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Crew Lead @thepleasance 
I volunteered as crew lead in Bunker 2 with Pleasance!
 My role was to act as a designated point of contact in the venue for performing companies and the Area Management team. I maintained clear lines of communication with companies, filtering information to and from my fellow volunteers and helping organise the venue so it runs effectively.
 I demonstrated great administration by creating effective paperwork covering all the turnarounds, as well as the power up/down process. I scheduled my team’s breaks during technical rehearsals in order to ensure my crew remained invested but we still had enough people to run the techs. This was a great opportunity to build upon my own technical skills and team management, as well as pass on my own knowledge to my peers. I programmed several of the shows in my venue, as well as additionally designing the lighting for two of them. Alongside my role as crew lead in Bunker 2, I also supported the operation of Bunker 1, learning all their turnarounds and building up additional venue expertise. I additionally took advantage of the opportunity to join the team in the Grand as an ASM on the Tartan Ribbon Comedy Benefit. 
 Bunker 1 & 2 shows:
This Is Not America, Heart Beats Strong, Total Sports Mania, Don Toberman: Ping-Pong Champ, Sad Bride, Amnesia, Keeley Hazel, Jess Fuchs, Ele McKenzie, James Trickey, Youth in Flames, Slugs, Dust, Trans People Are Awful, Omar Badawy, Dane Buckley, Marty Gleeson, Dom McGovern and Lil Wenker: Boyking! July 26th - September 2nd [2026]
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Production stills for the incredible ‘Slugs’: Tobias Graham’s sharp, filthy and darkly hilarious examination of sex, shame and desire. A brilliantly uncomfortable piece of theatre that I had the pleasure of photographing as part of the Edinburgh Fringe 2026 If you missed it at @EdFringe, follow the creative team for future announcements… SLUGS by Tobias Graham @tobiasgraham Director: George Jibson @georgejibson Producer: @patrickboneproductions Set & Costume Designer: Tomás Palmer @tomaspalmer Lighting Designer: Lucy Adams @lucyadamslx Sound Designer: Jack Baxter @jackbaxtr Casting Consultant: Naomi Downham @n_jaydownham Production Manager: Ali Day @macrocosmicali Stage Manager: Ash Purt @ash.purt Venue: @thepleasance Courtyard
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EDINBURGH FRINGE REVIEWS: DAY 6. ❤️‍🔥 #edfringe #edinburghfringe #review #theatre #musical
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It was such a delight getting @laytonwilliams stage ready for his upcoming shows Layton Live.
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commission work for @patrickboneproductions 🫶 Two Little Pigs @caitlinmcewan3 SLUGS @tobiasgraham Buggers @alistairhallyes @peteraaclements Feeling incredibly inspired by wonderful people, this trio of shows have really struck something in me and I feel incredibly privileged to have been a part of it in my own little way x
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Movement direction for BUGGERS at Edinburgh Fringe Performers: @alistairhallyes @peteraaclements Author: @alistairhallyes Direction: @almalpazalgal Set + Costume Design: @rosieelnile Movement Direction: Ken Nakajima Lighting Design: @lucyadamslx Sound Design: @jackbaxtr Associate Designer: @mayamyselfandi Assistant Director: @hope.wishart.direct Production Management: Ali Day Stage Management: Ruby Sevnik-Johnston Producer: @patrickboneproductions Production Photography: @_performingartsphotography
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EDINBURGH FESTIVAL FRINGE LGBTQ+ Shows Wednesday, 5th August to Monday, 31st August 2026 (various venues) It always fills me with so much joy to see so many queer folks at the @edfringe each year 🏳️‍🌈🏳️‍⚧️ Apart from WHAT I AM and GIRLZ, below is a list of shows that are queer which I have enjoyed immensely and in the order of the photos above.  A few solo shows are based on true events/lived experiences involving the writer/performer and/or incorporating stories from others. Sadly as I have been unable to get flyers for a few shows and/or take photos at the bows as the performers were too quick for me during the latter! LEGENDARY 🇸🇬 @legendarythemusical @cheeyangmusic Heated Rivalry: The Musical Parody! 🏒 @heatedrivalrymusicalparody @quickandfunnymusicals  @gildedballoon This has become my FAVOURITE show at the Fringe, so much so that I had to go again before leaving Edinburgh 😍 TELL ME 🕺💃 @sadiqalicompany @turtlekeyarts Linus Karp Was Hit With An Umbrella 🌂 @awkwardprods @linuskarp @suddenlyjoseph SANCTUARY 🫂 @sparrow.1993 joshsey Powerful piece - I was in tears as I personally know many people living with HIV and the stigma they experience Searching For Robert Hennessey 🧑‍🧒 @searchingforroberthennessey Warriors: A Scottish Musical 🪖 @warriors_scottishmusical @rajmundolahofficial  Saving Britney 💕 @saving_britney @shereen_roushbaiani BUGGERS 🛁 @buggerstheplay  @alistairhallyes @peteraaclements SLUGS 🐌 @tobiasgraham MAN!FEST: The Drag Boyband Musical 🎤 @onthenoseproductions CROCODILE ROCK ✨ @darrenbrownlie @hilarybrooks.music @sleepingwarriortheatre Reviewers Welcome ... TO DIE! 📝 @adohertycomedy ACID'S REIGN 💋 @relishtheatre @david_allwood CRUISING ⛴️ @dreambiteco @trina.bennett @ravydoderick @clare_stenning Trans People Are Awful 🏳️‍⚧️ @ros.watt @camdenpeoplestheatre A Public Display Of Affection 👨‍❤️‍👨 @jonathanwilson2303 QFWFQ 📚 @gregorynussen Heated Rivalry: The Unauthorized Musical Parody UK 🏒 @heatedrivalryparodyuk ❤️🧡💛💚💙💜🩷🩵🤍🤎🖤 @somewhere_forus  #LGBTQTheatre #LGBTQ WHAT I AM 🪶 @_what.i.am_ @georgemaguireactor GIRLZ - A POP STORY 🩷 @girlzmusical #EdFringe2026 #EdFringe #MixItUp
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EDINBURGH FRINGE 🎭 | BUGGERS Buggers, a new play by Alistair Hall, explores the turbulent relationship between artist Francis Bacon and George Dyer, his lover and muse. Presented by Patrick Bone Productions with Pleasance and directed by Alice Wordsworth, it traces their relationship from its beginnings in the 1960s towards Dyer's tragic death in Paris in 1971. This was absolutely superb. From the moment I entered the theatre, Buggers was seething with intensity, pent-up desire and emotion. Hall and Peter Clements, as Bacon and Dyer respectively, are outstanding. Interestingly, watching the two men onstage before the play began, I tried to decide which was Bacon and which was Dyer and got them completely the wrong way round. That almost seems fitting given the fascinating shifts in power that follow. Clements' transformation is devastating. His George begins cocky, confident and seemingly dominant, but gradually becomes increasingly dependent upon Bacon, neurotic and diminished until he seems a shadow of the man we first met. Hall's Bacon is equally compelling, and the chemistry between them makes the relationship's combination of desire, love, cruelty and dependency utterly believable. The sexual scenes are exceptionally well handled, conveying the shifting balance of power without feeling gratuitous. The sparse staging is terrific. A few glasses, a toilet and a tin bath are virtually all that's required. The bath contains a strange milky liquid that becomes drink, paint and part of the physical action, including George's striking sequence with matches, before the bath itself takes centre stage towards the end. It's simple, inventive and enormously effective. The play's three-part structure also echoes Bacon's famous triptychs, a clever device for capturing fragments of this destructive relationship within just an hour. Beautifully written, directed and performed, Buggers manages to be erotic, tender, ugly and desperately sad. My first five-star show of the Fringe. 🎨🔥🎭 UTS Rating: 🎭🎭🎭🎭🎭 #EdFringe #Buggers #FrancisBacon #Pleasance #EdinburghFringe2026
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Buggers at Pleasance Courtyard ★★★★★ Buggers follows the relationship between painter Francis Bacon and his lover George Dyer, who also became one of Bacon’s most frequently painted subjects. George seemed to love Bacon himself; Bacon seemed to love what George could become on canvas. That difference sat underneath the entire relationship: one man wanted to be loved and the other kept turning the person in front of him into material. The physicality was intense, but there was an artistry to it. Sex, wrestling, affection and aggression folded into the same physical language, and the meaning of those movements changed as the relationship did. Early on, that roughness was part of the attraction; later, the same gestures carried resentment, dependence and violence. The intensity barely changed; what it meant did. And their dependence went beyond who loved whom more. Money and Bacon’s world mattered to George, but it never felt like either was why he stayed. He wanted Bacon himself. Bacon needed George too, but George was also a face and body he could keep returning to in paint. Early on, George disliked one of Bacon’s portraits of him. That moment mattered more as the play went on: George wanted to recognise himself, but Bacon kept finding another version worth painting. Peter Clements let George’s bravado thin gradually, exposing the need beneath it without ever making him helpless. Alistair Hall, who also wrote the play, was phenomenal as Bacon. He moved seamlessly between magnetism, humour, cruelty, sexual aggression and vulnerability, making every contradiction feel part of the same man. You could understand why George loved him, even as the relationship became increasingly destructive. Bacon had somewhere to put the wreckage. Desire, obsession and eventually grief could all become paintings. George had no equivalent. For Bacon, even the damage could become art; George had to live inside it. That imbalance gives Buggers its sting. I left thinking less about whether Bacon loved George, and more about whether painting him was the closest he ever came to knowing how.
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Slugs at Pleasance Courtyard ★★★★★ Theatre for me is at its most powerful when it makes me stop and think about something I hadn’t thought about before. Slugs did exactly that, making me think about a form I had never really interrogated: what happens when one person stands onstage and tells us their own story? Written and performed by Tobias Graham, Slugs draws on Tobias’s experiences of sex, shame and desire, but what makes it exceptional is that it interrogates the autobiographical form itself. One person gets the stage: they choose the memories, what to omit and how everyone else appears. Tobias never uses that to undermine lived experience: he shows how a story can be sincere but selective. That idea is woven brilliantly into the writing. We see how Tobi shapes what he tells different people, including his mother, and how instinctively we all shape what we say depending on who is listening. It made me realise how readily we accept one person’s account when others in that story are absent from the room. Its treatment of consent is just as intelligent. Slugs sits inside the uncomfortable fact that two people can understand the same encounter very differently. The experience of the person who feels harmed has to be taken seriously, but so does the gap between that experience and how the other person understood the encounter. That gap is exactly why consent must be clear: ask rather than assume, and give the other person space to answer freely. Slugs has a wonderful physical language. The tiny bedroom inside the glass structure is beautiful, and the slug aesthetics are extraordinary. They turn these encounters into something that seems to cling to Tobi and accumulate around him. Tobias is captivating, but for me the storytelling is the star. The narrative is so clear that its ideas emerge through the telling rather than being laid out as a thesis. Slugs is beautifully written, performed and designed. Its questions around consent and who gets to shape a story cling to you long after it ends. That is exactly what I want theatre to do!
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53 shows later, and I’m still processing just how much Edinburgh threw at me. What made this Fringe so special for me was the sheer range of artistry I got to see: astonishing life-sized puppetry, storytelling through entire worlds built inside suitcases, bold new writing that challenged how we think, performances that completely blew me away, contemporary circus and dance full of creativity and originality, and some brilliantly unhinged clowning. There was so much work that felt inventive, specific and unlike anything I’d seen before, and that, more than anything, is what I want from the Fringe. These are my picks, plus three shows I’d already seen before Edinburgh that were far too good to leave out. Full reviews for many of these are already on my profile, with more coming over the next few days. Edinburgh, you were incredible!
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#EDFRINGE - REVIEW 'Two Little Pigs' - The Green at Pleasance Courtyard @caitlinmcewan3 @patrickboneproductions @edfringe Runs until 30th August (not 24th) 7.45pm (1hr) 'Dumped, in denial, and desperate for something to control, Mark adopts a pet pig...' *LINK IN BIO* https://theatremuseuk.org/2026/08/23/two-little-pigs-the-green-at-pleasance-courtyard/
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