Edinburgh Festival Fringe

2026

A young woman with glasses and a maroon hoodie smiling at the camera, leaning on a stack of pink boxes labeled 'Fringe program 2026.' Behind her, a man wearing a green jacket with a floral patch is bent over, and a colorful drawing or poster is hanging on the wall near a large window.
A young woman with glasses and blonde hair holding a copy of Fringe magazine at the Edinburgh Festival, with stacks of the magazine behind her and a colorful poster on the wall.

Five venues

Seven shows

Sixty-four performances

Stage Manager

On Purple Opossum Theatre’s production of Billie and The Big Turn On, directed by Lisa Nelson, I acted as the stage manager (and a performer). Given the usual standard of Fringe shows, this production was a big undertaking with a mid-sized cast and extensive props and costumes. As well as organizing the limited backstage area and assisting performers with prop hand-offs and costume changes, I acted as a liaison between our production, and the two guest acts who joined us every night on a rotating basis.

Billie and The Big Turn On

A stage with a music control panel and a laptop in the foreground, and a group of people sitting in the audience in the background. A bright stage light is shining overhead. There are some notes on a paper with typed text partially visible at the bottom.
Two young women smiling, standing outdoors in front of a garden hedge with flowers and stone architecture. One is giving a thumbs up, the other is holding flyers, both appear to be at a public event or gathering.
This is a detailed script or filming schedule for a theatrical or performance production of 'Billie and the Big Turn On.' It lists scenes, actors, characters, actions, locations, wardrobe, props, and notes for different scenes, including pre-show, cabaret acts, auditions, and a scene titled 'The Greek Goddess.' The schedule includes costume changes and stage directions.
Group of nine young people, some in costumes, posing together in a photo studio with a black backdrop and patterned folding screens.
Poster for a theatrical performance of 'Billie and the Big Turn On' at The Speakeasy, Royal Scots Club, Edinburgh. Features a woman with braided hair, riding a pink mountain bike with a small guitar, wearing striped leggings and a black dress. The background has red and pink tones with text promoting the show dates, times, and ticket information, along with a QR code.
A detailed costume and scene change schedule for a theatrical production, listing actors, characters, actions, locations, wardrobe, props, and notes across multiple scenes.
A stylized snake with a purple tongue, coiled around a black ring
A group of six young women standing outside a historic building with a sign for The Royal Scots Club. They are smiling and posing for the photo. The building has a curved facade, several windows, and flags on the upper balcony. There is a red poster advertising a Bobbie and the Big Turn On event, and a blue bicycle is partially visible in the foreground. The weather is sunny with a partly cloudy sky.
A script or production schedule with actor names, characters, actions, locations, props, and notes for different scenes, including scene titles like 'The Fun Train', 'Stuck Baby', and 'Fight For Freedom'.
Table with a cast and costume change script, showing actors, characters, actions, and notes for a stage scene.

Technical Operator and Programmer

I served as the technical operator and programer on Woman Seeking Cuddles by Renwick McAslan, directed by Robyn Ross. I re-programed an existing QLab for the specification of a new venue and adjusted performance, as well as making live adjustments to a lighitng file on a ChamSys QuickQ 10 console until such a time as I was able to re-program the file.

Woman Seeking Cuddles

A digital audio editing software interface displaying a cue list with various sound cues for a production titled "Woman Seeking Cuddles — Main Cue List." The list includes cues such as "The Doll People," "Love you till the end," and sound effects like ocean waves and cicadas. The interface shows tracks, waveforms, and settings for each cue.
A screenshot of an audio editing software interface showing a list of audio tracks with track names like 'NYC street sounds.mp3,' 'I Would Die 4 U,' and playlists such as 'Loop, Crossfade.' The interface includes controls and time indicators.
A woman with dark hair and light skin holding a sandwich, looking serious, in a scene resembling a social media profile.
A woman taking a selfie outdoors, smiling, with a crowd behind her. She holds a badge that reads 'the SPACE UK Performer 2026' with handwritten notes about 'Payscale, Tour, The Robot Company.' There are green umbrellas and modern buildings in the background on a cloudy day.
A young woman with glasses and short hair, wearing a maroon hoodie and green pants, kneeling on the sidewalk in front of a movie poster for a play titled "Woman Seeking Cuddles." She is smiling and holding a smartphone, with a backpack on her back. The poster features a woman holding a burger, and there are other people and colorful umbrellas visible overhead.

SpinQueen™

Technical Operator and Programmer

I served as the technical operator and programer on the Megatron INC production of SpinQueen™, directed by Jennesy Herrera. I programmed the QLab for this production, and live-mixed the performance (conditions in the room - fans blowing, audience size, etc - changed the sound quality from day-to-day), as well as running the Zero 88 FLX lightboard.

Poster for a one-woman show titled "Spin Queen" by Megan Tomei, directed by Tennesy Herrera, featuring a woman with long dark hair, blood on her face and chest, screaming into a microphone, against a red-toned background.
Screenshot of a DJ cue list software with multiple audio tracks, including lyrics and music titles, organized with cues, durations, and notes for a music performance.

Dreamgirl

Stage Hand

I worked as a stage hand on Karen Houge’s production of Dreamgirl. Due to the set/prop-heavy nature of the show, I was brought on to assist with set up and tear down of the space, troubleshooting the set up of microphones and a projector, and occasionally helping with mid-show technical needs.

Woman holding a bunch of green grapes with a small orange pumpkin on top, wearing a blue sleeveless top and gloves
Table arrangement for a Dreamgirl Presets event with various items, notes, and two photos: one of a table with a blue cloth, Lego figures, and toys, and another of a tray of assorted fake fruits and vegetables.
Stage with a white screen, a person dressed in a costume with large feathers, and a sign that reads 'Dream Camp 26.' Several chairs are arranged on the stage, and there are some scattered toys or objects on the floor. A few people are standing and observing.

Girlfriends

Technical Operator and Programmer

I joined Sara Molinowski’s production of Girlfriends halfway through the festival. I ran her QLab file, and created a basic lighting design that I recreated live on fader each night on the Zero 88 FLX lightboard.

Poster for a play called 'Girlfriends' featuring a woman with curly hair, moon, stars, planets, and a mountain background.
A DJ setup on stage with a sound mixer and a laptop displaying a playlist, with a person in the background under stage lights and chandeliers in a ballroom or event hall.

This Is Not Hansel and Gretel

Technical Operator and Programmer

I served as the technical operator and programer for Christian Hege’s production of This Is Not Hansel and Gretel’s, directed by Jenny Mercein, programming and running the Quantum 384 Lighting Desk.

Bipolarcoaster

Technical Operator and Programmer

I was the programmer and operator of both a QLab file and the ChamSys QuickQ 10 console for Amanada Andrew’s one-woman musical Bipolarcoaster.