EDINBURGH FRINGE: 19TH - 30TH AUGUST 2026
Back in the day, notably my 'bachelor with no other life commitments' days, I'd do the full month in Edinburgh. In fact, a majority of my 20 years at the festival have been just that. I've had a mix bag, it mostly tends to have a positive start > really bad struggle reflected in rather depressing social media posts that worry my friends and family > bigger audiences and a sense that next year I'll nail it > drifts a bit at the end. That's how the Edinburgh Fringe gets you, you see? There's always a sense that next year, it'll be the 'one.' More recently, ie, the last two years, I've started having shorter runs at the festival...a tiny bit because of finances, a bit because my wife is a headteacher and the summer holidays really is the only chance we get to go away, but also mostly because I still feel I can achieve good things and feel creatively satisfied without having to spend three and a bit weeks up in Scotland. The Edinburgh Fringe is, and will always be, my favourite place in the whole world, I want to do it forever, in some form or another. Having spent the last couple of years doing a week, I decided this year that I want to do a bit more, so a 'half run' it is, with a staggered start but eventually four shows a day.
Three of those shows were with the amazing PBH Free Fringe, with Offgridland in a paid venue because I wanted to be certain of no noise bleed. For the paid option, I went with Greenside, where I've had a nice time before. All four shows were easy enough to get over the line, but I guess they all know me, not sure how easy it would be if I was a first timer.
My accommodation was overpriced and much further out than I thought, I was under the impression that I was getting a kitchenette and paid extra, only to be told on arrival that it was even more extra, and felt a bit conned. It seems to be about forty minutes from everywhere when I could have got somewhere closer for the same price. Grumblings aside, it's a quiet, secure, ensuite room, and the walk will probably be good for me or something despite my massively heavy drum on my back.
Walked to my first venue (42 minutes) in the absolute pissing rain. So much rain. Proper, flood levels of rain. Soaked through to my pants level of rain. Enough to put audiences off, especially as my venue for Restless Monkey Chops was a bit out of town. As the act before me said, "I've been here all month, the numbers are quite low...the audience really do have to want to see you to come out this way." That's fine, I like it when an audience knows exactly what they're getting rather than walking in saying, "go on then, make me laugh." I expected a no-show, given the extreme weather, the location and the fact it was a dreary Wednesday, and it was pretty much that apart from my friend, Chris, a director for PBH, and we went for a pint instead. He's a popular act but he only had one in today himself. We stayed to watch a show and then I headed over to my evening gig, hosting MegaBeat Comedy, where I drum to comedians. We tried this format out in Cambridge a few weeks back, it could always go either way but I'm fairly confident. My room for that is at the back of a loud bar, and Celtic were on the telly in a European match. I have three guests a night for this and my three acts were lovely and willing. For a majority of the show, we had an audience of one, a lovely man called Steve, who was honestly a joy. By the end, a few more walked in and we had about 8 people, but they only caught the end. I'm confident I'm onto a good thing with this show, even if I've walked a LOT on day one, worked hard and not earned a penny.
Day two was a slightly, only slightly, better one. What with Alex and Nicole, my actors, not arriving until Friday evening, I had a tricky situation in the sense that our play was due to open today...I'd known this was the case for a long time, the offer came in, I accepted it, and then we worked out the logistics afterwards. Suffice to say, I was worried about today, but I shouldn't have been. Another audience of 1, a man called Kevin, who had seen me before and seems to like my work. The show felt lovely, more like a TED talk than a play, a talk about why bands don't make it. He's in a band and he totally got it. I like this solo version...don't tell the cast. And then for the early evening stand-up show I had an audience of 2, both of whom were really lovely and I had a nice time. For MegaBeat Comedy we had one person in again, this time a German man called David who was brilliant. All three guest comedians gave it everything, it was such a fun evening despite the noise bleed from the quiz in the main bar. We had a great time, but this show really deserves an audience - it's in a central room.
As the run continued, I started to begrudge the location of my 6pm show for Restless Monkey Chops. I've tried flyering it, but there wasn't much footfall outside...well, there was, but it was mostly hen parties and non-fringe people. Yet, if you flyered it on the Royal Mile you'd a) be lost in a sea of a thousand over people giving out scraps of paper and b) the audience couldn't be arsed to walk this far out anyway. Of course, I wasn't the only one having issues, I had friends in that room who are paying multiple people to flyer for them to still only get a handful of people in. Location is everything, is having a gimmick, and I didn't really have either. What I did have though, was a 4-mile round walk, to often not do a show, with a small drum kit on my back. Physically, this show was starting to cause me a bit of pain, physically. I tried to be positive, reminding myself it's good for my steps, and sometimes rather than head back, I'd just stay out and get dinner instead but that was all getting rather expensive. Of the 11 days I was booked to do there, the show happened only 6 times, with the other days being a complete no-show. My biggest audience was 6. Yet, everyone who did see it, loved it, it's a tight show. My favourite was on the final Friday to just two people who really, really got it. My least favourite was to a family of four Canadians who didn't get any of the references but called me a "true fringe experience." Nice room, but wrong location.
During my Edinburgh Fringe run of shows, I walked a minimum of seven miles a day, often more.
As a contrast to Restless Monkey Chops, MegaBeat Comedy, my newest format, soon took off nicely. Three or four guest comedians every night who were all absolute top-notch and bought into the concept. I get the sense sometimes that those onstage were enjoying it more than the audience, such is the challenge of performing to drums, but it soon grew into a thing where other comedians were telling their friends to be in this show as it's such fun, there's certainly a bit of a buzz about this and the show will continue long after Edinburgh. Weekday audiences seem to be about 8-10 people, but at the weekends we were either full or nearly full. The first Saturday was my favourite; four absolutely bonkers acts and a room full of people just going with it. A lot of lovely words were said on social media afterwards about this crazy new show that I'd created. My least favourite was the following Friday, where the venue was once again at full capacity but it was drunk students who made life a bit trickier for the acts, it felt like a really aggressive panto and my guests did brilliantly to keep going. On the whole though, a hit show, and lots of new friends made along the way.
Offgridland didn't quite hit the heights I was hoping for in terms of numbers. I indeed had two no-shows out of my six scheduled performances, but those who did see it, seemed to really enjoy it. Including a reviewer from the national press who seemed to love it, before giving it a less-than-positive review - she praised my writing, but didn't like my performance. I've looked her up, she's fresh from uni, it's always a bit strange getting appraised by somebody who has a much lesser CV than yours (and is literally half your age), but you can't please everyone and at least the review is behind a paywall so nobody can read it anyway unless they pay six quid, which I did. In searching for it, though, I did stumble across a review from the recent Camden performance that I didn't know existed and it was very positive. I think this show is very marmite, it's stressful but, well, that's the point of it. I still love it. And, amazingly, so did a promoter from the US who loved the show (he'd seen over a hundred shows this festival and said mine was one of his favourites) and wants to stay in touch with a view of me heading back over there at some point. Potentially exciting stuff happening, but who knows? I'm not convinced I needed to be in a paid venue for this, I spent a lot of money on this room and the Greenside front of house team showed very little in the way of enthusiasm when potential audience members walked up asking for show recommendations (their staff just seemed to be sat around eating all day). It's a shame as my previous experience working with them, a good three years ago, was overwhelmingly positive. Maybe their staff were just knackered as it was week three.
Talking of free venues that REALLY work, Edinburgh Central Youth Hostel is an absolute gift of a space to perform in. When we accepted it for Just Another Indie Band, I was a little sceptical as I didn't know the room, the location is a little out of town and also...maybe I'm a snob, but my vision of a 'hostel' wasn't what I thought would be appropriate for a fringe venue. How wrong I was; it's a lovely building and the conference room was an ideal space. The staff seemed to really embrace the fringe thing (it's their first year running it as a fringe venue) and you can see that they are quite excited by it, the whole thing left me feeling happy. I should have asked to put Offgridland in there and saved myself seven hundred quid. Just Another Indie Band was a surprise to me; we were quite late in booking it, Alex and Nicole were keen to do Edinburgh but we couldn't do our Brighton show, Physical Media, because the set was too big so I had to write something new. We had a few weeks of light rehearsals and then two very low-key previews. Normally before an Edinburgh run you'd have a lot more prep than this. But it just worked, from the off. A big part of that is, of course, the quality of Alex and Nicole - I work with them a lot and, not only do I consider them both to be very close friends, they just crack on with it with energy and perform it with humour and empathy. Another part of this is, perhaps, because it's the most simple script I've ever written...normally I go for depth, with layers and layers and callbacks and clever bits, but for this one, mostly because I pretty much only had a day to write it, it just tells the story without any faff. Audiences seemed to like that, a lot. Okay, so our numbers were never huge, in fact I don't think we even hit double figures, but every day I just left that venue with a little spring in my step.
Maybe it's a team thing. Doing solo shows can be a lonely experience, with but with Alex and Nicole (who are a couple in real life, and in the play they end up being one, too) it felt like we were in this together. We met up every night after my final show and discussed the day we've all had over several beers and they're a great sounding board. And massively supportive, too, on the day I had my less-than-positive review, they were clearly concerned and were waiting for me, with a pint of lager for yours truly on the table as I arrived. Good friends, really good friends.
I'm lucky; I have lots of good friends. My old chum (and Brighton Fringe co-writer) Helen came up for a few days and it was brilliant to hang out, she came to pretty much everything and even helped carry stuff around all day. An old pal, Gary, came over from Spain and watched a couple of my shows, Ian (the brother of my techie, Alan) kindly came to Offgridland, my old line-manager from 20 years ago, Chris, got the train from Dunblane to see Restless Monkey Chops near the end of the run and we had a nice dinner and catch up afterwards, a random pub catch up with comedian pal Friz, and, popping over from France to do a show I sadly couldn't catch as our timings clashed, my friend John joined us for a beer one night. It's never one beer with John, but, despite the slow morning after, it's always great to catch up. I feel like I've made a few good new friends, too, including poet Tony (who it turns out lives in the same area as me) after we appeared on a bill together, and lovely comedian Lizzy, who I've been Facebook friends with for years without really meeting properly but it's been great to be onstage with her twice over the last week and get to know her. We've joked about recording an album, but it could actually work.
Normally I'd do a bunch of guest spots, too, but as I was doing four shows a day and staying further out than normal, my options this year were limited. I did however have a great time guesting in Steve's brilliant poetry show (to the extent I'd love to bring my own poetry show to the festival next year...), and twice closing Commoners' Comedy, late night, at the Voodoo Rooms. Both brilliantly run shows by dear friends, or as Steve says, "fringe family."
I am lucky. A bit of perspective; a homeless man came to watch our play one morning, and then came to two more of my shows, always asking if it's okay if he "just pops in, I won't get in the way." At the end of the show, when the bucket goes around, he always tried to put in about 30p, apologising that it's not much, but I, gracefully, move the bucket away. He's had his struggles but he still goes to shows, and enjoys them. The Free Fringe is amazing.
I am lucky to be able to do this. Yes, the Edinburgh Fringe is an almighty struggle. Yes I did have to walk 7 miles a day with a drum kit, often to perform to three people, but the main reason why ANYBODY should do the Edinburgh Fringe is to become a better performer. Performing the same show, 11 days in a row, is a sure fire way of finding the nuisances in a piece of work and building confidence. I just love it, I love the struggle. Even when things felt really negative on the second day (when I just wasn't getting an audience for anything), I was making notes for my 2027 Edinburgh show. It's an addiction. It's what I am, and it's a beautiful city to be doing this in.
But...the Edinburgh Fringe does feel like it's struggling, more than ever. The bubble has burst; there was 3,649 shows registered for the festival this year...now baring in mind a lot of free shows don't register, it must be well over 4,000. Accommodation costs are ludicrous. Everything is more expensive than ever, it's racing ahead of inflation. Audiences are down. There are more shows than ever and fewer people to see them. You can see it out there, it's quieter than before. The 'big four' venues continue to thrive in their corporate ways, they'll be fine - they always will be, but the fringe needs to be a place where you have the freedom to explore, and try, new things without coming home bankrupt. So many people have explained this a lot better than me, but suffice to say - there's a bit of a backlash and many performers won't be coming back. I've always been niche, my stuff never really pulls a crowd, but it's been sad to see a lot of established comedy friends, who are usually packing rooms, having completely empty venues. My Facebook feed is literally just full of upset comics pulling shows.
People back home, watching on social media, don't seem to understand why we still do this to ourselves. But. Well. We do. And I, in the meantime, am all inspired by some of the joy that I've seen and I've started working on new material. Before then, 4 more fringe festivals in September and then we're done!
Total number of people who saw the shows (combined): 137
Accommodation costs: £1,892 (12 nights, student accommodation - ensuite, small)
Venue hire for Offgridland: £750
Venue hire for the other three shows: nothing because the PBH Free Fringe is amazing
Programme entry (just for Offgridland): £393.60 (yet the fringe society still takes an admin fee of ticket sales, which is insane)
Entry into the 'Wee Blue Book' for the free shows: nothing because the PBH Free Fringe is amazing
Fuel: my wife dropped me off and picked me up again before having a holiday in Scotland with her parents, let's call it £120
Money in from ticket sales for Offgridland: £68
Bucket money from Restless Monkey Chops: (estimate) £70
Bucket money from Just Another Indie Band: (estimate) £55
Bucket money from MegaBeat Comedy: (estimate): £90
Total: £2,872.60 loss
CAMDEN FRINGE: 3RD AND 4TH AUGUST 2026
I've always struggled with London shows...there's always so much on, it's always tough to get an audience. Previously for the Camden Fringe, though, I've somehow made it work - mostly with my time at the lovely Canal Cafe Theatre where I'd only make a small loss. This time I was at the very nice Lion and Unicorn Theatre. A 30-capacity, black box space, but you can see it is just a bit nicer than a lot of the other spaces of the same ilk - but with that, of course, comes a cost. The application process was simple enough, I applied, answered a load of questions, got offered a 2-night run. Interestingly, this is a venue that turned me down a few years ago. I was given the 'late' slot, which means an 8.30pm performance.
For my first day, the tech rehearsal was scheduled in for 3pm, for three hours, but I politely explained that we don't need three hours for a solo show, so we (my incredibly loyal techie, Alan, and myself) got in at 5pm and spent half an hour or so checking the audio and overcomplicated lighting system. Got dinner, had a quick drink, and then I performed the show to three people: a lady, who at one point was the only person who had booked, my dear friend Justin (who could have seen this show locally, indeed we even travelled from the same train station) and our front of house manager. The show ticked over nicely, I love Offgridland, even if it's losing me money.
For day two, the earlier sales reports looked like a no-show, but I had four in; a couple, an Irish chap, and that evening's front of house manager. The performance was fine, perhaps not as sparkling as last night, but I'm now at a stage with this show where I can pull it out of the bag, night after night. I enjoyed performing it, it's a good space and everyone laughed at the right times. Beforehand, as always, I speak to the audience. The couple told me they had a child-free evening, so looked online to see what was on and liked the look of my show, so booked. They didn't even know there was a Camden Fringe on yet they lived around the corner from the festival. And here's the problem: London is busy anyway, there are shows on every night, all over the city. It doesn't need a fringe festival. Especially one that's quite expensive to be part of and has no presence. There is very little in the way of advertising, no fanfair.
I don't mind paying the Lion and Unicorn a small wad of cash as I didn't meet the guarantee - they have staff to pay, overheads to pay, it must be expensive running a theatre in Kentish Town. Everyone there was lovely, and ultra professional, and the barman downstairs seemed like he really cared about the show. But I just don't see the point of the Camden Fringe, it's the only fringe I've done so far that's left a bit of a sour taste. Unless you're London-based and can pack it with mates, it's probably worth avoiding.
5 paying audience members over the 2 nights, plus two comps for the staff
Venue hire: £150 guarantee per night
Programme entry: £117 for online listing only, there was an extra fee to be in the (limited) printed programme which I declined
Train: £60 (for both nights)
Parking: £22 (for both nights)
Door money in: £40
Total: £459.86 loss
DURHAM FRINGE: 29TH JULY 2026
I arrived in Durham just before midnight, after the drive from Manchester where they decided to close most of the roads and I was diverted all over the place. Wonderful hotel, and man on the 24-hour check-in desk who said nice things about my shirt.
A good sleep, and then off to the Gala Theatre for my tech. This is my second year at the Durham Fringe, it's a new-ish festival that's obviously growing quickly; it seemed like it was twice the size this time around. It's run with almost military precision, the head seems to be a lady called Maria, who is one of the most focussed people I've ever met. Lots of communication in the run up to this, they absolutely love their details there and it's very much run like a very successful project. It's curated, so you have to be good and chosen by them.
I was in a great space this year, a proper theatre, with my own dressing room and everything. I'm used to being in dressing rooms with my bandmates, so it felt weird having one all to myself. I kinda just stared at the mirror for a bit, and then left the room, catching up briefly with my good friend, Rachel, who had a show in in the same space later that day.
Last year at this festival, I was in a big theatre, with a respectable-sized audience, but to me it didn't quite work, and I felt I couldn't get them into it...but they all said lovely things afterwards. This year? Exactly the same. It's a weird one; we all aspire for more, the bigger venues, but actually I don't think what I do works on the bigger stage. I mean, I could write bigger shows, of course, but my style has always been intimate, I want to see the whites of their eyes, I want the audience to feel my sweat as I really go for it. On a bigger stage, it just gets lost, a little.
They were a quiet crowd today, but then again it was 1.40pm on a Wednesday. They laughed at the bigger bits, it was fine. I don't think I was great today; near-line perfect and I was comfortable as I've run this show a lot now, but it felt a bit flat. It was alright, I just know I've been better.
The volunteers at the Durham Fringe were all super friendly and mega organised. The way this is going, it feels like Durham is being fast tracked to being a really big fringe festival.
16 paying audience members, plus 5 fellow performers/venue staff
Venue hire: None - just a refundable £100 deposit, venue takes £30% of the door
Programme entry (also festival registration): none
Hotel: £85
Parking: £5
Fuel from Manchester to Durham and then home: £40
Door money in: £101.50, my share is £71.05
Total: £58.95 loss
GREATER MANCHESTER FRINGE: 28TH JULY 2026
A really busy week; after the Colchester run I had another preview in Cambridge and then a day later I was back on the road, all the way up to Manchester. The Greater Manchester Fringe is often seen as one of the more established festivals, but I've never done it before - simply because everytime I've been in Manchester (always for band stuff, previously) I've absolutely hated driving around the city centre. The booking process was long, simply because lots of venues wanted to know more info about the show before accepting me, before I eventually went for a room above a pub near Chinatown. A cheap hire, and good communication beforehand, I always welcome both of these things.
The drive was fine, just...expensive. Fuel prices are shooting up, there's a £20 toll to pay (in my day it was surely only a couple quid?!) and the parking for three hours was £19. Bit of road rage in the town centre, but that was only because I got confused by lanes and everyone else seems to know where they're going.
I walked in and felt slightly intimidated by the main bar, loud, very sport heavy, and a brief moment of silence when pasty, floppy-haired Cambridge boy here entered. I was told my venue space was upstairs, and, in the aftermath of the recent World Cup, was still incredibly...well, football-ee. A small function room, which Mike, who was in charge of shows, then turned into a venue thanks to some black cloth and a good PA speaker. I liked Mike a lot, we spoke for a good 40 minutes or so as he was setting up the room, he's clearly really into this stuff and we all need people like him onside.
I had an audience of three today, two young lads and a very old man. I felt so relaxed, they bought into it quickly and I had a lovely show, despite a bit of noise bleed. I don't mind an audience of three when they totally get it, which they did today. The old man in particular said some very lovely things, and it was noted that a lot of performers would have pulled out of tonight but I seemed to enjoy it. The performance was also one of my strongest, there was no pressure there, I guess.
I then drove the three and a bit hours to Durham, ahead of my tech there tomorrow. Exhausted.
3 audience members
Venue hire: £25
Programme entry (also festival registration): £99
Parking: £19
Toll: £20
Fuel from Cambridge and then to Durham: £70
Door money in: £19
Total: £214 loss
COLCHESTER FRINGE SUMMER WEEKENDER: 25TH/26TH JULY 2026
The last time I was in Colchester, it was 13 years ago and it was my first really bad gig as a stand-up. I mean, really bad. The kind of 'life in danger' bad. The bad you only see in films. I hadn't been back since, until this weekend where I was booked for their fringe summer weekender. A smaller fringe ahead of their main fringe later in the year, I didn't get in last year but was accepted this time around - not sure why, same press quotes as before, maybe they just liked the sound of this one. Either way, I'm glad I did get it, and once accepted there was plenty of positive messages and a sense that it's well managed. Which it is, the team running it are great.
The drive in was fine, about an hour or so, until I actually got to Colchester and then it turns out Google Maps didn't recognise bus lanes and I was in one for quite a while. I pulled over and switched to Waze, which was much better, but I expect a ticket or two in the post. I felt a bit stressed after that, and, considering my ticket sales earlier that morning for the first show were 3, I was feeling a bit negative. Also, I didn't like the fact that my tech was at 2.30pm yet my show was at 7.30pm...that's a lot of waiting around. The tech itself was easy and the house technician was a wise, friendly man who made things very easy for me and the room - a 50 capacity that would look busy with 10, was perfect. I then went back to my car, moved the front seats forward, and set myself up a little office in the back. Used my phone as a hotspot, laptop out, and spent a good four hours working on one of the other shows we have heading to Edinburgh next month. Time well spent, actually enjoyed it - it's quite a nice NCP.
Much to my surprise, ticket sales crept up, and my first performance was an absolute joy. 16 in, including three friends I didn't expect to see (including Ed, who was in my very first Edinburgh show all those many, many years ago). A laugh-heavy audience, I buzzed around and had a lovely time...this is the best Offgridland has ever looked.
The second performance, a day later and this time an afternoon slot, wasn't bad, either. 13 in, a bit of a quieter audience but they laughed at the bigger bits and this is, after all, a play. I haven't stopped, having performed more house shows this week, too, so that's been 9 shows in 9 nights in multiple locations, alongside teaching by day, so maybe the energy dipped a little today but still had enough going for it. Used Waze to get here, no issues, and the staff at the venue (The Three Wise Monkeys) are all absolute top-notch.
Well done, Colchester, we can be friends again now.
16 audience members on day 1, 13 audience members on day 2
Venue hire: £80 (plus £150 refundable guarantee which you get back if you turn up)
Programme entry: none
Fuel from Cambridge: £50 across the two days
Door money in: £109.80
Total: £20.20 loss
BEDFEST (BEDFORD) FRINGE FESTIVAL: 23RD JULY 2026
A festival that's entirely in one building, the glorious Quarry Theatre, this was another curated festival (ie; you can't just book a slot yourself, you have to be chosen) so I was happy to be back. I had a great time there last year, but that was with a lively, musical, stand-up show, so to return with a more serious play felt like a slight risk. But it wasn't a risk because the people of Bedford were, once again, absolutely up for it.
The drive over was horrible; shouldn't have been but the relentless roadworks ruined what should have been a routine trip. Still, due to my mistiming, I was an hour an half early for my tech, which itself was an hour before my actual show. A weird habit I've picked up recently if I'm early: moving the front seats forward, and then sitting in the back of my car (basically a small van), with it's tinted windows and privacy, and having a good old nap. I slept for an hour. Refreshed, I lugged my big speaker, table and props bag to the theatre, where a kind member of staff showed me to the studio space and gave me a glass of water because I looked like I needed one. It's been a busy week...after the Buxton run, which was obviously straight after the Watford show, I was straight into a house show last night around my dear friend Bobby's house. Her and her husband, Martin, are always so kind to me, and I performed for two hours in front of their invited guests (Restless Monkey Chops was awful last night, Offgridland worked well). Today I taught for six hours before making the trip over, I think I deserved that kip.
The tech was easy enough, the friendly young techie who's name I can't remember recognised me from last year, he sorted me out a good fixed lighting state and left me to it. An audience of 30, for a 6.30pm Thursday slot, is fantastic...the venue holds 40, it felt and looked like a sell-out. You can always judge an audience by how they react to my pre-amble and tonight they were with me right from the start. Offgridland is a play, but it does have funny bits in, but typically audiences don't settle until about 10 minutes in when they work out what's actually happening (mostly a lanky man struggling to open a protein bar). Tonight, however, they got into it really quickly and I had a good time up there. I like a good studio theatre with plenty of pacing space, it just worked. If anything, I enjoyed it too much and got sloppy at one point, but snapped out of it. I know I'm an experienced, touring performer, who has been writing and performing solo shows for countless years, but sometimes (ie; Watford) it feels like I'm still an amateur trying his luck, but tonight was everything I think I actually am - I know what I'm doing, really, and everyone in that room looked like they knew they were in good hands. I appreciate this all sounds arrogant but it's not, it's just a reminder, because sometimes this coffee-driven energy comes across as being nervous, which I actually rarely am. Anyway, today worked, hurrah! Lovely to see my friends, Sammy and Simon there, sitting in the front row.
Got chatting to two people, separately, outside the venue after the show as I was leaving. One chap told me that his favourite line in the whole show was about protein bars looking like bird food. This was a line I improvised to fill a tiny bit of space as I'd rushed a bit of dialogue and had to keep the show moving before the audio track did it's thing, but I'll keep it in. And then a lovely young lady said, "your hour onstage was my one hour off. Now back to my shitty life, but thanks for making it a really fun break" - I almost wanted to run after her and ask why her life was so "shitty" but thought better of it. But I think what she meant was that Offgridland was her Offgridland, too. And just as my character has to return to the real world afterwards, so does she.
Drive home was ridiculous as they'd closed even more roads, closing them just I was about to get on them, so not even Waze could redirect me as it hadn't updated. I effectively drove through a lot of villages before somehow ending up half an hour from home. Soundtracked by the Dears album, 'Life is Beautiful! Life is Beautiful! Life is Beautiful!'
30 audience members
Venue hire: 30% of the door money
Programme entry: none
Fuel from Cambridge: £40 return (should have been less, it's not far, but with those many diversions...)
Door money in: £154
Total: £114 profit
BUXTON FRINGE FESTIVAL: 19TH/20TH/21ST JULY 2026
Having performed at a load of new festivals recently, I've been back at the Buxton Fringe for the last few days. This isn't a new festival, it's a really established one. I say 'back' - the last time I was there is was 2008. I went big this year, working with Underground venues, who seem to be at the high end of things at this festival, and, as a result the application process took a little longer. The team running it are great and kept me informed throughout, but they do quite a lot of checks to make sure you're professional enough for them before giving you a slot. As a reward for meeting their expectations, you're given a slot in a proper theatre, with nice PA, really good sound and excellent front of house. Their staff are all wonderful.
A three day run in beautiful Derbyshire (it's so lovely I've decided I want to live there one day), I even took my wife and dog with me so they could enjoy the walks and scenery whilst I pranced about onstage. Early tech at midday, meaning a 6am alarm call in Cambridge, which made me grumpy, but with our digs and parking all so close to the venue (by accident, it's not like I plan these things), it all felt so easy. The first day totally sold out, 50 people sweating it out with me. A quiet audience who perhaps were more 'theatre' than 'comedy', but they seemed engaged by it, at least. Day 2 saw me have an attendance of 26, which is still great for a 1pm Monday slot and a slightly more energised audience (including two lovely folk we met in a pizza restaurant the night before) and then on the final day I had a lovely 28, who were by far the most up for it of the run. Good numbers for an afternoon show, and a venue that is an absolute joy to perform in. It's high level stuff where the expectations are slightly different, but I enjoyed this one a lot.
102 audience members over three days
Venue hire: 40% of the box office, with a £170 deposit paid upfront
Programme entry: £77
Fuel from Cambridge: £60 return
Accommodation for 2 nights: £180
Door money in: £627.52
Total: £310.52 profit
WATFORD FRINGE FESTIVAL: 18TH JULY 2026
I nearly didn't get into this one, there seemed to be a bit of confusion on Eventotron, where a lot of the shows are booked. I chased it up and eventually managed to get things over the line in time. A peak, 7.30pm slot in a small room in an established venue, this is the sort of setting I'm usually at my best. Not sure why it didn't feel like that tonight; the audience were friendly at the start as I spoke to them and I was only a couple of seats off selling out, but by about 10 minutes into the show I could just feel they weren't really buying into it. Brief titters here and there, but the heat (let's blame the heat) and lack of energy in the room, despite the fact that I was giving it everything, just didn't sit well. Or maybe it did, I don't know, they applauded loudly at the end, one slightly older lady said "you were better than the other guy we've seen" but I have no idea how much she hated him, and then afterwards outside I had a lovely long chat to an audience member and I even gave her my email address so we can keep in touch and discuss all things fringe. So maybe it was okay after all, it just felt a bit flat on the night.
The volunteers there (one on sound, one on the door) were super helpful and the journey was hassle-free (bit of road rage on the way home, but that happens when you drive a slow car and other people are VERY impatient), I'm sure it's a lovely festival. We're all allowed an off night, yeah?
16 audience members
Venue hire: £50
Programme entry: Included in the venue hire
Fuel from Cambridge: £20 return
Door money in: £82
Total: £12 profit
HARLING FRINGE FESTIVAL: 12TH JULY 2026
A brand new festival, as in the very first year it's run. The lovely Sharon launched it, having moved to the area from Watford where she also ran their fringe (I'm there next week), and her enthusiasm and communication in the run up to this has been great (and it was nice to meet her in person before the show started, too). The show was booked earlier this year, a really simple and friendly process. There's no denying it's a very small festival, but well supported by the locals and you can see that it'll just grow and grow.
I've been struggling with the heat all week, and, having taught in the morning felt a bit flat during the drive to Norfolk. I'd never heard of Harling before, but it turns out it's just under an hour away, basically after Thetford but before you get to Norwich. It's a nice little place but does creep up on you. My slot, 4pm on a Sunday, is exactly what works for what I do (rather than, say, a late-night boozy stand-up gig), but...who goes to watch a play on a Sunday afternoon, a one-man play by somebody they've never heard of before? On arrival, I was wary of the Union Jack flags outside the venue, as, whilst I'm not particularly political, I'm probably the least Reform person you'd ever meet. But, it turns out, the flags were for last night's World Cup football and it was all rather nice in there, the staff incredibly welcoming and it all had a warm village feel to it. I even posted on social media beforehand that this is "the sort of venue I usually die in" but I was happy to be proved wrong, and the audience seemed to like the fact that I told them this. Performance started slowly but settled, the attendees, 14 of them, spread out which doesn't always work but because they wanted to like it, because they understood what was happening, it was a fun hour that ticked over nicely. I even stayed and had a pint with the locals afterwards. I'll be back next year.
14 audience members
Venue hire: £0
Programme entry: Registration £20 (online listing)
Fuel from Cambridge: £30 return
Door money in: £88
Total: £38 profit
THE LANGTON GREEN FRINGE: 4TH AND 5TH JULY 2026
A very small festival, in it's early years. No tickets sold so mutually cancelled with the promoter. I was supposed to be in the Rotunda Theatre, as I was in Brighton; it's run by lovely people who try very hard and seemed very sad on my behalf that there wasn't a single purchase over the two days, so a day before we agreed it's best that I don't make the four-hour round trip, twice, and save my fuel. No bother, as much as it is a shame as I love performing Offgridland and feel like it's really starting to settle (especially in the recent non-festival performances here in Cambridge), and it did mean I could do a bit of work and actually earn some money which, with Edinburgh looming, perhaps wasn't such a bad thing. I won't take it personally, the word from other performers also at the same festival is that they do have barely scraped an audience and a few were in the same boat as me with a big old '0' in sales. We're blaming it on the heat wave and the World Cup.
0 audience members
Venue hire: £30
Programme entry: None
Fuel from Cambridge: N/A
Door money in: N/A
Total: £30 loss.
THE SCARBOROUGH FRINGE FESTIVAL: 12TH JUNE 2026
This was one I nearly didn't get, as I had missed the deadline. I was waiting for a venue to get back to me, who didn't, but the joy of (without wishing to sound patronising) smaller festivals is that you can chat to the organisers directly, who can help you. That was totally the case here, as the lovely Catherine, who is in charge of the whole thing, suggested a few other spaces and I booked up a small room in the library. She very kindly accepted me into the festival despite being three days late. You wouldn't get this with Edinburgh.
That was all months ago, of course, but the communication and enthusiasm from them until the show had been top-notch.
After a few minor car issues this week which resulted in me having to buy FOUR new tyres, I was back on the road. I taught in the morning, and then made the long, but easy four-hour drive up north to perform Offgridland, complete with a new intro which I'm really happy with and will keep. It's a new pre-amble, to settle the audience in, before the audio kicks off the show properly. It was during that chat where a lady in the front row asked me to "slow down, please slow down, I'm not catching any of this" which wasn't a great sign as my shows are REALLY FAST. I did warn her, but she seemed to love the show, telling me so afterwards, I guess she just kinda embraced the chaos.
The festival is in it's third year, run by Catherine, who was there to welcome me on arrival, and the very helpful Rachel, who watched the show. Small room, eight people in (6 paying, plus Rachel and her partner who is the festival's photographer), all very friendly. A few pensioners in, but despite the chaotic energy they liked it, I think, in a smiling politely sort of way. Some big laughs at some bits which were in the show as funny asides, which was interesting...I guess people just like different stuff? Either way, it ticked over nicely enough. Jolly, if unspectacular, I'd say, and probably the tightest performance of it yet.
I've never been to Scarborough before but it's a lovely, rather chilled place, seems like it has a lot of open space, and it was all remarkably stress-free. The festival itself is quiet but growing, clearly run with a lot of love from the organisers who really care.
Home just after midnight. Eight-hour round trip for 8 people? Yeah, I'm cool with this.
8 audience members
Venue hire: I haven't been charged yet, so not sure if there is one, I may need to update this at some point
Programme entry: £30
Fuel from Cambridge: £70
Door money in: £51.84
Total: £48.16 loss.
THE RIK MAYALL COMEDY FESTIVAL: 31ST MAY AND 3RD JUNE 2026
I was at a party this evening, a 40th of a dear friend who I don't see very often. We don't have many mutual friends, in fact, I only knew one other person there tonight, and pretty much everyone else was a chef, as is indeed the birthday boy. I like the 'chef community' - they all seem to look out for each other, there's a lot of mutual respect. On my drive home, it hit me that it's pretty much the same in the comedy world, I certainly felt that at the Rik Mayall Comedy Festival during my two visits this week.
Now in its second year, there's a proper buzz about the Rik Mayall Comedy Festival, people seem to be travelling from far to attend and it's been getting plenty of great media coverage. Obviously, Rik Mayall was one of the, if not the, greatest comedy performers of all time and this festival, in his honour in Droitwich (quite near Birmingham) was where he grew up. There's so much love for Rik here, it's a fitting tribute.
Although a comedy festival, comedic plays seem welcome, and I was lucky enough to sell out here last year in its opening year, with my final ever performance (performance 136) of Harvey Greenfield is Running Late. The festival is curated (ie; you have to be good to be allowed to perform), and I was quickly offered the same slot in the same venue as 2025, at the lovely Old Cock Inn. I was also offered a second, midweek, slot at the local rugby club, which I accepted. For both days, I'm was performing Offgridland.
On Sunday we (myself and trusty techie, Alan) arrived nice and early. Waiting outside, I bumped into my old friend, Benjamin (aka President Obonjo) and it was great to catch up. The Old Cock Inn is a central venue, with the performance space being a perfect upstairs function room with a capacity of 45. It's a hot room, but they deal with it well with fans. I turned those fans off as it would interfere with the audio. Great to see Dave the photographer who took some cracking photos of me last year, he did so again this year. See, community, innit? I was six tickets off selling out, the room felt rammed and the performance wasn't bad - the intro was a bit rushed, everyone was too hot, but that punchline, once again, was met with big laughs and everyone seemed to leave happy. Many shook my sweaty hand, I signed a few programmes, that sort of thing. I like this show, it's getting closer to where it should be.
On Wednesday, I was back, this time for a 6pm performance at the Rugby Club. It's a trickier sell, an early evening, midweek show, slightly out of town, and I was wary because rugby clubs have a reputation of being, well, 'laddish' and this play isn't that and neither am I. I needn't had worried, though, the staff made me feel so welcome, I did the tech myself this time but the friendly man in charge helped me work the PA. It was a slightly newer version of the audio, another tweak by the mighty Alan who has an ear for things that aren't quite right and he's very quick at fixing them and sending the files back to me. The room was a small function room, 40 capacity, with Mitch Benn selling out the main room next door. I had five in, two couples and my mate Vince, who had dashed from his own show at the other end of town. I enjoyed it, a lot. Those five bought into it and it didn't feel awkward at all, the performance was tighter, apart from me missing out one vital bit early on but the show seemed to flow all the same. Again, the show is getting closer, just needs a few more runs to be as good as it should be.
My old fringe pal, Jonathan Hipkiss, popped in to say hello after my show and we had a great, if brief, catch up, before he had to go and perform in the main room. Bumped into Dave the photographer again and thanked him for the lovely images, and then had a quick drink with Vince before heading home. A lovely evening. See, comedy community, sometimes it's all about the people you meet along the way. 7-hour round trip on Wednesday (as the bastards closed every road on the way home) for an audience of 5. Would do it again in a heartbeat.
Although only two years in, The Rik Mayall Comedy Festival is already a proper fixture on the festival circuit, it's so well organised, with a lot of friendly volunteers and the communication throughout was exceptional. I just want to go back again now.
Show one: 39 audience members
Show two: 5 audience members
Venue hire: For show one it's 25% of the door, for show two - no fee.
Programme entry: £70 (2 x £35)
Fuel from Cambridge: For both shows combined, I reckon about £60
Door money in: Show one : £234 minus 25%, so £175,50. Show two: £30
Total: £75 profit
THE CAMBRIDGE FRINGE FESTIVAL: 24TH MAY 2026
A hometown show! The Cambridge Fringe, another reasonably new festival, always seems to fall on my birthday weekend, and this time it was actually on my birthday. I've performed at this festival every year since it's launch and it's run by a small team of incredibly organised, wonderful people, most of whom I know as comedians. The festival itself runs for 2 very hot, long days, across 4 venues, all on Mitchum's Corner, allowing audiences to dash between shows easily without having to walk far. In short, it's superbly thought through, and fantastically well promoted.
As it's a comedy festival, not an all-round fringe festival, I couldn't bring Offgridland to it, as that's a play, so I was back with Restless Monkey Chops. I didn't enjoy performing this show when I launched it in February in Leicester (all my fault, I should add, I just wasn't on it that day), but it's also one of my Edinburgh Fringe shows, so this festival was a great chance to rewrite it and get it August-ready. And rewrite I did...from scratch, a completely new show...about why shows don't work. A potentially risky format, but I really put the hours in last week, making the notes I made back in February after the first version didn't work, into 50 minutes of something worthwhile. It meant a return to stand-up, but still on my terms.
The booking for this show was confirmed in January; I was invited to apply by Dan (a friend, and he's one of the co-organisers of the festival) as I've previously performed there. My venue, as it was last year, was the backroom of the Waterman pub. With it's shed-like qualities and capacity of 30, it's a proper fringe space, the sort of space I tend to do well in rather than the big theatres. In the run up to it, though, I'd only sold 3 tickets. On the day, I had 26 in, which was a relief, and it looked and felt like a sellout - I couldn't see any remaining space.
Before the show, I was a guest in a compilation show in the same venue, performing 10 minutes of my 'club set' in front of about 15 people, on the bill with 4 other comedians, it was a nice midday way to ease myself into the day. Lunch, and then an hour later it was my show. It's a retrospective piece, looking back on various disasters, you know the drill, and I'm dressed as a monkey the whole time which, on the second hottest day of the year so far, wasn't the best move. Comfortably, though, the best I've felt on stage for a long time. For such a new show it seemed to land quickly. I admit, I knew seven of the 26 attendees (Kate, Bryan, Vicky, Alex, Nicole, Alan, Rishi), which helps when you need a laughter boost, but I think I had everyone onside from the start... it was just one of those shows where the audience wanted to like you, and so did.
The whole vibe of the Cambridge Fringe seems to be one of happiness; there are lots of acts bigger than me trying out Edinburgh shows, it feels like one for proper comedy fans to just dive into. A bit like Chesham on Friday, a bit of a hidden secret, but a lovely one.
I enjoyed that. A few of us then stayed out for long birthday beers, catching Ed Aczel's excellent show, and then more birthday beers. A long, slightly boozy end to the day in great company. Being 45 isn't so bad, you know.
26 audience members
Venue hire: £50 admin fee - no venue hire as such, with all of the door money mine
Programme entry: N/A
Fuel from Cambridge: Well, I got a cab in as I wanted to booze afterwards, but if I did drive myself in it would have been about a fiver, so let's call it that.
Door money in: £155
Total: £100 profit
CHESHAM FRINGE FESTIVAL: 22ND MAY 2026
One of the smaller, but still cracking, fringe festivals in the UK is the Chesham Fringe. Now in its third year, I was lucky enough to perform at the very first one a couple years ago and be invited back this year, this time performing Offgridland. The festival runs for three days, and this was the opening night. I was once again back in The Little Theatre, where I was previously, but it's not so 'little' - it's a proper theatre, with a raised stage and a capacity of what I think is 60.
Booking my spot at the festival seemed easier this time, because Ian, who I think is in charge (and seems like a very nice man) remembered me from last time. It's a curated festival, so rather than just booking a venue, you have to be approved by the organisers who allocate you a space and the quality is pretty high...Chesham is a small town (?), they are lucky to have such quality on their doorstep. Their most famous export, Alex Horne, was performing just down the road at the same time as me tonight with the Horne Section.
The vibe here can be summed up by the word 'lovely'. After an hour a half drive, in my little car which seems to have a growing crack in the windscreen (hey, heatwave, your timing is terrible!), I was early so waited outside, sat on some steps, to gather my thoughts and run my lines. Festival volunteers approached me, recognising me from the show listings, and checked in to make sure I'm okay - it's that kind of place. Peter, the soundguy (who I didn't need, but he seemed to also be locking up and generally just being around helping people) was a great sounding board as I tested my levels and he was incredibly positive throughout. He remembered me from a couple of years ago, and said some nice things post-show about my performance and how it reminded him of the great Andrew Sachs.
The audience were a broad range of ages, the two younger couples in the front row were particularly good value when I spoke to them beforehand, indeed one of them mentioned about seeing me in Edinburgh this year. They were very much a 'theatre' audience, taking it in, rather than belly laughs, but they seemed to be with me throughout, despite the 9pm start and the excessive heat. Performance-wise I was quite relaxed (as much as Paul Richards can be) going into it, it started well, then had the dip around the 40-minute mark which to me felt like a disaster but I doubt the audience noticed (it's the same bit every time, seriously, Richards, just rewrite that bit, it doesn't work). The punchline to the whole show was met with roaring approval, as if the whole 50 minutes was actually worthwhile and this was all leading to something after all. I like it when that happens, it happened on the first day in Brighton but not the second, not that I dwell on these things.
Good little show, this, but it can be so much better. And it will, it's on the right track. The drive home was soundtracked by the wonderful radio 4 comedy, North by Northamptonshire, which is an incredibly beautiful bit of comedic writing and should be heard by everyone.
Chesham is lovely and their fringe festival is equally lovely. I hope it doesn't get too big, it almost feels like a hidden secret, and it works so well like this.
22 audience members
Venue hire: none - I'm on a door split (60/40 in my favour)
Programme entry: N/A - online listing only, I think
Fuel from Cambridge: £30
Door money in: £144
Total: £114 profit
BRIGHTON FRINGE FESTIVAL: 9TH/10TH MAY 2026
After a bit of a slow start to the fringe year, I'm now on a bit of a run of festivals and first up is Brighton. My eighth time at the festival, and fourth consecutive year...and fourth with a pretty similar production team. For this festival, I was there with three shows; Offgridland, Physical Media and When Gary Left Annie* (*Almost).
Physical Media was a show I wrote for my dear friends, and mightily talented actors, Alex Machell and Nicole Horst. They asked me write them a show at the end of last year, for Brighton, as we've done this festival a few times together and had a marvellous time. I wrote it in early December and we had our first reading in January, but, due to everyone being so busy (mostly with other shows), rehearsals didn't start properly until a month before the fringe, but they were in the safe hands of director Izzy Rees, another one of our regular team. As well as writing it, I played a small role in it, too.
Offgridland is my main tour show for the year. It's a solo show, a play I've been writing for a good while, and I'm under the strict but cracking direction of Cara Hanman, another trusted member of our team who has a sharp comedic brain. Rehearsals have been regular and intense.
When Gary Left Annie* (*Almost) is a collaboration with my friend, Helen Pain, who I've known for about 7 or 8 years now, after we met at the Swindon Fringe, where she was working and I was performing (and indeed winning an award). She's based in Swindon, but we've always wanted to write and perform a show together, and when she came up to Cambridge to meet me for lunch in February we started jotting down ideas, which eventually became a show. We agreed our parts, wrote individually, emailed each other bits, spoke quite a lot on the phone but only really rehearsed once, back in Swindon, above a pub, before she came to Cambridge for a preview and we ran it several times in my living room beforehand.
The Brighton Fringe is the second largest UK festival behind Edinburgh, but there's quite a gap between them. In fact, it's hard to believe there is a festival on if you're walking down the street - there's nobody jumping at you to give you a flyer, and it's not like every pub/coffee house/hotel/toilet has been made into a venue. No buzz, possibly because it's all so spread out, yet Brighton still gets away with being a good weekend away as it's beautiful.
The lovely, if baffling thing about this festival, though is that people do come to shows, they do seem to know about the events even if it may not look like it's been advertised everywhere. Our numbers for Physical Media was outstanding for both days, and brilliant for Offgridland and Gary/Annie on day one (the Saturday) before being naturally lower on the Sunday.
Now, who's idea was it to bring three brand new shows to the same festival over the weekend? No wonder I look so tired. With all three shows in rehearsals all week, followed by two intimate, but fun sell-out previews in Cambridge, we arrived in Brighton on the Friday night in high spirits. Checked into our digs, had a few team beers.
Physical Media and Offgridland were both in the Rotunda Theatre; a well-presented marquee on a pretty patch of grass above an underground car park. A great location, and an established venue. Run by the ever helpful Michelle and Ross, who I've always liked. With both shows back-to-back, it means we could share a tech rehearsal, with our regular techie (and close friend) Alan Morgan on sound duties. Both shows opened to large, positive audiences on the Saturday, before I dashed off with Helen to our evening venue, Ironworks Studios, for the Gary/Annie show. I was a little apprehensive about this venue, simply because it was a new one to me, but it couldn't have been more perfect for our show. The staff were lovely, the space - basically a cafe that's been separated off to feel more like a venue, had a tidy little stage and the venue itself had room for about 30 people. We performed to a wonderful, laugh-heavy audience, and a reviewer who seemed to love it. We were buzzing afterwards and celebrated by joining the others at the Mucky Duck pub for incredibly hot Thai food.
Physical Media was hit by technical difficulties on the Sunday, a brief powercut mid-show, and constant wind battling the marquee. The team did well to get through it. I also struggled with the wind bashing the marquee (and door of the venue) during Offgridland, but given the chaotic nature of my shows, it seemed to add something to it. The Gary/Annie show ended to a small but appreciative audience, where I was a little off the pace but Helen's relentless energy carried it through.
As far as fringe festivals go, Brighton Fringe for me is always a safe banker (in terms of fun, reviews, creative satisfaction, if not financially), there's a reason why we keep coming back. True, so we do treat it as a bit of a social, but also the venues and audiences are typically always lovely. I'll keep coming back.
The figures:
Physical Media: 41 audience members (including 3 comps, and 1 reviewer)
Offgridland: 25 (including 3 comps)
When Gary Left Annie: 28 (including 3 comps and 1 reviewer)
Venue hire for Physical Media: £180
Venue hire for Offgridland: £180
Venue hire for When Gary Left Annie: £270
Programme entry (combined for all three shows): £357
Fuel from Cambridge: £35
Accommodation costs for 2 nights (my share, split between four of us): £170
Door money in: £612.21
Total: £409.79 loss (BUT ... we also made £92.12 in the local Cambridge previews, so I'm saying the loss was only £317.67)
A QUICK UPDATE (9TH MARCH 2026)
I appreciate it's been just over a month since the last update, when this adventure started. That's because there haven't been any other festivals since then, but boy...the admin has been insane! The next festival isn't until Brighton in May, but then there are plenty after that. My shows (two solo, one duo, one full cast) are all in rehearsals ahead of the forthcoming theatrical onslaught. Anyway, here's the latest:
Confirmed festivals: Bedfringe (Bedford), Brighton Fringe, Edinburgh Fringe, Langton Green Fringe, Cheltenham Fringe, Camden Fringe, The Rik Mayall Comedy Festival, Chesham Fringe, Cambridge Comedy Festival.
Offers in for: Durham Fringe (just awaiting a contract but I've said yes and agreed the dates)
Accepted for but haven't found a venue yet: Watford Fringe, Greater Manchester Fringe, Scarborough Fringe
Applications in for: Dundee Fringe, Buxton Fringe, Colchester Fringe weekender festival, Lambeth Fringe, Guildford Fringe, Shaftesbury Fringe, Tunbridge Wells Fringe.
It didn't work out with: Barnstaple Theatre Fest (because it's a ballot draw and I wasn't lucky to get picked - shame as I like there and I've had a good time previously), Bath Fringe (because the website was massively confusing after I'd set up my account - it's standard to find your own venue, I get that and happy to do so, but they didn't list any options...I'm guessing I had to randomly Google venues in Bath and ask them if they want a show? I'm still confused, and by the time I queried it, I'd missed the deadline), Ludlow Fringe (because it doesn't exist anymore, it's now the Ludlow History Festival)
LEICESTER COMEDY FESTIVAL: 5TH FEBRUARY 2026
February feels very early in the year to start my fringe adventures, and I was booked to perform in the opening week of the festival, too, which added to my sense of urgency. My promoter for this, the wonderful Ben at Foxy Comedy, booked me in early October last year, and shortly after there was the programme deadline. In October though, February next year feels like a long way off and it really does spring up on you, especially with Christmas dominating a chunk of that time. I'd spent a lot of Christmas writing a play for two cracking actors, Alex and Nicole, which will first be heading to the Brighton Fringe in May (our initial read through in January went well - I just wanted to get this one in the bag before Alex starred in a Chekhov play which opens soon) and I'd also assembled my team to start recording a radio sitcom (the recording of which is a longer process than I imagined but, you know, I'm working with professionals - the first session was last week), and started working on a show with my dear friend Helen which is also heading to Brighton.
With all that and, you know, earning a living teaching and playing music, the two shows I took to Leicester weren't as developed as I liked, but I think the Leicester Comedy Festival is really good for this sort of thing - ticket prices seem to be quite low, and you get a lot performers performing work-in-progress shows. Audiences have always been warm and respond well, there's a reason why I keep coming back... this is my fourth year in a row performing at this festival, and fourth year at the same venue; Wygston's House. I was nominated for 'best musical comedy' at the festival in 2023. It's a room above a pub, not sure of the capacity but it feels like a 50, which is great because it still feels busy with 10 in there. The staff are friendly and I've always felt welcome.
I took two brand new shows there; a very dark comedic play, Death by Congas, which was on at 5.30pm, and then a loose energetic thing, Restless Monkey Chops, which was on at 7pm. I was really worried about Death by Congas, mostly because it's a comedy festival and this one has long storytelling spells without any, well, comedy. Also, I'm wearing a mask the whole time, playing a 71-year-old man, and it features way too much jazz. Logistically tricky, lugging heavy percussion to the venue, and with one rolling audio track which, if it fails, means I have no show. It starts with my character 'dead' on the floor as 'My Favourite Monster' by Cliffords plays (check them out, lovely band), as the audience enter, before jumping into life when a (home recorded) percussion part kicks in which is my signal to jump up and start the show. That was the plan, anyway. In reality, the audience walked in, looked intrigued, and then somebody in the front row knocked his pint over, soaking my legs, so we had to delay the start. It momentarily lost the dramatic intro I had planned, but the attendees seemed to warm me because of it. This show, unlike some of the other stuff I have coming up this year, was a huge experiment but those who were there really bought into it, laughed at the right times, and - as my character dies at the end (not really a spoiler alert, it's kind of implied at the start) and those words, "the coroners verdict: death by congas" played on the backing track, it felt like everyone had been rewarded for the journey.
Which is not what could be said for Restless Monkey Chops. A really simple, freeform concept, in which I attempt to do everything I didn't achieve last year in real life, onstage. Things such as record a percussion album, speak Polish, get fit, learn a magic trick...a lot happened in this show, but also it never quite felt like it landed, mostly because I achieved everything I want to within the first 18 minutes of a 60-minute set, so I had to pad it out with stand-up stuff and way too much audience interaction, neither of which is 'me' these days, before getting back to the point of the show to tie it all in. It's a lovely concept, and as soon as I got home it clicked - I know exactly what didn't work, I'm really, really confident about this one now (which is cool because it's already booked for Edinburgh and other festivals), but it just took an awfully shaky first performance for me to work this out. The small audience, however, stuck with it throughout, and I'm very grateful. Of those six, four of them had seen me last year and came back, and two of them also watched Death by Congas earlier that evening. In the break, those two chaps very kindly presented me with a card game they'd made called 'Leicester Comedy Rivals' and I'm featured in it, with my own laminated cards and everything, as a 'hero'. I signed their copy and gleefully took my one home; it was a flattering, lovely, early fringe moment for the year.
The figures:
Death by Congas: 10 audience members (including one industry comp)
Restless Monkey Chops: 6 (one industry comp on the ticket list but never attended)
Venue hire (combined for both shows): £60
Programme entry (combined for both shows): £144
Fuel from Cambridge (aided by my swanky new hybrid car): £20
Door money in: £88
Total: £136 loss