“The original version of The Spy Network was over fifty pages long, packed with brilliant ideas, historical rabbit holes and unexpected twists. Refining it into a fast-paced 50-minute Fringe show has meant making some difficult decisions…”
WHO: Leanne Taylor
WHAT: “On the morning of February 8, 1587, Mary, Queen of Scots enters the great hall where she’ll soon be executed for treason. There she meets Barnaby Fulke, an enigmatic actor sent to provide merriment before the chop. With one last chance to set the record straight, Mary stages her story, revisiting the spies, secrets and betrayals that sealed her fate. Secret codes, espionage and treason propel this gripping three-hander through Scotland’s turbulent past. But history isn’t always written until the last act and in the life of Mary, there is still one final scene left to play.”
WHERE: Thistle Theatre at Greenside @ Riddles Court (Venue 16)
WHEN: 13:50 (50 min)
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Is this your first time to Edinburgh?
As a company, this is actually our first Fringe experience. I’ve been many times as an audience member and our director performed a very long time ago. The things we remember most from those experiences are just feeling the excitement and buzz of the city. This huge monster of creativity, it’s incredibly powerful. The whole company are stupidly excited about being part of that. We have no real idea of what might happen and that’s very invigorating, as well as a little terrifying.
What are the big things you’ve learned since 2025 and have you absorbed any of the lessons yet?
One of the biggest lessons has been learning how to take a show created through genuine collaboration with young people and prepare it for the Fringe without losing what made it special in the first place. We work with NEET (Not in Education, Employment or Training) young people over eight months, giving them the freedom to shape every aspect of a new production. They choose the subject matter, challenge ideas, question assumptions and work alongside professional theatre-makers to create a script that is truly their own.
The original version of The Spy Network was over fifty pages long, packed with brilliant ideas, historical rabbit holes and unexpected twists. Refining it into a fast-paced 50-minute Fringe show has meant making some difficult decisions, but we’ve been determined to preserve the humour, curiosity and originality that came from the young people’s imaginations. Their questions about history – whose voices are heard, whose are missing, and whether we can ever really know the truth – have become the beating heart of the production.
Perhaps the biggest lesson is the same one audiences discover in The Spy Network: never accept the first version of the story. Question it, test it, and be prepared to see it differently.
Tell us about your show.
The production was developed through Shooting Fish Theatre Company’s collaborative new writing process. Rather than beginning with a completed script, we spent eight months working alongside a group of NEET (Not in Education, Employment or Training) young people from Gainsborough, Lincolnshire, co-creating the story from scratch. Participants researched history, debated evidence, explored different interpretations of Mary’s life and helped shape the script alongside our professional creative team. The idea itself came from one young person with an infectious enthusiasm for Mary, Queen of Scots, and his passion quickly won the rest of the group over.
The final script was written by writer Neil Edwards, drawing together the ideas, research and creative contributions generated through the co-creation process. The production is Directed by Emily Bignell, produced by Leanne Taylor, designed by Laura Cordery with a team of professional actors bringing the story to life.
Our production offers audiences the chance to engage with the story of an incredibly important Scottish icon in a city steeped in history. The story is absolutely fascinating and will provide a refreshing take on historical events. It’s a quality production, performed by 3 incredible actors who give an absolute masterclass in performance, slipping seamlessly between characters.
The Spy Network premiered at Trinity Arts Centre in Gainsborough in 2025, where it received a fantastic response from local audiences. Since then, we’ve refined the production into a tighter, faster-paced Fringe version while preserving the humour, and collaborative spirit that made the original so distinctive.
Following Edinburgh, our ambition is to tour The Spy Network in 2027. We’re using the Fringe as a launchpad: testing and refining the production, connecting with venue programmers and presenters, and building a strong body of reviews and audience feedback. Every performance, conversation and opportunity in Edinburgh is part of our strategy to give the show the best possible life beyond the Festival and introduce it to audiences across the UK.
What should your audience see at the festivals after they’ve seen your show?
One of the best things about the Fringe is stumbling across work that surprises you, and we’re hoping to do plenty of that this year. We just need to find time to lock ourselves away with the programme (because who doesn’t love the printed version?) somewhere between PR, producing and performing!
If we had to pick a few shows, we’re really looking forward to Bloody Marys by Blue Fire Theatre Company at theSpace @ Venue 45. A show celebrating the many remarkable Marys throughout history feels like the perfect companion piece to The Spy Network, and we’re intrigued to discover which Mary we’d each invite to dinner.
Gravity & Other Myths (Main Hall at Assembly Hall) is also right at the top of our list. We saw them last year and were completely blown away by the athleticism, creativity and the insane precision of their work. It’s one of those rare shows that has you on the edge of your seat the entire show!
We’re also excited to see ROLEPLAY (Summerhall). As a female-led theatre company, we’re always interested in work that explores women’s voices and experiences in bold and original ways. Its darkly funny take on feminism, identity and the pressure of creating a personal brand really struck a chord.
And finally, Goodbye Dandelion (Belly Dancer at Underbelly) has caught our eye. It sounds funny, and moving, exploring friendship, loss and what it means to really live. It’s exactly the sort of storytelling that makes Edinburgh such a special place to spend a month.
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