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: Jerry’s Girls

Posted in *Written Interviews, EdFestivals 2025 by

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

WHO: Aoife Summers

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

WHERE: Sanctuary at Paradise in Augustines (Venue 152) 

WHEN: 21:25 (90 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

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

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

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

Tell us about your show.

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

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

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

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

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

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

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

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

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EdFringe Talk: Shiva for Anne Frank

Posted in *Written Interviews, EdFestivals 2025 by

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

WHO: Rachel McKay Steele

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

WHERE: Playground 2 at ZOO Playground (Venue 186) 

WHEN: 14:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

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

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

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

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

Tell us about your show.

I wrote it! Yay me!

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

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

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

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

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

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

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

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

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EdFringe Talk: Jack Offerman’s Big Uncut Flick

Posted in *Written Interviews, EdFestivals 2025 by

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

WHO: Melissa Firlit

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

WHERE: Downstairs at Assembly Roxy (Venue 139) 

WHEN: 15:50 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

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

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

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

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

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

Tell us about your show.

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

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

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

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

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

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

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

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

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

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

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

Club NVRLND – Pure dance party joy.

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

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

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EdFringe Talk: Everest Mallory 24 (With Stanley)

Posted in *Written Interviews, EdFestivals 2025 by

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

WHO: Andy Dickinson

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

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

WHEN: 19:15 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

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

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

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

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

Tell us about your show.

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

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

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

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

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

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

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

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

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EdFringe Talk: GENDAI

Posted in *Written Interviews, EdFestivals 2025 by

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

WHO: Gendai

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

WHERE: Temple at WU (Venue 396) 

WHEN: VARIES (15 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

Tell us about your show.

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

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

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

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

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

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

Editorial Rating: 5 Stars (Outstanding)

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

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

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

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

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EdFringe Talk: Accidental Baby

Posted in *Written Interviews, EdFestivals 2025 by

“It’s not just improv—it’s invitation.”

WHO: Alexander Cabana and Radostina Peteva

WHAT: “Get ready for laughs you didn’t plan for… The improv comedy show nobody meant to happen, but now you can’t live without! A night of off-the-cuff chaos where scenes are born on the spot, characters spiral out of control, and the only thing you can expect… is the unexpected. Accidental Baby delivers wild, unscripted fun that’ll leave you asking: “Wait… was that planned?” (It wasn’t.). Fuelled by audience suggestions and questionable wisdom, Accidental Baby is like couples therapy… if your therapists were hilarious, unlicensed and possibly drunk. Warning, you may leave pregnant.”

WHERE: Snug at Paradise in Augustines (Venue 152) 

WHEN: 21:45 (55 min)

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Is this your first time to Edinburgh?

If, by some cosmic sleight, Edinburgh Fringe were to vanish during August, the planet’s artistic pulse would stutter. Such is the density of genius, the saturation of talent that flows through its cobblestone veins during festival season.

Accidental Baby made its debut in 2024 with a sold-out one-week run… largely because they only booked it for one week. This year, emboldened by actual audience enthusiasm, we’ve doubled down with a two-week slot. If the crowds come back again, there’s talk of doing a full run in 2026—though no promises; it depends on stamina, funding, and how many pints of beer we can consume without emotional collapse.

Back in the saddle are we, Radostina Peteva—equal parts comedic genius and chaos wrangler—and stand up comedian and improvisor extraordinaire Alexander Cabana, who’s also back with a new hour of his solo stand-up show “Vulnerable White Passing Male”.

Being both producer and performer is like being your own overworked wedding planner and also the bride with spinach in her teeth—simultaneously architect of the ceremony and flailing center of attention. With Accidental Baby, we are two brides with lipstick on their teeth, begging for the audiences to point it out, because that means they are alive!

When audiences are responsive, adventurous, and slightly buzzed, everything feels electric. A festival thrives when people show up curious, not just because it’s raining.

Their whole show is a dare wrapped in a wink: “Notice us. Notice everything. Even the smudge.”

In their world, the laughter comes not from perfection, but from the shared delight of catching the imperfection together. It’s not just improv—it’s invitation. They aren’t aiming to fool you with polish; they’re begging you to join them in the mess!

So if you are gloriously unhinged, Accidental Baby is your spiritual home. Go. Sit in the front. Laugh too loud. Seriously—Accidental Baby is the show where your emotional baggage gets a standing ovation. Do Not Miss It!

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

We discovered that connection matters far more than perfection—if the audience laughs with us when we drop a prop, we call it a win—and that a show’s story is its currency, sharpened until we can pitch it between traffic light changes. We learned to embrace serendipity, because the person you chat to in the chip queue might become your next booking.

We learned that radical self-reliance isn’t optional—you’re not just the performer, you’re the producer, the usher, the tech guy, the marketer, accountant, and occasionally the person fixing the stage after the last act. Adaptability became our second nature; one night we are in a theatre with perfect lighting, the next we’re competing with a smoothie blender, broken AC system and fan noise.

Other acts turned out to be allies, or rather therapists. We are in this grinder together, and remember that every day is a great day to have a great day!

We’ve absorbed these lessons the same way you absorb Fringe rain—at first you think you can dodge it, then you accept you’re drenched, and eventually you start wondering if you’ve developed gills.

Tell us about your show.

We are married. The show isn’t written. It’s a fully improvised long form comedic performance based on audience interaction. The questions we ask and stories we tell come from the conversations we have in real time.

Our show is about relationships—think of it as unqualified therapy with a very qualified sense of humour. We are two people with just enough relationship experience to be dangerous, and a willingness to hand out advice like free biscuits. We’ve learned a ton about what makes a healthy relationship (mostly from doing the opposite first), and we’re both endlessly curious about the weird, wonderful ways people approach sex, love, and partnership. For us, every audience is a fresh case study—equal parts sociology, comedy, and emotional group hug—where the advice might be heartfelt, might be unhinged, but will definitely be entertaining.

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

We saw RED LIKE FRUIT, a show every person should see whether you are dating, married or forever a rolling stone. It’s about relationship trauma and memory. Moscovitch’s writing is bold and unapologetic. https://www.edfringe.com/tickets/whats-on/red-like-fruit

https://www.instagram.com/2btheatre/

On a lighter note, we saw Breaking The Musical and snickered and giggled for one hour about the breakdancing Australian genius at the Paris Olympics! If you have a silly  and a gossip bone in your body, go see that show! https://www.edfringe.com/tickets/whats-on/breaking-the-musical

https://www.instagram.com/stephbroadbridge/?hl=en

If you want to see something different and wild, and funny but profound, go see 1Shoulder Pad: Galaxy Train, Japanese Musical Theatre. Wow these guys are fun! Great comedic timing and absurdity! https://www.edfringe.com/tickets/whats-on/1shoulder-pad-galaxy-train-japanese-musical-theatre

https://www.instagram.com/shika564dayo/

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EdFringe Talk: Ascension

Posted in *Written Interviews, EdFestivals 2025 by

“The fringe is exhilarating but exhausting, and that you absolutely MUST have a good rest after it.”

WHO: Dan Hazelwood

WHAT: “After a successful run at the Edinburgh Fringe 2024 and sold-out performances at Greenwich Theatre, Ascension returns for Edinburgh Fringe 2025. Ascension is based on the 300-year-old diary of Dutch sailor Leendert Hasenbosch, who was marooned on Ascension Island in 1725 for the crime of sodomy. Isolated and surrounded only by barren rock and endless ocean, he fought to survive. He was, however, pursued ashore by his personal demons. This bold and inventive adaptation reclaims his story for the 21st century, exploring queer identity, the weaponisation of religion and the resilience to love ourselves in a sometimes unforgiving world.”

WHERE: Theatre at Bedlam Theatre (Venue 49) 

WHEN: 14:00 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I first came to Edinburgh Fringe for a few days after graduating from drama school in 2017, renting a beanbag on the living room floor of another artist’s airbnb for £10 a night. I saw shows from morning until night, eventually giving up late every night – keen to see more but knowing that even if it was a 5 star show I would be too tired and too grumpy to enjoy it. I had no money at the time so hitch-hiked home to Birmingham, stopping overnight in Yorkshire where I was dropped off at my friend’s front door by a neighbour she had never met. I also got to ride in a lorry for the first time which was fun.

I’ve been hooked ever since. Being a punter vs being a performer are different flavours of chaos, but equally addictive.

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

I’ve learned that the fringe is exhilarating but exhausting, and that you absolutely MUST have a good rest after it. I’ve completely ignored my own advice and I’m straight back into work with no hope of rest until October. Maybe next year I’ll heed my own words?

Last year, I obsessed over ticket sales last year, constantly refreshing in hopes of seeing one more ticket sold. It’s a nice adrenaline boost when it does happen, but this year I have set times when I check sales and leave it alone the rest of the time. It’s better for the brain. Paint drying, kettle boiling, etc, etc.

Tell us about your show.

Ascension is based on the real life diaries of an 18th century Dutch castaway on Ascension Island, or should I say the translations of his long lost diary. This makes the question of who wrote Ascension a bit of a complicated one to answer. Leendert (or Lee as I like to call him) wrote the original diary, then multiple translators wrote their translations, and I have adapted all of the above. There is a lot of my original writing in the play, some of which is based on my own life (Lee’s first kiss is based on my own) but the script also contains a lot of diary extracts. It’s probably more accurate to say I’m a curator of the play as a whole, and the writer of a good chunk of it.

I’m producing it myself, and I’m very lucky to be joined by very talented creatives in every area of the production who I trust entirely. They have made the show very special and much easier for me!

We premiered at Edinburgh Fringe 2024, and following our 2025 stint here, we’ll be doing a performance in London for the 300 year anniversary of Lee’s death. Following that, I’m hoping to tour it around the UK and maybe even further afield!

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

For lovingly crafted idiocy, you’ve got to check out The Fit Prince (full title on the link below!) at Pleasance Courtyard by Awkward Productions, the hottest power couple of EdFringe! If you’ve ever seen a hallmark Christmas movie, you’ll love this:
https://www.edfringe.com/tickets/whats-on/the-fit-prince-who-gets-switched-on-the-square-in-the-frosty-castle-the-night-before-insert-public-holiday-here

You also must see “I Was Dancing in the Lesbian Bar” by Holly Redford Jones. Very funny, great music, and beautifully moving. It’s the only lesbian bar in Edinburgh, open for one hour a day at Underbelly Cowgate: https://www.edfringe.com/tickets/whats-on/i-was-dancing-in-the-lesbian-bar

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EdFringe Talk: Why I Stayed…? A Gothic Review of Life?

Posted in *Written Interviews, EdFestivals 2025 by

“I have seen the abyss of misery and loneliness and I have traveled the paths not taken lightly.”

WHO: Aleksandr Popov

WHAT: “My goal is to talk to my ‘self’ and tell it the story of insecurities and prejudices I had before my life turned to shambles. I tried so hard to spiral down into the abyss that I completely forgot to take a moment and live. It was finding myself staring down the abyss that I suddenly got reminded of all the idiotic happenings and circumstances that led me to this moment – inability to grieve properly for my father, first serious relationship that ended in a heartbreak and bad financial decisions.”

WHERE: Just The Spare Room at Just the Tonic at The Caves (Venue 88) 

WHEN: 22:25 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This year is my 4th time at the Edinburgh Festival Fringe. Since my first visit 4 years ago a lot has changed – I don’t take to drink anymore, I have seen the abyss of misery and loneliness and I have traveled the paths not taken lightly. I have stepped on the road of a vagabond artist. At least in my hearts beating chambers.

It is however my first time to perform a full run of my own show at the EdFringe. Fours years ago I was a visiting comedian searching for spots at compilation shows to get my fiver in the spotlight. A year later I stumbled upon a pot of leprechaun gold on social media – sadly an artist had to pull his show and some times became available. So I put together a hotchpotch showcase performance and found myself performing “off-Fringe” for 9 days. ) days, 9 different time-slots, 9 shows open to the public who had no idea how to find me.

Last year I came to do a half-run of two shows – two different location, two different shows, but fixed time-slots AND most importantly officially registered with the EdFringe. I was in the pipeline My name was part of the matrix. I was transformed into the canvas of fringe. I had taken the pill of vagabond magic.

This year I want to do it from the beginning to the end. I want to be Alpha and Omega. I want to transform into a full-run performer. I want to test my boundaries and have some tee at the Toppings bookstore. And if I’m lucky enough I also hope to get reviewed!

This year I want to be true Edinburgh fringer!

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

I have learned to stay the course. I have taken the previous experiences to mean that even when you think you are down, there is a tide coming. And you will find yourself on a way up!

Hardest of it all is to keep your focus. It’s so easy to give in to the temptation – pull that show, let it slide, hakuna fringata. But excuses breed excuses. Therefore the biggest lesson for me is this – take every day as a blessing and go through it like a battle. Winning is a blessing. And being here to fight another day is a blessing!

Tell us about your show.

My show is my confession. It’s called “Why I Stayed…?” because in it I ask myself this question over and over again. I want to know, I really do.

It is a therapy session. I tell the viewer that I wanted to end it all – forever. And then I try and explain why. It is not a classic standup or linear story-telling experience. It is an immersive confession that aims for both laughter and fear. I want you to be scared – scared that I will not find the answers I am looking for.

I want you to laugh – laugh at me! At my incompetence, fear, lack of experience and slaughtering the rules of language as a non-native speaker. I want you to leave with a feeling of dread and anticipation t the same time.

I want you to dread the fact that you where bold enough to come to my session. I want you to anticipate your own journey that will follow, when your mind decides to take a re-run at what it is that monkey-boy actually said.

But most importantly – I want you to feel freedom from having to think those dark thought for yourself. Let me suffer that burden!

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

I would kindly ask you to go and see Raul Kohli and witness his greatness as a storyteller who mixes worlds together with an ease of Michelin rated chef. Discover true Britannia and its formidable captain.

Leah Rene will tell you all about awkward religious rules and cult like culty behaviour. She will probably also make you feel homey and safe!

Candace Bryan needs to tell you about her mum – an trust me you will wonder why! Every search is different, yet every find is unforgettable.

John Barrett is slappable – on and off the dating scene. Come witness the fragile story of searching for identity and trying to belong while desperately being in need of a date for a social function.

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EdFringe Talk: The Sound of Water

Posted in *Written Interviews, EdFestivals 2025 by

“Growing up it seemed that someone else had to give me permission to do my art.”

WHO: Julia Ott

WHAT: “When the rain stopped falling, we returned to the beginning. A drought has been plaguing the crops of Tobias’s farm for five years. He believes that the answer to where the water went lies in the soil. Katherine believes the answer lies in the desert and canyons surrounding the farm. One night, Katherine goes into the canyon in search of the missing water, but what happens when a flash flood comes and washes everything away?”

WHERE: Venue 45 at theSpace @ Venue 45 (Venue 45) 

WHEN: Varies (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes! This is my first time visiting Edinburgh and experiencing The Fringe. I am so excited for people to see ‘The Sound of Water”, but I am also so excited to experience art from around the globe. I have a long list of shows I want to see and I am hoping I can get to them all and more!

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

One big lesson that I have learned since 2024 is that no one has to give you permission to make art, you just have to be brave enough to take the first step. I used to always wait around hoping someone would give me the opportunity to perform and create. Growing up it seemed that someone else had to give me permission to do my art; I was always anxiously awaiting the next time someone said “okay now it’s your turn!” But as I’ve gotten older, I’ve started to create my own work more often and take my artistic life into my own hands.

Tell us about your show.

“The Sound of Water” is an original devised physical theater piece presented by Center Heart Theater Company. The Sound of Water explores climate change, scarcity of agricultural resources, and the stories we lose when our homes disappear. This show was created out of a desire to understand how Climate change is impacting communities in rural areas and how AI is playing into the climate crisis.

The show is written and directed by myself, Julia Ott – I’m a graduate of the prestigious University of North Carolina School of the Arts (UNCSA), and I formed Center Heart Theater Company alongside fellow creatives from UNCSA.

After the Fringe, I hope to keep doing developmental workshops in New York and expand upon the story. After New York, I hope to do a full length, fully supported, version of the play in my hometown.

This is our debut production, and was developed with support from The Thomas S. Kenan Institute for the Arts and is powered by Producer Hub.

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

After audiences come see our show, they should go see “Hold onto your Butts” presented by Recent Cutbacks. Although I haven’t seen the show in person, I followed their run at last year’s Fringe on Instagram and the clips from their show had me laughing out loud. If you love dinosaurs, foley artists, and laughter this is the show for you!

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