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 Mark McAuley about his show Diary of a Mad Man.
What can you tell me in your words about your show?
Diary of a Mad Man is a darkly comic one-man drama tracing the psychological collapse of a corporate worker whose craving for status mutates into obsession. Adapted from Nikolai Gogol's 1835 short story of the same name and relocated to contemporary Ireland, the play immerses audiences inside a mind where professional failure breeds paranoia, rage and a terrifying sense of logic.Set within a mental asylum, the production replaces Gogol's diary entries with social media posts, where the pursuit of validation and virality fuels a descent into paranoia and rage. Through high-energy physical theatre and audience interaction, the show explores the vicious cycle of digital radicalisation—the more erratic the character becomes, the more entertained the audience is. At its heart, the play examines society's failure to properly support mental health, asking what responsibility we hold towards vulnerable people, both individually and collectively. It's a story I feel deeply connected to because of my own experience supporting a family member through a mental health crisis and witnessing how inadequate those supports can be. I've always been fascinated by the fragile line many of us walk between stability and breakdown, and how easily a life can begin to unravel under the right pressures.
Diary of a Mad Man is a darkly comic one-man drama tracing the psychological collapse of a corporate worker whose craving for status mutates into obsession. Adapted from Nikolai Gogol's 1835 short story of the same name and relocated to contemporary Ireland, the play immerses audiences inside a mind where professional failure breeds paranoia, rage and a terrifying sense of logic.Set within a mental asylum, the production replaces Gogol's diary entries with social media posts, where the pursuit of validation and virality fuels a descent into paranoia and rage. Through high-energy physical theatre and audience interaction, the show explores the vicious cycle of digital radicalisation—the more erratic the character becomes, the more entertained the audience is. At its heart, the play examines society's failure to properly support mental health, asking what responsibility we hold towards vulnerable people, both individually and collectively. It's a story I feel deeply connected to because of my own experience supporting a family member through a mental health crisis and witnessing how inadequate those supports can be. I've always been fascinated by the fragile line many of us walk between stability and breakdown, and how easily a life can begin to unravel under the right pressures.
Where did the inspiration for this piece come from?
My first acting coach, Tim McDonnell at the Focus Theatre (Stanislavski Studio) in Dublin, had a huge influence on my development as an actor. He performed this play in 1989 and won an Obie Award for it, so in many ways this production is also a tribute to him and everything he gave me as a mentor and teacher. We've used Gogol's brilliant original story as our springboard. What amazes me is how relevant it still feels more than 191 years later. Human nature hasn't really changed. We still have the same fears, ambitions and insecurities, and we continue to make the same mistakes. We've relocated the story to contemporary Ireland and woven social media into the narrative, but the heart of Gogol's work remains very much intact.
How have you approached developing the show?
It's been a fascinating and hugely collaborative process.I began by discussing with the writer, Derek Masterson, how I imagined the story being set in modern-day Ireland and why it still felt so relevant. One of the biggest ideas was replacing the original diary entries with social media posts and follower counts, turning the need for recognition into something instantly recognisable for contemporary audiences. After long conversations about the vision, Derek wrote a new draft using Gogol's original as the spine. From there it became an incredibly collaborative back-and-forth. We exchanged hundreds of WhatsApp voice notes—sometimes it genuinely sounded like a madman ranting down the phone—as well as pages of written notes. We held in-person workshops, Zoom sessions where I performed sections of the script, and rewrote scenes as we discovered new moments through improvisation. We then sent the script to dramaturg Dermot Davis, who gave us an outstanding set of notes. We developed another draft in response, continued refining it through more workshops and voice notes, and finally sent it back to Dermot for one last pass. His final notes helped shape the version we're taking to Edinburgh. Working with Derek has been brilliant. He's incredibly fast, understands my voice instinctively while bringing his own distinctive perspective, and we collaborate really well together. We're also developing two feature films and a short film, so this has been the beginning of what I hope will be a long creative partnership.
It's a darkly comic, highly physical piece of theatre with elements of farce. It's fast-paced and energetic, but also makes space for moments of genuine vulnerability and reflection. My hope is that audiences leave feeling both thoroughly entertained and genuinely unsettled—laughing one moment, then questioning why they were laughing the next.
Can you describe the show in 3 words?
Dark. Funny. Dangerous.
How do you mentally and physically prepare for a run like the Fringe?
I spend time in the gym, meditate, go for long walks and make sure I'm outside as much as possible. I'm also a voracious reader, so books help me switch off, and music is a big part of keeping me focused and grounded during a long run.
Away from your show, what are you most looking forward to about being in Edinburgh?
The Fringe is such a creatively inspiring place. Everywhere you turn there are artists taking risks and making exciting work. There's an energy in the city during August that's unlike anywhere else in the world. Getting to spend a month doing what you love alongside thousands of other passionate artists is an absolute gift. I also love the quieter moments—finding a new café, drinking good coffee, reading a book and watching the world go by. I enjoy seeing how locals live and getting a feel for a city beyond the festival itself.
What is one hidden gem in Edinburgh that everyone should visit?
I love the library. It's a beautiful building and a lovely place to escape the buzz of the Fringe for an hour.
Are there any other shows at the Fringe you’d like to recommend?
I'm really looking forward to seeing Mr. Bergmann of Deadman's Point by Ronan Dempsey. He's a really exciting artist who creates thoughtful, visually inventive work with a fascinating use of movement and sound. I'm also keen to catch Krapp's Last Tape at Assembly, and Adam Riches: The Captain sounds like great fun. One of the best things about the Fringe, though, is stumbling into shows you knew nothing about and discovering something extraordinary. You often don't know what you're going to love until you're actually there. The streets are talking.
What was the first piece of theatre you saw which had a big impact on you?
Othello was a huge one. We studied it at school, and Shakespeare has had a profound impact on me ever since. I still think it's one of his greatest plays. I was also deeply affected by Juno and the Paycock. Seeing such an iconic Dublin play performed in Dublin itself really resonated with me.
What do you hope an audience member takes away from seeing the show?
Above all, I hope people leave thinking about the importance of looking out for those who need help, both as individuals and as a society. I also hope it reminds audiences of what theatre can do at its very best: entertain us, challenge us and make us engage with difficult emotions. If people leave laughing, questioning themselves and having conversations they weren't expecting to have, then we've done our job.
Where and when can people see your show?
Diary of a Mad Man is at Assembly Roxy:Roxy Boxy from 5–31 August at 1.20pm daily, with no performance on 18 August. I’m taking that day off. I hope to see you there. Thank you!
How would you describe the style of the show?
Ticket information here: https://www.edfringe.com/tickets/whats-on/diary-of-a-mad-man
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| Mark McAuley in Diary of a Mad Man. Photo by Gemma Bovenizer |
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