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 Margaret Curry about her show Who We Become.
What can you tell me in your words about your show?
Who We Become brings together three one-act plays by Pulitzer Prize-winning playwright Lanford Wilson, presented as two alternating productions. The plays are very different in style: a lyrical solo piece, a darkly comic two-hander, and a deeply moving monologue. But they're united by Wilson's extraordinary compassion for ordinary people. They explore memory, identity, love, loneliness, and our very human need to connect. They're funny, heartbreaking, surprising, and, I hope, deeply recognizable.
Who We Become brings together three one-act plays by Pulitzer Prize-winning playwright Lanford Wilson, presented as two alternating productions. The plays are very different in style: a lyrical solo piece, a darkly comic two-hander, and a deeply moving monologue. But they're united by Wilson's extraordinary compassion for ordinary people. They explore memory, identity, love, loneliness, and our very human need to connect. They're funny, heartbreaking, surprising, and, I hope, deeply recognizable.
Where did the inspiration for this piece come from?
I first discovered Lanford Wilson in my early twenties, at a time when I felt very alone. His plays introduced me to people whose inner lives felt completely real—people I recognized in relation to my own life. They weren't superheroes or larger-than-life characters; they were beautifully flawed human beings trying to make sense of themselves and one another. His work gave me hope, and I've wanted to share these plays with audiences ever since.
His work saved me. And if these plays can reach anyone else out there who needs that same reminder—that they matter, that they aren't alone—it will all have been worth it.
As the years went on—and especially over the last decade, with so many social and cultural shifts around identity, belonging, otherness, and our increasingly disconnected lives—these plays began to feel not only eerily relevant, but more necessary than ever. We have more ways to communicate than at any other point in history, yet so many people feel unseen, isolated, and alone.
I believe Wilson reminds us of something we desperately need: that every person matters, every story matters, and genuine human connection still has the power to change us.
How have you approached developing the show?
The approach has always been to trust the writing. Lanford Wilson gives actors so much to work with if you resist the temptation to overcomplicate it. We've focused on truthful performances, simplicity, and allowing the audience's imagination to do its part. Every artistic choice has been in service of the humanity of the characters rather than spectacle.
We've also taken great care to preserve the integrity of the storytelling. These plays contain discoveries that are a fundamental part of the audience's experience, so we've been very intentional about protecting those moments. We're incredibly grateful to the reviewers who've understood that and written about the productions without giving away the journey. There's something very special about watching an audience experience these stories unfolding in real time alongside the characters, and we've worked hard to make sure future audiences have that same opportunity.
How would you describe the style of the show?
Naked. Raw. Real.
Lanford Wilson's writing has an extraordinary natural rhythm. His dialogue sounds the way people actually think, speak, interrupt, avoid, reveal, and reach for one another. Our job has been not to impose anything on that, but to surrender to it—to trust the writing, trust each other, and trust the audience.
The productions are intentionally stripped back. There's very little standing between the audience and the characters, allowing Wilson's language and humanity to do what they do best.
Can you describe the show in 3 words?
Heartbreaking. Hilarious. Human.
How do you mentally and physically prepare for a run like the Fringe?
Sleep becomes sacred. Hydration, good food, and movement are all essential because these plays ask a great deal emotionally. Mentally, I try to stay present and curious. Every audience is different, and one of the joys of the Fringe is discovering how each group responds in its own unique way.
Away from your show, what are you most looking forward to about being in Edinburgh?
Seeing as much theatre as I possibly can is certainly high on the list, but honestly, it's the conversations that happen around the theatre that I treasure most.
Geoff and I don't really pitch our show when we're flyering. We end up talking with people about Lanford Wilson, about the shows they've seen, what brought them to the Fringe, and what they're excited about. Those conversations almost always lead to recommendations for other productions, unexpected discoveries, and connections with people from all over the world.
Last year, many audience members came back to see our second production, and we kept crossing paths throughout the festival. Some of those conversations have continued well beyond Edinburgh. That's one of the magical things about the Fringe. You arrive to perform a show, but you leave having become part of a temporary artistic community that somehow feels lasting.
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| Curry and Stoner in Breakfast at the Track. Photo by Matt Simpkins |
What is one hidden gem in Edinburgh that everyone should visit?
I have a few!
I love climbing Calton Hill for the breathtaking 360-degree views over the city. During the Fringe, it's the perfect place to gain a little perspective—both literally and figuratively—and enjoy a few quiet moments away from the street-level crowds.
I'm also a big fan of morning walks or runs along the Water of Leith Walkway. It's hard to believe you're still in the middle of a city. It feels like stepping into another world—peaceful, green, and wonderfully restorative.
And if you have a little extra time and won't be making it to the Highlands, hop on a bus to Swanston Farm. You can enjoy a beautiful hike and meet some of Scotland's wonderfully shaggy Highland cows. It's a lovely escape and one of my favorite discoveries from last year's Fringe.
Are there any other shows at the Fringe you’d like to recommend?
I'm always excited to see what Xhloe & Natasha are creating. They are two of the most inventive young physical theatre makers working today, and I so admire and appreciate what they've done, what they're doing, and what I know they'll continue to create. Their recent Drama Desk Award is incredibly well deserved.
I'll also be heading straight to Garry Starr: Classic Penguins. We saw it twice last year and absolutely loved it. Damian Warren-Smith is one of the most inventive theatre artists I've ever encountered, and I can't wait to see it again. I'm also lucky enough to already have tickets for his clown show, Too Clowns, later in August.
But honestly, my biggest recommendation is to take a chance on the underdogs. I always try to listen beneath the big buzz for the quieter rumblings of audience word of mouth. There's nothing quite like overhearing someone who's just discovered a show they can't stop talking about and deciding to go see it yourself.
Some of my most memorable Fringe experiences have happened exactly that way. One of the greatest joys of the Fringe is discovering something extraordinary before everyone else catches on.
What was the first piece of theatre you saw which had a big impact on you?
On my first trip to New York City, I saw 'night, Mother by Marsha Norman, starring Kathy Bates, and I was absolutely floored. Set in the living room of a modest rural home, the play explores the limits of maternal love, the profound isolation a person can feel even while living with someone else, and the painful truth that one person cannot always save another.
It was devastating, but also deeply affirming. I remember thinking, yes—this is what theatre can do. It can go to the hardest places, and perhaps those are exactly the places it most needs to go.
What do you hope an audience member takes away from seeing the show?
I hope they leave feeling a little less alone. Wilson reminds us that ordinary lives are extraordinary, that everyone has a story worth hearing, and that human connection still matters. If someone leaves feeling seen—or simply seeing someone else with a little more compassion—then we've done our job.
Where and when can people see your show?
Who We Become: One-Acts by Lanford Wilson is presented as two alternating productions at theSpaceUK @ Surgeons' Hall (Haldane Theatre) from 7–29 August (excluding 16 & 23 August), with performances daily at 2:05 PM. We'd love to see you there.
Who We Become is at theSpaceUK @ Surgeons’ Hall, Haldane Theatre, alternating 7 – 29 Aug 2026 (not 16 & 23), 14:05. Ticket information here: https://www.edfringe.com/tickets/whats-on/who-we-become-the-moonshot-tape-by-lanford-wilson
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| Margaret Curry in The Moonshot Tape. Photo by Matt Simpkins |
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