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: A Stan Is Born!

Posted in *EdFestivals 2025, *Written Interviews by

“There’s still many things I criticize about Fringe, how inaccessible and expensive it is, how oversaturated the market is, how elitist it is once you get there (the private members’ clubs take me OUT) but there is a magic to it.”

WHO: Alexis Sakellaris

WHAT: “Born in New York City as a closeted kid, Alexis is forced to follow his family to… rural Germany. Ugh. Diva down. Discovering women online is his only salvation: Céline, Whitney, Mariah, Beyoncé… you name ’em, he got ’em. They are his MOTHERS and he is OBSESSED. With 10 original songs, sung and played live on keyboard, Alexis shares the queer joy he discovered in stanning, while also confronting the hardships (somehow being obsessed with women makes you… gay?! Wow…) Does this queer Bo Burnham have what it takes to be… a lil gay diva?!”

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

WHEN: 15:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my second time at Edinburgh Fringe! My first time was last year, and I did NOT know what I was doing. I’m European-American, fringe festivals are not part of any of my cultures, not even as a punter. I’m also super impatient, so the second I had my first solo show together I said, why not! What resulted was the most chaotic, exciting, confusing, heartbreaking, thrilling, unhealthy month of my life. I lost tons of money, made some incredible friends, I even became anemic! (they don’t sell kale at the fringe food trucks…) It really felt like theatre camp for adults, just the highest highs and the lowest lows.

Because of that, I didn’t really feel like my show got the chance it deserved. I told myself I’d only go back if the circumstances were right: a better team, a better financial deal, better accommodation, a better plan in general. Thankfully the stars aligned, and all these things fell into place! I’m also way more experienced now: I’ve toured the show internationally, become better as a writer and heavily rewrote it, I even got nominated for the Best New Show Award at Brighton Fringe! This whole past year has been preparing me to hopefully have a better experience. There’s still many things I criticize about Fringe, how inaccessible and expensive it is, how oversaturated the market is, how elitist it is once you get there (the private members’ clubs take me OUT) but there is a magic to it. An up-and-comers, bootstraps, grifters-type energy unlike any other. That’s the thing about Fringe, nobody really prepares you for it. You just kind of have to do it, make loads of mistakes, come back and try again. Someone would make a killing off of publishing the Fringe handbook!

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

The biggest thing I’ve learned is that anyone can be a writer. Not everyone SHOULD be a writer, don’t get me wrong… but everyone has it within themselves to tell their own story.

For so many years, I’d been holding back creating my own work for fear of not being perfect. I’m musical theatre trained, so you’re basically drilled to reproduce things based on a certain ideal: sing this exact note, hit this exact pose, act like this exact actor before you. It doesn’t leave a lot of room for creativity (not to mention how conservative musical theatre can be…) It took me being accidentally discovered by a queer musical comedian to literally see what other options I had: Matt Rogers (from the hit podcast Las Culturistas, co-hosted with Bowen Yang) randomly heard me singing in the Soho Theatre office, where I work my day job, and offered me a supporting role on his show Have You Heard of Christmas? on the spot.

We performed at Soho Theatre for a week, and then went on a full US tour for a month. This was a crash course for me, up close and personal, in everything I was interested in, but didn’t yet know how to do: a queer comedian and songwriter, with a fantastic voice, who writes everything himself. I was in awe.

I came back from that tour and knew that that was what I wanted to do. I was scared, since I’m not formally trained as a writer. But then I realized: nobody can tell my story but me. Nobody knows how much better my original songs could be but me. Because no one else has any point of reference for my own story… but me. So I finally gave myself the freedom to just improvise. Do dumb, silly, weird little things. Try stuff out, discard almost everything and keep the nuggets. Cringe at something over and over again until I end up liking it. I think that’s what writers do: cringe at themselves. Doubt and second-guess themselves. Especially if you’re part of a marginalized group, in my case as a queer person. You’re always trying to prove yourself, wondering if you’re good enough, feeling like an outsider. But that actually makes you a better creative! Questioning yourself, but still putting stuff out there, it leads to better and more creative work.

That’s the biggest lesson I’ve learned, I need to persevere without ever being complacent. And just give myself the freedom to be dumb and silly!

Tell us about your show.

My show A STAN IS BORN! is a queer musical comedy about my obsession with pop divas and how they helped me survive when my family moved from New York City to rural Germany. I sing original songs, accompany myself on piano, and lead the audience through my ode to women and ultimately, to self-love. While much of my show is dedicated to Whitney, Céline, Mariah, Beyoncé (the list goes on and ON, honey!).

I also wrote it as a tribute to the women in my life who helped me through these tough years in a conservative, homophobic environment: my mother, my sister, my godmother, my female friends. I wanted to give that queer little kid inside me a voice, focusing on queer coming-of-age before sexuality comes into play, and the women who provide those safe queer spaces.

I’m also producing, and I have my lovely director Madison Cole alongside me. We randomly met at a scratch night in late 2023 in London and immediately hit it off, realizing we have loads of mutuals in the States, since Madi went to college there. Madi asked if I needed help with my show, and I brought them on as an assistant director. They just GOT the show, we have this rich, shared, queer Gen Z experience where we don’t have to explain things, we just understand each other. At the time, I was working with another director who sadly didn’t end up working out, so I was really grateful to have Madi there to take over.

In the last year, we’ve put the show up in so many venues: Soho Theatre, Riverside Studios, Camden People’s Theatre, Brighton Fringe, Brooklyn Comedy Collective in New York, hell, even the Zurich Comedy Festival in Switzerland! (they booked me a year in advance, if that isn’t the most Swiss thing ever…) We want to keep producing the show, I’d love to put it up in London again and I have my sights set on some US fringes: Philly Fringe, New York Fringe, Hollywood Fringe…

And my HUGE long-term goal for the show is to turn it into an animated series for kids! A kind of Fairly OddParents meets Powerpuff Girls meets Winx geared towards queer youth. I LOVED cartoons growing up and being represented in that format would’ve meant so much to me!

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

Here’s a list of my DEAR dear friends also doing shows:

Lioness at Greenside: my dear friend Kate has an excellent show for all the football girlies, and Madi is also directing this !! Perfect timing for the Women’s Euro.

Dear Annie, I Hate You at Pleasance: my insanely talented friend Sam is bringing her smash-hit autobiographical show back, it’s sensational and sensitive, dealing about a particularly difficult time in her life, definitely not for the faint of heart!

Cara and Kelly are Best Friends Forever For Life: my good friend Scarlett is acting in this show, I’m not sure what it’s about, but I can’t wait to see it! Scarlett is a brilliant actor and drag artist (we did a Drag and Cabaret Lab together at Soho Theatre), so I have full faith that it will be a blast.

Soft Play: Just the Two of Us! at Pleasance: my DEAR DEAR friends Maria and Vidya are bringing their hilarious, alt-comedy-clown-sketch-nostalgia-infused spectacle to Fringe. I was fortunate enough to see the preview and trust me, you do NOT wanna miss this. You’ll feel like you’re on drugs at Berghain and also in kindergarten. Trust me.
Yes, We’re Related at Underbelly: my lovely friend Flo wrote and is starring in a hilarious new comedy about family and grief, written in such a delicate and delightful tone, her voice is distinct yet accessible. Check her out!!

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EdFringe Talk: The Comedy Arcade

Posted in *EdFestivals 2025, *Written Interviews by

“My fringe runs are the hardest I’ve ever worked but somehow still feel like a holiday.”

WHO: Vix Leyton

WHAT: “The Comedy Arcade: competitive anecdotes game. Vix Leyton holds a bingo ball of surprise subjects and invites four different comics every night to spar with never-before-told stories, from the hilarious to the scandalous, to win points awarded by host and audience. ‘Lives up to its billing likening it to a fabulous dinner party. Punters feel they are among spontaneously funny friends rather than hearing well-rehearsed professional anecdotes. We know these stories – and this particular alchemy will not be repeated again’ **** (Steve Bennett, Chortle.co.uk).”

WHERE: Braeburn at Gilded Balloon at Appleton Tower (Venue 140) 

WHEN: 22:15 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my fifth and likely my final year as a performer, I think I’ve finally been completely priced out – I’m preparing for a six grand loss and when I’m saving to buy a house and burning all my work leave, it is just too hard to justify, which is hard as I love it. And also I’ll probably be back here next year like a wizened old detective completing one last case before retirement… But I’m planning to try to enjoy this one as fully as possible rather than seeing it as a next step – I’ve got some days off every week, and I’m not oversubscribing on spots all over town; my priority is seeing the shows. Fringe is like nothing else I’ve known; it’s the closest I think I’ll ever get to an American TV summer camp and getting to focus on comedy full time and see so many show is a dream come true – my fringe runs are the hardest I’ve ever worked but somehow still feel like a holiday; probably because I work a 9 – 5 normally. Edinburgh is a beautiful, magical city and scuttling about under the watch of a castle on a hill really makes the commute a bit special. And there is such an interesting, intense energy – once you’ve done a few Fringes, you know the fairytale can come true and it can be for someone unexpected. Our shows give us all a lottery ticket.

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

If you build it they will come. Or they might not. But if you’ve built a show you love performing, it matters a lot less how many audience there are in to see it. The beauty of a panel show is you are not alone out there staring down single figure audiences, and it’s joyful and cathartic to be around other comics making light of the dark bits and showing the people in the room what’s behind the curtain. Play the hand you’re dealt.

I also realised this year that stand up comedy isn’t for me anymore. I have had some of the best experiences of my life since starting but the cost and unreliability of travel (particularly since moving up North) have taken a lot of the joy out of it – gigs that are technically an hour away, I’m having to leave at 5 for, and sometimes I’m getting back after midnight for 10 minutes on stage and expenses. and I find it very lonely – I’m so much happier doing my panel show. It feels like personal growth to not keep doing something that’s not making me happy just because I’ve been doing it for so long.

Tell us about your show.

The show is a competitive storytelling game. I started it as a podcast at my kitchen table in lockdown, bringing together a selection of comedians to tell stories on subjects you don’t hear them talk on very often. I am a massive comedy fan, first and foremost and getting to see what happens when I put some of my favourites together in conversation is a privilege. The best shows don’t only include good stories from the comics, they are where everyone chips in and works with each other and you feel like you’re in the pub with the funniest people you know. I am so lucky that I get brilliant comics who come back and do it year after year – Mark Watson, Sikisa, Thom Tuck, Jenny Ryan from The Chase, Rufus Hound, Sally Hodgkiss; when you have them locked into the schedule it gives you space to bring in brilliant new comics I’ve seen on the circuit so the audience can meet their new favourites in the company of their existing favourites. And the magic of Edinburgh means you also get some amazing wildcards – one year I had Jess Phillips MP join a panel with Bec Hill, Jenny Ryan, Ada Campe and Leslie Ewing-Burgesse – the audience got a once in a lifetime conversation on that day.

I tend to tour it around outside of Fringe – I had an absolutely smashing show at Lancaster comedy festival, and Leicester comedy festival I will do as long as they’ll let me.

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

There are shows I make sure I see every year and one of them is Leslie Ewing – Burgesse; she’s cool and surreal but her hours have real warmth to them, she gathers you close and takes you with her down paths of hilarious whimsy. This year’s show is Behemoth and I can’t wait to see it.

Jenny Ryan is doing a show called Bjorn Yesterday positing the theory that Abba don’t exist – applying that amazing intellect to comedy, with musical interludes, can only be a good thing.

Alternative Comedy Memorial Society – is a compendium of amazing alternative comedy. It is one of the best value shows in town, running at 3 hours, but you can tap out at any point and it is a late night staple where you really could see anyone on the stage doing anything. It’s my favourite hangout and I married the gig in a beautiful sold out ceremony after a long engagement last year, but that’s another story.

Marc Burrows Britpop Hour is fabulous. I saw a work in progress version a few months ago and I can’t wait to see how it’s come along. If you were around in that era, there will be something for you in the show – it’s facts, anecdotes, theories and a huge amount of heart; considering how broad the topic is, I think it’s one of Marc’s most personal shows, and you come away knowing him better, and feeling a little bit more positive about the world in general. Can’t ask for more than that really.

Rob Kemp is finally bringing BeatlesJuice to the Fringe – I am a massive fan of Rob’s work in general, The Elvis Dead is spectacular as a piece of work, and I saw his show Agenda three times, it was hilarious and important and it made me cry. BeatlesJuice reimagines the film Beetlejuice through the songs of the The Beatles – and I imagine I’ve already lost you as you are already booking tickets.

It’s a Scaramouche Jones year. Thom Tuck does this beautiful show about a 100 year old clown telling you his life story every decade having started in 2005. Thom is an Edinburgh Institution himself, and this is a show you will want to see now – and in 2035.

Caitie Wilkins is back at Fringe this year with solo work after some time devoted to writing and being a drunk woman solving crime. She is a fantastic comedian and it is a gorgeous premise.

She’s not going to be short of PR as she is such a deserved phenomenon , but I also have to say Julia Masli – her Hahahahah show was one of the most amazing pieces of work I have ever seen. I came out a different person. The skill and charisma it takes to do what she does, it’s a real masterclass.

I’ve forgotten loads! But hopefully this is a good starting point. The joy of fringe is discovery – take a flyer and go for it.

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EdFringe Talk: Alison Jackson’s Faking Famous: You Can be a Celebrity Too

Posted in *EdFestivals 2025, *Written Interviews by

“What I love about EdFringe is that it’s gloriously chaotic. You can see a five-star clown opera at noon, then end up in a shipping container watching a woman scream into a courgette.”

WHO: Alison Jackson

WHAT: “BAFTA-winning provocateur Alison Jackson brings her wild celebrity lookalike competition and behind-the-scenes exposé Faking Famous to Edinburgh Fringe, with live castings, makeovers, scandalous backstage secrets. One minute Alison reveals back-stories from her infamous shoots, the next she invites people from the crowd and makes them into celebrities. Expect diva tantrums, paparazzi-style photoshoots, BRAT-fuelled chaos. Take selfies with the stars! From Taylor Swift, Harry Styles, Royals, Charli XCX, Oasis Bros, Trump, Kim K… Think you look famous? Step into the spotlight.”

WHERE: Checkpoint at Assembly Checkpoint (Venue 322) 

WHEN: 19:40 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Not my first Fringe rodeo – I made a ‘Celebrity Opera before’. What I love about EdFringe is that it’s gloriously chaotic. You can see a five-star clown opera at noon, then end up in a shipping container watching a woman scream into a courgette. It’s the Olympics of weirdness. As a punter, it’s thrilling. As a producer, it’s a logistical nightmare disguised in glitter. But we keep coming back for more, don’t we?

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

That reality is now optional. AI’s taken off, deepfakes are fooling people left, right and centre, and half of Instagram is basically CGI. So the big lesson? Trust no one especially if they say they’re Ed Sheeran at 2am on the Mile. That’s what Faking Famous is really about. The lines are blurred, and fame is faker than ever so let’s have a laugh at it while we still know what’s real.

Tell us about your show.

Faking Famous written, created and directed by me, Alison Jackson. Produced by my fabulous team and supported by the lovely folks at Assembly. It’s part theatre, part fever dream, with lookalikes so convincing they’ve actually been mobbed by tourists. This is its official Fringe debut, and then who knows tours, galleries, a TV series. The cast is a mix of performance artists and celebrity doppelgängers. It’s like casting from Hello! Magazine with a hangover.

Come take a selfie with Donald Trump, Harry Styles, The Royals, Gallaghers, Taylor Swift, Kim K and many more. I am looking for all lookalikes for this lookalike competition – so if you look famous, please come along.

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

Right, show love, get love. So here’s who you need to see:

@ThanyiaMoore – razor-sharp stand-up, hilarious and devastating in equal measure.

@trygvecomedy’s The Ice Hole – it’s mime, it’s madness, it’s brilliant.

@sfshakespeare – Sh!t-Faced Shakespeare, which does exactly what it says on the tin.

@nadiashammas_’ Eggshells – gorgeous, tender, moving… the opposite of my show, really.

And remember: support your fellow creatives, unless they’ve stolen your flyer slot. In which case, support them from a safe emotional distance.

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EdFringe Talk: Gimme a Sign!

Posted in *EdFestivals 2025, *Written Interviews by

“The people of Edinburgh are the best and I’m not just saying that so you’re all nice to me this year!”

WHO: Bailey Swilley

WHAT: “Welcome to comedian Bailey Swilley’s ghost tour, complete with tales of haunted tampons, magical spells and life lessons on family expectations, grief and growing up. Gimme a Sign! is a storytelling comedy, based on a family tragedy and the strange but funny antics that ensued after. Join Bailey as she reflects on the stages of grief and her endless search for signs from the universe!”

WHERE: Pleasance Online (Venue 117) 

WHEN: 15:05 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my second (consecutive) year at the Fringe and third time in Edinburgh.

Last year, I had no idea what to expect and ended up loving (almost) everything about it—the intensity, the buzzy energy and all the people you meet who quickly become friends.

What makes a great festival is the access to see almost anything you’re in the mood for—from a play that’ll make you bawl your eyes out to the best standup in the world to the truly bizarre.

And believe it or not, I really enjoy the flyering experience—it’s given me an opportunity to get to know festival goers, non-festival goers, and other performers as well. Also, the people of Edinburgh are the best and I’m not just saying that so you’re all nice to me this year!

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

I now know the importance of investing and believing in my work. I also learned that you never know who will relate to your show. GIMME A SIGN! is a bit whimsical and somewhat feminine and yet, I found that it resonated across genders and ages.

I once had group of bros who looked like they were ready to party, beers in hand at 10:30am, come in to see the show. I thought, “They’re going to hate me.” They turned out to be my favourite audience of the fest. They stayed after to chat about their own experiences with their families, their own grieving processes and their experiences with the supernatural.

As it turns out, everyone dies. Who knew?

Tell us about your show.

GIMME A SIGN! is a show I wrote and have been producing and performing for a year now.

It’s a love letter to my family—I grew up in a mixed race household and always felt like I had these challenging expectations hanging over my head and those expectations continued to follow me through adulthood and even after the loss of my one of my parents. The show is about the ghosts of the once-living AND all of the metaphorical ghosts that follow us throughout our lives. It’s also funny!

I premiered G.A.S. (wow, I wish I had rethought the title when it comes to acronyms!) in New York, followed quickly by Scotland (2024 EdFringe). In 2025, I showed GIMME A SIGN! in Philadelphia and will be performing in London (at the Drayton Arms) for two previews on July 26 and 27. After EdFringe, my ghosts and I would love to tour across the U.S. and the globe. Sky’s the limit, honey! (There are actually zero limits for ghosts)

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

Must-see shows from my New York pals: Andrea Coleman’s 3 White Guys Named John, Gillian Gurganus’ All That Jazz, Tim Limbrick’s Baggage, Ned Arnold’s Seducing Your Professor and Syd King’s Saint Sydney. If you’re looking for more comedy about grief, check out Chicago comedian Brendan Tran in Hole in the Wall L’Hopital.

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EdFringe Talk: Soul Sucking

Posted in *EdFestivals 2025, *Written Interviews by

“It is so cool to see the entire lifecycle of a show as part of a production team, both for your own show and for other teams you befriend over the course of the festival.”

WHO: Sofia David

WHAT: “Our parents worked to live. In this economy? We’re killing ourselves to work. With her post-uni gap year closing in on its fourth birthday and no closer to… well, anything, it’s clear Eddie’s life is a non-starter. But before she can try again, we’ve got to put the first one to rest and in Soul Sucking, you’re invited to the funeral. There’ll be music, requiems and a baptism just to die for. Three friends, two new/old lives and one teeny tiny urn. Free food at the wake sounds unlikely…”

WHERE: Willow Studio at Greenside @ Riddles Court (Venue 16) 

WHEN: 12:50 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, but certainly my first time in as big a role as this! I love the beautiful chaos that is Edinbrugh during the Fringe. You never 100% know what is going on, but there’s always something weird and wonderful going on just around the corner and that, in my opinion, is what makes a great festival. You are almost constantly spoiled for choice as a punter, only seeing the polished (or not so polished) final product, it is so cool to see the entire lifecycle of a show as part of a production team, both for your own show and for other teams you befriend over the course of the festival.

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

The main thing I learnt since last year is that in theatre, almost anything is better than risking the audience’s boredom. People come to feel something when they buy tickets to a show, be that heartbreak, laughter, or even horror- far better to take the creative risk than to let people feel like they’ve wasted their time. I can only hope I can practice what I preach, in this instance.

Tell us about your show.

Death, or the aftermath of death, is such a popular topic for theatre, and rightly so. There is rarely another part of someone’s life so consequential, and the drama of funerals has always fascinated me. The idea of using the ritual as a self-improvement life-hack, the likes of which have become so popular especially with the rise of social media and ‘hustle culture’, was particuarly compelling. How far would we really go to be sucessful? Can we still be a ‘good’ person without being a productive one? I was hoping to flesh out some of these questions through the creation of this play. It will be making its debut at the Fringe, and there are no plans for it afterwards yet, but who knows?

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

Go see ‘Murder in Motley’ (1-9th, as an amuse-bouche the week before our show) and ‘If You Don’t Laugh’ (18th-26th). Both shows will be coming alongside us to the Fringe as part of the Mermaids Performing Arts fund. Why see just one great show when you can see three?

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EdFringe Talk: Mark Vigeant: The Best Man Show

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“Sometimes people hate your show even though they laughed the whole time.”

WHO: Mark Vigeant

WHAT: “You’re cordially invited to this interactive polyamorous wedding reception, where the groom’s brother delivers a speech you’ll never forget! It starts out fun and silly, with your typical masculine roasting and ribbing – and gradually devolves into a drunken chaotic mess where Paul tries to understand what it means to love, but can’t get over his own toxic masculinity to recognize his loneliness. ‘A solo performance that defines the phrase(s) tour-de-force and comedy masterclass’ ***** (TheReviewsHub.com). ‘The kind of laughing where you think you might just lose it completely’ ***** (TheSMUReviews.co.uk).”

WHERE: The Crate at Assembly George Square (Venue 8) 

WHEN: 22:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is actually my third time around at Edinburgh Fringe in as many years. In 2023 I got my ass absolutely handed to me – I was in a wacky timeslot in a bad venue and was just totally in over my head. But I saw art that totally changed my life, and I grew as an artist and a human. It motivated me to write a totally new show that I brought to Edinburgh last year – and I had the time of my life. This festival is just so extremely beautiful. There truly is nothing like it. You can see some of the best, craziest, silliest, stupidest, worst, most horrible art in one afternoon – over and over again. You can do your best work to an audience of 3 who never forget you, and then perform for 120 the next day who hate your guts. It’s unbelievable.

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

The size of the audience doesn’t matter.

Most of the big reviews people get are because they spent a lot of money.

Sometimes people love a show without laughing.

Sometimes people hate your show even though they laughed the whole time.

Sleep is important.

No I haven’t internalized any of these lessons.

Tell us about your show.

My show is called “The Best Man Show.” It’s a solo clowny character piece where I play the best man at a polyamorous wedding, giving a speech that totally falls apart. In the process, I cast audience members to play roles in the wedding.

I wrote it, and developed it with my director Joanna Simmons. It premiered at the 2024 New Zealand Fringe, and I’ve performed it 64 times on 3 different continents including at Edinburgh last year, the SoHo Playhouse in New York City, and a friend’s backyard outside of Denver, Colorado.

After Fringe, I plan on taking this to the New York Comedy Festival, as well as a select few other tour locations – and sometime in the winter the show will come out as a special on Dropout.TV

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

Woody Fu: 1-man John Wick is absolutely amazing, I love it. It’s in the same venue as me (Assembly George Square: The Crate) about 2 hours earlier.

Mr Chonkers by John Norris over at Summerhall is a must-see.

I’m VERY excited to see my Dylan Adler: Haus of Dy-lan and Cat Cohen: Broad Strokes.

Oh, and you should all see the very stupid and perfect “Just to be Close to You”.

These are all stupid and fun and silly American shows that are amazing!!!!!

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EdFringe Talk: Jack Traynor: Before I Forget

Posted in *EdFestivals 2025, *Written Interviews by

” I’m probably going to get dementia when I’m older because there’s so much of it in my family.”

WHO: Jack Traynor

WHAT: “One of Scotland’s fastest-rising stars, Jack’s highly anticipated debut combined the bizarre and the brilliantly relatable. Ranked fourth in the world in the Roast Battle League, Jack shares his best stories before he forgets. Jack’s vibrant storytelling weaves the real and surreal, and his distinctive comedic style have led him to placing second in the Hot Water Comedy Club New Comedian of the Year, and Roast Battle’s MVP in 2024. Jack’s razor-sharp wit and colourful storytelling make this an unmissable hour from a future star of Scottish comedy. ‘Likeably down to earth’ (Scotsman).”

WHERE: Bunker One at Pleasance Courtyard (Venue 33) 

WHEN: 21:55 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I’ve done a split bill at Fringe before, a compilation show, but this is my first time debuting – my first full hour, so that’s exciting if a bit scary. I’m lucky to have Blackfriars on board funding me and Brass Tacks Comedy producing so I’ve got great people around me which I feel really lucky about, especially in my debut. There’s a lot to learn, a lot of admin to get through and planning to be done, and with their help, I can focus on making my show as good as it can be. I was never really considering the Fringe as an option before they came along so it’s been a mental few months finding out I got the fund and then immediately getting my show together.

What makes a great festival? Keeping your sanity and not losing a shitload of money…we’ll see how I go.

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

I’m pretty much the finished article – nah, I’ve learnt more about the ins and outs of comedy in the past year. Loads of stuff on the back end that I wasn’t aware of, that could have been helping my career. Until working with Brass Tacks Comedy, I was in the dark about all the back end stuff you need to. I mean, I’ve not learnt enough to do anything yet they’re still helping me with everything, but I’m learning…

Tell us about your show.

The show is called ‘Before I Forget’ and it’s a show about all the things that I’m going to be happy and unhappy to forget about – my best and worst stories. It touches on how I’m probably going to get dementia when I’m older because there’s so much of it in my family and how I deal with that – but don’t worry, I put the sad bit at the start so we can just get that out of the way and crack on with the jokes.

Blackfriars Comedy Club in Glasgow are funding it, after Brass Tacks Comedy created a new fund to support a Scottish comic to make their debut at the Fringe – I was lucky enough that they wanted to support me. I wouldn’t be where I am without them, they’re absolute legends and Blackfriars are putting their money where their mouth is and supporting the Scottish comedy scene. I’ve even got my pal Fudgie tech’ing my show so I’m buzzing to have him there at every show with me.

I’ve written it by plucking all my favourite stories out of the ether from my life and putting it altogether. I’ve done a good few WIPs, both in Edinburgh and Glasgow, and they’ve gone well so I’m ready for it all to kick off now.

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

After my show, my audience should see the big board with the train times on it, find the train that says Glasgow and get on it with me- that’s my Fringe recommendation. All kidding aside – people you should go see are:

Kate Hammer – I’ve gigged with Kate at Roast Battle before and she’s a must see!

Ayo Adenekan – another Scottish debut with a cracking show. Me and Ayo have done WIPs together since he’s also working with Brass Tacks on a funded debut and he’s going to be a big name in the future.

Daniel Petrie – he’s doing a compilation show (I can only endorse his part of the compilation show since I haven’t seen anyone else but…have at it).

And then after Fringe, get to Glasgow and come see some comedy nights at Blackfriars.

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EdFringe Talk: Barry Morgan’s Home Organ Party Experience!

Posted in *EdFestivals 2025, *Written Interviews by

“In our crazy modern world it is great to get people out and about instead of sitting on the couch doom scrolling!”

WHO: Stephen Teakle

WHAT: “Barry Morgan – Australia’s most celebrated organ salesman. Straight from the golden era of the late 70s into the 1980s and the showroom floor of Barry Morgan’s World of Organs, Barry Morgan is here to bring you the ultimate in jaunty music and comedy. Barry has toured across the world lighting up stages and people’s lives! His dazzling performances are a blend of music, comedy and sheer joy, guaranteed to leave audiences feeling mesmerised by his extraordinary organ. It’s the ultimate Edinburgh party – don’t miss this massive cult!”

WHERE: Bier Keller at Frankenstein Pub (Venue 304) 

WHEN: 19:30 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I have visited Edfringe before.

In 2024 I came for a look-see and had the opportunity to “test the waters” so to speak as Barry Morgan when my good friend Tom Stade introduced me to the wonderful team at The Stand Comedy Club in edinburgh. I performed one evening as part of a showcase and everyone was delighted Barry could spread a little organ joy and a couple of groovy tunes on the little Yamaha PC100 circa 1970’s Playcard Organ or as Barry likes to say his “battery operated strapon organ” (like a Keytar but so much better).

Edfringe is very special ( which I’m sure you know – as it’s the biggest Fringe in the world and there are so many great acts to experience. In our crazy modern world it is great to get people out and about instead of sitting on the couch doom scrolling!

One part of a great festival is about the audiences being hit with the “Wow Factor” of a new discovery and the power of word of mouth ( or Social Media) to make sure their friends experience their new discovery! Who knows maybe Barry will experience some of that energy this year!

I find being a performer at a Festival is my dream time, I get to see lots of shows, perform daily and see the real side of the Entertainment Industry in the Artists Bar late at night when our favourite comedians are having their own doom scrolling, not so positive moments. Big hugs required!

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

I fast everyday and do my best to stay away from sugar.

When performing at a Festival for me it’s not a party but heaps and heaps of fun!

In 2024 at the Edfringe I visited the Olympic Pool in Edinburgh each morning for a few laps and a cold shower, what a great way to start the day…. plus living in a van motivates one to get to the pool for a rinse!

Tell us about your show.

The HOPE show is a good old fashioned romp through the era of organ parties in living rooms (like a tupperware party but with less plastic and more organ) and family sing-alongs as well as being as modern as tomorrow with a few rock and disco hits being pumped out of the organ. Barry truly brings hope when he demonstrates all the wonderful “almost realistic sounds” of a 1970’s home organ. Barry loves to over share and is keen for someone to take his organ home with them so The Organ Is For Sale!

Barry Morgan’s World Of Organs has been successfully touring and making jawlines ache in Oz for over 10 years and it’s time to expand and get around the UK.

Barry & I hope to tour the show throughout the UK and Europe over the coming years. (the towns in Australia are so far apart….the Organ Bus has already done a million miles).

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

Tom Stade: Natughty By Nature is a must see. Tom and his family really embraced my visit to Edinburgh in 2024 and showed me around. Tom is my favourite Family Comedian of all time!

I met Bobby Davro last year and went to see his show. It was a blast and this year he’s back with his new show Bobby Davro – Funny Magnet. I’ll definitely be there and would highly recommend that you get there too

Also Moonage Rhapsody at The Voodoo Rooms has caught my eye. It’s described as ‘a crazy little modern love letter to two of the most iconic disruptors of our generation – David Bowie and Freddie Mercury’. What’s not to love?

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EdFringe Talk: Stuart Thomas: Bad Fatty

Posted in *EdFestivals 2025, *Written Interviews by

“Growing up on a sheep farm in Wales, the Fringe always felt like this mythical place, bursting with opportunity.”

WHO: Stuart Thomas

WHAT: “Bad Fatty is a sharp, unapologetic stand-up show that dives into life as a fat Welshman. Growing up on a sheep farm, Stuart Thomas fuses his working-class roots with a modern take on body positivity, grabbing diet culture by the scruff of the neck and calling out society’s absurd expectations. Proudly embracing his body and bisexuality, he explores sexuality, body image and depression. Stuart flips fat-shaming on its head – turning everyday moments into hilarious defiance. He’s taking no prisoners. ‘A big fat star in the making’ (Sofie Hagen). ‘Made me laugh a lot’ (Scotsman).”

WHERE: Nineties at Laughing Horse @ City Cafe (Venue 85) 

WHEN: 20:40 (45 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Not at all! I’ve been slowly sneaking into the Fringe year after year. I went as a punter in 2019, did a few guest spots in 2023, ran a compilation show for plus-size comedians called Chonk in 2024 — and now, for the first time, I’m bringing my own solo show.

Growing up on a sheep farm in Wales, the Fringe always felt like this mythical place, bursting with opportunity. And it is — but “opportunity” can mean so many things. The chance to perform, to take creative risks, to get lost emotionally and geographically. But for me, the real win is growth. If I can leave Edinburgh feeling like I’ve levelled up as a comic, then I’m a happy boy.

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

Running my first show in 2024 taught me a lot — not just about comedy, but about myself. The biggest lesson? I can actually do things. I’m capable. And when I push myself, I can create something meaningful — something that people genuinely connect with, and something I’m proud to put my name on.

Comedy has always been more than just a hobby for me — it’s a passion, a compass, and, honestly, a bit of a lifeline. It’s helped me understand myself better and feel more at home in my own skin. It’s introduced me to brilliant, weird, wonderful people, and pushed me to try things I never thought I’d have the guts to do. So yeah, I’ve absorbed a few lessons — and I’m still learning, one panic-written setlist at a time.

Tell us about your show.

Bad Fatty was written by me — Stuart Thomas — over the course of many gigs, rewrites, and frantic 2am Notes app entries. It’s self-produced, in the scrappy DIY tradition of many first-time Fringe shows. No big team or grant money here — just me, a sertraline prescription, and a dream.

By the time I hit the Fringe, I’ll have done around 15 work-in-progress performances across the UK — from Glasgow to Brighton to Eccles (sorry, I just had to plug my little gig Heckles in Eccles) — all of which really helped the show take shape. Some of those gigs were brilliant. Some made me question my life choices. All of them were useful.

After Edinburgh, my aim for Bad Fatty is to turn it into a fully fledged hour-long show, ready for Edinburgh Fringe 2026. In 2026, let’s get those bingo wings flapping and fly this show to success!

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

There are so many! I firmly believe in comics helping each other as much as we can. While we’re technically competing for audiences, we’re also building each other up and getting better together.

I want to shout out some of the good eggs I’ve met on my travels around the comedy circuit who have shows this year: Paul Campbell, Charlie Lewis, Sam Serrano, Kie Carson, Molly McGuinness, Aaron Wood, Tim Biglowe and Dean Coughlin. All of them are working comics on the Northern circuit like myself, all lovely people, and all armed with smashing jokes you deserve to hear.

And of course, I’ve got to mention my fellow Welshies: Leila Navabi, Josh Elton, Jake Cornford, and Morgan Rees — each hilarious in their own unique and perfect ways. Welsh comedy deserves more love — it’s sharp, surprising, and full of heart (with the occasional sheep joke thrown in).

Basically: see people who make you laugh in a way that feels new. See stuff that surprises you. And if a flyer’s handed to you by someone who looks deeply, spiritually tired — go to their show. They’ve earned it.

And finally, I must, of course, plug my compilation show for fat comedians: Chonk. It’s my little way of raising the profile of plus-size performers and doing my bit for fat acceptance.

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EdFringe Talk: VENUS 2.0

Posted in *EdFestivals 2025, *Written Interviews by

“We were on at 10.15pm, we still remember running round handing out flyers and saying “late night dance theatre!” – how great that there’s a place where that can become normalised!!”

WHO: Joshua Ben-Tovim and Roseanna Anderson

WHAT: “Follow the scandalous true story of Suffragette-turned-fascist Mary Richardson in this time-bending cabaret. Award-winning company IMPERMANENCE bring you a high-octane dance theatre experience exploring the chaos and turmoil of the early 20th-century. Featuring six chameleonic dancers, VENUS 2.0 is a white-knuckle ride through the evolution of Fascism. Enter a world of explosive physicality, hilarious cabaret and an obsession with the future. Why did it start? How does it stop? Where does it end? Fringe favourites IMPERMANENCE have been making groundbreaking productions since 2011, don’t miss this spectacle on the best stage for dance at the festival.”

WHERE: Main House at ZOO Southside (Venue 82) 

WHEN: 19:25 (75 min)

MORE: Click Here!

Is this your first time to Edinburgh?

So we first performed at the Fringe in 2015 when we had this show called DA-DA-DARLING… it was a fairly bonkers but highly choreographed romp through a particular book created by the surrealist Max Ernst. We were on at 10.15pm, we still remember running round handing out flyers and saying “late night dance theatre!” – how great that there’s a place where that can become normalised!! But yes, we had an amazing time and it’s super exciting to be coming back. Then we came back in 2017 with a show called SEXBOX which was also lots of fun and we got a few international gigs off the back of that!

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

Well, I hope we’ve learned a fair few things since then (!) – but in terms of the Fringe itself… I don’t know?? I think there’s a truth about putting on shows – that you do kind of have to reinvent the wheel each time which goes for what’s on stage as well as how you get an audience in. How you get people to connect with the show and what you’re doing is part of the process, so I think it’s just roll the sleeves up and get stuck in!

Tell us about your show.

VENUS 2.0 was created with the writer Peter Clements. Peter worked closely with us, Roseanna & Josh who directed the show, over a number of years to pull out a narrative from this overwhelming period of history. It’s been a rollercoaster collaboration, trying to predict where dance can tell the story and where we need to support the action with text and dialogue. The choreography is created by the performers and it’s generally been a really collaborative process… Edinburgh will be the premiere of the work and we can’t wait to meet an audience with it.

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

We’ll just give one recommendation as there are so many things to see already, but people should really try and catch Kennedy Muntanga at Dance Base, the piece is called Akropolis and is running 12-24 August @ 4.05pm. Kennedy is an incredible dancer, like, really incredible… he’s also a deep thinker and serious choreographer. We’ve no doubt this will be worth a watch.

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