In our ongoing Edinburgh Fringe 2026 interview series, we are speaking to artists and creatives who are bringing their shows to the Scottish capital this summer.
In this interview, we speak with Han Whyte to discuss his show, Roger Prick: Sexopolis.
What can you tell me about your show?
Roger Prick: Sexopolis is a character comedy, drag king, surrealist extravaganza all about a sleazy 1970s erotic novelist trying to make his work more palatable for the modern feminist age.
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| Photo by Stanley Greengrass |
How would you describe the style of your show to anyone who has never seen you before?
Bombastic drag! Sideburns and cigars! Sleaze! It’s heavily inspired by the 1980s alternative cabaret movement, which I’m a big nerd about.
What was the lightbulb moment that led to the creation of this piece?
I often walk around Soho in London, and one day I decided to go into all the sex shops - which I had only ever walked past and craned my neck to look at. They’re all crumbly and falling apart with incredible vintage posters peeling off the walls - and I’d never felt more like a voyeur. I was really fascinated by the fallen empire of sleaze that seemed to echo throughout these places - and in the fact that so many of these buildings had been adjacent to comedy venues when punk, feminist alternative comedy first started up in the UK. It all sort of blended together in my mind and Roger’s world of Sexopolis was born!
What makes 2026 the perfect year for this specific story or performance?
With the context of the rise of the manosphere, conversations about gender nastier than ever, and some aspects of society becoming more and more prudish, I really wanted to play an old sexist man and just have fun with it. Everything can feel really heavy and taxing in 2026 - so I want to tell a story that encourages us to connect, get things wrong, and be silly. Even if it is at the expense of old sexist men. Especially if it is!
How will you mentally and physically prepare for a run at the Fringe?
Cigars, babes and the odd hand-shandy. That’s what Roger would say, so I’m taking his advice.
If you couldn’t use a flyer to attract audiences, what ridiculous object would you hand out to people to get them into your show?
Nude caricatures.
What is the one item in your Fringe Survival Kit that you can’t live without this month?
Good headphones. Loud music and long walks will solve all ills.
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| Photo by Paul Gilbey |
What would you deem as success at the end of the Fringe?
I’d love for Roger to bring different audiences together. The girls, gays, and theys having a laugh with the boozy pub men, and everyone being silly as one. That’s what it’s all about!
Other than your own show, are there any other shows you would recommend at the Fringe this year?
I’m really, massively excited to see CAMPITALISM by Boy Theatre. Everything they make is incredible. Also Class War by Lady Bolognese, who make me laugh louder than anyone else in comedy, and Sunny Boy by Adi Parmar who is a gifted storyteller and a blessing to us all.
What is one Edinburgh spot that you would recommend people to visit when they're not watching performances?
My answer: Old Calton Cemetery. Roger’s answer: MY BED!!!
Can you describe the show in 5 words?
Bums. Breasts. Fannies. Willies. Breasts (again).
What keeps you inspired?
Seeing live comedy is the best thing in the world. Clowns, drag artists, stand-ups, characters, musicians. Especially the smaller ones you might not have heard of before - but ones that blow you away. I feel most inspired when I get to be an audience member, looking up at the stage all amazed and jealous!
What would you hope someone takes away from seeing the show?
That we all have a lot to learn from each other, and that nothing is as serious as it seems. Also, that drag kings are great and sometimes the funniest men are women in disguise (me).
When and where can people see the show?
Roger Prick: Sexopolis, Underbelly Cowgate (Jelly Belly), 5-30 Aug (not 18), 18:55 (60 mins).
Tickets are available from https://www.edfringe.com/tickets/whats-on/roger-prick-sexopolis
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| Photo by Paul Gilbey |
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