“I’ve seen the Fringe change in many ways over the years. It’s become more difficult to put on a show because of the technical and administrative demands, while the ever-growing number of productions means you’re competing for people’s attention like never before. Cost is another huge consideration.”
WHO: Justin Skelton
WHAT: “A five-star, two part, immersive political satire and electrifying rock spectacle. You’re not just an audience – you’re a Dystopian, summoned to join a state “Dystopiation” event where you will vote. From martial law to election to a glittering new cult of happiness, this two-part odyssey skewers power, greed and propaganda with monstrous masks, biting lyrics and a ferocious live band. Performed as if from prison by disgraced spin doctor Beldon Haigh and arsonist Helen Raiser, it’s bold, provocative and unexpectedly human – a defiant, beacon of hope.”
WHERE: Auditorium at Bedlam Theatre (Venue 49)
WHEN: Varies (100 min)
MORE: Click Here!
Is this your first time to Edinburgh?
Edinburgh Fringe is a magical place and time. I grew up attending Fringe shows and performing in various productions and gigs. Dystopia: The Rock Opera has been here in 2024 and 2025, and every year the show gets bigger, sharper and better. This year will be the whackiest one yet.
As a writer, performer and producer, I’ve seen the Fringe change in many ways over the years. It’s become more difficult to put on a show because of the technical and administrative demands, while the ever-growing number of productions means you’re competing for people’s attention like never before. Cost is another huge consideration.
But if you’re fortunate enough to bring a show to Edinburgh, it’s a tremendous privilege. There’s nowhere else quite like it. It’s one of the greatest learning experiences a creative person can have, and something never to take for granted.
What are the big things you’ve learned since 2025 and have you absorbed any of the lessons yet?
The biggest lesson has been: be careful who you listen to.
Spend more time listening to people who increase your energy, and less time listening to those who quietly dull your creative flame. Hold firm to your creative standards.
I’ve also learned that simplicity is a wonderful thing – but so is complexity, and there’s nothing wrong with trying to achieve both.
Finally, building a great show is only half the job. You have to work every bit as hard on getting people through the door as you do on creating the thing they’re coming to see.
Tell us about your show.
I wrote Dystopia: The Rock Opera because I wanted to create a musical satirical spectacular about the chaotic times we’re living through. It’s a rock opera built around eighteen original songs – each one telling its own story – exploring politics, money, power, greed, authoritarianism and, ultimately, happiness.
I wanted the show to be immersive, full of energy and relentlessly optimistic, especially in the face of the challenges we’re living through today.
Some people say politics has become too bleak for satire – that reality has overtaken comedy. I don’t subscribe to that. I think art often does its best work when dark forces are banging on the door.
So I wrote Dystopia: The Rock Opera because now felt like the only time to write it. And I keep writing it. Every performance changes something because that’s what the show demands. It reflects the world around it. But one thing never changes: it will always be a work of optimism, hope and joy, because I choose to make it one.
It’s political satire, rock gig, comedy and a surprisingly optimistic story all rolled into one.
I’m also producing the show. The company has become a community of brilliant musicians and performers who completely understand the gig-theatre approach. We’re not interested in preaching to anyone. We’d much rather audiences sing, dance, laugh and even cry first—and think afterwards.
The show has had previous productions and has evolved enormously through performing it. Every run teaches us something, so Edinburgh isn’t the destination; it’s another stage in its evolution. After the Fringe it’ll head back out on tour because, if anything, the world seems to be catching up with the story rather than the other way round.
What should your audience see at the festivals after they’ve seen your show?
Go and see shows you know absolutely nothing about.
Seek out original productions. Shows that look like they’ve been made with more imagination than money. Personally, I tend to avoid the big names—that’s not really what the Fringe is about for me.
If you’re in the mood after Dystopia, go looking for artists who are taking risks. There are plenty of them at Bedlam Theatre, and all across Edinburgh you’ll find people who’ve mortgaged their savings, maxed out their credit cards and spent years creating something they believe in.
Support them. They’re one of the reasons the Fringe remains unlike anywhere else in the world.
LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!
INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!
Get Your Coats On 