The UK’s largest new short play festival will celebrate its 10th anniversary year in 2026 led by special short playwriting commissions from renowned writers Richard Curtis (Four Weddings and a Funeral, Blackadder, Bridget Jones’s Diary) and Esther Freud (Hideous Kinky, The Wild, The Sea House). The extraordinary programme will stage 70 new short plays over the course of the four-day festival. These will sit alongside headline performances and talks from award-winning creatives, as well as free youth and community events, offering something fun for all the family. From its beginnings as a showcase of just 15 plays, INK has grown into a nationally recognised celebration of short-form storytelling – vibrant, inventive and accessible.
The core festival programme will see fantastic new short plays, grouped together in fours, staged across Halesworth in hour long ‘pods’ performed by over 50 professional actors and directors. Designed to showcase a variety of genres, these are performed in an eclectic variety of venues across the town, from traditional theatres to striking outdoor and pop-up locations across Halesworth such as the local Food Larder, Bowling Club, Scout Hut even a Community Bus. The plays have been hand-selected by INK from over 1000 script submissions and will be produced as stage plays, radio plays, and rehearsed readings
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| Joe McArdle. Photo by Yellowbelly Photography. |
We caught up with Joe McArdle. Joe is a long time supporter of the festival both as an actor and a playwright. He is currently a writer for the Royal Court and will hold improv comedy workshops at this year's festival.
Thank you for taking the time to speak with us. You mention that improv is about getting out of your head. For people who spend their lives overthinking, what is the very first 'wall' you help them break down in your workshop?
I would say that the very first thing that I teach people is that there isn’t a ‘right’ thing to say. The temptation with improv is to think you must be funny. You don’t, you just have to be responsive. Sometimes you can end up freezing because you think you have to say something ‘correct’, clever or impressive. Being ‘funny’ comes later, once you’ve learnt the principles.
I would say that the very first thing that I teach people is that there isn’t a ‘right’ thing to say. The temptation with improv is to think you must be funny. You don’t, you just have to be responsive. Sometimes you can end up freezing because you think you have to say something ‘correct’, clever or impressive. Being ‘funny’ comes later, once you’ve learnt the principles.
Your workshop focuses on using the fourth wall and establishing narrative quickly. What is the most common mistake beginners make when they first try to 'hook' an audience?
The most common mistake is probably trying to be interesting before being clear. Beginners can sometimes rush to being funny or weird, but if the audience doesn’t know who or where they are, or what’s going on, then there’s not as much for the audience to hook onto. Clarify first, then escalate!
The most common mistake is probably trying to be interesting before being clear. Beginners can sometimes rush to being funny or weird, but if the audience doesn’t know who or where they are, or what’s going on, then there’s not as much for the audience to hook onto. Clarify first, then escalate!
You mention 'zero pressure' in your sessions. How do you create a safe space for people to be 'bad' at comedy until they eventually become good at it?
I try to remove the idea that they’re being judged. Most people can think of improv workshops as tests (like I’m going to be standing there shouting, be funny, think quickly!), so of course can feel like a lot of pressure. I try to emphasise that being ‘good’ at comedy comes with confidence, and you only get confidence by trying things out. But I do stress that there is no pressure to even participate. If they’d rather just listen and learn, that’s totally fine! But usually, by the end, and seeing that there really is no ‘right’ thing to say, everyone has joined in!
I try to remove the idea that they’re being judged. Most people can think of improv workshops as tests (like I’m going to be standing there shouting, be funny, think quickly!), so of course can feel like a lot of pressure. I try to emphasise that being ‘good’ at comedy comes with confidence, and you only get confidence by trying things out. But I do stress that there is no pressure to even participate. If they’d rather just listen and learn, that’s totally fine! But usually, by the end, and seeing that there really is no ‘right’ thing to say, everyone has joined in!
Is improv a skill you learn, or is it a personality trait you unlock?
It is 100% a skill you learn. And it can be applied to so many different areas of your life. (Which I think is your next question!)
It is 100% a skill you learn. And it can be applied to so many different areas of your life. (Which I think is your next question!)
How can the principles of improv help someone in their everyday life, even if they never intend to step onto a comedy stage?
The best way to think about improv is that it teaches you to get out of your own way. Hesitation in life is the same as on stage, over-thinking and second-guessing. Improv trains you to listen properly, respond in the moment and most importantly, not panic when things go wrong! Being adaptable is useful in any situation.
You say there are no mistakes, only punchlines. Can you tell us about a time an 'error' on stage actually turned into the best moment of the show?
There was actually a moment once during an Ink Festival performance, where my character had to eat a sausage roll in a scene. On one of the days, I took a bigger bite than normal (I must have skipped breakfast) and so I had to chew for much longer than I expected, but I had a line to say…and the audience had to wait for me to chew! It was awkward for a moment but I turned to the audience and said “just give me a moment” with a mouth full of sausage roll. It got the biggest laugh of the play! Because it broke the tension that was built by the mistake.
There was actually a moment once during an Ink Festival performance, where my character had to eat a sausage roll in a scene. On one of the days, I took a bigger bite than normal (I must have skipped breakfast) and so I had to chew for much longer than I expected, but I had a line to say…and the audience had to wait for me to chew! It was awkward for a moment but I turned to the audience and said “just give me a moment” with a mouth full of sausage roll. It got the biggest laugh of the play! Because it broke the tension that was built by the mistake.
How does your work as a 'master improviser' influence the way you sit down and write a scripted play for the Royal Court? Does the spontaneity ever clash with the structure?
I would say that instead of clashing, they just take turns. The improviser in me is what helps me draft the story, and then the writer goes back and tidies it up. It’s almost like the spontaneity gives it it’s initial life, and then the writing part is what makes it grow!
I would say that instead of clashing, they just take turns. The improviser in me is what helps me draft the story, and then the writer goes back and tidies it up. It’s almost like the spontaneity gives it it’s initial life, and then the writing part is what makes it grow!
You’ve co-written sketches with Munya Chawawa that have reached over a billion views. What is the secret to writing satire that resonates globally while still feeling 'razor-sharp' and specific?
Trying to write for everyone can often end up being vague. The sharper, more specific an observation, the more people recognise it. So, as opposed to making it ‘broad’ or a generally sweeping statement, we often try to make it so precise that it’s undeniable. That, for me, is usually the best satire! We give a sharp edge to a blunt truth.
Trying to write for everyone can often end up being vague. The sharper, more specific an observation, the more people recognise it. So, as opposed to making it ‘broad’ or a generally sweeping statement, we often try to make it so precise that it’s undeniable. That, for me, is usually the best satire! We give a sharp edge to a blunt truth.
As a long-time supporter of INK, how have you seen the landscape for new short plays change over the last decade?
There is definitely more appetite for them. When you look at how the creative landscape has changed over the past few years, we’ve moved to short-form content. Comedy skits online are usually around a minute; any longer and people move past it. I feel Ink tapped into this early! The amount of people that come to the festival each year and say how much they enjoy a short play. No interval, no drawn out second half, just a punch of creativity. I feel there’s going to be more and more space for this style of theatre in the future and Ink is leading the way.
There is definitely more appetite for them. When you look at how the creative landscape has changed over the past few years, we’ve moved to short-form content. Comedy skits online are usually around a minute; any longer and people move past it. I feel Ink tapped into this early! The amount of people that come to the festival each year and say how much they enjoy a short play. No interval, no drawn out second half, just a punch of creativity. I feel there’s going to be more and more space for this style of theatre in the future and Ink is leading the way.
With 70 plays staged over four days, the energy at INK is famously intense. What is it about the 'short play' format that makes it so vital for both writers and audiences?
It definitely is a challenge for writers in many ways, as we have to try and entice, excite and then satisfy (theatrically of course!) within the space of about 10-15 minutes. For audiences, it’s a low risk game, they can go in, watch four plays in an hour, and no doubt come away having enjoyed at least one of them.
It definitely is a challenge for writers in many ways, as we have to try and entice, excite and then satisfy (theatrically of course!) within the space of about 10-15 minutes. For audiences, it’s a low risk game, they can go in, watch four plays in an hour, and no doubt come away having enjoyed at least one of them.
This year features exclusive plays from giants like Richard Curtis and Esther Freud. As a fellow writer, what do you think their involvement says about the prestige and growth of the INK Festival?
I think it shows that there isn’t just an appetite for this style of theatre from audience members and up-and-coming writers, but also established artists who have garnered great success, to me it shows that there is something about the short play format that is appealing not only to audiences, but artists at any level. It’s also nice telling people you have a play on alongside a Richard Curtis piece!
I think it shows that there isn’t just an appetite for this style of theatre from audience members and up-and-coming writers, but also established artists who have garnered great success, to me it shows that there is something about the short play format that is appealing not only to audiences, but artists at any level. It’s also nice telling people you have a play on alongside a Richard Curtis piece!
The festival uses 'pods' across the town. How does performing in such intimate, non-traditional spaces change the dynamic between the actor and the audience?
For me it adds to the “fringe” element of the festival. It very clearly is a theatre festival made by people who love theatre, which therefore means people are happy to consume it in a variety of venues. Whether
it’s a scout hut, a bus, or an actual stage, Ink makes it work. (And often, some of the plays are attached to their venues and incorporate it into the story.
For me it adds to the “fringe” element of the festival. It very clearly is a theatre festival made by people who love theatre, which therefore means people are happy to consume it in a variety of venues. Whether
it’s a scout hut, a bus, or an actual stage, Ink makes it work. (And often, some of the plays are attached to their venues and incorporate it into the story.
The festival has a dedicated Free Youth Day. If you could go back to your 'student self' at the start of your career, which piece of improv wisdom would you give him first?
I would tell him to stop caring about what everyone thinks. And then I would remind him that no one was actually thinking about him in the first place, and to just do the thing.
I would tell him to stop caring about what everyone thinks. And then I would remind him that no one was actually thinking about him in the first place, and to just do the thing.
What’s the most unexpected source of inspiration you’ve had recently?
Great question! Probably when I watched a football game between Liverpool vs Newcastle. I watched a 16-year-old boy, playing for Liverpool, come on and score a last minute winner. I remember thinking, if I could ever make an audience feel the way I’m feeling now with theatre, then I’ll be a happy man. And so that’s now my aim, to reacreate the emotional rollercoaster than normally only sport can bring.
Great question! Probably when I watched a football game between Liverpool vs Newcastle. I watched a 16-year-old boy, playing for Liverpool, come on and score a last minute winner. I remember thinking, if I could ever make an audience feel the way I’m feeling now with theatre, then I’ll be a happy man. And so that’s now my aim, to reacreate the emotional rollercoaster than normally only sport can bring.
If you had to write a short play in 60 seconds, what would the title be?
‘By The Time I’ve Written This Title The Play Itself Will Be Over’
‘By The Time I’ve Written This Title The Play Itself Will Be Over’
What is the one piece of advice you’d give to a budding comic who is terrified of silence from an audience?
People don’t remember the comic that doesn’t make them laugh, so who cares! Go for it!
INK Festival runs from 16th to 19th April 2026. For full programme of events visit https://www.inkfestival.org/
Joe's workshop takes place on Sunday 19th April. Visit https://www.inkfestival.org/events/workshop/joemcardle for more information.
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