Tag Archives: EdFringe

‘Supermarket 86′ (Stephenson Theatre at TheSpace @ Surgeons’ Hall, until AUG 23 – not AUG 10 or 17)

Posted in 5*, EdFestivals 2025, Rated: Outstanding, Theatre by

“Mia Pelosi’s wryly witty script dances between sarcastic wisecracking and angst-ridden emotion.”

Editorial Rating: 5 Stars (Outstanding)

Set in a supermarket in upstate New York, this character-driven comic drama explores the lives of five young women who find themselves trapped there overnight due to a blizzard. As the evening develops, awkward conversations and unexpected revelations reveal that they all know each other. Mia Pelosi’s wryly witty script dances between sarcastic wisecracking and angst-ridden emotion, whilst Ellie Aslanian’s direction presents us with a tight, pacy, well-structured production in the Stephenson Theatre: a small, intimate black-box studio in TheSpace @ Surgeons’ Hall.

Pelosi also plays the feisty manager of the supermarket, whose dull night shift is transformed by the arrival of four customers blown in by the storm outside. The first to arrive is Dove, a quiet, waif-like and seemingly reserved young woman; well wrapped-up against the harsh weather, she dismisses Rose’s offers of assistance. Then, Summer, a cheerful regular customer with a sweet tooth who has struck up a friendship with Rose, pops in for a chat. Next, June, a bubbly child-woman, bounces in seeking the Vegan Aisle. So far, so mysterious; but there is a sudden frisson when the statuesque Peyton arrives and there is a shock of recognition from Rose.

At this point, a brief power cut heralds the suspension of normal life and Rose invites her customers to shelter in the store overnight. As the women reluctantly settle in for the inevitable forced socialising that the circumstances demand, one mischievously suggests a game of Truth or Dare as a way to get to know each other. No plot spoilers here, but as the evening progresses, they all realise that, for various reasons, they have shared backgrounds involving high school, college, and quite a lot of sex. This situation of young women being trapped in the equivalent of a confessional adolescent sleepover quickly breaks down the psychological inhibitions of adulthood with embarrassingly revealing consequences and a number of laugh-out-loud moments.

Even as the game ends, the dramatic energy released by the exposed secrets drives a spiralling dynamic of seething emotion and dark humour as ex-high school peers are forced to reconfront the unresolved flings and mistakes of their teenage years. As a 66 year-old male reviewer, I’m always intrigued to glimpse insights into the female psyche offered by shows such as this. Were I in any doubt about the veracity of those on offer here, it was quickly dispelled by the shrieks of laughter from women around me in the audience. (Us guys loved it all, too.)

June’s childlike artlessness – hilariously conveyed by Ariana Perez’s wide-eyed exuberance and comically mobile face – is shown to be a mask for her character’s desperate search for an identity in life (currently veganism). Megan Higley subtly reveals the enigmatic Dove to be a case of still waters running very deep. Caitlin Kresta engagingly shows the uptight Peyton gradually lowering her guardrail and facing up to the fallout from her past. Jamilah Rosemond presents Summer as a deceptively knowing and shrewd young woman, bemused by her strange new companions, whilst probably being the most based person in the room. As Rose, Mia Pelosi is the driving force of the action and the humour, both with the group and in a couple of revealing private conversations with two of her unexpected visitors.

In a Fringe theatre list increasingly dominated by single-handed shows and knockabout comedies, this penetrating and nuanced comic ensemble piece is a welcome breath of fresh air. It runs until 23rd August, but in a relatively small auditorium tickets will sell out quickly, so get yours booked early!

ALL our recent coverage? Click here!

‘Hold On To Your Butts’ (Pleasance Courtyard, until AUG 25 – not AUG 7 or 18)

Posted in 5*, EdFestivals 2025, Pleasance, Rated: Outstanding, Theatre by

“Theatrical spoofs of movie classics are all the rage these days and the New York-based theatre company Recent Cutbacks has a gem running at the Pleasance Courtyard (Venue 33) this summer. “

Editorial Rating: 5 Stars (Outstanding)

Theatrical spoofs of movie classics are all the rage these days and the New York-based theatre company Recent Cutbacks has a gem running at the Pleasance Courtyard (Venue 33) this summer. The company specialises in fast-paced “lo-fi” shot-for-shot parodies of classic movies. These are performed by a very small troupe of actors making frantic use of props, back projection, mime, and knockabout physical theatre to create a hilarious take on some of cinema’s greatest blockbusters of recent decades. The comic mayhem is enhanced by an on-stage Foley Artist (that’s a Hollywood term for a sound-effects specialist) who sits at a desk with a laptop, a microphone, and a huge selection of musical instruments, sandboxes, crinkly paper, a cutlery drawer, and other noise-making thingumajigs to titillate your ears.

Hold On To Your Butts (Forth @ Pleasance Courtyard) is a spoof of the first Jurassic Park movie of 1993. The action-packed tale of a dinosaur safari park visit that goes horrifically wrong is staged at velociraptor speed, with the gory bits delivered in such a slapstick style as to have the audience laughing in recognition. This is very much a show for kids (Over 8s) as well as adults, as the children in the audience enjoy the pantomimic quality of the show without needing to have seen the film.

The stars of the movie – the dinosaurs – are portrayed in a laugh-out-loud style, making much ironically improvised use of physical posturing, madly inappropriate props, and bizarre costumery. Other standout moments include the hilarious impressions of the languid drawl of Jeff Goldblum’s quizzical chaos theorist and the gruff cynicism of Sam Neill’s gung-ho palaeontologist. Movie nerds will also love the low-fi recreation of iconic close-up shots from the film using hand-held picture frames and flashlights, several of which drew appreciative rounds of applause.

All of the most memorable key scenes from the movie are mercilessly parodied. One stand-out is the famous episode of the T. Rex attacking the lawyer as he sits in a toilet cubicle having abandoned the kids. I’m sure the cheers for that scene had as much to do with seeing a lawyer get his come-uppance as well as for the artistic creativity.

This show – along with Fly, You Fools! (a similar treatment of the Lord of the Rings movies by Recent Cutbacks) later in the afternoon in Beyond @ Pleasance Courtyard – runs at the Pleasance Courtyard until 25th August (not 7th or 18th), so book early as I suspect these will be two of the hottest tickets in town.

 

ALL our recent coverage? Click here!

‘Smile: The Story of Charlie Chaplin’ (Pleasance Below, until AUG 25 – not AUG 13)

Posted in 4*, EdFestivals 2025, Pleasance, Rated: Nae Bad, Theatre by

“Cole’s performance wrings every ounce of humour and pathos from the story.”

Editorial Rating:  4  Stars (Nae Bad)

As a massive Chaplin fan, this one-man tribute to one of the world’s greatest entertainers leapt out at me from the poster. I’m pleased to say it didn’t disappoint.

Marcel Cole is a talented actor, dancer, and mime artist who puts all of his physical skills to work in this highly visual and engaging show. Tracking Chaplin’s career from birth in the slums of Victorian London to international superstardom via Hollywood, Cole’s performance wrings every ounce of humour and pathos from the story. Bearing much more than a passing resemblance to his subject – especially in his familiar guise as “the tramp” – Cole is much more than a mere impersonator. Every movement and mannerism evokes the presence of the master comedian.

The early part of the show, which establishes Chaplin’s formative years in the silent movie era, necessarily depends strongly on creative and entertaining use of mime. Cole’s elastic face and expressive gestures quickly connect with the audience. Then, with the arrival of the talkies, both Chaplin and Cole find their voice, adding verbal humour to the visual. One way in which Cole is even able to improve upon his subject’s act is by getting some members of his audience to participate. Chaplin famously broke “the fourth wall” in his films by looking directly at the camera; Cole goes a stage further by inviting volunteers on stage (and not just from the front row!) to help him enact short scenes from his life and works. Under Cole’s politely subtle direction, a lady and three gentlemen took turns to re-enact scenes from Chaplin’s biography and works such as ‘The Gold Rush’ and ‘The Great Dictator’, even involving a chase around the auditorium at one stage.

One criticism often levelled at Chaplin’s work was his tendency to include too much tragedy as a counterpoint to the slapstick. Cole wisely avoids this, steering clear of overdoing the pathos: it’s there, but a smile is rarely too far away. Nor does the show shy away from Chaplin’s political views, which were rather radical for Hollywood in his day. His film The Great Dictator is featured, convincingly recreating its biting satire of Hitler, but Cole goes above and beyond Chaplin’s critique, wryly situating it within the wider scope of global politics in the 1950s.

Performed in Pleasance Below, a small to medium-sized space at Pleasance Courtyard, the production shows what magic can be created with imaginative use of film clips, sound effects, screen captions, quick costume changes, and the sheer physicality of Cole’s performance. Most of the audience were on their feet to give rapturous applause at the end of the show.

My only minor quibble would be that the first ten minutes of the performance I saw maybe wasn’t quite as slick as it could have been, with the pace and the changes of focus being perhaps a little on the slow side. But it’s still early in the show’s run and I’m sure this will improve; in any case, later in the show things soon pick up speed, when changes of mood provide much light and shade. The show runs for the full length of the Fringe and is well worth a look – and not just if you’re a Chaplin fan.

ALL our recent coverage? Click here!

‘Lydia Bennett Works In Finance’ (Ivy Studio in Greenside @ George Street, until AUG 23 – not AUG 10 or 17)

Posted in 5*, Greenside, Rated: Outstanding, Theatre by

“Laugh-out-loud lines such as ‘He couldn’t find my clit if he used a flashlight and a bloodhound!’ are an indicator that this play is not suitable for GCSE revision. “

Editorial Rating: 5 Stars (Outstanding)

Fans of classic fiction will recognise the name of the eponymous heroine of this acerbically funny comedy as the youngest of the five sisters in Jane Austen’s masterpiece Pride and Prejudice. In this sassily updated reinvention, writer and performer Trelawny Kean presents us with a feisty present-day version of Lydia as a high-maintenance drama queen who finds herself homeless and unemployed after walking out on George Wickham.

In the source novel, Lydia is described as “silly, vain, and absolutely uncontrolled” as well as “wild, noisy and fearless”. The modern Lydia presented by Kean is very much in this mould, but don’t worry if you’re not familiar with the book. The pacy style of the show could be described as something along the lines of Jane Austen meets Bridget Jones and is very enjoyable on its own terms as a comic account of the life of a modern girl who always seems to be a footnote in someone else’s love story.

The second half of the show’s title helps to emphasise the production’s contemporary vibe by echoing the song (I’m Looking For A) Man In Finance by Girl On A Couch (Megan Boni) which was a viral TikTok hit in summer 2024. An engaging juxtaposition of past and present is loudly evoked as Lydia in 2024 plays the song on her phone and Kean energetically gyrates to the amplified beat; the modern lyrics reflecting Austen’s 200 year-old concerns about single women who complain about their relationship status whilst having unrealistic expectations of men.

Performed single-handedly with two giant suitcases and their contents as set, props, and costume, Kean makes ideal casting for a one-woman show in the intimate black-box Ivy Studio in Greenside @ George Street. Seen at close quarters, her comically mobile face vividly conveys expressions ranging from manic frustration to Machiavellian cunning as the needy Lydia attempts to manipulate family and friends via her ever-present mobile phone.

There are laughs a-plenty in the dialogue, though it’s worth noting that the age guideline is 16+. Laugh-out-loud lines such as “He couldn’t find my clit if he used a flashlight and a bloodhound!” are an indicator that this play is not suitable for GCSE revision.

This is an absolute gem of a show that will be running for most of this month, but seating in this small studio venue is limited, so book early.

 

ALL our recent coverage? Click here!

‘Fly, You Fools!’ (Beyond @ Pleasance Courtyard, until AUG 25 – not AUG 7 or 18)

Posted in 5*, EdFestivals 2025, Pleasance, Rated: Outstanding, Theatre by

“As an obvious spoof (of Lord of the Rings), the melodramatic action and pastiche dialogue presented by the cast draw gales of laughter from the audience.”

Editorial Rating: 5 Stars (Outstanding)

Hot on the heels of Hold On To Your Butts at the same venue (see my earlier review) the New York-based theatre company Recent Cutbacks have another hit on their hands with a matching piece of comic theatrical spoofery of a relatively recent movie classic, Lord of the Rings.

Once again, the company presents a fast-paced “lo-fi” scene-for-scene parody, this time of Peter Jackson’s blockbuster, performed by a small troupe of three actors making frantic use of DIY props, back projection, shadow puppetry, mime, and knockabout physical theatre to create a hilarious take on the epic fantasy adventure. The comic mayhem is enhanced by an on-stage Foley Artist (that’s a Hollywood term for a sound-effects creator) who sits at a desk stage right with a laptop, a microphone, and a huge selection of musical instruments, sandboxes, crinkly paper, a cutlery drawer, and other assorted noise-making thingumajigs with which to enhance the tomfoolery.

The company create a vivid sense of the gothic sword-and-sorcery ambience of the movie as a backdrop to their merciless satire of the Tokien universe. The opportunities for parody are particularly good verbally as well as visually in this show, with much tongue-in-cheek pastiche of the portentous tone of Tolkien’s language and the apocalyptic register in which his lines are delivered by some of the grandiose actors who play his characters: yes, I mean you, Sir Ian McKellen (think: “Morrr-dorrr!”). Fans of the film will revel in recognising the parodic spoofs of key scenes, whist those unfamiliar with the source work and even young children (Over 8s) will enjoy the knockabout action and silly posturing of actors doing comic impressions of orcs, elves, dwarves, and wizards.
As an obvious spoof, the melodramatic action and pastiche dialogue presented by the cast draw gales of laughter from the audience. But it occurred to me whilst watching the show, that the sheer inventiveness of the physical theatre and the imaginative use of mime and suggestion by the cast – even if done straight-faced – could well have brought a theatrical adaptation of the book to the stage 40 years ago, when such a thing was thought impossible. However, there is nothing straight-faced about this laugh-out-loud romp through Middle Earth – I’ll never be able to read the novel again without giggling.

Like its co-production Hold On To Your Butts, this show runs at the Pleasance Courtyard (though in the Pleasance Beyond auditorium) until 25th August (not 7th or 18th), so book early as I suspect it will be yet another of the hottest tickets in town.

 

ALL our recent coverage? Click here!

EdFringe Talk: The Sound of Water

Posted in *Written Interviews, EdFestivals 2025 by

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

WHO: Julia Ott

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

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

WHEN: Varies (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

Tell us about your show.

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

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

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

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

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

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

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: More Songs for a (Brave) New World

Posted in *Written Interviews, EdFestivals 2025 by

“It doesn’t matter how good your own show is; if it’s not surrounded by other shows and /or on a main fringe route, you will be struggling.”

WHO: Richard Lewis

WHAT: “Whether it’s politics or digital dating, climate change or political correctness, Richard finds a musical angle to spotlight the natural absurdity of the human race – and if that’s not your cup of tea, just sit back and enjoy the piano playing! ‘The show is a masterclass of original parodies that would grace the finest of theatres, and Richard Lewis is a musician everyone should see whilst at the Fringe’ (ThreeWeeksEdinburgh.com).”

WHERE: Speakeasy at PBH’s Free Fringe @ Voodoo Rooms (Venue 68b) 

WHEN: 16:50 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, I did my first performance in Edinburgh at age 10 for the International Festival! (I’m from Edinburgh). I then did some more shows in my 20s and after a break and back and enjoying the Fringe experience again.

Two shows this year, the one above and the show on the life of Liberace.

The variety on offer is always Edinburgh‘s calling card. Yes, it can be hit and miss. But if you don’t like something today, you’re bound to find something you like tomorrow…

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

Location is everything in Edinburgh. As well as having a vibrant venue, it doesn’t matter how good your own show is; if it’s not surrounded by other shows and /or on a main fringe route, you will be struggling.

Tell us about your show.

I did a show of satirical songs last year which went well and thought I would follow it up with a new one. I’ve kept the best songs from last year but added I think even stronger material. Hopefully, the mixture of politics, social affairs and silliness will appeal to a wide range of people.

My other show is on the life of Liberace – in the beautiful ballroom of the Voodoo Rooms. A venue the man himself would have appreciated.

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

If you’re not from a big city, I would always suggest that people would check out the International Festival. It includes some of the best artists in the world, some of whom only appear once in a generation.

In terms of the fringe, a friend of mine is producing a show called the ‘Queen is Mad’, which looks fun (a bit like a dark ‘Wicked) other than that I’ll need to check out the buzz as it starts coming in this weekend!

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

‘Mitch Benn: The Lehrer Effect’ (Venue 302, until AUG 25th)

Posted in 5*, EdFestivals 2025, Theatre by

“It’s a fast-paced, blend of showmanship and showcasing that is, most importantly, properly entertaining and worthy of its august subject.”

Editorial Rating: 5 Stars (Outstanding)

Mitch Benn should be made to stand in the arrivals hall at Heathrow, Gatwick, or Turnhouse and welcome people into the country. He is a national treasure forged in the Bedlamic crucible of Edinburgh in and beyond the Fringe. His voice is possibly probably the finest vocal instrument this side of Brian Blessed. As one of the two most admired comic songsters of the current age, who better than Benn to deliver a 60-minute lecture on the wonder and wonderosity of the late, great Tom Lehrer?* Thomas Benjamin Wild Esq., perhaps, but Bedford’s own was too busy elbowing your not especially humble correspondent in the ribs and making shushing noises during all my best singing along – like he was Maturin meeting Aubrey.

*Leher was the latter, but not quite yet the former when the curtain went up on the night of 26 July at Bedfringe.

Articulate, intellectual, sceptical, musical. If you need to be sold on Tom Leher there’s a chance you cannot be redeemed for a pocket full of winning lottery tickets. Have you been living under a rock since 1944 – when Lehrer first put notes to paper with his “The Subway Song”? HCCKKCC PW if you didn’t know that or that there have been 16 new elements discavard since 1959.

This is a show that rests on zero laurels, Benn’s or Lehrer’s. It’s a fast-paced, blend of showmanship and showcasing that is, most importantly, properly entertaining and worthy of its august subject. Here’s a show that has ‘regular retirement cruise ship gig’ written all over it. Lehrer recently placed all of his songs in the public domain, so we can expect a tribute act or three down the line. Will they have this pace, this energy, this level of insight? Glass coffin / remains to be seen.

Come for the nostalgia. Stay for the freshness. Get your leather elbow-patched coats on and go see this!

 

ALL our recent coverage? Click here!

EdFringe Talk: The Strongest Girl in the World

Posted in *Written Interviews, EdFestivals 2025 by

“We have also learned a lot about visual storytelling—mainly from watching children’s shows.”

WHO: Truly Siskind-Weiss

WHAT: “Gather round the campfire for this funny and nostalgic play about love, loss and summer camp. Truly doesn’t remember her dad. Not really. Instead, she’s collected songs, objects and stories to build a picture of who he was. Join her as she embarks on a journey to discover her father, and uncovers her childhood self along the way. You’ll laugh, you’ll cry, you’ll yearn for the early 2000s. Come see this story of fear and bravery that examines how we remember those we’ve lost.”

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

WHEN: 14:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Dark Skies Ensemble brought a work in progress production of The Strongest Girl in the World to the Edinburgh Fringe Festival in 2023. Since then, our company has expanded the show, and we’re so excited to share the full production with Fringe audiences. The Fringe is an amazing opportunity for artists to connect with one another, and support each other’s work. We met our now producer, Alexandra Scordato, at the 2023 Fringe and feel lucky to now have her as a member of our team. We look forward to the connections we will forge this year, and can’t wait to see all of the other creative work on offer!

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

One big thing that we’ve learned since performing the show as a Work In Progress in 2023, is that it’s important to invite the audience to laugh from the very beginning of the show when you’re sharing a story that is so personal and, on the surface, very somber. Watching other performances that handled dark stories with a bit of humor, we noticed that audiences were more comfortable laughing when the actor and script gave them permission to take the story a bit less seriously. We’re excited to share this new script with audiences, and we know that they will come away feeling lighter. We have also learned a lot about visual storytelling—mainly from watching children’s shows. We find that theatre for young audiences often does a better job at engaging the audience visually, and finding exciting and unexpected ways to tell the story through set. Our show uses pop up books to bring our audience on a journey, and to bridge the gap between Truly’s childhood self, and her teenage and adult selves.

Tell us about your show.

The Strongest Girl in the World is a poignant and surprisingly funny one woman show about love, loss, and summer camp. Truly doesn’t remember her dad. Not really. Instead, she’s collected songs, objects, and stories to build a picture of who he was. Join her as she embarks on a journey to connect with her father, and watch as she uncovers her childhood self along the way. This universal story thoughtfully examines how we remember those we’ve lost. It’s a love letter to Truly’s father, and the sassy and young girl who was the Strongest Girl in the World.

The play was written and performed by Truly Siskind-Weiss and it details her own personal experience of loss. Director Ellie Stevens studied with Truly Siskind-Weiss at the Bristol Old Vic Theatre School, where they bonded over a love of rainbow sprinkles, Gilmore Girls, and art that centers and celebrates teen and tween girls. They have worked together for nearly 3 years to bring this personal and important story to life, and have performed works in progress of the play at London’s Bread and Roses Theatre, Bristol’s Alma Tavern Theatre, and the 2023 Edinburgh Fringe. They have a reading of the finished script at Manhattan Theatre Club this fall, and are thrilled to be returning to Truly’s homework of New York City for a preview run in 59E59 theatre’s East to Edinburgh Festival. The show has been coproduced by American company Forgotten Ones and Scottish Company Dark Skies Ensemble.

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

We’re excited to see our friend Anaïs Gralpois’ stand up show, American Fetish! We also think An Ode to the Casting Director by Sophie Fisher looks great! And, we love anything that comedian Cat Cohen does! We’re also excited to see our producer’s other show on at the Fringe: Behind by Sibet Partee.

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: Cardstock

Posted in *Written Interviews, EdFestivals 2025 by

“As migrant women and student creators, we spent a long time waiting to feel “ready,” “qualified,” or “legitimate enough” to speak.”

WHO: Lin Cao

WHAT: “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 surfaces, Mae’s fantasy world begins to unravel, growing increasingly surreal and absurd. Drawn into the same interrogation room by surveillance and fate, the two women slowly build a fragile trust. This is a story about internet fringe culture, gender identity and female desire. It’s a torrent of images including abandoned manuscripts, folded posters and paper-thin characters. They attempt to rewrite a creased cardstock between fiction and reality.”

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

WHEN: 11:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes — this is our first time bringing a show to the Edinburgh Fringe, and it feels both thrilling and terrifying in the best way.

As emerging migrant artists and students, we’ve long admired EdFringe from afar — not just for its scale, but for the values it claims to uphold: openness, experimentation, and decentralised creative voices. This is the kind of platform we dreamed of when we began working on Cardstock — a story that sits between categories, between cultures, and between fiction and reality.

We’ve attended other festivals as audiences, volunteers, and student artists — but producing for EdFringe is a completely different scale of responsibility. You’re not just sharing work; you’re negotiating space, attention, survival, and visibility in a system that’s exciting but also overwhelming.

What makes a great festival isn’t just the shows — it’s the chance to be in a space where you’re reminded that someone else, somewhere, might be folding a story too — and that your voices might crease, overlap, or echo. That possibility is worth everything.

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

Since 2024, the biggest thing we’ve learned is that permission doesn’t come — you have to claim it.

As migrant women and student creators, we spent a long time waiting to feel “ready,” “qualified,” or “legitimate enough” to speak. But the world didn’t wait for us — and neither did the stories we needed to tell. Cardstock was born from the urgency of voices that don’t fit, that aren’t easily platformed, that carry contradiction and risk. In 2024, we started listening to those voices — including our own.

We’ve also learned that making work collectively doesn’t mean compromising vision — it means expanding it. We learned how to fold scarcity into innovation, and how to hold space for each other’s pain, humour, and creative edges. Producing this show taught us to stop asking for approval — and instead, to write our own structure, even if it’s made of paper.

Some lessons are still being absorbed. But we’re no longer waiting for the right time. This is the time.

Tell us about your show.

Cardstock is an original play written by Qianyue Ang and co-produced by Lin Cao, Dina Nan, and Yuqi Wen — all of us migrant women who met while studying in the UK. The show is presented by HERstage & Seagull Sisters Productions, both collectives formed by emerging Asian artists seeking to tell stories often excluded from mainstream stages.

The idea began in a university dorm room, sparked by a single line from a real news story: “I feel like a piece of paper. And paper can’t stand.” That sentence stayed with us. We started folding it into a play — literally. Everything in our show is made from paper: the set, the metaphors, the memory.

We premiered Cardstock at Brighton Fringe in May 2025 — no marketing budget, just a suitcase full of foldable props and a lot of hope. To our surprise, we received a four-star review and powerful audience responses. Edinburgh is our next leap. After that, we hope to tour in London and return to Asia, especially to spaces where censorship and silence still shape how women are allowed to speak.

This play isn’t perfect. But it’s standing — creased, but upright.

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

After Cardstock, we hope you go see Is This Normal? by Ansa Edim — a one-woman show that’s sharp, hilarious, and unexpectedly intimate.

It’s for anyone who’s ever rehearsed break-up speeches in the mirror (guilty). With wit and warmth, Ansa unpacks heartbreak, self-worth, and the delusions we wrap in bedsheets. It’s solo storytelling at its best — punchy, personal, and beautifully written.

We left the trailer smiling, and the title alone deserves a standing ovation.
Catch it at theSpace @ Surgeons Hall, Aug 13–15. You won’t regret it.

Fringe isn’t just about scale — it’s about truth. And Is This Normal? tells it with grace and laughter.

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!