Tag Archives: EdFringe

EdFringe Talk: Cinderella and Frankenstein’s Monster Are Dead

Posted in *EdFestivals 2026, *Written Interviews by

“The Fringe feels like one giant bingo card that no one could ever finish because there’s simply too much to see—even if you’re watching four shows a day and sprinting between venues.”

WHO: Petunia Hu

WHAT: “A gothic fairytale for the culturally confused. A Chinese exchange student at an American high school sees herself in Frankenstein’s monster – stitched together and out of place. When the drama club stages Cinderella, she auditions to prove her worth, only to find herself longing for the Mandarin rhymes she once sang with pride. As foreign stories glitch into nightmares, she realises: both the princess and the monster are dead. She’s neither. Critically acclaimed at 2025 Brighton Fringe: ‘raw, eye-opening’ **** (TheatreInBrighton.co.uk), ‘refreshing and linguistically aware take on identity construction’ **** (SoundBehindCurtain.com).”

WHERE: Studio at theSpaceTriplex (Venue 38) 

WHEN: 13:05 (45 min)

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Is this your first time to Edinburgh?

I came to the Fringe in 2024 with my two-hander “Tide” and completely fell in love with Edinburgh. What struck me most was the generosity between artists. People who were bringing their own shows came to see ours, then helped hand out our flyers afterwards. Within our cast and creative team, we were constantly swapping recommendations and sending each other off to see the best work we’d discovered. The Fringe feels like one giant bingo card that no one could ever finish because there’s simply too much to see—even if you’re watching four shows a day and sprinting between venues. For me, the real win is putting your work out there and discovering artists you might never have encountered otherwise.

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

As a playwright, I’ve learned that writing happens through revision, and that other people’s feedback isn’t a tax, but part of the process of making a play into what I want it to be. I’ve put some of my most vulnerable drafts out into the world and slowly learned that my play is not me, nor is it a measure of how good I am.

I’ve also learned how valuable artistic communities are. I love writers’ groups because watching and supporting other playwrights as they wrestle with feedback and discover their own voices is genuinely rejuvenating. I also keep a running list of theatres and companies that consistently produce the kind of work I love. I go to their shows, ask myself why they resonate with me, and use them as reference points to better understand my own dramaturgical instincts.

Beyond lessons in my craft, I’ve become more certain of my stance that all theatre should be political and should answer the question, “Why now?” It’s made me think more carefully about the kind of artists I want to work with and support. Being able to make theatre is such a privilege. If we have the chance to gather people in a room, why not use that opportunity to start conversations that matter?

Tell us about your show.

I’m writing and directing a one-woman show called “Cinderella and Frankenstein’s Monster Are Dead”, which is produced by my indie theatre company, The Beachcombers. We started the company as a group of women, non-binary and queer artists who love reimagining familiar stories and collecting overlooked histories and ideas to explore the experiences of marginalized people.

The play follows Zhao Lan, a Chinese exchange student in the United States who becomes obsessed with Frankenstein’s monster because she feels stitched together and out of place. When her high school drama club announces a production of “Cinderella”, she auditions for the title role, hoping it will finally help her belong. But as she struggles with language, identity, and the pressure to assimilate, she begins to wonder whether she’s been chasing the wrong story all along.

The show had a short run at the 2025 Brighton Fringe, and we’ve spent the past year rewriting and developing it. Edinburgh feels like the natural next step. We’re not sure where the show will go after August yet, but we’re excited to find out!

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

I’ve been a huge fan of Xhloe and Natasha ever since I saw their show “A Letter to Lyndon B. Johnson or God: Whoever Reads This First”, both at the Fringe and later at New York’s SoHo Playhouse. I really admire how confidently they embrace their own absurdist style. They shift so effortlessly through time and space while exploring masculinity and the myth of the American childhood. I’m so excited they’re returning to Edinburgh this year with their new show, “Bigfoot Ripped My Dog In Half I Saw It”. I’d recommend it not only for their incredibly precise, in-sync physicality, but also for the way they use conspiracy theories and misdirection to say something so sharp about today’s political climate.

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EdFringe Talk: Octopus

Posted in *EdFestivals 2026, *Written Interviews by

“All my shows are kind of about asking if it’s okay for me, a middle aged mother of two, to be an idiot.”

WHO: Louise Leigh

WHAT: “An hour of mostly stand-up aiming to explore what I do or don’t have in common with the mighty Octopus. These may include: multitasking, sexually aggressive females, a vigilant mother, mating for life, the ability to squeeze through even the tiniest gaps, a brain of many parts, delicious (but chewy), ability to completely change appearance, squirting ink from a gland near the anus and popular with the Spanish. Probably. **** (Chortle.co.uk) **** (Entertainment-Focus.com). **** (TheWeeReview.com). ‘Rubs off onto everybody around her’ **** (FunnyWomen.com).”

WHERE: Slice 5 at Hoots @ Hilton (Bread Street) (Venue 31) 

WHEN: 20:10 (55 min)

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Is this your first time to Edinburgh?

This is my 4th time coming up to Edinburgh with a solo hour but I have been coming to The Festival since I came with my granny as a small girl.

Both sets of grandparents, a variety of aunts, great-aunts and cousins were all Edinburgh-based and my experience growing up was that it was quite a “proper” place. My favourite thing about the Fringe is that it feels like discovering the bank manager has a side hustle as a drag artist. For a month, it’s madness. I also love the chance to connect with other women in comedy, who are better represented here than we are on the day-to-day comedy circuit.

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

I’ve learned not only that both my kids can live without me, but also that my husband and I can live without them (very happily, as it turns out). They’ve both gone off to uni, and – yes – it’s gratifying to see them coping well and living their magnificent lives, but I’m incredibly jealous. I keep thinking “next time I’m in my 20s, I’ll be just like them” and then realising that there isn’t a next time. I don’t know if I want to absorb that lesson, ever.

Tell us about your show.

Freed from the shackles of day-to-day motherhood, I’ve spent a lot of the last year on the road working the comedy club circuit, like one of those young guys who wears a shirt. It’s been great fun but doing all that driving doesn’t leave much space for having a life, and that makes generating new material quite tricky. So I’ve had to think laterally. I decided to investigate the octopus and see what I have in common with it, and what makes me different from it. All my shows are kind of about asking if it’s okay for me, a middle aged mother of two, to be an idiot. This show answers that question with a resounding “yes”.

I’ve been working it up at Bristol Comedy Festival, Leicester Comedy Festival, the Lancaster Comedy Festival, Glasgow International Comedy Festival, Exeter Comedy Festival and the Rik Mayall Festival. The latter was great fun. Rik’s home town of Droitwich was alive with people declaring their love of Rik in their merch, dress and how they spent the day. It’s great because loads of local businesses get involved. My venue was a knitting and tea shop, which felt apt due to the number of home made costumes I have. Where next? Who knows? I’ve got a couple of venues booked in for November, but here’s hoping I’ll get some more sorted.

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

I’m excited about seeing Andrew White’s What A LIfe! and Pauline Eyre’s Anyone For Tennis is a great show returning for its second run – get tickets while you can. Also on my books: June Tuesday’s 00s Throwback Party, Paul Hilleard’s Grogg and Darryl Carrington’s Tennish will be great. Most of those guys live in Bristol (like me) and there’s such a wellspring of brilliant comedy there. It massively punches above its weight. Elsewhere, I met Roman Harris this year – he’s at the Pleasance Reserve and that’s always worth watching for future stars, as is the ever-brilliant Best In Class initiative.

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EdFringe Talk: Danger Plan!

Posted in *EdFestivals 2026, *Written Interviews by

“Anyone who has done the festival knows it’s not easy (and it’s certainly not cheap), but that “summer camp for adults” atmosphere makes it all worth it.”

WHO: Sophia Wolbrom

WHAT: “Sophia’s family has always had a plan. A way out. A route to survive. She assumed everyone did, until she asked her friends, ‘what do you want to do if there’s a catastrophe?’ and they stared at her like she had three heads. Her family’s caution came from a real place, and multiple generations were raised with the mantra: ‘You have to be ready to run.’ Danger Plan! is part solo show and part cabaret, featuring personal stories, original songs, and dark humour exploring generational trauma, anxiety, and the absurdities of living in uncertain times.”

WHERE: Wee Container 2 at Hoots @ Potterrow (Venue 243) 

WHEN: 19:40 (60 min)

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Is this your first time to Edinburgh?

This year will mark my ninth Edinburgh Fringe Festival, but will only be my second year coming as a Performer with my own show. I can’t lie, it feels insane that this festival and annual pilgrimage back to Scotland has been a part of my life for over a decade. I feel like at this point the only role I’ve not worked in is bar staff, having been a punter, worked on a street team for someone else, been a venue manager, a stage manager, I’ve come as a student, I’ve been over as industry, and now for the second year a writer, performer, and producer. I think it’s really the energy and creative community that keeps me coming back. Anyone who has done the festival knows it’s not easy (and it’s certainly not cheap), but that “summer camp for adults” atmosphere makes it all worth it.

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

Danger Plan! is far more relevant than I wanted it to be. When I started to write the show at the end of last year’s festival, it was meant to be a joke. I was sitting at a bar with my mum thinking about what I wanted to work on next, and we started laughing about old family stories and my grandparents’ & father’s paranoia (ie: my grandmother wanted to microchip me when I was born, and my mother had to shut that down). So initially I thought it was going to be almost a roast of my family, and an examination of how I internalized the way I was raised. However, over the last year, as I started talking to friends about the idea and sharing my stories with them, people started quietly pulling me aside to mention they have a go-bag packed in their closet or that they’re trying to date people who can help them get dual citizenship. Living in New York City, and watching the news and what’s been happening with the current administration in a post-pandemic world, all of a sudden it started to feel like maybe my family wasn’t so crazy after all, because the idea of being prepared (which, ten years ago, my friends in college told me I was crazy for having a plan), has now become far more normalized.

Tell us about your show.

Danger Plan! asks the question: Are you prepared if disaster strikes? While my debut show, Can’t Find My Way Home, was all about what it means to feel at home, this year’s show is all about running away. It’s a solo show featuring true stories from my life, enhanced by original music (but it is not a musical). I appreciate that the subject matter can be perceived as heavy and daunting, but I approach it with levity and a touch of dark humor because, at the end of the day, we are all living in uncertain times.

Danger Plan! is written and performed by me, Sophia Wolbrom, and produced by my company, Know Smoke Productions. It’s directed by Kevin Qian, with original music by Jacob “Milk” Sandler and Aydin Mayers (who is also the music supervisor). Edinburgh will mark the show’s world debut, which feels both exciting and daunting, to finally share it with audiences and see how they respond. Following Edinburgh, I intend to bring it back to New York City and then tour it throughout the US, Canada & abroad.

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

My director, Kevin Qian, is bringing his debut solo show – 2%: A Play About Privilege (And Also Milk). He’s an incredible talent, both onstage and as a creative partner, plus an added bonus that he is genuinely a great person. My show would not be what it is without him, and his show is great too. It runs the 7th – 29th at 12:05 at theSpaceTriplex.

I’d also recommend Time Travel Postman, which is at Gilded Balloon Patter House at 20:40. It was created by Devon Loves ME! Productions. Last year, they brought it over as a work in progress under the title It Was Really Good to Know You, and it’s as humorous as it is heartfelt. Sevrin Willinder knows how to work with an audience in such an approachable manner.

I can also rattle off a list of comedians who are just great fun every year, including Billy Kirkwood, John Robertson, Pauline Eyre, and Rachel Creeger (to name a few).

Honestly, my number one piece of advice when giving recommendations is to take a risk on something you’re given a flyer for that you wouldn’t normally go see. That’s such a big part of what the festival is about: experiencing something new!

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EdFringe Talk: Jake Baker: The Gentle Men’s Club

Posted in *EdFestivals 2026, *Written Interviews by

“My show is about a certain type of manosphere masculinity and I think the key has been trying to understand where it comes from rather than just dismissing it as dumb.”

WHO: Jake Baker

WHAT: “Masculinity is in crisis! Alpha Dogs and Macho Maniacs dominate the conversation. But is there another way? Can feminism work for men? What are the benefits of the sit-down-wee? Join hilariously funny, critically acclaimed, all-round good egg Jake Baker (recipient of the Fringe Monkey Talent Award 2025) as he explores a more gentle approach to being a chap. ‘Thoughtful and very funny!’ (List). ‘Quietly impressive; a talent that shouldn’t be overlooked’ (Chortle.co.uk). ‘Endearingly offbeat’ **** (TheEdinburghReporter.co.uk). ‘Consistent laughter throughout, an easy manner at the mic belies the cleverness of the writing’ (Scotsman).”

WHERE: Hoot 4 at Hoots @ The Apex (Venue 108) 

WHEN: 13:15 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I first came to The Fringe in 2013, bright-eyed and hopelessly naive. I split a show with another comedian on the Free Fringe and I think we found the whole thing so overwhelming we barely saw any shows or even talked to anybody but each other. With repeat exposure, however, you get used to the chaos.

I’ve been back almost every year since and I love it! It’s the best thing I do all year, I love working on a show, honing it, tinkering, editing, getting it just right until its something I’m really proud of and I can’t wait for people to see it.

And hundreds of other artists do the same, so there is so much to see.

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

I think I have really grown as a performer and writer putting this show together over the last year or so. I’m trying to tackle quite a divisive topic that isn’t obviously hilarious, so finding ways to get the laughs has been a fun challenge. My show is about a certain type of manosphere masculinity and I think the key has been trying to understand where it comes from rather than just dismissing it as dumb. It would be easy to just say “look at these stupid meatheads” but I believe I thread the needle and find comedy with some compassion for their misguided rhetoric and an offer of another, more gentle way to be a chap.

Tell us about your show.

I’ve been working on this show for about 18 months. First doing it as a ‘Work In Progress’ show at last year’s Fringe and then taking it to a number of other festivals up and down the country. I’ve had to trial a lot of material and making sure it’s all really funny because with a topic like online misogyny and modern masculinity, this show could be a little dry. But it’s really important to me it’s very funny.

In February I started meeting with a director, David Hardcastle (he directed Sam Nicoresti’s award-winning show ‘Baby Doomer’ last year) and that has been incredibly helpful. He has a great eye for structure and theme but, most importantly, he is adamant that the show should be funny from start to finish. It doesn’t matter how worthy your material is — it’s a comedy show, and you gotta make ’em laugh.

More recently I have been working with Ignacio Lopez and his production company, Comedy Sheep, to get all the graphic design and promotion together.

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

I also host a late-night show with my friends Steffan Alun and Cerys Bradley called ‘Comedians Play Video Games’. It’s a sort of improvised game show where we get other comics to play games like Mario Kart and Smash Bros, as well as getting the audience involved for speed run challenges and head to head competitions. It’s anarchic and silly and really really fun.

Steff is also doing a solo show at Hoots Apex called ‘Windows’ at 18:15 and Cerys is doing a show about road signs at Nicolson Square Gardens at 12:40.

Other shows I would recommend are Dr. Benji Waterhouse’s Madsplaining, a comedy show about his experience as an NHS psychiatrist.

Also, Eric’s Tales of the Sea – A Submariner’s Yarn. A funny, heartwarming storytelling show about working on a nuclear sub.

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EdFringe Talk: I REGRET THIS ALREADY

Posted in *EdFestivals 2026, *Written Interviews by

“The show is stand-up comedy yet it also discusses, depression, dementia and how we need to talk more.”

WHO: Bennett Arron

WHAT: “You know what it’s like when everything’s going well? Bennett doesn’t. He was in the Top Ten Jokes of The Fringe and he’s BAFTA shortlisted, yet life still laughs at him. Book early to enjoy disappointment. ‘One of the best’ (Guardian). ‘Genuinely original and funny’ (Times). ‘Had the room creased up’ **** (Scotsman).”

WHERE: Hoot 4 at Hoots @ The Apex (Venue 108) 

WHEN: 15:45 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my 9th time at the festival. The first time was in 1997 when I was the joint runner-up with Peter Kay in the BBC New Comedy Awards. Not sure whatever happened to him…. I then went back in 1999 as part of the Screaming Blue Murder compilation show. The 1990s were an incredibly exciting time at the Fringe. It was when the Perrier Awards was at its peak. Some of the winners that decade were Sean Hughes, Frank Skinner, Jenny Eclair, Dylan Moran, Lee Evans, Al Murray and The League Of Gentlemen. Not a bad line up. And that’s what makes the festival so great, within four weeks you can go from being an unknown jobbing comedian to a household name. 

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

I performed I REGRET THIS ALREADY last year and it played to full houses and had the best reviews I’ve ever had. I’ve been touring it ever since. I am now bringing it back for two weeks. The show is stand-up comedy yet it also discusses, depression, dementia and how we need to talk more. The response from the audiences has been incredible. People not only laugh but also really relate to the subject matter which is so rewarding.

Tell us about your show.

This is my sixth solo show. I always write, direct and produce them myself as I don’t trust anyone else. Although at times I don’t trust myself either to be honest. Following the festival I have a few tour dates booked in and I am also performing the show as a talk for companies and at conferences.

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

Ignacio Lopez – very very funny Welsh/Spanish comedian who deserves all the success he’s having.

2 Truths 1 lie – a brilliant game show which I love being a part of or just watching

Jojo Sutherland – very clever and experienced Scottish comedian who’s always a pleasure to watch.

Steffan Alun – another funny Welshman – I’m not biased honestly. But he really is worth seeing. Great jokes and lovely stories.

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EdFringe Talk: Dan Bastianelli: The Boy Who Drew Doors

Posted in *EdFestivals 2026, *Written Interviews by

“While I love regular comedy style magic, I came to learn that I enjoy writing more of the dramatic and theatrical style of thing.”

WHO: Dan Bastianelli

WHAT: “Have you ever wondered where your imagination could take you? A boy draws doors on a blank chalkboard, soon discovering they lead to worlds beyond imagination. Each new adventure sparks wonder, reveals the impossible, and transforms the ordinary into the extraordinary. Edinburgh magician Dan Bastianelli combines storytelling with masterful sleight of hand to guide audiences on a journey of discovery and astonishment, creating a magical experience that reminds us that anything is possible when we open the door to the unknown. ‘Incredible range of magical talent’ (WorldMagicReview.com). ‘Highly skilled magician’ (AllEdinburghTheatre.com).”

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

WHEN: 17:15 (50 min)

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Is this your first time to Edinburgh?

This is my sixth show at the Edinburgh Fringe. I started on the PBH Free Fringe when I was 18 years old and continue to love it more and more each year. I am from Edinburgh (well, near it) and so I have always immersed myself as an audience member as well as a performer. I think it is the most amazing month of the year, where people come together and share memories together in an often weird and wonderful environment that is so different from the rest of life.

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

This year for me has been a bit of a change in the way I am approaching my shows and writing. While I love regular comedy style magic, I came to learn that I enjoy writing more of the dramatic and theatrical style of thing. I think the best and most natural reaction to seeing something truly magic would be a gasp or even stunned silence, rather than a laugh and a round of applause. So I am trying my best to lean into that as much as possible now.

Tell us about your show.

I wrote this show with a goal in mind – tell the audience a story and the magic will happen as a result of that story. So I have written ‘The Boy Who Drew Doors’ by initially making it a spoken word play, and then added the magic in to suit that, and hopefully in telling the story, strange and interesting things might happen to me and the audience throughout the night… I am super excited to show it to people as it is a real labour of love, and while the magic in it is still very strong, it is so much more than another magic show.

I am premiering the show in Glasgow in July, then doing the Fringe with it and hopefully after that I will be taking it elsewhere around the country.

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

I naturally gravitate towards magic shows, because that’s what I know… from those, I would say ‘Elliot Bibby: Adbracadada’ will be really fun, and for a free fringe one ‘Dave Reubens – Magic Survival Guide’. For a non-magic show, I always love sending people to ‘Mythos: Ragnarök’ cause I just love it. Who wouldn’t love Nordic mythology told through the art of professional wrestling?

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EdFringe Talk: Adele Cliff’s Topical Early Late Show With Adele Cliff

Posted in *EdFestivals 2026, *Written Interviews by

“I keep coming back because every festival I have left at least one treasured possession behind, and I return in hopes of locating it.”

WHO: Adele Cliff

WHAT: “Do you like American late night shows, but you aren’t American? This show is the solution! Behold, Edinburgh’s first American late-night style topical comedy extravaganza. Expect stand-up, analysis, guests and games. Award-winning stand-up and topical writer (Breaking the News and The News Quiz), Adele Cliff is joined by house band, Katie Pritchard, and reporter, Will Davies. A brand-new show written fresh everyday. Praise for Adele: ‘Master of comedy’ ***** (TheatreMatters.com.au). Praise for Katie: ‘Creative, unique and hilarious’ ***** (ThePhoenixRemix.com). Praise for Will: ‘Deeply funny’ **** (Young-Perspective.net).”

WHERE: The Big Yurt at Hoots @ Potterrow (Venue 243) 

WHEN: 19:20 (60 min)

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Is this your first time to Edinburgh?

It isn’t. It’s actually number 12. I think this is the year I get given the key to the city, or maybe a large box of eggs. What’s the 12th anniversary gift?

I keep coming back because every festival I have left at least one treasured possession behind, and I return in hopes of locating it. Alas my possessions continue to be spirited away by the power of Edinburgh and its ghosts.

The festival is special because of all the dreams that are brought to it, they give it a mystical aura. Also the comedy is good.

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

You have got to shut the first door of the airlock fully before you open the second door. I miss my cat.

Tell us about your show.

The show is topical so I can currently only speculate as to the great events and characters that will feature most often, for now the star shall simply be known as news!

I’m writing and performing the show along with the aggressively talented Will Davies and Katie Pritchard. Two straight up 10s that deserve every award going, and also a gentle pat on the head everyday for being so good.

I was alone in my summoning room, contemplating how to make the most fantastic topical show in the world and they both appeared, we decided we should work together and be best friends forever.

Everyday we will sit down with the newspapers (or possibly the online newspapers they have these days) we will try and process the news and churn it out into a hilarious sausage roll of content.

After the fringe we could go anywhere and I hope we will. I’m hopeful that news will continue to happen, so our show can too.

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

After the show would be a great time to get food, it’ll be 8.20pm and the nearby food spots at that point are El Falafel (for falafel!) and the sausage truck on the corner of George Square (they have an incredible sausage to bun ratio, very long, very impressive).

Once the hunger is sated then there’s so many other good shows. I’m excited to see
Sarah Hester Ross, Alexander Bennett, Nish Kumar, Fatiha El-Ghorri and John-Luke Roberts both at their shows and in the streets!

Also Katie Pritchard and Will Davies they both have brilliant solo shows too!

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EdFringe Talk: Every Single Sound in the World

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“At heart, I am simply a comedy & theatre nerd, so Edinburgh Fringe is truly my favourite place in the world.”

WHO: Natalie Patuzzo

WHAT: “An alien arrives on Earth with a simple task: collect every single sound on the planet. Please help her! She can’t go home until she’s collected them all. In this hilarious, interactive show, Natalie Patuzzo uses voice, objects and audience interaction to construct (and dismantle) a world, one sound at a time. Described as an endearing yet wickedly funny physical performer, Natalie Patuzzo’s debut solo clown show is chaotic, playful and full of sounds you may have heard before and may never want to hear again.”

WHERE: Ivy Studio at Greenside @ George Street (Venue 236) 

WHEN: 15:10 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes and no! I’ve experienced the festival as a punter (2018) and as a director & producer (2025), but this is my first festival as a performer!

I’m excited to be bringing last year’s show (Nuns of Fury!) back alongside my solo debut because I’m essentially bringing a little community up with me. It’ll be so helpful to have my friends from NOF to lean on and share my experiences with. Last year was so much fun, and we became so much closer as a collective through the experience.

I’m also determined to find time to watch other shows too! At heart, I am simply a comedy & theatre nerd, so Edinburgh Fringe is truly my favourite place in the world. I find it so inspiring to watch work from all genres and around the world. Plus, as someone not based in London, it’s the perfect time to connect with my clown community (although our community is growing in the North too!)

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

My biggest lesson has been not to be too independent (ironic given I’m performing a solo show). This applies to producing the show, but I’ve found this to be especially true in its creation. I quickly realised that I had so much self-doubt when I tried to create work in a room by myself, with nobody to laugh at me. I found myself cutting things that could have worked, or not even trying things in the first place because I started overthinking!

Putting on a show is so much work, and people WANT TO HELP! It’s something I have to keep reminding myself, and my show has been x1000 better thanks to the help of those around me.

Tell us about your show.

Every Single Sound In The World is a devised solo clown show. This means there is no script, and in fact, a lot of the show is improvised. Depending on how the audience responds, the show can change a lot from day to day.

I am the primary creator, but as mentioned, I’ve had help from people inside and outside of the rehearsal room. But a huge shout-out goes to Emily Spiers and Ali-Wilson Goldsmith, both of whom were a large part of the creation process and helped me make the show what it is today.

I met Emily in Manchester 4 years ago when I moved into a 3-bed flat, sharing with strangers from spareroom.com . We quickly realised we had a lot in common, including both being theatre makers, and we’ve been best friends who work together on our shows ever since.

Ali and I met at a week-long workshop in London led by the phenomenal Carlo Jacucci. We reunited at Edinburgh Fringe last year and agreed to play around in a rehearsal room together. The two of us then went between Manchester and London, testing things out, developing a sketch together and eventually working on my solo show!

I’ve loved working with them both and think they both very much deserve your attention.

It’s also co-produced by Chronic Insanity Productions, who have another fantastic show at Edinburgh Fringe! If you’re interested in immersive and/or digital theatre, you should absolutely check them out. They’re bringing an amazing gig theatre show called Horrorshow to Summerhall in the last week of the festival.

Every Single Sound In The World premiered at Brighton Fringe (and was nominated for the Outstanding Neurodiverse Performance Award). It has also had it’s London premier and at the time of writing this response is imminently about to have it’s Manchester premier as part of the festival.

After Edinburgh Fringe… you’ll have to keep an eye on my instagram and website to see what happens!

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

Lawrence Dodd: This Can’t Be It
I saw this show at Brighton Fringe back in May and can guarantee you will be crying with laughter – Loz is an expert in hilarious impulsivity.

Tess O’Shea: House Fly
In this clown show, Tess plays a housefly, and from what I can tell from their socials, it looks absolutely ridiculous (in the best way possible).

Mr Boy: The Beauty Contest for Boys by Max Prentice
I’m really intrigued by the concept of a one-man beauty contest where the audience picks the winner, and I’m excited to see what they do with it.

Zoe Cousin: Paul Sykes Is Back on the Family Patch
Zoe is one of my favourite character comedians, so if you’re into characters, her show should absolutely be on your list.

Francisco De Nata
If you ever wanted to see a giraffe in a g-string, this is the show for you! Keaton and I were at Gaulier together, and I can confirm he was hilarious there and has only gone from strength to strength since.

Eryn Tett: Tasting Menu
Another great concept! If the early snippets I’ve seen are anything to go by, this show is not one to miss.

And of course, if we’re talking about the big dogs, you must also see…

Garry Starr: Classic Penguins
A firm fringe favourite, nobody has made me laugh harder than Garry Starr – get your tickets now because he does sell out!

Police Cops: The Original
Another Ed Fringe classic – this physical comedy spoof of 70s cop movies is simply one of the funniest shows you’ll ever see.

Viggo Venn: Only One
He’s back, but this time without the vest! I’m excited to see what this next era of Viggo will be.

Elf Lyons is The Woman on the Edge
Elf is another titan of the current clown scene, and I’ve heard nothing but good things about her latest show!

Stamptown
This is the show I always tell friends to see; it’s pacey, there’s a million jokes a minute, and you’ll probably see some fire and nudity.

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EdFringe Talk: The Rise and Fall of a Mormon Homecoming Princess

Posted in *EdFestivals 2026, *Written Interviews by

“This came together by sheer organza willpower and divine intervention that is still in question until I see how it turns out.”

WHO: Meghan Bean

WHAT: “The most iconic 30-year-old virgin to rise since… (Chris? Was it?) Confessions of a biblically accurate Victoria’s Secret angel. The most popular Meghan, former Duchess of Success, loses her title and gains her voice.”

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

WHEN: Varies (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I am so excited for my Edinburgh debut, I am a total Fringe virgin to put it thematically! I am so thrilled to see what I’ve been missing; just skimming through shows it seems like such a crazy catalogue of creativity. I can’t believe there are so many minds like mine, and I’m excited for my wonderful but incredibly linear parents to get a taste of fish out of water for once!

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

The biggest things are nearly contradictory in a way, which is you can never start to soon, but also take your time with it. But also get a move on!!! I think I’ll have a clearer take on my lessons after the run.

Tell us about your show.

My show, The Rise & Fall of a Mormon Homecoming Princess is written and produced by who but the Mormon Homecoming Princess herself, Meghan Bean–that would be me! This came together by sheer organza willpower and divine intervention that is still in question until I see how it turns out. It has been workshopped all over the States, but Edinburgh will be its official stage debut.

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

I’m especially excited for Simone McAlonen’s Wild Wild Christian — as a fellow post-religious-comedy lassie, I love seeing people turn church baggage into something creative, layered, and funny. I’d also tell audiences to follow their curiosity after my show: go find the acts talking about faith, girlhood, family myths, and identity with teeth.

Gareth Vile’s “Daddy Issues” also sounded super raw and interesting, for many related reasons.

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EdFringe Talk: Lil Wenker: BOYKING

Posted in *EdFestivals 2026, *Written Interviews by

“I’ve learned that I can’t learn to tap dance at a professional level in six months.”

WHO: Lil Wenker

WHAT: “All hail BOYKING! Eight-year-old Prince Wilfred (Willy for short) seeks power at all costs including but not limited to: death, destruction and dastardly deeds. Nowhere near in line for the throne, Prince Wilfred ruminates on a plan for total world domination while guzzling mummy’s milk. Bow down – this coronation’s a killer. Created by the award-winning performer / director duo Lil Wenker and Cecily Nash. ‘Sheer, brilliant, well executed madness’ ***** (ThreeWeeks). ‘A masterclass in clowning’ ***** (VoiceMag.uk). ‘A pure hour of genuine laughs’ **** (BroadwayWorld.com). ‘Farcical and whip-smart’ **** (Fest).”

WHERE: Bunker One at Pleasance Courtyard (Venue 33) 

WHEN: 21:45 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I’ve been to the fringe in many capacities — first as a flyerer, then a tech, then in a double act, and a few times as a solo performer. It’s been great seeing the festival from many different sides because it makes you realize just how many people / roles go into making it all possible.

Where I’m from in Minnesota, there is an incredible (slightly horrible) place called Old Country Buffet. It’s an all you can eat restaurant with daily rotations of breakfast, lunch, and dinner options. The clientele? A whole host of extremely unique characters chowing down on unlimited roast beef and potatoes. The fringe is like this … pardon my metaphor. It is endless — you can consume show after show and still go back for more if you’d like. Is this metaphor good? Maybe I just miss home. But you get my point. It’s brilliantly saturated with talent.

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

I’ve learned that no matter how hard I try to make a show that fits into a backpack, I love spectacle too much to ever action that. Pretty soon I have a crown that is literally too big to carry to my previews and an entire red velvet curtain backdrop. One day I’ll learn this lesson.

I’ve learned that I can’t learn to tap dance at a professional level in six months.

I’ve learned that making a new show after doing the previous one 100 times is a huge challenge but hugely rewarding. I never thought I’d like doing a character as much as I loved doing Bangtail, but this show has taught me so much and given me confidence that I can make other projects I enjoy.

Tell us about your show.

BOYKING is an evil clown musical about a little boy who will stop at nothing to be the king. Last year, I thought I would make a show called DUNK about a little boy who wants to dunk a basketball but is too short. I got bored, but I found a note in my journal: BOYKING. I thought … I don’t know what this means, but maybe there’s a show in there somewhere! Cecily, who directed my previous show, BANGTAIL, came on board right away and we began chipping away at the character and story. It’s been such a joy working on another project together, especially now that we know each other so well as creatives and as friends.

I’ve done tons of previews around the UK and in several places around Europe already, and this has been immensely helpful. Playing to different audiences teaches me loads about how to reach people of different senses of humor / sensibilities. A Berlin audience is naturally different than a Bath audience.

As for what’s next … let’s see!!!

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

Maya Ricote
One of my dearest friends here in London and one of the most exciting and stupidest (best) clowns coming on the scene right now. The thing about Maya is she LOVES clowning. She sees it as a way of life — she truly lives and breathes it, and this comes across in her work.

Lara Ricote
Ok I’m biased towards this perfect family, but Lara is one of the most exciting stand ups working today. She is challenging what the art form really is, and she has that incredible ability to make her audience feel like they’re in the pub talking with her.

Bella Hull
Obviously Bella is actively taking over the world, so everyone should be interested in what she’s up to right now. This show is also hugely exciting and new for her — she’s really experimenting with style in a way that is incredibly captivating. She’s also fresh off of season one of SNL writing and brimming with new ideas. See her if you can get tickets.

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