ma. I wrote, directed, and produced it myself, drawing deeply from my personal story and family history. Although the core creative team is spread across Hong Kong the US, many of us have worked together for years, united by a shared commitment to creating work that is tender, urgent, and honest.

At the end of last year, I felt compelled to write a story about my grandma. After witnessing the devastation caused by the Los Angeles wildfires, I spent a long time reflecting on what remains when we face disasters beyond our control. That question became the heart of this play — a response to my grandma’s life, told through my own experience of grief, love, and memory.

My grandma was diagnosed with dementia over a decade ago. I was her favourite — everyone said so. My uncles used to joke, “If she ever forgets Cathy, it’s serious.” Before and during my recent trip home to Hong Kong, I asked my dad and grandpa to share stories about her. I wove their memories together with my own to create Ah-Ma.

Through this process, I came to understand something I hadn’t fully grasped before: the older generation endured hardship not because they were stronger than us, but because they had no choice. Survival was a quiet resilience — like a sprout pushing through burnt earth. That resilience shaped the structure of the play. It’s about remembering, yes, but also about how we carry on — how we rebuild, both after fire and through the slow forgetting of someone we love.

Ah-Ma has not yet premiered. Edinburgh will be its first major presentation, marking a new beginning for this work. After Fringe, I plan to tour the show across Asia and North America. But beyond touring, this work is about creating space — for conversation, healing, and remembrance.

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

After seeing AH-MA, I hope audiences continue to seek out stories that speak to resilience, memory, and renewal — because this play is really about how, even after loss or devastation, life begins again. It’s about the quiet strength we carry through grief, and how storytelling helps us remember, rebuild, and keep going.

There are so many shows this year that echo those themes in beautiful and powerful ways. DOTS is a stunning solo show about what it means to function while quietly falling apart — it’s gentle, raw, and deeply human. Dance Dance Involution brings sharp energy and wit to the conversation around burnout, hustle culture, and collective exhaustion — it’s playful but hits hard in all the right places.

Almost Famous is a poetic and gutsy piece about girlhood, identity, and rage — full of questions many of us are still learning how to ask. And Dazed and Confused (from Taiwan Season) is a dreamlike exploration of memory, disorientation, and what it means to grow up between worlds.

These shows, in their own ways, reflect what I believe AH-MA holds at its core — the ache and the beauty of carrying on. So please keep watching, keep feeling, and keep showing up for the stories that help us make sense of who we are. That’s where life begins again.

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EdFringe Talk: Climate Change Theatre Action 2025

Posted in *EdFestivals 2025, *Written Interviews by

“I actually thought I might be moving on from the festival after last year or at least just coming for a short bit…”

WHO: Ian Garrett

WHAT: “At the foot of the Royal Mile, Venue 13 has been bringing the best of emerging talent to the Edinburgh Festival Fringe for decades. Now in it’s fourth decade, ‘this serene little venue’ (Scotsman) is focused on unique performances that don’t fit in other venues from the immersive to the ecological to the interactive in collaboration between Scottish and Canadian artists.”

WHERE: Main Space at Venue 13 (Venue 13) 

WHEN: 16:00 (120 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my… counting… 14th Fringe. I started coming in 2008, took what I thought was going to be a one year break in 2019, and then returned in 2023. I can’t seem to quit the festival, and I’ve tried my hand at many many roles. This year is my first time as a venue manager, to add to the list. I can’t say it’s made me any more confident about what makes a show successful or not, or if I”m going to get an audience in for something I’m going to work on. I’ve not been to the festival as just a Punter, though I’ve crammed in plenty of shows while here, in some ways it allows me to make up for not getting to the theatre as much at home.

My range of experiences has mostly been shaped by how busy I am as a producer, and the years I’ve come with my family. I’ve had years where I’ve been involved with a lot of shows (2012 was 8 I think) and it made it so I was always at the venue around the shows, and didn’t get away much. I actually find you get less time to see stuff when a show is successful because you end up adding things to your schedule and when your show isn’t doing well people leave you alone a lot. And I’ve brought my kids a few times at various ages and though they’ve become more interested in shows as they’ve grown up, the content has swung to their tastes, and I’m out less in the evening.

I actually thought I might be moving on from the festival after last year or at least just coming for a short bit to help get some things rolling for projects. But the opportunity to take on a venue, in particular Venue 13, which is also where I spend a lot of time, and found a keen partner on that, so now I think I might be in it for the foreseeable future.

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

2023 was my first year back at it, and it was interesting to see things change. It can be hard to notice change at the festival. I mean, so much changes each year with a huge number of new people, but longer periods, especially given changes to Edinburgh overall since 2018, the last time I had been at the festival, were much more pronounced. So I feel I’ve learned more about the city itself.

I’ve also learned the value of alternative spaces. In both 2023 and 2024 I felt a bit of an absence from pre-2020 of some of the spaces or pieces in the festival that were pushing at the edges of the use of space and playing with things outside of the regular theatre set-up. Though I saw the numbers of performances coming back, it all felt somewhat contained within established spaces. Maybe it’s because of rising costs, maybe it’s playing it safe for both artists and venues. I think I learned I miss that and I want to see it. I was part of the Counting Sheep team in 2016 which took over King’s Hall for an immersive show with food, and I feel I haven’t seen as much that is trying things like that. My reinvigorated interest is in part about how to find ways to support that sort of thing.

Tell us about your show.

The Climate Change Theatre Action is a global, distributed festival of new short plays on the topic of climate change (loosely sometimes, but still). I co-direct the program with playwright Chantal Bilodeau as a partnership between organizations we each lead. I’m director of the Centre for Sustainable Practice in the Arts, she’s the director of the Arts Climate Initiative. It started in 2015, and it has commissioned 50 short plays, typically 5-10 minutes long, every other year to be made available for free for anyone in the world to produce. We have a website where people can register their events and we promote it as a festival in the Autumn. It was always something I wanted to do in Edinburgh, so with the Venue work, it’s a good anchor to bring things in. So this year, we’re organizing 20 events, 6 days a week, through the festival to get all 50 plays read this year. We’ve invited people to partner with us, sort of like the comedy showcases, but to make it so that each event is kinda unique and connected to our partners.

We’re changing up the commissioning model this year, since it’s our 10th. So instead of 50 new plays, we commissioned 10 new plays, and are bringing in 40 of the “greatest hits” from the last decade. We’re going to pause commissioning (there are 260 plays, so we’re feeling good about it). After Edinburgh, we’ll begin to promote the events folks are organizing around the world, usually a little over 300 through the end of the year.

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

AI: The Waiting Room – An Audiovisual Journey at studio at C ARTS
I’ve been following this project, including seeing a previous interaction at the Fringe last year. It’s a really interesting generative AI experience, which is probably more along the lines of the other show in our venue, but I actually love seeing things come back and evolve. It’s something which I think is getting harder and hard to do. So the connection with the CCTA is more about looking at how artists engage with the festival combined with my personal interest in these topics about AI.

Alone – Alchemy Theatre and Luke Thornborough
The artists involved with this are going to be co-hosting one of our events at the CCTA, so we’ve been talking about their piece for a bit. I love some really scientifically accurate Sci-Fi, which this promises to be, and it’s on a couple of my favourite topics… Space and Climate.

Matt Winning: Solastalgia
More climate oriented work, which shouldn’t come as a surprise I suppose. I don’t know too much about this one, except I’ve been drawn to anything that refers to Solastalgia since learning about the term in 2009 and getting to know Glenn Albrecht, the Australian philosopher and social scientific who coined it and a bunch of other “pscyhoterric” words

Last Rites – Here & Now Showcase – Ad Infinitum
I’ve been a big Ad Infinitum fan for years. I think their one man physical version of the Odyssey was probably my first. And it was good, but it was Ballad of the Burning Star that lives rent free in my head. There is a literally heart stopping moment in there related to the firing of a gun… not actually, but through their physicality, that kind of haunts me. I think a lot of people go to Translunar Paradise first, and I also liked both Light and Beautiful Evil Things (which was sort of a return to the Odyssey type work). They may be somewhat of a Fringe darling, but I think it’s very much earned.

Whisky and Witches
There are a handful of whisky tastings throughout the festival program… we’re hosting some at Venue 13 even… and I love a good tasting, but the ticket for this is worth it for just the storytelling and music even without the whisky. Christine and Jane really elevate the event beyond what I expected last year, and I’m super excited to return. They’re extremely knowledgeable about spirits, history, and music. While any whisky tasting will probably introduce you to enough facts about the process of making whisky, this will offer a lot more history and background on the spirit that made me see it differently.

Rise of the Solar Punks – Future Artists
I’m really interested in this one for a few reasons. Future Artists have brought some really interesting work to the Fringe in the past, first and foremost. I also love solar punk as an idea… It was the foundation for the 2023 Climate Change Theatre Action, and a lot of other projects I’m involved with. Also “What can we learn from ancient cultures regarding climate adaptation, and how can we fuse this with technology and AI?” is one of the central questions of our other show A.I. Campfire, and it’s an area where, in my academic work, I research. So I’m hoping to not only see this, but make the Future Artists my best friends, at least for August. Also the only on my list that’s on X/Twitter anymore.

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EdFringe Talk: The Spy Who Went to Rehab

Posted in *EdFestivals 2025, *Written Interviews by

“What began as a spoof became an exploration of Toxic Masculinity and how it can change.”

WHO: Gregg Ostrin

WHAT: “The UK debut of Gregg Ostrin’s critically acclaimed play. Quintessential British super spy, Simon Cross, wakes to find himself in rehab for drinking, gambling, womanising and anger management issues. As the embodiment of obsolescent toxic masculinity can he possibly navigate his way through the sessions with his fellow, extremely self-aware, recovering addicts to find enlightenment? Could this be his toughest mission yet? And what happens if arch nemesis Lazarus Rex finds out? ‘Deliciously clever, fiendishly funny’ (StageSceneLA.com). ‘Mesmerising’ (Glamgical.com). ‘A darned good farcical and absurdist comedy’ (StageandCinema.com). ‘A cheeky, high-spirited, brilliant new premiere’ (BroadwayWorld.com).”

WHERE: Ace Dome at Pleasance Dome (Venue 23) 

WHEN: 12:10 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my first time to Edinburgh, both the city and the Fringe Festival. What is special about it to me is that I can recall being in college in Los Angeles (yes, the place where movies, TV and dreams are made), when my school drama group took shows to the Fringe. Having never gone, I can only judge by the amazing projects that have come out of it, especially Baby Reindeer, Fleabag and The Shark is Broken, which I would give my left arm to see (As I am right handed, this would not be a great sacrifice). I remember swatching video of Eddie Izzard doing street comedy and thinking, “We have nothing like this in the States and Where did he get those pumps?” From what I can already tell, every performer/writer needs to be a combination producer/marketing team, something I really enjoy, mainly because I think this show should be seen and enjoyed by all.

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

That evidently America can be a monarchy under the right (or wrong) circumstances. As far as lessons pertinent to THE SPY WHO WENT INTO REHAB, I’ve had the chance to take a look at how men relate to women and the numerous mistakes we’ve made over the years (and by “we” of course I mean all of you out there, not myself! But because of the #metoo movement, among other social events, I have come to a new awareness of what it means to be more sensitive to others and it’s that awareness that inspired THE SPY WHO WENT INTO REHAB (If you noticed, i cleverly brought the subject back to the play.) I’ve also learned that it’s important to continue to bring humor and comedy into the culture, to keep us hopeful and laughing.

Tell us about your show.

Coincidentally, I wrote the play. The idea came to me as a comedy sketch idea: imagining James Bond being interviewed for rehab. It hit me that this icon that I grew up with, whose movie posters I had on my walls, whose catch phrases I memorized and whose movies I eventually owned on DVD, was in actuality an alcoholic, sex addict, gambling addict with rage issues (after all, he kills people for a living) and so I decided to write it as a play. What began as a spoof became an exploration of Toxic Masculinity and how it can change. I took the play to my friend Cindy Fujikawa, who is a member of Pacific Resident Theatre in Venice CA, where they were able to produce it. What began as a three week workshop became a five month successful run. Based on the subject matter (the British spy stuff), I realized it would be a perfect fit for The Fringe, because of the UK audience and the comedy, which brings my love of Monty Python, Peter Cooke & Dudley Moore, Ben Elton, Rowan Atkinson, Fry & Laurie and of course, everyone’s favorite funny Brits, The Crays, together in one mad mix.

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

The audience should only see our show, over and over and over, until, Rocky Horror Picture Show-Like, they are repeating back the lines, firing cap guns, karate chopping one another and tossing martinis at one another. Chief among the other shows at The Pleasance (not to be confused with the more niche Donald Pleasance), they should see Spy Movie: The Musical, which looks like a scream, The Fit Prince, Hold Onto Your Butts, Smile, among so many others. I know will be trawling the streets like one of Charlie Dickens’ urchins, finding all the different spoofs of pop culture, as well as one person masterpieces. Of course, I will also be flyering my arse off at every one of these venues!!!

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EdFringe Talk: Joz Norris: You Wait. Time Passes

Posted in *EdFestivals 2025, *Written Interviews by

“The place is sick of me. There are guards on the gate who cross their halberds in front of me when I try to go in and roll their eyes and say “Not you again” and they make me crawl underneath their halberds to embarrass me.”

WHO: Joz Norris

WHAT: “Comedians’ Choice Award winner (Best Show 2019), Joz Norris has finally completed his life’s work, and he’s ready to unveil it to the world. But what exactly is it? And now that he’s done it, what will he do next? A new show about ambition, closure and moving on from the creator and star of BBC Radio 4’s The Dream Factory and A Small Talk On Small Talk. Malcolm Hardee Award for Comic Originality and Chortle Award for Best Variety Act nominee. ‘Really captures the spirit of creative Fringe comedy’ (Guardian).”

WHERE: 10 Dome at Pleasance Dome (Venue 23) 

WHEN: 19:10 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

God no. I have now been going to the Edinburgh Fringe for nearly a third of my life. The place is sick of me. There are guards on the gate who cross their halberds in front of me when I try to go in and roll their eyes and say “Not you again” and they make me crawl underneath their halberds to embarrass me. “Joke’s on you, because I’m more than capable of embarrassing myself,” I say to them as I crawl. “In fact, that’s why I came.” There’s no greater place in the world to come and embarrass yourself, I hope I continue doing it until I’m so old that after crawling underneath the halberds I can no longer get back up.

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

I learned the names and locations of every country in the world, so that I can now correctly identify them on a map with the names removed (shoutout to my good friend Timor-Leste). I am currently using an app to try and learn the names of all the plants in my local habitat – yesterday I learned “Tree of heaven” and “Golden rain tree.” Did you know about these trees? I certainly didn’t. I’ve also learned that things only happen if you make them happen, nobody is out there watching your progress and waiting to give you a reward like a quest-giving NPC in a video game. So we should all just be doing what we enjoy.

Tell us about your show.

I started work on this show a little over 30 years ago, when I was a small child. It became a secret project that I was totally obsessed by, tinkering away with in the background behind all my other projects. Eventually, I’d been working on it so long that I needed it to be perfect – it felt impossible to complete. Then I started working with my team – creative consultant Miranda Holms, director Jon Brittain, producer Queenie Miller – and they encouraged me to get it finished. “Get on with it,” they said. “What you’re sitting on here is a masterpiece. The world needs to see it.” So I finally went back to my studio in the Himalayas and applied the finishing touches to my magnum opus. I’ve been previewing it at a bunch of lovely comedy festivals – Leicester, Glasgow, Machynlleth, Berlin and so on – and I’m hoping we’ll be taking it on a proper tour after the Fringe, or perhaps looking into other mediums we can adapt it into. Come see it before it inevitably transfers to the O2 Arena, where tickets will be at least £500 if I have anything to do with the pricing.

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

Well if they’d like to see all the shows I’ve directed so they can collect a little reward, they should go see Andy Barr, Tara Boland, Lulu Popplewell, The Mayor And His Daughter and Edy Hurst. And if they’re desperate to get AWAY from my comedic sensibilities, then some shows I’ve seen and loved recently which I think are going to be absolutely incredible at the Fringe would include Kathy Maniura, Siblings, Lachlan Werner and Johnny White Really-Really. I could go on, there are so many brilliant shows, but that’s a good starter pack I reckon!

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EdFringe Talk: Monski Mouse’s Baby Cabaret AND Monski Mouse’s Baby Disco Dance Hall

Posted in *EdFestivals 2025, *Written Interviews by

“I was now a Mum and still plating spiegletents, but instead of starting at 11pm, I started at 11am. And this year my shows start at 10am!”

WHO: Monski Mouse

WHAT: “Why toddle when you can dance? Join this must-do, award-winning, epic session of bopping, bonkers, beautiful fun. Expect high-energy smiling to retro beats and thumping nursery rhymes. Best of Kids Weekly Award Winner, Adelaide Fringe 2024. Best of Kids Award Nominee, Sydney Fringe 2022. Sold Out Season Edinburgh Fringe 2022, 2023, 2024. ‘Best. Time. Ever.’ ***** (FamiliesOnline.co.uk). ‘Deserves all the praise’ ***** (One4Review.co.uk). ‘This is what the experts meant when they said spend quality time together’ ***** (GlamAdelaide.com.au). ‘Tune after tune perfectly chosen for the youngsters’ ***** (Edinburgh Evening News).” – Baby Disco Dance Hall

“Join Monski Mouse, and her super talented friends, for a live musical singalong cabaret of nursery classics, song, puppetry and bonkers fun for 0-5s and their parents/carers. All the big topics covered: elephants, fish, wiggly worms, transport and the existential ways of the toddler. ‘Moments of utter beauty’ ***** (Edinburgh Festivals Magazine). ‘Monski shines bright, inviting us into a world of wonder’ ***** (One4Review.co.uk). ‘Delightful’ **** (FamiliesOnline.co.uk). ‘At the #Fringe with a toddler? Recommend Monski Mouse Baby Cabaret’ (@AlMurray, Twitter).” – Monski Mouse’s Baby Cabaret

WHERE: Palais du Variété at Assembly George Square Gardens (Venue 3) 

WHEN: 10:00 (55 & 50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

My first Edinburgh Fringe was back in 2005, when I came over to DJ at the Famous Spiegeltent late night Club, after La Clique and at the Bongo Club after Vaudeville Cabaret. I had the best, wildest time meeting incredible people and rocking dance-floors. So. Much. Fun! I then made it back again in 2008, and worked front of house at the Gilded Balloon, and DJ’ed their closing night party. But I started to come back every year from 2012 when I created my show, Monski Mouse’s Baby Disco Dance Hall. I was now a Mum and still plating spiegletents, but instead of starting at 11pm, I started at 11am. And this year my shows start at 10am!

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

Gosh, life questions!! I’ve learned that the human need to connect with each other through music, song and dance is something that doesn’t go away no matter the circumstance. And I continue to feel honoured and humbled to be a part of creating space for those connections to happen through my shows.

Tell us about your show.

This is a case of, me, myself and I. Well not entirely. I am the Producer, Writer and main Performer in my shows, but I love collaborating too. In Baby Cabaret, my live music singalong show, I have invited some brilliant performers to work with me to help make the music, interact with the audiences and bring some beautiful puppeteering. Tim Lancaster (partner and musical collaborator with Michelle Braiser) is joining my Edinburgh cast for a third year in a row, bringing his lovely energy, voice and guitar playing to the show, and one of my original cast members, actor and filmmaker, Richard Crawley, will be joining the show again for the first time since 2019. Richard and I studied together at the Ecole Phillippe Gaulier and I am so excited to have him joining the cast again for the second of the week in Edinburgh.

Baby Disco Dance Hall was initially co-created with early childhood theatre-maker and choreographer, Ninian Donald, who always dances in my shows whenever our schedules permit. Ninian helped me scope the show in its first inception, defining the audience age group, 0-5 years, and gave me a deeper understanding of the audiences needs developmentally. It’s why these shows resonate so well, because in addition to being fun, bonkers, musical adventures, they are created with the specific age of the audience and their parents/carers, very much in mind.

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

Oh my gosh, I just did a search and there is 141 children’s shows on.. my tips quick are;
‘Children are Stinky’ for 3 and up, for older kids, the wonderful OG stand-up for kids, ‘James Campbell’s Comedy 4 Kids: Reducks’, also for older kids, ‘LIVE MANGA’ from Japan are just wonderful, my 9 year old son (and I) LOVED them last year, and another dear friend and genius mime’s new show, ‘Monsterrrr! with Trygve Wakenshaw’.

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EdFringe Talk: The Boy from Bantay

Posted in *EdFestivals 2025, *Written Interviews by

“To be walking down The Royal Mile and see fellow artists hand out fliers…in a banana costume. Or stumbling upon a site-specific opera in a giant tea cup.”

WHO: Jeremy Rafal

WHAT: “From his childhood in the Philippines – a technicolour blur of cartoons and classical music – Jeremy always knew he wanted to be a concert pianist. The Boy from Bantay takes us on his heartwarming journey of growth and self-discovery. This appearance is produced by Bantay Productions and Leviathan Lab with support from Pace University and the Sands College of Performing Arts.”

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

WHEN: 12:35 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes! This is my first time in Edinburgh and I couldn’t be more excited–but also slightly terrified, in the best way possible. Performing at the biggest arts festival in the world has always been on my bucket list. There is nothing quite like being surrounded by artists and audiences who are just as passionate about live performance as you are, especially for someone like me who thrives on the energy of the people around me. I’ve done the fringe festival in New York City, so I’ve had a taste of this energy before. But for EdFringe, this is the Mecca of live performance! To be walking down The Royal Mile and see fellow artists hand out fliers…in a banana costume. Or stumbling upon a site-specific opera in a giant tea cup. I’ve produced my own work in the past and it can get very lonely. So I’m really looking forward to connecting with artists and learning from people who’ve been doing this crazy ride. But most of all, I am thrilled to share The Boy from Bantay. It’s about a kid from a rural town in the Philippines–a place so small that most Filipinos would have to Google it. And yet, I truly believe that no matter where we come from, there’s always something in our stories that we can connect to. Something that brings us closer together.

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

These past couple of years have actually been somewhat productive for me, artistically. I’ve written and directed a short film, composed music for a new stage play, wrote an opera inspired by the 1930 Watsonville riots, and premiered a one-act play that I’m planning to expand into a full-length. If there’s one big thing I’ve learned through all of this: KEEP GOING. There are so many moments where I catch myself thinking, “What the hell am I doing? Why am I putting myself through this?” And when that happens, I’ve found it helps to just step away for a bit—shift gears, work on something else, and then come back with a clearer head. But the real lesson? Learning how to take actual breaks. Like, real ones. I’m still working on that, to be honest. But I’ve picked up a few tricks to force myself to rest when I need to. So yeah—I get the concept of taking breaks…now I’m just trying to actually live it.

Tell us about your show.

The Boy from Bantay is semi-autobiographical and it pulls from what I know best–my own experiences. It all started with my first two loves: cartoons and music. Growing up, I was totally obsessed with cartoons. Well, okay—confession—I still am. I’m basically just a cartoon-loving kid in an adult body. I’ll stay up way too late, binge-watching episode after episode of whatever the latest anime craze is. And the music? One of my earliest childhood memories is of my mom dancing with me to “The Blue Danube Waltz” playing on her record player. I was so mesmerized by the sounds coming out of those vinyls that I ended up ruining half her collection. Sorry mom! This show brings those early loves together with my more recent passion: theatre and storytelling. When I first produced the show at FringeNYC years ago, I was part of a resident acting company in New York. That’s where I first teamed up with Josh, my director, and Anne, my stage manager. We’ve been developing the piece ever since, finding ways to shape it for a wider audience. For EdFringe, I’m thrilled to be working with a small but mighty team. My co-producer Kate is actually one of my former students, who’s diving into the world of theatre producing. I trust every person on this crew—they care deeply about the work, and they show up. The dream? To take this little story on tours and share it with audiences around the world.

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

There are so many wonderful shows at EdFringe that I would just say: Just go out there and see as many as you can! But if I have to pick some shows, particularly ones where I’ve seen earlier versions, there are a few in mind. First, “The Other Mozart” by Silvia Milo at Studio Two, Assembly George Square Studios. It’s an established solo piece that’s gotten some fantastic reviews—and for good reason. I’ve always wanted to see it and I finally got the chance earlier this year. It’s about Nannerl Mozart, the sister of WA Mozart, who was just as musically gifted but overlooked simply because she was born a woman. It’s haunting, elegant, and powerful—especially if you have any love for classical music. Another one I’m excited about is by my fellow Ilocano (yes, someone else who speaks my regional language!), Joyce Lao. Her show, #40andsingle, is a funny, cabaret-style piece that’s part memoir, part anthem for late bloomers. She’s hilarious and honest, and watching her fully embrace her creativity and freedom is such a joy. For something totally out of left field: “The Waiting Room.” It’s an AI-generated theatre piece I caught here in New York. I’ll admit—I was skeptical. But it completely challenged how I think about storytelling and connection. It somehow made me feel seen… by a machine! Weird, I know. But that’s what’s cool about Fringe—it has a way of catching you off guard.

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EdFringe Talk: Troubled

Posted in *EdFestivals 2025, *Written Interviews by

“I’ve been lots of times as a punter and seen some lifechanging pieces of storytelling, as well as totally bizarre expressions of art.”

WHO: Suzy Crothers

WHAT: “1993, Mum won’t let Alice go to Funderland because Belfast is burning. ‘How about Robin Hood, Prince of Thieves and Chinese chicken balls instead?’ 2018, Alice falls for Tim, but can she escape the legacy of a childhood shaped by conflict or will everything blow-up in her face? A tale of love, death and division – told with tea and biscuits. Troubled blends story, projection and humour, reckoning with the past and offering hope for the future. ‘An excitingly honest depiction of the power of human connection, told with daring vulnerability’ (Haley McGee, Olivier Nominee, Fringe First Winner 2022).”

WHERE: Anatomy Lecture Theatre at Summerhall (Venue 26) 

WHEN: 11:45 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my Edinburgh debut and i’m simultaneously nervous and excited – are they both two sides of the same coin? I’ve been lots of times as a punter and seen some lifechanging pieces of storytelling, as well as totally bizarre expressions of art. I love the vibrancy of the festival and that you can see whatever you want, pretty much 24hrs a day. Taking my work here has been a deeply held desire for the last 12 years and i’m so pleased that this year i can be a part of this big magic thing. i get to do the thing for 24 whole shows! It will be exciting to see how ‘Troubled’ meets audiences at this time, plus i’m looking forward to meeting audiences. I love the unpredictability of it all.

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

Hmmm. Just keep on keeping on. Like i said, i’ve wanted to do Edinburgh for a really long time, and getting everything together, plus the show has been a massive learning curve. I nearly chucked in the towel in 2023 because the challenges to getting this work out there felt almost insurmountable. But i’m lucky to have an amazing team and development funding came through for us. Also, the test audiences we’ve had have kept me going, their words of encouragement and their reactions. Huge shout out to Maria and the wonderful community cafe cohort at London Irish Centre who were a vital part of the development process. I guess i’ve learnt that it takes a village to make a solo show!

Tell us about your show.

Troubled is a story of love, loss and the extraordinary power of human connection – told with tea and biscuits. Set in a divided city (Belfast), in a divided country, at a divided time, Troubled follows Alice as she grows up and attempts to negotiate love and life and relationships, but the past keeps getting in her way. This is a story about growing up in conflict during the ‘Troubles’ and the impact of that on a human. It’s about reckoning with your past so you can live in the present. The show goes to some dark places but ultimately leaves us with renewed hope for the future.

Designer Rachel Sampley has done some fantastic video work for us and there’s a lovely combo of found footage and movement and story which offers the audience a real experience of what back in Troubles Belfast might have been like.

Troubled is written by me, Suzy Crothers, Produced by Rachael Halliwell and directed by Amie Burns Walker. Executive producers are Roisin Gallagher (BAFTA nominated star of The Lovers/ The Dry) and Patrick Handley. Amie and I have known each other for years and years and in fact used to live together in a London flatshare. Amie and Rachael run all Points North Productions together so it felt like a real synergy for us all to come together and make this show.

The show has been developed over the past few years with the support of the arts council, plus organisations like Camden People’s Theatre, 1 Degree East, Power of Women and London Irish Centre.

Before coming to Edinburgh Fringe, we are excited to be doing two shows through the Red Ladder Network in Leeds, plus two shows at London Irish Centre. After Edinburgh we’ll be heading to The Belgrade in Coventry and Sheffield Theatres, which are great venues that we are thrilled about. We’d love to take the show the show farther afield post Edinburgh and are looking at America and Australia too. With the show focusing on the impact of conflict, we’d love to share the work with places that have experienced conflict too, like South Africa for example. There’s a connect there.

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

There’s a lot of exciting stuff to see, i’ve started booking already. Last year i did 19 shows in something like three days, so my bank balance is dreading the fact that i’ll be there for a month this time!

I’m looking forward to seeing:

The Queen is Mad – a new musical by McGrath and Tasker, in the mode of Six.

Anthem for Dissatisfaction – by fab Northern Irish company Skelpie Limmer whose work always has a fantastic liveliness and punch, they’ve got a second show at the fringe, Shame show, which i’m also looking forward to catching.

Consumed produced by Paines Plough- Playwright Karis Kelly was the winner of the Women’s Prize for Playwriting for this show about 4 generations of Northern Irish women.

How to Win Against History – produced by Francesca Moody. I love Matthew Blake’s work as a performer and they are great alongside Seiriol and the team.

Last Rites – produced by Theatre Ad Infinitum – I’m fascinated by anything that deals with death and loss.

Rose + Bud – Winner of the Pleasance National Partnerships award, alongside the Lyric Belfast.

Shedinburgh, run by Francesca Moody production is full of some favourite artists and classic pieces of work – i’ve booked for Tim Crouch – My Arm, whose work never fails to delight and surprise.

Haley McGee – Age is a Feeling – this show is beautiful and Haley is a gorgeous performer – this will be my third time seeing it.

Songs of the Heart Trilogy by James Rowland – James is a lovely and highly skilled storyteller, his work is classic Edinburgh joy and he will be doing his trilogy of shows all at once, it will be a feat!

This Shit Happens all the time by Amanda Verlaque, which is a true story about queer love, homophobia and coercive control.

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EdFringe Talk: Abby Wambaugh: The First 3 Minutes of 17 Shows

Posted in *EdFestivals 2025, *Written Interviews by

“Now I know that the more specific to me that I make something, the more other people will love and connect with it. What an incredible gift!! I’m freaking out!!!”

WHO: Abby Wambaugh

WHAT: “Edinburgh Comedy Awards Best Newcomer Nominee and ISH Awards Best Newcomer Winner, Abby Wambaugh, returns with her critically acclaimed debut show before it transfers to New York, Off-Broadway this autumn. After waking up in the hospital following a late miscarriage, Abby – still high on anaesthesia – made an unexpected decision: to become a comedian. Now, in her uniquely goofy and heartfelt hour, Abby shares her 17 best ideas for her first show. ‘A masterpiece of construction’ **** (Guardian). ‘Utterly charming’ **** (Telegraph). ‘Sheer genius… I did not want this show.”

WHERE: Upstairs at Pleasance Courtyard (Venue 33) 

WHEN: 20:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my second time there with my debut show!! I am so excited I get to come back with a show I already know I love to perform. I was also there for a week long split bill in 2022 and as part of The Pleasance Reserve in 2023. The Edinburgh Fringe is where I fell in love with comedy for the first time and really figured out that it can be anything.

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

Last year I was bringing a brand new show that I didn’t know if people would like or connect to or get. This year I’m bringing the same show, having performed it over 50 times and now I knooooow people love it and laugh and cry and it frees me up to have a new and different experience of performing it each time. Now I know that the more specific to me that I make something, the more other people will love and connect with it. What an incredible gift!! I’m freaking out!!!

Tell us about your show.

I made the show with the help of my director and sweetest friend Lara Ricote. I wanted my show to feel how our friendshipt does, very silly, very loving, openly weeping plenty, and honest and warm as hell and she really helped me do that. I also got great notes, advice and peptalks from Sofie Hagen, Dec Monroe, Katie Coyle, Josh Herring (who teched my show last year and did the music), Ellen Paulig, and actually a ton more people, so many people helped me. My producers are Mick Perrin Worldwide and they took a big swing on me that I’m so grateful for. I got to do two weeks at the Soho Theatre in London, and I’m SO THRILLED to say that I will be doing the show in New York for 4 weeks Off Broadway with an incredible, unbelievable, I actually can’t believe it team and I am so excited about it I keep repeating it to myself like i just woke up from a coma and am trying to remember the facts.

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

Bangtail by Lil Wenker, That’s her real name and I can’t even believe it.

Lara Ricote always.

Kemah Bob who I don’t think is at fringe this year but I don’t care, go whenever you get a goddamn chance.

Josh Glanc always and immediately.

And I can’t wait to see the new shows from Shalaka Kurup, Sharon Wanjohi, Rohan Sharma, Sam Williams, and Allison Spittle who are all charming funny and kind as can possibly be.

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EdFringe Talk: Queer Tales for Autistic Folk

Posted in *EdFestivals 2025, *Written Interviews by

“I’m loving this new approach of putting up the beacon for queer and autistic people to come and see the show because it’s proven extremely effective.”

WHO: Cerys Bradley

WHAT: “You find a mysterious door that you have never seen before. Do you open it? If yes – buy a ticket to see this show. If not – why not? Join Cerys Bradley (Actually Autistic Excellence Award 2022, as seen on Comedy Central, UKTV, BBC One Wales) for their wonderful, expansive, interactive choose-your-own-story comedy show. ‘AUTISM!’ ***** (NeurodiverseReview.co.uk). ‘A great storyteller’ (Guardian).”

WHERE: Daisy at Underbelly, Bristo Square (Venue 302) 

WHEN: 14:45 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my ninth Edinburgh Fringe.

I first went when I was 17. When people in my school were planning their summer trips down to Newquay or post exams parties in Ibiza etc, I made all of my friends get an overnight bus from South Gloucestershire and marched them back and forth across the city so we could make 10ish shows a day. We were broke kids so we saw as much of PBH’s free fringe as we could and underage so we had blag our way into a fair few venues.

I first came to Edinburgh as a performer in 2017 on an improv science comedy show and then did my first solo show in 2022.

My favourite fringe was last year’s. I was doing a work in progress and only performed 8 shows so it was much chiller than usual and I could focus on experimenting. I also had a lot more time to see things and get excited by other people’s work.

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

Last year I marketed the show slightly differently to my previous shows. It was a work in progress version of the show I am performing this year, Queer Tales for Autistic Folk, and we decided just to use the title to describe the audience we wanted.

I know that seems very obvious but I felt really strongly that my previous shows, Sportsperson and Not Overthinking Things 2019, should have their names because I really liked their names. I also really like selling tickets and performing to full rooms though so I’m loving this new approach of putting up the beacon for queer and autistic people to come and see the show because it’s proven extremely effective.

Tell us about your show.

Queer Tales for Autistic Folk is a semi-improvised, interactive, choose your own story-telling show. It has been written by myself and all of its previous audiences. In each performance, we collectively tell a story together which makes each show unique.

The creation of the show has been very collaborative also. It’s produced by Ingenious Fools who have worked with and supported me for many years now. I’ve also had input, advice, direction, and all manner of other help from lots of incredible artists including Amy Greaves, Edy Hurst, Beth Watson, Steffan Alun, Adam Larter, and Mikey Bligh-Smith.

The show was first performed at Machynlleth Comedy Festival in May of 2024 and has been performed all over the UK since including, most recently, in Brighton where it was nominated for a neurodiverse performance award. It’s changed significantly since its very first outing so, if you’ve seen it before, you can definitely come and see it again and see a whole new show.

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

Ok. I am going to try and limit myself in my recommendations here because there’s so much incredible stuff at the fringe but I really think that you should go and see:

Su Mi (it’s her debut hour and I guarantee you will have never experienced anything like her show)

Edy Hurst (who is wonderful and has a really fun show about ADHD, the Venga Boys, and witches)
Leila Navabi (their debut show from two years ago remains one of my all time favourite shows and I am so excited she is back with new work)

Lorna Rose Treen (has an incredible concept for a show)

Pat Cahill (what a mind, what a performer)

Katie Mitchell (she has an amazing story to tell and is telling it in such a cool and inventive way)

And then, because it’s fringe, you should go and see some work in progresses and not quite finished work as well (Mikey Bligh-Smith is doing a WIP for example).

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