EdFringe Talk: Irene Woo: Golden Child

“Putting together a show for the Edinburgh Fringe is the same as planning a wedding: you’ll spend all your time, money, energy into something you deeply care about that your friends don’t really want to go to. (Of course I’m kidding, my friends are very supportive!)”

WHO: Irene Woo

WHAT: “Until recently, Irene Woo embodied the ‘Golden Child’. As a Senior Software Engineer at Google, she had it all: the six-figure salary, the impressive job title and the unconditional approval of her immigrant parents. But when she turned 28, she quit her job to tell jokes in damp basements. With the unrelenting standards of a Type-A Asian oldest daughter and the messy reality of a human being, Irene explores the golden handcuffs of the tech world, the cultural whiplash of being a French-Chinese woman in America and the baffling logic of modern relationships.”

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

WHEN: 17:55 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

It’s my third time in Edinburgh! I first went to attend the Fringe last summer as a punter, earlier this year for a wedding, and now to perform my first stand-up hour. In the span of 12 months, I will have gone 3 times. I’m basically Scottish now.

Edfringe is truly so magical. The concentration of talent and the variety of shows is just unmatched. I was only able to go for one day last year and I felt so inspired by how creative artists were. I also appreciated how well-organized Edfringe is, which is a must for a Type-A eldest daughter like myself.

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

Putting together a show for the Edinburgh Fringe is the same as planning a wedding: you’ll spend all your time, money, energy into something you deeply care about that your friends don’t really want to go to. (Of course I’m kidding, my friends are very supportive!)

But just like a wedding, plenty of people will offer their unsolicited opinions along the way. The biggest takeway from it all is, just like on your big day, the goal is to have fun.

Tell us about your show.

My show, Golden Child, is about how I decided to quit my software engineering job at Google to pursue stand-up comedy, and how I broke the news to my Chinese dad. I wrote it and Matt Gehring directed it. I performed the show three times in New York as special previews before taking it to Edinburgh. After Edinburgh, I’m hoping to tour the show in Europe, the US, Australia, and Asia.

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

They should definitely go see “Bride To Be” by Meg Millane. I got to see it in New York, it’s a hilarious take on the wedding industry, bride culture, and what getting married actually means.


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: Alice Fraser: Oh Man!

“As with many great monuments, EdFringe is definitely sometimes a little overcrowded and overpriced. But nonetheless, it’s an extraordinary feat of humanity.”

WHO: Alice Fraser

WHAT: “One of the Telegraph’s 50 Best Comedians of the 21st Century. She’s decided she actually quite likes men and wants to help. There are a lot of men telling men how to be, and how to optimise life, business and testosterone. Alice has been thinking about it ever since a near-near-death experience with some masculinity and has some stuff to say. Featuring a sentient Roomba and some Ancient Greek philosophy. ‘Alice Fraser is a powerhouse’ ***** (EdinburghGuide.com). ***** (BroadwayBaby.com).”

WHERE: O’Neill’s (The Tron) at Monkey Barrel Comedy (O’Neill’s, The Tron) (Venue 51) 

WHEN: 20:40 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

I think this is coming up on my ninth year! I am so romantic about Edinburgh – I genuinely think it’s one of the great monuments of civilisation that we’ve built a month where people come from all over the world to do art as hard as they can. What an incredible feat. For all the stresses and awful things, it’s still pretty amazing. A lot needs to be going right in the world for that space to exist. As with many great monuments, it’s definitely sometimes a little overcrowded and overpriced. But nonetheless, it’s an extraordinary feat of humanity.

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

I have become increasingly repulsed by the process of having my attention or preference guided by algorithms. I try not to reach for my phone. It really is a zero sum game when I wake up in the morning; either I get to decide what my first thought is, or they do.

I’ve decided I’m going to hand-write my important emails, just for the thrill. I’ve done five or six. Write them, take a photo, send them. Probably need more legible or beautiful handwriting for it to be truly impactful as a choice.

Tell us about your show.

I wrote it and Gag Reflex are producing it in Edinburgh. I brought the brilliant Joz Norris on board to help me make sure I prioritise silliness and chaos. I’m constantly fighting the urge to go “hmm, interesting” and push my glasses up my nose. Joz is great for reminding me to balance it with my joy in the ridiculousness.

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

Oh my goodness! Go see Tom Neenan, Felicity Ward, Eleanor Morton, Alison Spittle, Joz Norris and John Luke Roberts’ WIPs, which are already better than most polished shows.

Also just go take a chance on an act you’ve never heard of! Open the program at a random page, close your eyes and point! I loathe people who need everything to be consensus group think five stars guaranteed. Go have a two star experience! Get flyered into something by someone with a desperate look in their eye! Screw algorithms promising you a frictionlessly pleasant everything. Take a bloody chance.


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: Camilla Borges: Be Not Afraid!

“Previously, I have either done work in progress shows, with mostly shorter runs but this year I am really backing myself with this one!”

WHO: Camilla Borges

WHAT: “Camilla has a theory that who you played in your school Nativity shaped who you grew up to be. She played Mary, so, surely she should be a CEO by now? Not quite… Mother of God, but she was also just a girl. What if she wanted to listen to Lorde instead of give birth to one? Millennial angst meets a new form in Be Not Afraid! Part school play, part diary entry, it invites audiences to help Camilla grow up and face reality. Featuring high levels of audience interaction, silliness and unmet potential!”

WHERE: Nic 9 (Nicolson Square Gardens) at Hoots @ Nicolson Square (Venue 63) 

WHEN: 18:30 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

No, this is my fourth time bringing a show to Edinburgh. It is my second full run, but my first doing a completed show with a team backing me. Previously, I have either done work in progress shows, with mostly shorter runs but this year I am really backing myself with this one!

Once you start going it is quite addictive; any years I haven’t gone I always put on a big show of feeling ok about it, then as soon as it starts I spend the whole time looking at pictures of people who are there like a sad ex.

I have been many times as a punter before and it truly is such a magical place. It feels like there is something going on in every corner and you can get a full sensory overload just from walking around.

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

Lessons that I have learnt over the past 12 months are definitely that I need structure and having a team around you is extremely helpful. I have always been quite scatty in terms of writing and putting a show together, but having people give you clear instructions and deadlines helps a lot. It might sound quite basic, but having someone else expect something of you makes my drive to do something a lot bigger!

Previous times I have been to Edinburgh it has been as a solo show/ performer, so it’s just been me working on the show, which can be overwhelming at times. This year I have some people around me and it has helped a lot- definitely helped the stress levels. To know that other people are doing things on your behalf is a huge help. Edinburgh- it takes a village!

Tell us about your show.

The show is written and performed by my, Camilla. It is inspired by my starring role as Mary in my school Nativity when I was younger, and how everything since then has been a letdown. I have been working on it for over a year and it’s gone in new directions I could never have predicted, and I am very excited to show it to people.

The show is directed by Martin Willis, who has been a huge help in shaping the show, asking questions and pulling me back when things get a bit mad. I had met Martin through comedy channels and we are good at matching each others’ energy.

I am doing some previews in London before taking the show to Edinburgh, everything could change between those final previews and Edinburgh, but I am hoping they will be a good measure of how the show will be received.

I am hoping the show has a life after Edinburgh – at the minute it’s pretty hard to think past Edinburgh but I would love to your it around the UK, or even to take it to some international festivals would be amazing.

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

I think Edinburgh is a great to time to see new acts you wouldn’t have heard of before. See some work in progress shows, go to the free fringe- you will see acts that will be blowing up in a few years I guarantee you.

There is so much talent in Edinburgh it’s a bit insane, but I would particularly recommend:

Ruby Carr: Bite Me- Hoots Nic 9 15:50

Ruby’s first show was so good, she has such an amazing mind for looking at the small, ordinary things and expanding on them. I’ve heard great things about the show and I know she’ll deliver.

Roger Prick: Sexopolis- Underbelly Cowgate 18:55

I have been dying to see Roger Prick for ages and I know the full length show is going to be so good. I know there are going to be insane, niche and clever references and I am excited to get sexy with it! There have been some amazing boy drag shows over the last few years and I think Hannah is going to nail it.

Freya Bardell: Shine- Just the Tonic 15:10

Freya comes from a slightly more theatre background so I know she’s really going to go for the precise visuals. She is a hard worker so everything will be intentional and thought out. It’s a wip so I wouldn’t be surprised if the show changes and evolves as the run goes on- I know I’ll be going more than once.

Freya Mallard: Come Get Me World I’m Wide Open! Hoots 22:35

There is maybe no one sharper than Freya on the comedy scene. Her lines are killer and she looks good doing it. She also has such a unique perspective having had a baby quite young, and I am dying to hear her thoughts on early motherhood while also maintaining a hot young thing reputation.

Sam Eley is Basil Crumbwick: Soul Sewage- Monkey Barrel 23:25

Sam and I started comedy around the same time and have gone on a similar journey, so I am keen to see how his style has changed. The Basil set up is mad- performing in a massive papier mache head- but I’ve heard such great things. We’re sharing a London preview on 14th July so I am excited to see it then, then also to see it in Edinburgh.


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: Eleanor Morton: The Mermaid

“I always struggle with the resident/performer dichotomy. I hate how overwhelming town is when you’re just trying to get to the dentist, but on the other hand, it’s so exciting to have the whole world come to visit.”

WHO: Eleanor Morton

WHAT: “Fresh from her new show on BBC Radio 4, award-winning comedian Eleanor Morton returns with a show all about mermaids and why she wants to be one, even though she can’t swim. A show all about wanting to be beautiful, mythology, 2000s magazine sex tips, rat boyfriends, and James Cameron’s submarine. Justice for Nicola Roberts. Praise for 2024’s show Haunted House: ‘Belly laugh funny’ ****½ (Metro). **** (BeyondTheJoke.co.uk). **** (Skinny).”

WHERE: CabVol 1 at Monkey Barrel Comedy (Cabaret Voltaire) (Venue 338) 

WHEN: 13:00 (55 min)

MORE: Click Here!


Is this your first time to Edinburgh?

No – I’m from Edinburgh, so it’s my 9th hour of comedy and my 34th August of being alive.

I always struggle with the resident/performer dichotomy. I hate how overwhelming town is when you’re just trying to get to the dentist, but on the other hand, it’s so exciting to have the whole world come to visit.

I don’t think I’d do well as a visitor to Edinburgh. Staying 7 to a room in a shared flat in town for a month would drive me insane. I’m very lucky I have an Edinburgh outwith the Fringe I can retreat too.

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

I’ve learned it’s much easier to write a show about something your passionate about or keen on. I’ve also learned a lot about mermaids. Did you know, for example, that Christopher Columbus reported seeing some on his way to America? Or that Geoffrey Chaucer coined the phrase mermaid? Or that sirens actually used to be birds not fish?

I also learned about Melusine, a French serpent/fish lady who got caught in the bath and was so embarrassed she turned into a dragon and flew away. As you do.

Tell us about your show.

My show is called The Mermaid and it’s about cars. No, it’s about mermaids. It’s actually about wanting to be a mermaid as a child and why everyone is so obsessed with them.

My show is self-produced but my right hand woman is Julia Sneddon from Hare Brained Schemez who’s made some incredible props and costumes. She’s truly genius. Last time for my show Haunted House she made a beautiful and intricate haunted dolls house. It was so much better than I could ever have imagined.

I’ve been working on this show for two years because it turns out it’s much more mentally healthy than trying to squeeze out a brand new hour every year.

I don’t know where I’m taking the Mermaid afterwards – we’ll have to see!

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

You should definitely go and see everything in Monkey Barrel, it’s packed full of amazing acts, and really champions Scottish comedians.

I like to go and see Shakespeare for Breakfast because I used to go as a teenager so its nicely nostalgic.

My friend Sooz Kempner is very funny and insanely talented too.


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

“Many of the polyglot passages exhibit careful construction with alliteration, rhyme, and even metre. I think I’ve barely scraped the surface of that phenomenon.” – Author Guy de la Bédoyère talks about ‘The Confessions of Samuel Pepys: His Private Revelations’

The Confessions of Samuel Pepys: His Private Revelations

“From the first time that Pepys’s diary was transcribed for publication, the graphic sexual content troubled his editors. They felt it would offend public sensibilities.”

WHAT: The Diary of Samuel Pepys is the most celebrated personal journal in the English language. His candid revelations as he forged his career as a civilian naval official in Restoration London have fascinated readers ever since the first selection was published in 1825.

“The Confessions of Samuel Pepys focuses on Pepys’s controversial private life for a contemporary readership, by charting his varied and complex relationships with women. They included his wife Elizabeth whom he both loved and treated abominably, their domestic servants, the mistresses whom he secretly visited in Westminster and Deptford and other places, a host of other opportunistic encounters, the great ladies of the court whom he ogled, and the actresses and other female friends whose company he delighted in and combined with casual flirting and petting. All these he recounted in shorthand, often disguising the more salacious occasions in his own cryptic Franco-Latino polyglot or with a primitive system of extraneous consonants.

“Most of these controversial entries were excised from 19th century editions, but all are featured here in completely new transcriptions and Pepys’s secret code translated, following fresh forensic examination, from the original shorthand diary. The Confessions of Samuel Pepys also reveals how all previous transcribers of the diary and many of his biographers have deliberately massaged Pepys’s reputation.”

WHO: Guy de la Bédoyère is an historian and author with numerous books to his credit. One of very few authors with the ability to read and use the system of shorthand used by the diarist Samuel Pepys (1633–1703), he edited the letters exchanged by Pepys with the diarist John Evelyn (1620–1706) in Particular Friends: The Correspondence of Samuel Pepys and John Evelyn, covering their 38-year association and friendship. He has also produced the only edition of Pepys’s correspondence to be published in modern times in The Letters of Samuel Pepys. Guy lives in Britain.

MORE? Here! & Here!


Why ‘The Confessions of Samuel Pepys: His Private Revelations’?

It became clear to me as the work progressed that Pepys was using his diary as a private confessional, even though these revelations were interspersed in amongst more routine events and experiences.

Was there a single moment that prompted you to look at these passages again and when did it dawn on you that our existing transcriptions/translations were still pulling their punches and obscuring the full picture?

My focus originally was only to translate the polyglot passages in the published Latham and Matthews edition. I thought this would be simple. However, I soon discovered that more than a few were untranslatable because they contained ‘words’ that aren’t words and weren’t words when Pepys wrote. Some were real words but made no sense. This really foxed me to begin with, and that was when I decided that I must make entirely new transcriptions.

An example is 20 March 1667. Latham and Matthews have ‘so to Mrs Martin’s whom I find in opposante’. The French word opposante means ‘challenger’ or ‘rival’. In the 1600s it was spelled opposant and it is listed in Cotgrave’s French dictionary which Pepys owned. Either way it makes absolutely no sense in this context, and had Latham and Matthews attempted to translate it they would surely have realized that. When I looked at the shorthand, I remembered that the symbol for ‘op’ also means ‘ap’ and that the terminal dot to indicate a closing vowel in this case meant ‘o’. The word correctly reads aposento, which is the Spanish word for ‘lodging’ and which can be found in Richard Percivale’s 1623 Spanish dictionary. Pepys owned a copy and it’s still in the Pepysian Library. Mrs Martin was at her lodgings. Pepys often uses the English word in similar contexts.

I admit I was mildly incredulous at this discovery, given the standing of the Latham and Matthews edition. While they did not make numerous mistakes like this, the discovery called into question their polyglot transcriptions for the first time. I found several other instances. Given that they claimed to have secured the assistance of a Spanish professor, the errors are difficult to explain.

Do you see your work as a contradiction or as a continuation of the Latham edition?

It’s a continuation. Transcribing and understanding Pepys is a cumulative process. Latham and Matthews felt constrained by the standards of their day. It was clear that their reluctance to confront the polyglot had prevented them from applying the same authoritative analysis they had to the rest of the text. In a few cases I felt that the mistakes were so obvious they might have been deliberate, designed to throw readers off the scent.

Pepys never uses Elizabeth’s Christian name in the diary; her portrait was hacked up,
supposedly by a puritanical member of the staff at Hinchingbrooke; Sam destroyed her
letters to him; as we flirt with the idea of cancelling him, is it time to uncancel her?

It would be wonderful if we knew more about Elizabeth, but unfortunately, absolutely nothing of hers survives beyond a letter or two addressed to her from France and now in Oxford. This means it is impossible to know more about her than is already known.

“The evil that men do lives after them; the good is oft interred with their bones.” Could this be said of Pepys in our own moment? Or is it that we have collectively been too shy of the full, frank, and unsettling  Adult content self-portraiture Pepys left behind?

From the first time that Pepys’s diary was transcribed for publication, the graphic sexual content troubled his editors. They felt it would offend public sensibilities. But it is also clear they were uncomfortable about how publishing it would reflect on them. This subsisted right up to and including the Latham and Matthews edition, which was successfully marketed as definitive and unimprovable, carefully occluding the full truth. Pepys had both good and bad sides. He recorded it all, but until now, his own testimony has been modified and falsified in some way.

Was Pepys’ transactional relationship with sex was more or less unusual for the time?Did it become more usual as the morality of the Restoration era set in?

Much of what we know, or think we know, about seventeenth-century manners and standards comes back to Pepys. That means various notions about what constituted ‘normal’ in 1660s London are used to justify Pepys as only being a man of his times. But those notions normally come from Pepys. So, it’s circular. It’s clear that there were other men who behaved like him, but any proper research into the period into books of the period shows that behaviour like his was against the law and condemned. People who believe Pepys was ‘normal’ and his conduct representative of different standards are usually only basing that on Pepys. If you want to read research into late seventeenth-century attitudes towards sexual consent and violence (including the law) as they relate to Pepys’s actions, try Kate Loveman’s free academic article from 2022 in the ‘Historical Journal’ (especially pp. 1226–34).

You argue that Pepys’ behaviour got worse over time. Do you ever think the Diary could have been a contributing factor – the need to provide sensational content even as he aged and as Sam’s probable sterility became more obvious?

Pepys increased his references to his sexual behaviour and found new ways to make them more difficult to read, like the addition of ‘extraneous’ consonants, an idea he evidently derived from a book by his friend John Wilkins, which Pepys owned. I believe the diary provided him with an outlet, a repository for his ‘collection’ of sexual triumphs and misdemeanours. He felt remorse and shame, but appears to have been unable to resist easily the search for more dangerous and risky action.

If you could ask Pepys one question what would it be, and what’s the one thing you would tell Sam just so as to see his reaction?

I think we’d all like to know exactly how ‘Pepys’ was pronounced back then! But seriously, I think I’d like to know if he ever envisaged someone unravelling his polyglot passages and if so, who he imagined that person might be. I have never thought of what I might tell him, since asking him a question would be impossible. What I would like to know is what he looked like in person. The 1666 painting was posed, in costume, and he wears a wig. He did not look like that in everyday life, and he was also very short.

Do you think there is anything else “new” still hiding in plain sight in The Diary?

I think one would have to say that is always a possibility. Something I realized, which appears to have escaped observation and comment until my book, is that many of the polyglot passages exhibit careful construction with alliteration, rhyme, and even metre. I think I’ve barely scraped the surface of that phenomenon. But the truth is that even the polyglot wasn’t really hiding. It’s all there – all it needed was to be read correctly and translated, using Pepys’s English elsewhere and the dictionaries he owned as guides. Correct readings and the translations are usually obvious.

What are you currently working on?

I’m 68 and I’ve produced nine full-length books since 2014 on top of those that went before. Confessions is the result of over two decades of work learning the shorthand on top of all that. It’s now time sit back and I have no plans to produce anything else for a while. We travel a great deal and that’s the priority. Indeed, I’m answering these questions in Augusta, Western Australia, where the idea for Confessions came to me two years ago and where the book was completed in 2025. However, I will be lecturing on Confessions at the Gloucester Spring Festival on 18 April and at Pepys’s church of St Olave’s in London on 28 May 2026.

LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

“My book is an attempt to put the record straight and remind people about the reality of an inefficient, brutal, and corrupt regime.” – Author Paul Corner talks about ‘Mussolini in Myth and Memory’

“There were always a lot of fascists left in the woodwork, ready to continue the myth of a “glorious” twenty years of Fascism.”

WHAT: “Mussolini has rarely been taken seriously as a totalitarian dictator; Hitler and Stalin have always cast too long a shadow. But what was a negative judgement on the Duce, considered innocuous and ineffective, has begun to work to his advantage. As has occurred with many other European dictators, present-day popular memory of Mussolini is increasingly indulgent; in Italy and elsewhere he is remembered as a strong, decisive leader and people now speak of the ‘many good things’ done by the regime. After all, it is said, Mussolini was not like ‘the others’. Mussolini in Myth and Memory argues against this rehabilitation, documenting the inefficiencies, corruption, and violence of a highly repressive regime and exploding the myths of Fascist good government. “

WHO: University of Siena Professor Paul Corner is the Director of Italy’s Interuniversity Center for the Study of Twentieth-Century Totalitarian Regimes. He is an alumnus of St. John’s, Cambridge and St. Antony’s, Oxford. As well as his tenure at Siena, Paul has academically moonlighted as a visiting professor at the European University Institute, Fiesole; University of North Carolina; New York University; Columbia; and has been elected a permanent member of the Senior Common Room at St. Antony’s.

MORE? Here!


Why Mussolini in Myth and Memory: The First Totalitarian Dictator?

The book is a response to something that has been going on for decades but has become more accentuated in recent years – that is, the tendency to see Italian Fascism in a more positive light and to consider Mussolini to be a figure worthy of admiration. It is an attitude that can be summed up with the phrase used by the current Italian Foreign Minister, “Mussolini did many good things.” This indulgent attitude has developed around a whole series of myths about Italian Fascism – myths that often simply repeat what were in reality fascist propaganda slogans – and has been reinforced recently, of course, with the election of a post-fascist Prime Minister who consistently refuses to condemn the fascist experience. My book is an attempt to put the record straight and remind people about the reality of an inefficient, brutal, and corrupt regime. It is very often forgotten that Fascism cost Italy more than half a million lives.

Doctor Johnson did not quite say that “Nostalgia is the last refuge of the moron”, so why do intelligent people get themselves attracted to Mussolini’s myth and memory?

A good question, although I’m not sure that we are talking about intelligent people. One of the problems is pure ignorance about what Fascism represented. Many of my students knew a lot about the Risorgimento but nothing about Fascism. The schools simply hadn’t taught it; it was too sensitive a subject. That said, the attraction of the past is undoubtedly a reflection of dissatisfaction with the present. At the moment a lot of people are unhappy with their politicians, who seem unable to do anything about a long period of economic decline. In these circumstances, the idea that Mussolini was authoritative, decisive, and a man of direction is bound to appeal. He is seen as the man who wanted to make Italy great again and we know the attraction of that slogan.

A more in-depth answer to your question would be that, unlike Germany, Italy has never fully come to terms with its fascist past. After 1945, it seemed better to emphasize the heroic antifascist Resistance movement during the war, to look forward to reconstruction, and to brush twenty years of Fascism under the carpet. Very few fascists were put in prison and there was no real process of de-fascistization of the police or the state administration as there was in Germany. There were always a lot of fascists left in the woodwork, ready to continue the myth of a “glorious” twenty years of Fascism.

Mussolini is remembered in the same harsh breath as the totalitarian leaders of Spain and Germany. Could he ever have softened into an Atatürk?

Well, to do this, he would have to have stayed out of the war and for a Darwinian like Mussolini this was unthinkable. Remember that the key fascist slogan (apart from “Mussolini is always right”), was “Believe, obey, fight.” Had Mussolini stayed out of the war, there is a possibility that Fascism might have carried on as a more conventional authoritarian regime on the lines of Franco’ Spain. But you have to bear in mind that Fascism was already very unpopular within Italy in the late 1930’s and the regime had lost most of its totalitarian dynamism. And Mussolini was in rapid physical decline, with no capable successor in sight. Certainly, the regime still possessed the means of control, but it seems more likely that, in the light of an ever-worsening crisis of authority, far from softening, the fascists would have had to increase the levels of repression rather than reduce them.

Did Mussolini make the trains run on time?

Difficult to say because many of the records were destroyed during the war. Interviews with railway workers suggest that the mainline trains were generally on time, in part because timetables were adjusted to give trains adequate leeway, while less important local trains were as unreliable as they tend to be anywhere. However, this is a good example of a persistent myth which speaks of efficiency, “getting things done”, etc – all part of the “many good things” Mussolini is supposed to have done.

Could the Mussolini myth be seen as the inevitable result of the relative infancy of Italian statehood? A nation needs national myths and Mussolini is one of the few things that has happened to all of Italy since Risorgimento.

I wouldn’t quite put it like that but I think the long-term view has to be taken into account. One of the problems Italy has had in the past (and I’m speaking of Italy post-unification) and still has to some extent is the feeling that the country is not being given its due at the international level. It is a country that wants to count. This is very obvious at the moment with Meloni’s continual and rather unconvincing references to Italian “centrality” in many current international decisions. In some ways Fascism was a result of this sentiment.

Mussolini certainly represented international protagonism at a very high level – Munich 1938 is the most obvious example – and, even if his protagonism ended in national disaster, he is remembered for his strutting on the international stage. If you are an Italian what else do you look back to to bolster your sense of national pride? Of course, there are a lot very positive things to look back to but, for many people, this may not be too obvious.

Mussolini’s play ‘Napoleon: The Hundred Days’ ends with a gesture from the defeated Emperor and an attendant snapping their sword in two with a sob. Do you think Mussolini meditated much about defeat before it happened to him? And what does the play’s presentation on the London stage, adapted by the eminent playwright John Drinkwater, say about international perceptions of Mussolini in 1932?

As is well known, up to the early ’30s Mussolini was widely admired at the international level. He was relatively young, very dynamic, and – perhaps most important for many observers – he had defeated the Italian communists. European and American political scientists and economists were very interested in the fascist “corporative model” which promised (but did not deliver) a way out of the international depression. For some observers, he was seen as the remedy for many of the stereotypical Italian weaknesses.

The admiration disappeared, of course, when he began to make friends with Hitler and, above all, when he attacked Ethiopia in late 1935. The Left was not taken in by appearances; it is enough to read the Manchester Guardian of the 1920’s to appreciate this.

Did he meditate about defeat? There is little indication that he did – until it was obvious that he had been defeated. After all, Fascism was supposed to last for a hundred years. But when defeat was evident, all he could do was blame the Italians for not coming up to fascist expectations. “Governing Italians is not so much difficult as pointless”, he is reportedto have said. It was the material the dictator had had to deal with that was at fault, not the dictator.

How do Roman Catholic thought leaders and senior clerics regard the Church’s relationship with Mussolini now, today in hindsight?

There’s no single view, of course. There are those who prefer to downplay the level of collaboration between Church and State and emphasize the role the Church played in providing an alternative to the fascist organizations. It is certainly true that many of the post-1945 leaders of the Christian Democracy were in some way protected by the Vatican during the regime. And there are those who suggest that the Church might have done more to oppose the regime, particularly after the introduction of the anti-Semitic Racial Laws in 1938. The shadow of the Holocaust and of “what the Pope knew” tends to condition much of the argument.

If you could step into a time machine, go back and meet Mussolini, WHEN would you want to encounter him and why? What would you ask him? What would you want to tell him?

I’ve never asked myself this question, possibly because I have never felt any desire to meet Mussolini. The young Mussolini is probably more interesting than the older man, who had come to believe in his own myth (one of his ministers said, in 1939, that talking to Mussolini was like addressing a statue). To talk to him in late 1914 about the war, his socialist values, and his reasons for abandoning socialism, could be interesting. This was a key moment in his life and to understand his reasoning would be important.

What would I tell him? I think I would have advised him to see a good psychiatrist before it was too late. He would not, of course, have listened.

Has Mussolini’s reputation managed to survive precisely because he was killed by partisans, rather than going through a Nuremberg-type process?

Possibly. For some his end resembled a martyrdom. There are historians who argue that the killing of Mussolini was done precisely to avoid letting him make his defence in a show trial. After all, he was a good speaker. This must remain uncertain. What is clear is – as I suggested above – the absence of any kind of Nuremberg trial in Italy allowed people to think that, in the end, Italians had been victims of Fascism rather than, in many cases, perpetrators. There was, therefore, no case of collective guilt to answer. This absence of any clear break with a criminal past has fostered the continuation of many fascist myths.

What are you currently working on?

I’m still working on various aspects of dictatorship, trying to spread the net beyond Italy. My most recent interest is in North Korea even if, as you can imagine, it is difficult to get hold of the documents, let alone read them! But it’s a fascinating story.

LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

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

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

WHO: Kate Skinner

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

WHERE: 10 Dome at Pleasance Dome (Venue 23) 

WHEN: 13:25 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

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

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

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

Tell us about your show.

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

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

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


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: Bad Immigrant

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

WHO: Jennifer Irons

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

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

WHEN: 15:35 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

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

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

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

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

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

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

Tell us about your show.

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

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

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

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

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

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

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

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


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: Edie

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

WHO: Jessica Toltzis

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

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

WHEN: 21:10 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

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

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

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

Tell us about your show.

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

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

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


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: The C Word

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

WHO: Claire Houghton Renoe

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

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

WHEN: 18:15 (60 min)

MORE: Click Here!


Is this your first time to Edinburgh?

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

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

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

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

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

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

Tell us about your show.

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

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

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

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

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

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

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


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!