Tag Archives: EdFringe

EdFringe Talk: Broke and Fabulous in the 21st Century

Posted in *EdFestivals 2026, *Written Interviews by

“Be brave, trust your gut, everytime you overcome something big or small it’s like fuel to the creative fire.”

WHO: Dale Robertson

WHAT: “Broke and Fabulous in the 21st Century is an unabashed dramedy about two fabulous best friends, Alex and Petunia, chasing their dreams and navigating love in their chaotic 30s. This millennial love letter is a riotous ode to friendship, ambition and the ridiculousness of modern love. So come grab a drink, darlings! and let us split your sides with this honestly raucous, raunchy play, proving that even broke and frazzled you can always be fabulous…”

WHERE: Dram at Gilded Balloon Patter House (Venue 24 

WHEN: 14:20 (60 min)

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Is this your first time to Edinburgh?

This will be my second time to Edinburgh Fringe. However Going back up this time everything is completely different. This is the first stage play I’ve written and the first show for our company Beacon & Tide Productions. It’s also the first I’ve directed here in the UK and from being selected by Gilded Balloon, Having the wonderful support of CNC PR and bringing up a show that is completely ours, with everything learned from the first fringe, it really feels like a whole new exciting ball game.

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

Wow. This is a big question haha there are too many lessons to list but importantly; be brave, trust your gut, everytime you overcome something big or small it’s like fuel to the creative fire and encourages you to push even further. Also as a director & producer your team is paramount, not only their skills and talents but their well being and fulfillment in the project too. Strong teams = A strong show.

Tell us about your show.

As mentioned earlier, this is the first stage play I’ve written and it came about because I had six months left on my visa, I was advised that if I wanted to qualify for my Global Talent visa, I would have to garner more press from one more production, or face a very unceremonial deportation back to Australia, after nearly six years of fighting to stay in the UK.

I knew the space I was writing for, who would be in the audience and if this wasn’t going to be my debut to London it was going to be my swan song and I at least wanted those I loved in the audience to see a bit of our story lovingly expressed on stage, in the very wild and wonderful dramatisation of the stories and characters that bind us together and that I love so much.

Writing started September 10th, 2025, by October cast and crew were locked in and commenced R&D, we rehearsed evenings through November and opened on the 2nd of December at the Etcetra Theatre in Camden, and for a week played to sell out audiences, personally it was actually insane, not just the recpetion from the audiences but how lucky I was to have found such a great first cast & crew. I was exhausted but felt so proud for what we achieved in such a short amount of time.

Before I even knew I had my visa, spear-headed by our wonderful Olive McHugh we made the first selection for Edinburgh Fringe with The Gilded Balloon and we were out the gate once again. Once my visa was confirmed, not only was there a huge weight lifted but any professional restrictions imposed by the former Skilled work visa evaporated. I started the fledgling company Beacon & Tide Productions to take Broke & Fabulous in the 21st Century to Edinburgh which in itself has been humbling and a massive learning experience. I’m beyond excited to now have the chance to showcase Broke & Fabulous in the 21st Century at this years fringe and for another Edinburgh adventure with the most amazing cast & crew.

This play was always meant as a love letter to London and hopefully after our efforts in Scotland we can bring it home to a London stage bigger and better than ever.

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

Okay so I’m lucky to have quite a few friends coming to this years fringe, Olivia Woods is the director, I did my first fringe with in 2024, she’s wonderful and has a show called Persona At the Space, I’m so excited to see my darling New York home girl and absolute powerhouse Ella Loudon is in Women of Will at Summer Hall, also I’m so happy for Fraser Kelsey and can’t wait to see his Desperate Wee Gay Boy at the Underbelly.

For the shows I’m eager to see minus the personal connection, as a true crime fan very excited to See Amanda Knox: Cartwheel starring herself at Gilded Balloon Tevoit, Francesca Moody’s Roleplay at Summer Hall seems a total riot, must see, and Larry Dean’s Hellbent at the Pleasence Court Yard because he’s hilarious and I find him weirdly adorable.

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EdFringe Talk: This Is How I Got Arrested…

Posted in *EdFestivals 2026, *Written Interviews by

“This year I will be doing the WHOLE MONTH with no stops & no more edits – I’ve never been more excited.”

WHO: Azaelia Slade

WHAT: “This Is How I Got Arrested (after smuggling drugs across the border but never actually getting caught with any drugs) is a tightly structured, fourth wall breaking, hilarious, one-woman dark-comedy show. Meet Sophie, a working-class youngster, who takes the phrase ‘girls just wanna have fun’ a bit too far! What begins as a fast-paced account of her upbringing quickly spirals into a drug-fuelled escapade. Told under the pressure of a ticking timer, lies will unravel, truth will be revealed and mischief will mount into madness.”

WHERE: Playground 3 at ZOO Playground (Venue 186) 

WHEN: 19:40 (60 min)

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Is this your first time to Edinburgh?

No, but it feel’s like the first. Last year I was lucky enough to perform for a week, given a last minute venue with Free Fringe @Bar50 – a GREAT space which made me feel very warmed, welcomed & safe. I was able to try out the show, (for a small fee,) in front of a live crowd testing reactions whilst the show was still a working progress. This year I will be doing the WHOLE MONTH with no stops & no more edits – I’ve never been more excited, but I am still nervous, and still feel like a virgin, if last year was a blowjob, this year I’m going all the way.

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

Next year there wont be 60 props, 100 sound ques & 10 costume changes….

Tell us about your show.

Written and produced by me, Azaelia Slade, This Is How I Got Arrested… allows you to take a peak at the reality of a real, raw working class life. Following a small UK tour, I aim to carry on sharing my story after the fringe, finding a larger viewing audience through lens and screen, because the people that will really relate to my story, wont ever be able to afford EdFringe.

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

Go and see ‘Closure Cabaret’ by Maria Ansdell – brilliant piece of clowning, she’s so funny & can really hold an audience, her improvisation and interaction skills are ACE! Absolutely loved seeing this at SOHO Theatre after meeting her at Brighton fringe! There is real heart & honesty in Maria’s performance! 7th-31st August 4pm @Hoots Nicolson Square. Another one not to miss is ‘Enuff is Enuff with Shaun Guff by Clementine Bogghargroves, this is an extraordinary bit of character comedy by an up n coming northern comedian! After seeing a ten min preview for their Manchester Fringe run at Carpark comedy (run by the amazing Jessie Perillo) I was forced to buy a ticket for the full show because of how funny ‘Shuan’ was! Shaun Guff will be performing at 6.20pm 7th-31st August @Hoots Wee Container 2!

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EdFringe Talk: Thermodrama

Posted in *EdFestivals 2026, *Written Interviews by

“Lydia and I spent hundreds of hours talking before a word hit the page.”

WHO: Lydia Free & Coco Cottam

WHAT: “Four people enter a sauna, three walk out. Over an hour, a group of strangers get hotter and hotter. So hot, they start to cook. Coco Cottam’s new play Thermodrama measures the costs of a culture of self-improvement on four precarious lives. Following a sell-out run of BLANDY – ‘Riotous, visceral and whip-smart’ ***** (BingeFringe.com) – Lovelock Productions have taken a room in Summerhall and are going to make it sizzle.”

WHERE: Old Lab at Summerhall (Venue 26) 

WHEN: 22:30 (60 min)

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Is this your first time to Edinburgh?

No! Thermodrama is our second time at Edinburgh Fringe as a company, following our run of BLANDY at Assembly last August. And we are so excited to be back for 2026. We absolutely love the Fringe, meeting new audiences and artists, and the festival’s unique ability to place the weirdest and wackiest juxtaposition of plays, shows, and acts in the same room across a twenty-four hour period. This year, our space is double the capacity of last year’s so we’re excited to tackle the new challenge!

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

Coco has just finished MA Creative Writing at the University of Oxford: “Over the last year, I’ve been writing a spec screenplay alongside this play. It’s expanded my ideas about the ways of telling a story – I think more visually and structurally than I used to. It’s also the first play we’ve intensively workshopped. We cast the play before I started writing. Lydia and I spent hundreds of hours talking before a word hit the page. That process of developing the play with Lydia and the actors has been invaluable. We’ve gone much further into the borders of the play, some of the many versions of the play that could be. The text I have discarded, the stories that in other drafts would be forgotten, has been metabolised by the actors. Their characters contain all the trials and errors, all the other plays contained within ‘Thermodrama’ on stage. That’s new to me and cool to watch.”

Lydia is halfway through her MA Theatre Directing at Birkbeck: “I’m always on the job. I feel like this project has been an especially learning-heavy process for me and Coco as artists and collaborators. We have gone about this process with a story/character first, and text-second approach. It has been fascinating and energising to build the play around the actors and their contributions in the workshop space before we went into rehearsals. Mine and Coco’s relationship as writer and director is constantly evolving, and I feel like this year, we have scaled up on our symbiosis as the boundary between Coco’s work ending and mine beginning has become increasingly and welcomingly blurred.”

Tell us about your show.

Thermodrama is written by Coco Cottam, and is jointly produced by her and co-head of Lovelock, Lydia Free, who is directing the play We also have the fantastic James Newbery back on the team this year as our Associate Producer. The company came out of making lots of theatre at uni together (normally written by Coco!) and we have been making theatre and film ever since.

Edinburgh Fringe will be the premiere of Thermodrama, and we are so excited for the Fringe audience to be the first eyes on the piece. There is a lot of dialogue about wellness, biohacking, mortality, and wider society’s relationship with the manosphere (thank you, Mr Theroux), especially at this year’s festival. We are keen for Thermodrama to keep develop this debate with our audiences. Let’s chat about it!

We aim to have a homecoming for Thermodrama in London, and we are always keen to explore more options! Get/Keep in touch!

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

We have to mention James Grieve’s sauna in the Summerhall Courtyard downstairs. Although Thermodrama grapples with the flaws of wellness culture, we are massively intrigued by the possibilities of an eighty-person sauna-theatre. Like theatre, the sauna has traditionally been seen as a space for improvement. The difference in effect between their immersive storytelling and our expressionistic set will be an interesting one.

Speaking of our show, you will love our Camilla Anvar who plays Sophie. Camilla is also playing in The Wreck at 10:30AM in the Old Lab (yes, ante-meridian. Bear in mind our play is at 10:30 post-meridian…again in the Old Lab). We love Buzzcut and their live-cinema work is really cool, and obviously we think Camilla is great.

Some more things we are excited for: HotCat’s dance-theatre show Stop Playing Jacob’s Ladder With My Spine, Maybe You Like It’s Whatever Happened to that Guy? will be brilliant, as will Kick It Anywhere’s The Jolly Fisherman at Underbelly.

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EdFringe Talk: Puck Bunnies: A Heated Rivalry Drag Musical Parody

Posted in *EdFestivals 2026, *Written Interviews by

“Los Angeles is not really a theatre town, so we are all very excited to be among the masses of theatre freaks!”

WHO: Kyra Brown, Christan Leonard

WHAT: “Since Heated Rivalry graced our screens, there’s been a collective yearning throughout the world. That yearning comes to the stage with Puck Bunnies: A Heated Rivalry Drag Musical Parody show that’s definitely not associated with the TV show. From tuna melts to Rozanov’s bodacious booty, we’ll see you at the cottage… or in this case, The Gilded Balloon.”

WHERE: Other Yin at Gilded Balloon Patter House (Venue 24) 

WHEN: 22:45 (60 min)

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Is this your first time to Edinburgh?

Yes, this is our entire cast’s first time to Edinburgh Fringe! We like to go hard, so we knew we had to send it to the biggest festival possible. To us, what makes Fringe so great is the infrastructure the festival provides, so traveling halfway across the world is worth it because we get to do our show every night for a month. We are so excited to be somewhere where the main thing happening in the city is theatre, and there are people there specifically to see shows. Los Angeles is not really a theatre town, so we are all very excited to be among the masses of theatre freaks! We’re all getting nerv-cited to pop our Edinburgh V-cards in a few short weeks!

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

12 months ago, our source material, Heated Rivalry, hadn’t even aired yet!

Kyra: I think of that time period as B.H.R. (Before Heated Rivalry). Since the show came out and we made our drag musical parody of it, I’ve learned so so much, starting with how to sing. I’m not even joking. When we wrote the first draft of this, I had never sung onstage in my entire life. I’ve learned about vocal health, about the beautiful magic of changing the keys of songs so they sound good in your range, and when to lip sync in a group number where I continually miss the note I’m supposed to be on! Just kidding I would never lip sync. Wink! I’ve also learned a lot of lessons about leadership I intend to absorb sometime in the next year!

Chris: AI may take most of our jobs but it will never take away live theater. The energy of the stage is an intangible thing that no data center will ever be able to recreate. It’s mostly beautiful, sometimes brutal, and completely irreplaceable.

Tell us about your show.

Puck Bunnies was written, directed, and produced by TV writer Kyra Brown and filmmaker Christan Leonard in a frenzied craze following our shared obsession with the TV show. We put the company together by casting all our improviser friends who are funnier and have more musical talent than us. We hired Tony Gonzalez to music direct, and hit the ground running! We had a sold out run this spring in LA at Dynasty Typewriter, and are manifesting a tour next year after Fringe!

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

You should all go see our rival shows, obviously. That’s right, there are three Heated Rivalry Musicals at the Fringe this year. Ours is the only drag one, but the others are also well worth the watch. We’ve seen Heated Rivalry Musical Parody, which is also playing at Gilded Balloon, and can confirm it’s a blast. Our shows manage to both capture the essence of Heated Rivalry but in completely different ways, so it will not feel like the same show at all. We haven’t seen the Heated Rivalry Unauthorized Musical Parody yet, but we simply can’t wait to! We can also recommend checking out musical improv shows Baby Wants Candy and Shamilton, where you just might see some of our cast members popping in!

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EdFringe Talk: Argonauts

Posted in *EdFestivals 2026, *Written Interviews by

“I knew of the Fringe’s power as a concept, but being there in person was something else entirely.”

WHO: Thiago Richter

WHAT: “Opinions are weapons. Friendship is the casualty. Liz and Sam host a theatre podcast. When Sam champions a radical new production, Liz’s fury erupts, not from having seen it, but from the sheer possibility of their disagreement. As their civilized world shatters in a storm of jargon and betrayal, the unthinkable happens, as furious voices of Greek tragedy and Shakespeare’s figures erupt onto the stage, violently invading and transfiguring their reality. An absurd meta-theatrical tragicomedy from Brazil performed in English where worlds collide, discourse meets myth and theatre fights back.”

WHERE: Playground 2 at ZOO Playground (Venue 186) 

WHEN: 18:05 (60 min)

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Is this your first time to Edinburgh?

We first had contact with the Edinburgh Fringe in 2016, while I was on a scholarship summer course at the University of Edinburgh (SUISS). I knew of the Fringe’s power as a concept, but being there in person was something else entirely. The people, the passion, the sense of an entire city living for art. I knew we needed to be part of this one day.

Ten years later, we are.

Coming back now with our newest production, Argonauts, we get to experience the other side of it, the risk and the vulnerability of putting your work out there, but we’re also confident, knowing that exact tension is such fertile ground for artistic development. The sense of wonder is amplified in many ways. A ‘dream within a dream’, as we discuss in the play.

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

We’ve learned a lot, and that’s one of the best parts. The best way to learn something in theatre, and maybe in life as a whole, I believe, is by doing it. And this process, with all its difficulties and subsequent overcomings, has strengthened us as artists and also as producers. It’s such a gargantuan endeavour, especially as an international company, and precisely because of that we’ve become stronger and more in our element in each of the many roles we perform as the preparation process nears its end. It’s a trial by fire, and overcoming it empowers you.

Tell us about your show.

Argonauts was written by me and produced in continuous collaboration with dramaturg and actress Jéssica Cardia. Curiously, we started working together in Brazil doing theatre in English when we were still teenagers, and the festival we were part of back then was, in many ways, very much inspired by the Edinburgh Fringe, which makes this debut yet another full-circle moment in our lives.

Technis, the company we founded, was created for the staging of one of our previous productions, Noite de Reis or What You Will, a bilingual Portuguese-English reading of Shakespeare’s Twelfth Night. It’s a play we love, and it opened many doors for us in Brazil and even abroad. Now with Argonauts, the idea is to expand those horizons even further into the UK, as well as all the other possibilities that the Edinburgh Fringe cultivates.

This is a world premiere: we’re bringing it to the world for the very first time at ZOO Playground. As for what awaits us after the Fringe, we’re very much open to the conversations and connections the festival masterfully brings to the table. We’d love to take it elsewhere in the UK (London is always a dream waiting to happen) but wherever the play finds resonance with its audience, really. That’s much of what the show is about. For now, however, our focus is entirely on Edinburgh. We’re giving it everything we have.

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

Gabi Flares’ Deluge, is coming back to the Fringe after a run in 2024, we became great friends through that experience (yet another one of the Fringe’s wonders). It’s at Underbelly Cowgate, Aug 5-30, 3:30pm. Amazing physical theatre work.

We’d also like to give a shout out to two other brilliant Brazilian shows sharing our home at ZOO Venues this year: 116 Grams and The Last Drop. We know the teams behind both from São Paulo’s theatre scene, so it feels awesome to share this journey with them.

There’s something special about seeing work from our home country resonating on this international stage, a reminder that Brazilian theatre has much to say to the world.
That’s the beauty of it, we’re all in this together.

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EdFringe Talk: Racists, Recessions and Revolutions

Posted in *EdFestivals 2026, *Written Interviews by

“Never ask the actor to do anything you’re not ready to do yourself.”

WHO: Harry Conway

WHAT: “In 2016 an unprecedented wave of fake news exploded across our screens. Public trust was devastated as Brexit, Trump and an ever-powerful far right emerged. The masterminds? A few teens in a former socialist republic that even experts struggle to find on a map: Macedonia. Join Nadica, a driven Macedon/Brit on the ground floor of this gold rush who will stop at nothing to build her empire of lies as she defies tech giants, Covid lockdowns and a crumbling economy to champion Britain’s eager and ready supply of Racists, Recessions and Revolutions!”

WHERE: Pleasance Online (Venue 117) 

WHEN: 15:55 (60 min)

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Is this your first time to Edinburgh?

This will be my second time up for the whole month, but for my performer and co-creator Izzy it’ll be her first full Fringe so we’re making for a nice mix as a team. For myself I can’t wait to soak up that unique Fringe atmosphere where anything feels possible and wild creativity is a certainty; from what I hear from Izzy she’s just buzzing to see the whole thing from beginning to end for the first time so if we both survive it all still on our feet the plan is to make it for sunrise on Arthur’s Seat!

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

Racists, Recessions & Revolutions marks my first time directing and it’s been like diving into the middle of a massive ocean. It’s daunting for sure and at times I do well to tread water, but every hour working on the script or being in the rehearsal room brings fresh insights. The one strongest lesson that’s stuck with me is a pearl of wisdom from a great director called Amber Conroy; never ask the actor to do anything you’re not ready to do yourself. Most of the scenes audiences will see Izzy perform have been done by both of us, meaning we both know the script inside out.

Tell us about your show.

It’s actually a really sweet story, I was trying to get a start with directing after having just been the writer on a show last Fringe called How To Kill Your Landlord and Izzy very kindly took up a role I was casting for my first short directing experience at a Scratch Night shortly before Christmas 2025.

She was so great to work with I suggested we try and workshop a solo show and from that point on it’s been her drive and enthusiasm that’s led us from vague ideas to a full month run at the biggest arts festival in the world!

Her heart, soul and heritage have been poured into this play and it shows in the quality of the script and the pure depth and authenticity she gives to her performance of Nadica, our protagonist.

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

Ok, this is very out of left field but I think there are 2 shows to specifically go and see after ours for reasons that will be extremely clear for anyone who does come and see. Should also say that these are all well worth seeing even if you don’t come to ours!

So first off the bat is Costume Drama which is literally on in the exact same space as us (ZOO Playground 3) and shares some similarities so far as being a one-woman show, but the tone is the difference here as this team is doing something extremely heartfelt and uplifting. It’s all about the daughter of a famous sports mascot who must literally step into the shoes/shell-suit of her ailing father and pull a big performance out of the bag. Sure to be a fun time.

Then for something a little different I’m personally excited to see Heart Beats Strong which is a three hander dance and movement piece in one of the famously intimate Pleasance Bunkers, all centered on the performance of an alternative and positive form of masculinity from the one that typically grabs headlines. Everything I’ve seen about the show shouts talent and passion and I suspect it’ll turn out to be one of the festival’s hottest tickets.

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EdFringe Talk: I Bought a Flip Phone

Posted in *EdFestivals 2026, *Written Interviews by

“I’ve met brilliant people at Edinburgh Fringe, even just as a punter. The first person to ever read this script, Katie Plott, was someone I met at Edinburgh in 2023. God bless her.”

WHO: Panos Kandunias

WHAT: “Charlie’s sick of his iPhone. His best friend never replies, his mum nags him and everyone else’s life looks better than his own. Sick of scrolling, for his 27th birthday, he’s buying an old-school flip phone. No more five-hour screen time days. That’ll fix everything… won’t it? I Bought a Flip Phone is a hilarious, heartfelt dive into digital burnout, raunchy texts from men, and the feeling of waiting for your life to start. Join Charlie for an hour of hilarity and honesty as he searches for connection and some peace of mind.”

WHERE: Playground 2 at ZOO Playground (Venue 186) 

WHEN: 15:35 (60 min)

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Is this your first time to Edinburgh?

Yes, this is my first Edinburgh Fringe as a performer or writer. I’m very lucky to have my wonderful producer PJ who has produced at Ed Fringe several times and so has been really supportive, encouraging and listened to all my panicked voice notes.

EdFringe feels special because it really feels as though the city is enmeshed with it for that month and so the energy for it feels through the roof. The quality is unparalleled too. There’s a feeling that you could see something that will truly WOW you at any time of day.

I’ve met brilliant people at Edinburgh Fringe, even just as a punter. The first person to ever read this script, Katie Plott, was someone I met at Edinburgh in 2023. God bless her.

It really holds a special place in my heart. Some of the pieces that have inspired me most have been at Edinburgh and so it feels like a real joy to be bringing this to the Fringe.

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

That you can’t do it all and that trying to is actually quite misery inducing.

To feel as though you’re on top of being in touch with friends and family and spending as much as time as you want with them, do well at work, sleep enough, do your skin care, exercise, read all the things you want… I could go on. But I’ve really started to accept that something has to give.
As much as I’d like to, I’ve started to accept that I cannot be available all the time and constantly say yes. It’s just not possible. If someone has the trick for that please let me know (I already drink a crazy amount of coffee).

Really, there is a huge amount of value in pausing and assessing what you want your attention to go towards at this moment. Maybe sometimes, it will be more towards work, sometimes more towards your partner, sometimes more towards your family or friends. I’m trying to put that into practice but I always feel like I’m falling short on something and need to get over that. I suppose I’m trying to put it in practice ahead of Fringe. It’s a really big endeavour and so I’m trying to focus on rest, and staying calm before the adrenaline will run my life for a month. This run will be the thing I focus on and everything else will have to take a backseat.

It’s a big part of what the show is about: feeling as though you’re now getting your life right. I think we’ve become so used to consuming everyone else’s lives, it’s really easy to feel as though we’re not doing enough.

Tell us about your show.

I wrote it and I perform it (the Earth just shattered). I wrote it a while back now and it felt a little bit like falling in love. When I would talk to friends about it felt a little bit as though I was talking about a crush. Sometimes you write something and it feels like wading through the thickest, nastiest mud to get it to where you want it. Whereas this felt, yes, like hard work, but it felt like a crush that would always text back. Whenever I was stressed, it would resolve itself. I would find a way forward. It was the best feeling and I’m so proud of it.

I then staged a couple workshop performances at spaces in London, after I had some wonderful friends watch me do it in my living room many times, to make sure I wasn’t entirely delusional and that it would work in front of an audience. Thank god audiences laughed and also loved the ending.
I then eventually got connected to amazing producers at HOME in Manchester, Lisa and Saff, who programmed the show for a four night run. That was the first time the show got reviewed, and it felt great to see critics and audiences connect with the play over that week and find it really funny. The play then got put on at Oxford Playhouse, and Theatre Royal Bath for short runs which were both wonderful.

Saff connected me to PJ, who read it and said she wanted to produce it for Edinburgh Fringe, and so here we are. As for after? Time will tell!

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

My dear, incredible friend Toby Graham is doing his play Slugs at 12:55 at Pleasance Courtyard. I can’t wait for people to see what he’s written. It’s darkly funny, it’s uncomfortable in the best way and I think people are really going to want to dissect what they’ve just seen when they watch it.

I’m really excited to see Katrina Bennett’s play Cruising. I’m not sure how you could read the blurb on the Fringe website and not be intrigued.

Racists, Recessions and Revolutions as well as Thermodrama both high on my list too!

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EdFringe Talk: Merlesque: How an Adult Woman Became a Mermaid

Posted in *EdFestivals 2026, *Written Interviews by

“A year ago I decided to become a mermaid. I was working in policy when Trump was elected and our funding was rescinded.”

WHO: Elle Rochford

WHAT: “Merlesque is ultimately a tale about a tail. Dr Elle Rochford is a policy expert uprooted by America’s 2024 presidential election. Finding her PhD useless in a dry job market, Elle decides to get wet. A real fish out of water epic, Merlesque is the true story of how she transformed from a statistician into a birthday party mermaid. Because sometimes all you can do is lean into the absurdity, challenge fascism, and keep treading water.”

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

WHEN: 21:35 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes! I have family in Scotland but I’ve never been to Edinburgh. I still can’t believe I’m on my way to perform at the biggest comedy festival in the world!

I can’t imagine a better place to premiere a show. Edinburgh Fringe is unlike any other festival in terms of scale and reputation. It’s THE place to see people and shows before they become household names. I can’t wait to be inspired by the new and experimental work. Meeting comedians and performers from around the world is almost as exciting as getting to do my show.

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

A year ago I decided to become a mermaid. I was working in policy when Trump was elected and our funding was rescinded. During my job hunt a friend of friend referred me to mermaiding. She worked as a birthday party mermaid and explained how to get started. It was a huge departure from anything I’d ever done but after taking improv classes I’ve really embraced a “yes and” mentality. I’ve been saying yes to big, absurd dreams. Why not dive in to a new adventure?

Tell us about your show.

My show is the true story of how I went from a statistician to a birthday party mermaid. I had big plans to get a little house, a dog, and start my family but life and American politics got in the way. Now I’m a mermaid comedian, a real clownfish and I’m taking my story to Edinburgh Fringe. My producer Emily Nevins is a talented performer in her own right. We met while I was working on Outlaugh a comedy competition show with the rules of the tv show Survivor. The creator of Outlaugh, Jared Laxer, is the assistant producer of Merlesque. Jared and I met when I competed on Outlaugh. I was immediately eliminated but began working behind the scenes. Now Jared and I coproduce shows in New York City. Merlesque is premiering at Fringe and I plan to run it in New York in the fall.

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

I am the cohost of Outlaugh: Edinburgh, a comedy show with the rules of the tv show Survivor! Outlaugh will be doing a six day run. Twelve comedians, six shows, one winner. I’ll be guest starring one night on Lil’ Miss Kate Ward of the State is live 1930s radio play about a precocious and adventurous orphan. Each show will have a new story and new guest stars so it’s worth checking out more than once. I also highly recommend Kento’s Japanese Grandma Funeral. Kento balances grief and absurdity with this toughing clown show. Can’t get enough mermaid content? Check out Eleanor Morton’s show The Mermaid.

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EdFringe Talk: Lizzy Sunshine

Posted in *EdFestivals 2026, *Written Interviews by

“The lesson that I’ve absorbed the most is you must rest as hard as you work. I’ve prioritized rest, breaks, and my health in the last year so that when it’s time to go Beast Mode I’m well-equipped!”

WHO: Liz Coin

WHAT: “When her partner doesn’t show, Lizzy Sunshine makes the audience her co-star. She promised a two-person show. She got… you. Following sold-out runs at Soho Playhouse and beyond, Liz Coin is BACK with this chaotic, feel-good spectacle! Expect a fast-paced hour packed with gags gone wrong, big characters and something real just beneath the surface. ‘A smart piece of theater masquerading as a clown show’ ***** (TheatreVillage.co.uk). ‘A master of comedy & audience engagement’ ***** (RichardsTheatreReviews.com). ***** (Young-Perspective.net). ***** (EvulveProductions.com). ****** (Liz’s Mom).”

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

WHEN: 14:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This will be my SECOND time in Edinburgh! I came to the Fringe for the first time last summer for the first 2 weeks with a more work-in-progress version of Lizzy Sunshine. It was incredible and a WHIRLWIND – everything was new to me and so exciting! This year I’m doing the full month, fundraised 5x the amount of money, have a team of 4, and know a bit more of what to expect/how to succeed. And I know better than to call it “EdinBERG” so that’s a start.

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

This last year has felt like my necktie was caught in a rocket ship – SO much growth, new opportunities, and a bit of a “level up” on my social media and general resume. I’ve learned that the more you put yourself out there the more you get picked up, which I suppose seems obvious but is easier said than done. I’ve learned a ton about content creation, crowdfunding (we raised $14k for Fringe), and touring with a solo show. In the last 12 months I’ve done my show in Chicago, North Carolina, New York City, and London. Some major lessons include: film every show because you never know which will be “the good one,” cancel the show if you are actually too sick to perform (I had pneumonia & still performed… dumb), and you will always feel like you’re behind. You’re not, you’re right on time.

The lesson that I’ve absorbed the most is you must rest as hard as you work. I’ve prioritized rest, breaks, and my health in the last year so that when it’s time to go Beast Mode I’m well-equipped!

Tell us about your show.

I wrote Lizzy Sunshine and have been developing it since 2024! The original idea was an over-the-top charismatic, energetic young girl putting on a show with her addict brother who promised to show up but never does. Lizzy Sunshine was a nickname from my mom because I’d always make the bad times brighter, and this show is for all the people who had to learn how to become sunshine.

I promise it’s not sad – Lizzy sees her shows as giving Broadway spectacle, in reality it’s giving church basement and the Glee soundtrack.

I first developed the show with Tim Murray (Witches, HBO) into a 20 minute piece for Solocom NYC. It matured into a full-fledged hour through trial and error shows in NYC, Minneapolis, and even my Iowa hometown community theatre! I worked with Holly Mandel on plot strengthening, and eventually brought on my now-director Makena Reynolds. Makena is an incredible director who saw my very first 20-minute piece ON ACCIDENT in 2024.

I have been my own producer from the jump, even as we dove into uncharted waters Off-Broadway at Soho Playhouse (sold-out baby!) and Off-West End in London at the Drayton Arms Theatre. This summer I’ve brought on some associate producers (Lauren Herd and Ron Weiss) to help, as well as a few Northwestern University students to be my production support staff.

After Fringe, I will be taking the show back to the states to be turned into a special! My dream is to have Dropout produce it. I am really hoping to meet more industry people this Fringe and make connections in the Film/TV space. The plan is to develop the show concept/character into its own pilot and work on pitching that! Lizzy Sunshine is just the beginning of my writing career and I’m so proud that it will always be the first big chance I took on myself.

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

YESSS go see Sid Singh’s Love Bombing – I saw him do it in London and it’s hilarious and lowkey VERY touching. I’d also recommend Alexis Sakellaris’s “Child Star” – he talks and sings about being in the German Glee and it’s ridiculous and perfect.

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EdFringe Talk: I Almost Died for This?! (A love story. Sort of.)

Posted in *EdFestivals 2026, *Written Interviews by

“The huge challenge of Edfringe is probably a big part of what makes it such an amazing and satisfying experience overall.”

WHO: Kristina Libby

WHAT: “‘A powerful piece about love, loss, and choosing connection’ ***** (AllAboutSolo.com). ‘All Soul’ (Forbes). Winner: Best Storytelling Show – United Solo Fest. I Almost Died for This?! is a one-woman show about a good girl who meets her soulmate, gets in way over her head, suffers a brain injury, and comes roaring back. Kristina Libby has been published in The New Yorker, McSweeney’s, Elle, and appeared on ABC, NBC, CBS and PBS.”

WHERE: Space 1 at theSpace on the Mile (Venue 39) 

WHEN: Varies (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No! I went last year as an audience member and fell in love with the whole experience. I loved it; it felt spiritual and magical and I wanted to be part of that. I love the small spaces and big, ambitious shows. As an audience member I felt like I received so much wisdom and of course, there is so much joy and laughter. I was already developing my show, I Almost Died for This, but attending gave me rocket fuel to really make a great show and bring it back.

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

In the last twelve months, I’ve really seen how essential authentic and transparent communication is with each other. My show is my true story, laid as bare as possible, so as to allow other people to see themselves and find a sacred space to share their feelings.

So much of my life was about being a “good girl” and required that I behave with a mask on my true wants and needs. But, when I was able to finally be myself, I was also to really have deep, compelling and meaningful conversations with people who then felt free to be themselves. I think that is the power of this show but also the power of living as holistically as we can.

Tell us about your show.

My show, I Almost Died for This?!, is autobiographical. It’s the story of a good girl, who gets in way over her head, finds a soulmate, loses a soulmate, gets a traumatic brain injury and then comes roaring back. The recovery is due to the twinned healing power of art and community.

It’s self-written and self-produced. But directed by Padraic Lillis with violin accompaniment by Daniel Lee. We performed in NYC twice – both times for 3 night runs to sold out audiences and great reviews. All About Solo gave the show five stars and said “May we all have Kristina Libby’s heart.” On the strength of those runs, we are taking it to Fringe – but also I love the festival. It’s a beautiful month celebrating creativity and creative voices. I can’t wait to be there!

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

Friendliest by Drew Lausch – a twisty story with an ending you won’t expect.

Once Upon A Wall Street by Jerry Topitzer – Jerry takes on the secret nature of the financial world with real wit. It’s sharp, funny, and surprisingly moving.

How to Poop in an Outhouse at 54 Below by Kona Morris – The title alone should be enough! Kona is a fearless storyteller who commits fully to the bit and takes you somewhere completely unexpected.

Stay by Sally Brooks – Sally’s work is deeply human and tells a beautiful story of how one unexpected act can change an entire life.

American Assholes: Escape to Edinburgh by Lauren LoGiudice – Lauren is one of the funniest people I know, and this is her at her best: irreverent, self-aware, and a total blast.

Duck by Sam Morrison – Sam is a brilliant performer with a sharp eye for the human in the comedy. A must see!

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