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: 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.

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: 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.

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 Bear Child

Posted in *EdFestivals 2025, *Written Interviews by

“Shakespeare taught me complete dramatic structure, deep themes, and the complexity behind characters’ destinies—all of which had a remarkable influence on my own theatre creation.”

WHO: Zhenchao Ma

WHAT: “The Bear Child is a lively, non-verbal, parent/child drama that blends dance, mime and comedy to portray the joys and chaos of family life. A mischievous child’s imagination turns the home into a playground, while parents balance love, discipline and understanding. With humour and physical storytelling, this inclusive performance allows both children and adults to see themselves in the story. A fun and heartwarming experience for all ages, this show breaks language barriers and speaks directly to the heart.”

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

WHEN: 09:20 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is our first time coming to Edinburgh.

I started studying theatre in 2005, and Shakespeare’s plays were a required part of my training. I’ve acted in Shakespeare’s King Lear and directed The Merry Wives of Windsor. Shakespeare taught me complete dramatic structure, deep themes, and the complexity behind characters’ destinies—all of which had a remarkable influence on my own theatre creation. I chose family and parent-child themes for my children’s plays also because of his influence. The Edinburgh Festival Fringe is like a grand festival in the world of theatre. We imagine bringing The Bear Child like a family visiting this big Edinburgh family, to exchange ideas, let our Bear Child meet new friends.

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

2024 is the fifth year since our theatre company was founded.

Two important members of our company left due to family reasons. Since our company’s creative theme is family, we care deeply about each member’s attitude toward their own family, and we fully supported the efforts they made for their families. Because of this, our performance schedule dropped sharply, and we faced the crisis of disbanding. The remaining members had a deep discussion, and we all felt that The Bear Child is like our own child—we can’t abandon The Bear Child just because some adults left. We have to take responsibility for it, for our theatre company, and also for ourselves. We regained our confidence and decided to start over, taking The Bear Child on the road again.

Tell us about your show.

I am the playwright and director of The Bear Child.

It is independently produced by Beijing Baxun Culture Media Co., Ltd. In August 2019, eight people who were chasing the dream of theatre founded Baxun Culture Media in Beijing, pursuing the dream of theatre and creating performances for more families to see. Our Bear Child has been performed 42 times in 21 cities across China (including Beijing, Shanghai, Changsha, Xi’an, Zhengzhou, Jinan, Nanchang, Dalian, Hainan, Zibo, Weifang, Shangqiu, Baoji, Gu’an, etc.), and four times in Johor Bahru, Malaysia.

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

They are all from China and represent a wide range of genres—our art and theatre performances are here, waiting to be discovered, and we’re proud of every one of them:

Tango in Silk
Tango in Silk is a cross-cultural duet blending the sensual intensity of Argentine tango with the refined elegance of Chinese classical dance. Inspired by 1930s Shanghai, this piece explores themes of longing, cultural dislocation, and romantic duality through lyrical movement and vivid visual storytelling. The choreography evokes both tension and tenderness—where the curve of a wrist in qipao silk meets the pulse of a tango beat. At once intimate and dramatic, it is a fleeting encounter that leaves a lasting impression.

A striking fusion of East and West. Dance, drama, and identity unfold in just one unforgettable act.

Taiwan Season: Whale, Where Are You Going?
Taiwan Season has been highly successful in past Fringes. This unique children’s play is set on a small island and features a wordless, fun family story. It uses ingenious puppetry, nimble physical theatre, and magical shadow play to portray the budding friendship between a lonely old man and a mischievous little boy.

Invisible Space
Invisible Space is an immersive headphone theatre experience using silent disco technology, inspired by the ancient Chinese tale The Legend of the White Snake. Imagining what might have happened to Bai Suzhen after Xu Xian’s death, the piece re-examines the story’s portrayal of great love through sound, movement, and myth.

Cardstock
BL web novelist Mae is about to publish her first print book—but censorship forces her to revise it, triggering backlash from her obsessive fan Lily. As Lily’s buried trauma resurfaces, Mae’s fantasy world begins to unravel, growing increasingly surreal and absurd in this sharp, contemporary exploration of authorship, identity, and power.

Chinese Culture Week
Chinese Culture Week is an intercultural initiative bringing Chinese artists, creators, educators, and performers to one of the world’s largest arts festivals—the Edinburgh Fringe. The programme includes networking events, workshops, exhibitions, and of course, performances!

AH-MA
A lyrical memory play on dementia, loss, and love across generations.
A touching and emotional story about family relationships, a theme deeply resonant with audiences sharing similar background. AH-MA reflects on memory, migration, and intergenerational love with poetic tenderness.

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: Out of the Box

Posted in *EdFestivals 2025, *Written Interviews by

“I genuinely love the weather, the Scottish summer is perfect for me, performing shows in 35-40 degree heat is not my idea of fun.”

WHO: Darryl J Carrington

WHAT: “This family-friendly comedy show is packed with surprises as Darryl and his mysterious box take you on a whirlwind of wonder. Every time the box opens, it’s a new adventure: trick shots, circus performances and laugh-out-loud moments that invite everyone to join in the fun. Darryl’s mission is to make you the star of the show (no embarrassing moments here, just pure joy!). With Darryl’s gentle, non-verbal clowning, everyday objects transform into the extraordinary. This show is a joyous celebration of play throughout your life, whatever your age, bringing generations together through seriously skilful silliness.”

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

WHEN: 11:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No I’ve been coming for at least 10 years on and off in many different guises, from circus shows indoors and out, hosting and attempting stand up comedy, performing as part of the street entertainers and now, bringing my award winning show Out of the Box to Underbelly for the first time! Firstly, I genuinely love the weather, the Scottish summer is perfect for me, performing shows in 35-40 degree heat is not my idea of fun. I love that its where so many creative minds get to come together for a month of togetherness.

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

Trust your own gut, I’m always seeking approval from others and I realised that sometimes critique is good and helps you develop, but also can distract you from connecting with your audience. So I try my hardest to listen to the audience and be able to make changes accordingly, for example, there’s not enough laughs at that point, how could I build a laugh in there. But that’s a lifetime’s task not just a year.

Tell us about your show.

Out of the Box is a family friendly circus based comedy, where an entire circus emerges from a box and is joyful chaos. When i started performing non verbal clowning, I realised clown was a wonderful umbrella for all the skills I’d been learning over the last 40 years. So I genuinely build routines that I love performing and find silly, and put them all together to create a full show. So there’s something for everyone in there, high skill circus, mainly juggling and equilibristics, puppetry, magic, some very technical tech and lots of silly art and lots of failure with some wonderful resolutions.

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

Pete Anderson’s Unstable Acts – an absolute education of comedy on the streets! An absolute joy.

Able Mable a wonderful street show full of joy and silliness! Just watch the little girls faces watching her show they love her!!! Inspiring a whole generation of female performers.

Stuart Goldsmith- a standup comedy show about climate change! Can it be funny yes it can! You’ll leave feeling empowered !

Bec Hill is super creative funny and if like me you love cartoons and very silly stand up you’ll love Bec!

Morgan Rees- one of the best joke writers I know! He’s doing a work in progress and it’ll be a masterclass!

Louise Leigh wise ridiculous and hilarious Louise is like your favorite funniest friend of your mums. She’s great!

David Hoare- a musical comedy genius, how is it possible to write so many funny songs!

Dr Kaboom a wild and funny science show that you’ll love as much as your kids will!!

Katie Pritchard a bundle of joy! So much energy! A wild and funny performer with some incredible costume making skills!

Fransico de Nata a rising star of clowning some say his giraffe is head and shoulders above the rest. A very funny show full of joy.

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: Leo Still Dies in the End

Posted in *EdFestivals 2025, *Written Interviews by

“The show was born out of a totally healthy obsession with “Titanic” that my family absolutely did not mock me about.”

WHO: Alice Fishbein

WHAT: “It’s been 84 years… or 26, since April 1999, when six-year-old Alice was finally allowed to watch James Cameron’s classic, Titanic, on VHS. Presenting a one-woman parody re-enactment of Titanic in which Alice plays all the parts and the scenes are selected at random (but with the same emotional gravitas, she swears). In this show about how childhood obsessions shape who we are as adults, nostalgia for aging ’90s media, and claims of boats too big to sink, you’ll laugh, you’ll cry, your heart will go on (even though Jack’s does not!).”

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

WHEN: 22:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I spent a few days in Edinburgh in October 2023 while doing a (mostly) solo trip in Ireland and Scotland and I can’t wait to be back! But this IS my first time doing Edfringe or any large festival, which is so thrilling as a performer. The idea of performing every day for 17 nights while everyone around me is doing the same thing is a performer’s dream! Now let’s just make sure I remember to drive on the other side of the road (just kidding, I’m a New Yorker, I don’t drive) and that my airline lets me bring all of my props on the plane (yes, that includes the infamous scene-deciding wheel)!

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 since 2024 is if a man is emotionally unavailable, you will not be the one to make him available and it’s a lesson I have worked hard not to absorb! If you mean show related lessons, I’d say in the last year, I’ve learned that audiences are unpredictable and that’s part of the fun! One audience might laugh harder than you’ve ever heard at one moment and another audience might laugh even harder at a completely different moment, and neither is wrong or correct, it just is, and that’s the beauty of live performance (and sometimes the joke needs to change in the moment and I’ve learned how to do that because that’s showbiz, baby!).

Tell us about your show.

Leo Still dies in the End was written by, produced by and performed by me (though of course, the Titanic elements were written by none other than James Cameron but don’t tell him that) and directed by the talented Ryan Lind. The show was born out of a totally healthy obsession with “Titanic” that my family absolutely did not mock me about and it was out of total love that my sister and our friend during a trip to Portugal in 2019 started saying, “Alice, do Titanic” when they wanted some dinner theater. And so I did, parodying scenes line by line and interjecting with my own thoughts about the scenes, dialogue, and movie in general.

From there, the show grew into a mini version which premiered at a solo show festival in NYC in 2023, my director Ryan came aboard this unsinkable ship (we stayed on land), and the show went on to have a few sold-out previews in NYC before now coming to Edinburgh! I’m hoping to run it again in NYC after the festival and then take it on tour but I’m open to ideas if anyone has any (no, really, throw the possibilities at me! Shout them out like you’re on a boat that’s sinking and need to let the entire Atlantic Ocean know!).

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

Everyone should go see every show they can at the festival (I know I will be)! I’d say head over to Lily Blumkin’s Nice Try if you want to see quite the assortment of characters! I got to see it here in NYC and I’m looking forward to seeing it again.

I’d also recommend any of the other amazing shows that were awarded the Keep It Fringe US grant alongside me. I can’t wait to see them while I’m in Scotland!

I’m also really excited to see Woody Fu’s One Man John Wick – this will make me blush with embarrassment but years ago, he did Keanu on a character show and it is still one of my all-time favorites so I’m very excited to see the whole show.

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: Pop

Posted in *EdFestivals 2025, *Written Interviews by

“The story is told with a heartfelt protagonist, larger-than-life Greek chorus, and big, catchy songs.”

WHO: George Oates

WHAT: “Pop is a gig-style musical about a songwriter who leaves their hometown and moves to London to pursue their dream of being heard on the biggest stages. This fast-paced show explores the highs and lows of being an aspiring creative and mixes this relatable sincerity with catchy songs and amazing vocals. The cast of five combines the energy and fun of a pop concert with the intimacy of musical theatre storytelling.”

WHERE: Big at theSpaceTriplex (Venue 38) 

WHEN: Varies (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, I was actually lucky enough to go as a performer last year, but this is my first time bringing my own material to fringe or anywhere! I’m super excited to have POP performed as part of the world’s largest performing arts festival, where the eclectic mix of shows means there’s an audience for almost everything. However, the rest of the POP team (both performers and behind the scenes) are making their fringe debuts, so as a company, we are very excited to experience all that fringe has to offer!

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

When I first went to the fringe last year, I think I properly realised how big it was. It sounds silly but everyone tells you how much entertainment and theatre there is and you nod your head and agree, but until you’re there I think it’s really hard to grasp how much is actually happening! My experience of the fringe last year really helped shape what kind of show POP is. I really hope it appeals to all the creatives, writers, and performers who come to Edinburgh to experience the buzz of taking a show and trying to get a little bit closer to their big dream!

Tell us about your show.

POP is a musical that explores what it means to write music and embark on the dream of it being heard by many. The story is told with a heartfelt protagonist, larger-than-life Greek chorus, and big, catchy songs. I started writing the show in 2022, and put it forward for Chevron Theatre’s (a company formed by Leeds University Union Musical Theatre Society) 2025 show. Apart from 2 preview performances in Leeds, Edinburgh will be POP’s debut run!

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

POP is a musical all about what it means and what it takes to create music, so it would be rude not to point you in the direction of some of the other fantastic musical entertainment at Fringe. I am personally super excited to see Northern Lights Acapella for some exceptionally performed vocal music, and Hot Mess for a very fun and intriguing take on the break-up musical.

As well as being an exciting new musical, we are also very much a student theatre company, and there is plenty of student theatre from Leeds at the fringe this summer (and hopefully for many years to come!!). There are 4 plays written and produced by Leeds-based student theatre companies – Loose Threads, Lost Paws, Hands Up and Erica Plays Mr Waddiger – that all promise to be great watches. Likewise, the inimitable Leeds Tealights are back again this summer with a brand new sketch comedy group, and I, of course, have to give a shoutout to The Songsmiths, Leeds student a cappella group (who I also musical direct!).

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: Apocalypse Cabaret: Songs for the End of the World

Posted in *EdFestivals 2025, *Written Interviews by

“My big piece of advice to myself is to choose projects wisely and go ten thousand percent.”

WHO: Tamsin Hurtado Clarke & Scarlett Plouviez: Performer & Director

WHAT: “A lonely karaoke jockey is the sole survivor at the end of the world, and decides to go out singing. A darkly hilarious, high-octane spectacle, where Nietzsche meets the Spice Girls, and the world ends in song. Chanteuse, comedian, and chaos enthusiast Scout Durwood (MTV’s Mary + Jane) hailed as ‘brazen, brass’ (Vogue), makes a powerhouse Fringe debut packed with original songs, pop bangers, audience interaction, and existential musings. This full-throttle celebration of life at the edge of the abyss asks the big question: is there time for one more song?”

WHERE: Dairy Room at Underbelly, Bristo Square (Venue 302) 

WHEN: 21:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Thoughts on festivals experienced as a producer v. experienced as a punter etc.): I have been once in the past many years ago, but this is my first time traveling with a real, full-blown show. It’s a pretty special thing for so many artists to be gathered for a live-show extravaganza. I’m stoked beyond words, and excited to take a nap for the rest of September when I get back to the states.

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

Don’t bail on the bit. Creative stuff is way harder than you think, especially if you want to pull it off well. So my big piece of advice to myself is to choose projects wisely and go ten thousand percent. I’ve definitely come up against a little bit of burnout, and the solution for me has been learning how to say no, which isn’t always the easiest thing. Creative projects make my heart sing, but I’ve learned (or maybe am still learning) to give myself downtime to compliment the busy times. It’s also helped me fall in love with the reality series DANCE MOMS, which is my new favorite pastime to unwind.

I’ve also learned a ton about the longevity of my singing voice! Being in the circus around all those incredible athletes helped me establish a physical discipline that I’m not used to in the cabaret/nightlife world. I’ve gotten pretty into training those two little vocal chord muscles. Not the most interesting lesson, but a fun and nerdy one.

Last thing, I think I’m done with cities. I just finished a two year contract that had me not in a major city for the first time in my adult life. Now I’m hanging in the woods and find cities way too stressful. Especially now that I spend most of my time writing, being able to go outside and listen to the birds has been vital for success.

Tell us about your show.

I spent the last two years working in the circus with Spiegelworld, and the soft premiere of this show in Walla Walla, WA was the first thing I did after I left. I wrote the show with the help of my director, Ellie Heyman (she/her) and it’s been a giant work in progress and a giant evolution for me as a comedian. This show is only funny sometimes, which is new for me. I am used to (trying to be) funny all of the time.  I have a scripted pilot in development, so after the festival, I head back to LA to do some pitching, then to a cabin in upstate New York to finish some writing and start to weave everything together. I’m actually writing this from a  music studio on my last day of recording a cover album. I got really into covers from my cabaret roots, thus the Edinburgh show being all about a karaoke jockey and my album being a bunch of protest-style covers of twangy, belty, piano banging tunes.

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

I want people to answer this question for me because I am new to the festival and have no idea! I want to see absolutely everything I possibly can, so if anyone out there is reading this, please send any and all recommendations to @scoutdurwood across all platforms.

I’m excited to check out Sugar, which is also in cabaret about a gender-fluid sugar baby and the discovery of transactional relationships. Tomáš Kantor stars in it, and they’re a really strong performer.

Also, a theater piece, Do You Accept These Charges? premiering based on Laurie Magers’ actual relationship with a guy she met on a dating app who turned out to be a multi-felon out on parole.. The show digs into themes like love addiction, abuse, and the American prison system.

And then in comedy, comedy, Dylan Adler is doing his debut show Haus of Dy-lan. He’s a classically trained pianist who mixes music with comedy, and the show touches on his experiences with race, being a gay identical twin, getting bullied as a kid, and even his grandfather’s past as a kamikaze pilot in WWII.

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: Joe Sib: California Calling

Posted in *EdFestivals 2025, *Written Interviews by

“I’ve also learned how powerful it is to tell your truth on stage, even when it’s messy. Especially when it’s messy.”

WHO: Joe Sib

WHAT: “A story of growing up on a punk rock-fuelled journey. A unique comedian, Sib blends stand-up and storytelling like no one else, sharing raw, relatable tales from the 1980s suburbs to stages with Metallica, The Ramones and Social Distortion. Growing up in California, Sib saw punk rock explode into the suburbs, shaping his life. From fronting Wax and 22 Jacks to co-founding SideOneDummy Records. This unforgettable show is personal and raw. An inspiring journey. ‘Joe Sib’s show is a cross between theatre, memoir and a loogie in the eye’ (LA Times).”

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

WHEN: 21:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes — this is my first time performing at the Edinburgh Fringe, and honestly, it’s a dream. I’ve toured the world in bands and as a comedian, but there’s something about Fringe that feels like the creative Olympics. It’s raw, unpredictable, and totally artist-driven. What makes a great festival is when it brings people together to feel something real — and that’s what I’m aiming for with this show.

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

That everything can change in a day. The biggest lesson I’ve learned is to stop waiting for some perfect moment — it doesn’t exist. I’ve also learned how powerful it is to tell your truth on stage, even when it’s messy. Especially when it’s messy.

Tell us about your show.

California Calling is my story — a one-man show that blends punk rock, skateboarding, family chaos, and chasing dreams. I wrote it based on my life growing up in the 1980s California punk scene, fronting bands, co-founding SideOneDummy Records, and ultimately finding myself in stand-up. I’m producing it independently, with some help from trusted collaborators. This is the show’s UK premiere, and after Fringe I plan to tour it in the U.S. and hopefully film it.

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

If you liked my show, seek out other storytelling and stand-up that digs deep — not just laughs, but heart. Go see performers who are giving you a piece of their soul, not just a set list of bits. Check out folks like Daniel Sloss, Fern Brady, or any raw one-person show about identity, music, or growing up on the fringe — metaphorically or literally.

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: Faustine: A Dissertation. A Confession. A Mental Breakdown

Posted in *EdFestivals 2025, *Written Interviews by

“For the past two years, every time we’ve done this show at least one person has told us it belongs in the Edinburgh Fringe. It feels like it’s time.”

WHO: Sarah Norcross

WHAT: “Faustine: A Dissertation. A Confession. A Mental Breakdown. Faustine is excited to share her dissertation with you, but all is not what it seems. She’s sold her soul to the devil in exchange for her brilliant thesis. Faustine lied, cheated and murdered to get here, and she won’t go back. This solo musical critique of academia, ambition and class (coming to you from a sold-out NYC run) is equal parts Xiu Xiu and Sondheim, Heathers and Hedda Gabler, pedestrian and academic, and hilarious and horrifying.”

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

WHEN: On Demand (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes, this is both my and my collaborator, Lydia Brinkmann’s, first time to Edinburgh. We have lots of experience in smaller festivals in the U.S., including several cities’ fringe festivals, but Edinburgh has been a long-time dream for both of us. We met studying abroad together in Moscow, so we consider our friendship and collaboration to be an international one. The chance to travel across the Atlantic to make art together again is one that fills our hearts. Plus, for the past two years, every time we’ve done this show at least one person has told us it belongs in the Edinburgh Fringe. It feels like it’s time.

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

We’ve learned to ask for what we want – not just from other people but from ourselves. Faustine, at its core, is about a woman who has chosen to stop believing in herself. She thinks that she needs to hand over her personhood in order to succeed because she doesn’t know what she contains within herself. She’s been so burned and so jaded that she forgets that all her previous success came from within and from asking of the world. I like to think that both Lydia and I know to ask others, and we’ve learned how often they say yes. And we’ve learned how to ask more of ourselves than we previously thought was possible. Ask and you shall receive.

Tell us about your show.

Lydia Brinkmann and Sarah Norcross started writing Faustine in 2023 while Sarah was drowning in graduate school. From the small seed of, “What if a graduate student sold her soul to the Devil”, it’s grown into something that makes audiences squirm, laugh, and cry. It was a cathartic process, a love letter to the hardworking, burned-out, overlooked women they knew (and were), and a bundle of laughs. Faustine dives into questions of privilege, desperation, and guilt as they apply to women who long for greatness.

The music picks up from all of their favorite genres and has been described as “Fiona Apple meets Richard Wagner” and “Sondheim…Loyd Webber… and Tim Rice”. You have to hear it to understand.

They first produced a 30-minute version at The Tank NYC, followed by a sold-out, hour-long version at AdultFilm NYC. The show got tighter, funnier, scarier, and messier in all the right ways as it grew. They just finished a run in Cincinnati (Lydia’s hometown) with rave reviews, where, for the first time, both Lydia and Sarah split the role. There are tasty morsels of both Sarah and Lydia in the character that make her the favorite role either of them has ever played. They got called a “full-blown musical exorcism”. What they’re exorcising personally is yet to be disclosed.

Up next, they’re taking the show to Philadelphia, where Sarah got her BFA and started to understand everything that theater could be.

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

You should go see more musicals by and about angry women! We’re particularly excited for Mary, Queen of Rock, I Was a Teenage She-Devil, and Remember That Time? All three of those shows sound like they’ll tap into the catharsis that we want to experience.

We’re excited for queer shows such as The Pink List, because we’re pretty sure that the best theatre will always be made by our queer comrades.

Finally, we can’t wait for Setlzer Boy because its premise sounds truly unique and because we’re such fans of Connor McKenna.

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: A Monkey Trial: The Gameshow or The True and Tragic Passion of Pauline Campbell

Posted in *EdFestivals 2025, *Written Interviews by

“People are open to debate, and perhaps seeing things in a new light, if they can be taken on a ride into the darkness with hope and humility and laughter.”

WHO: St John McKay

WHAT: “Reenact the criminal trial of a real-life feminist activist martyr… but as a television gameshow. With talking monkeys. With you as the jury deciding her fate… WTF? It’s different every time but forever sad, nuts, tragic, absurd, heavy, bananas and intense. Daring to ask – does prison really make us safer? *All ticket sales go to criminal justice nonprofits.”

WHERE: Muse at Braw Venues @ Hill Street (Venue 41) 

WHEN: 14:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Though I’ve performed at Adelaide and Melbourne and Reykjavik and New York festivals, this is my first time at the big kahuna burger (also my first time in Scotland, where I’ve always dreamed of coming!). Edinburgh Fringe is the pinnacle of the world’s fringe festivals, and the city truly embraces art like no city does, becoming transformed into a world of creativity and expression and joy and thought and surprise. Artists come together with audiences, artists come together with artists, audience members come together with audience members, in the streets and the theatres and the pubs, surrounded by jaw dropping architectural reminders of our connection to the past — the streets, the buildings, the land. An inspirational time like no other is this Edinburgh festival. The dream place for anyone who believes in art not merely as entertainment, but as a life necessity.

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

That the world’s pretty crazy right now! But one thing I’ve realised is, amongst all the horror we are bombarded with, what I have to remember is that every second of every day everywhere on this planet there are millions of acts of kindness, and love, and generosity, and compassion, and sacrifice, it’s just that those acts don’t make the news. With all my work over two decades now, as with this current show at the fringe, I admit I have a preoccupation with the heavy subjects — trauma, inequality, gender, unquestioning obedience, domestic abuse, and now, the criminal justice system. But the lesson I’ve found is that people are open to debate, and perhaps seeing things in a new light, if they can be taken on a ride into the darkness with hope and humility and laughter. I suppose the mantra I relearn over and over and over whilst being fortunate enough to keep creating is:
‘There but for the grace of god, go I.’

Tell us about your show.

The show I have written directed and will perform at Edinburgh, ‘A Monkey Trial: the gameshow OR The True and Tragic Passion of Pauline Campbell’ is a crazy, complicated, confrontational fish with many heads (hence the crazy complicated name!). In one respect, it’s a live documentary about a woman named Pauline Campbell, an obscure feminist activist hero from Northern England who, as a fifty five year old retiree, had her teenage daughter die in prison, and then sacrificed everything for a tireless and constant campaign against the barbarity of the criminal justice system — and then was brought before a judge, her day in court being what I ‘recreate’ on stage. I found out about Pauline five years ago while researching another prison-themed piece I had at Reykjavik Fringe, was immediately hooked, and have been working with her legacy ever since (I performed it at Adelaide and Melbourne Fringe). In another respect, it’s a solo show with the mission of exposing the hidden horrors and consequences of this punishment and vengeance society we take for granted as a necessity — we ‘have’ to have humans in cages to keep us safe, right? … Right? It is a personal obsession, as my own mother was incarcerated for six months when I was a child and, though she is the closest person in my life, she refuses to ever talk about that experience (I may have also spent a day or two or three in a cell myself, across five countries, so my knowledge is not only through others’) … And then the show is a comical farce, as I have turned the trial into a literal TV gameshow, where the other characters I banter and argue and interrogate and get mocked by — the judge, the prosecutor, the witnesses — are talking chimpanzees projected on screen (pieced together from old PG Tips commercials)! I fight to win the ‘game show’, this ‘monkey trial’, the absurdity reflecting the absurdity of the system itself. Finally, every time it is an improvisational conversation with the audience, ‘the jury’, as, in the end, it is they who decides the fate of I, the contestant. Do I win (‘Not guilty!’), or lose (‘Guilty’)? Every trial/game show it is their choice, and the interaction makes every performance fresh and invigorating and, depending on who are sitting in those seats, a very different kettle of fish.

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

Gravity and Other Myths — Australians! Pushing the boundaries! Unreal!
Ten Things I Hate About Me — Hope! Raw chickens! Funnily moving!
Spy Movie: The Play! — Blonde Bond! Villains! Outrageousness!
Dystopia: The Rock Opera — Masks! Satire! Blistering rock!
Streets Paved with Gold — Solo! Poignant! Emotional depth!
It Just So Happened — Comedy! History! 3x Top 10 Funniest Jokes of the Fringe!
Mythos: Ragnarök — Thor! Loki! Wrestling!
A Midsummer Night’s Dream — Titania! Hermia! Puck!
Quartet (from Dangerous Liaisons)! — Love! Sex! Power!
The Gummy Bears’ Great War — Existential tragicomedy about our search for meaning!
What If They Ate the Baby? — Fringe winners keep things under the table!

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!