
Edinburgh Fringe performer in tears after 'third of audience walk out'
An Edinburgh Fringe performer had to fight back tears as she opened up after a third of her audience left her show "15 minutes early".
Nicole Nadler said she is 'allowing herself to feel rejection' after a group of women got up and left her show Exposure Therapy on George Street. The unscripted performance sees the audience share their fears with Nicole, before she "tackles them with honesty and authenticity".
Last night (Wednesday August 7), Nicole says four women told her she was a "beautiful soul" as they left, having come into the venue late - and only staying for a 'total of 20 minutes'. She pleaded with Fringe audiences: "If you're seeing a show and you hate it it, could you just stick it out?"
Speaking to Edinburgh Live, she said: "My two biggest fears were that no one comes, obviously, but more than that - that I am unable to pull off this crazy idea of a show and that the rejection and failure that almost scared me from doing the show will happen.
"And it did. And it is gutting. But I handled it well in the moment and I am really proud of that and I'll be back on stage in a few hours ready to pour my heart out all over again!'
"I actually film all my shows, so I looked back and they stayed for exactly 20 min of a 50 min show - but they paid full price so I guess I won?"
After the show, Nicole comforted herself with fries and a chocolate milkshake from McDonald's - telling her followers "the show must go on". Nicole added: "I had four women come in late, they were maybe two thirds of my opening monologue in - maybe ten minutes.
"I rehashed the bit that they missed, to bring them up to speed. Other people came late again, I did the same thing.
"It was a quiet show, I had 12 people altogether. It was one of the smallest audiences I've ever had.
"We were not laughing, we were learning today - and that's okay. It's tough when your audience gives you nothing, but that's okay - it's totally fine. That's on me as a performer to hold the energy of the room."
Tearing up, Nicole goes on to say that the four women who came in late then slipped out before it ended. She continued: "I can see and hear everything that's going on, it's a small room.
"All at once they kind of picked up their stuff, looked at each other and one of them said 'you're a beautiful soul but we have to go'.
"Then they walked out, of this tiny room - of a show that had very few people in it, where I am pouring my heart and being as vulnerable as I can be on stage.
"They couldn't give me the decency of the next 10 or 15 minutes. If you're seeing a show and you hate it, could you just stick it out? It would be a kindness."
One said: "I know it's hard, but please don't take it personally."
Another added: "Speaking as someone who doesn't live in town, the last trains are often around 11-11.30pm so they have had to leave early for something!"
Join the Daily Record WhatsApp community!
Get the latest news sent straight to your messages by joining our WhatsApp community today.
You'll receive daily updates on breaking news as well as the top headlines across Scotland.
No one will be able to see who is signed up and no one can send messages except the Daily Record team.
All you have to do is click here if you're on mobile, select 'Join Community' and you're in!
If you're on a desktop, simply scan the QR code above with your phone and click 'Join Community'.
We also treat our community members to special offers, promotions, and adverts from us and our partners. If you don't like our community, you can check out any time you like.
To leave our community click on the name at the top of your screen and choose 'exit group'.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


The Guardian
42 minutes ago
- The Guardian
Edinburgh's couple acts: the fringe duos starring together – and even getting married on stage
Some people blow their wedding budget in Las Vegas or on Venice's Grand Canal. But the actors and writers Linus Karp and Joseph Martin will be tying the knot at the Edinburgh fringe, walking down the aisle of the Pleasance Grand on Saturday. Tickets to attend are £12 a pop – and they hope to avoid getting star ratings. 'It's surprisingly affordable,' says Martin. 'We'd been looking at doing it in London and that was 'the first Tuesday of every month at 8.30am, only bookable three years in advance'. Our work is loud, queer and joyous, and this felt like a good way to represent that side of us. It's silly and ridiculous, but it feels right.' There will be a dramatic entrance and special-guest speeches, but their vows will be real. 'We wouldn't ever do anything for attention,' deadpans Karp. It will, however, do no harm in raising the profile of their other show, The Fit Prince (Who Gets Switched on the Square in the Frosty Castle the Night Before [Insert Public Holiday Here]). The show grew out of their binge-watching of romantic films during a bout of Covid and, like their previous tributes to Princess Diana and Gwyneth Paltrow, is served with a mixture of camp irony and genuine affection. 'Audiences can tell when you've done something with derision,' says Martin. 'We love the films on which it is based, the good and the bad – and, boy, are there many bad ones!' As the big day approaches, how are the pre-wedding jitters? 'This is the first time we have debuted a show in Edinburgh so maybe this level of stress will change things,' says Karp. 'We'll see if halfway through the fringe we still want to get married.' A double helping of married couples are responsible for the aerial dance show Imago. Created by two former Cirque du Soleil stars, this 'epic tragic love story' is now entrusted to another husband and wife. And 'entrusted' is the right word: nothing symbolises dependency more powerfully than an acrobat holding on to an airborne partner. Using apparatus devised to keep the performers in the air for unusually long periods, this is a show requiring high levels of trust. 'It is emotionally and physically demanding and we know we can't let our partner down on stage,' says Gabrielle Martin, who developed Imago with Jeremiah Hughes before she retired from the stage. 'The truth is that gravity is trying to pull us apart. The chemistry and the struggle are real.' Hughes describes a three-minute sequence in which he would be suspended in the air with his wife hanging on his foot: 'At no point was I thinking, 'This feels hard on my body, we should have a break.' It was: 'She's 15 feet off the ground. There's no question of stopping.'' The couple are now directing Eowynn and Isak Enquist in Imago, which has the dreamlike aesthetic of dance, rather than the shock and awe of circus. 'It's a cathartic journey for the audience,' says Martin. 'And it is for Eowynn and Isak on stage.' For Martin and Hughes, working and playing together – not to mention bringing up a two year old – is a natural state of affairs. 'So many of our production conversations are pillow talk,' says Hughes. 'This work has brought a lot of beauty into our life and we've truly enjoyed placing it on to these new performers, who have also had to learn how to communicate when they're exhausted and in the air. I don't know that it could have happened with two that were not in an intimate relationship.' Martin adds: 'We know how intense Edinburgh is, having been there once before – I remember crying my way home every other night.' How are the Enquists holding up? 'People said it was going to be a whirlwind experience: we now understand what they meant. We have been training for Imago for two years – opening in Edinburgh has been vulnerable and exhilarating.' A honeymoon comedy set in the aftermath of a calamitous wedding is the work of another double helping of married couples. Created by Los Angeles musical duo Marnina Schon and Micah O'Konis, both fringe newcomers, Couplet: Honey Honey Moon Moon is directed by comedians Chris Grace and Eric Michaud, both Edinburgh old-hands. Revelling in their own cantankerousness, Grace and Michaud have been energised by the positive vibes of the younger couple. 'Marnina and Micah get along way better than Eric and I do,' laughs Grace. 'They're much better fighters, I guess,' says Michaud. 'Or they're conflict avoidant,' says Grace. 'It's an ongoing debate about whether we want to model our relationship on theirs or they want to model theirs on ours.' Schon and O'Konis are classically trained musicians who tell the story of their relationship from inception to marriage through songs such as Our Wedding Venue Burned Down. The distinctive nature of their genderqueer relationship is summed up in People Think We're Straight. 'With Eric and me, it's pretty obvious if we're holding hands that we're gay,' says Grace. 'Marnina and Micah present as heteronormative. We were both at their wedding earlier this year and when family members gave speeches they used correct pronouns, which was a big milestone for them.' The show sees the funny side of all this. 'They quote a line from a New York Times interview that says there's nothing they can't sing and laugh their way through – and that's really true,' says Michaud. 'Rather than fighting, they'll sit down and write a song. They'll harness those feelings and create something out of it.' 'They're probably like us in that it's almost easier to create an hour-long show to express how you feel than say it directly,' says Grace, who is also creating a new standup show every afternoon in 27 Hours. 'There's a heightened comedic sensibility to their show but there's not a ton of artifice.' Michaud agrees: 'They seem unshakable as a couple, which is inspiring.' Grace quips back: 'They have a joie de vivre that, as middle-aged men, we do not share.' If you want to know what love at first sight feels like, just ask Abigail and Shaun Bengson. Eighteen years ago, Abigail was invited to join Shaun's band. Straight away they wrote a song. Three weeks later they were married. 'Since then it's all been making art together,' says Shaun, arriving in Edinburgh from the US with his parents and two children. Having met through music, they find it impossible to distinguish between their creative life and any other aspect of their relationship. 'We were fired in the kiln of being musicians,' says Abigail. 'We go to each other for solace.' Their show, Ohio, a music-theatre hybrid, is autobiographical in a way that both find exposing. It is about Shaun's inherited degenerative hearing loss, their movement away from religion and their coming to terms with mortality. They call it an 'ecstatic grief concert'. 'The stage is where I feel the most unmasked and the most free,' says Abigail. 'It is a vulnerable place to be but it's also a place of power. Shaun and I are both disabled and our situations are degenerative. We've thought of it as a bummer, but mostly because it's new and scary. We're making this to get less afraid and more free about what it means to be a person moving into disability.' A few days in, the couple have tackled their fringe debut with characteristic enthusiasm. 'It's been gorgeous,' they say. 'We're entering the review maelstrom so we're holding each other close: as autistic folks we're used to being misunderstood and underestimated. What matters most is what happens in the room, which is when we feel most joyful.' They met through comedy, working together on student sketches at the University of Bristol, and when lockdown put everything on hold, Ada Player and Bron Waugh simply carried on improvising. With a relationship like that, it is little wonder that their debut fringe show, Ada and Bron: The Origin of Love, is a compendium of offbeat skits on a theme of intimacy. 'They're characters we've been improvising since university and they all ended up being doomed romances and weird couples,' says Waugh, whose work on television with Player includes the short Channel 4 comedy Peaked. 'We've taken tiny nuggets of our relationship, timesed them by 10 and made them into these cartoonish love stories,' says Player. How is their work/life balance? 'You can make rules about not talking about the show in the evening, but sometimes it's fun to do that,' she says. 'It's a constant back and forth. But it has made our stress around the show low, because if it's our whole life, everything has to feel fun, light and energetic.' Waugh looks uncertain about that, but stressful or not, working from home has given The Origin of Love its distinctive quality. 'We made the show in this closed space,' says Player. And even the costumes reflect the lockdown theme. 'The whole show is done in our pants and vest tops,' says Waugh, although pianist Ed Lyness will be in a tux. 'That would normally be something we'd be shy about, but because we've made the show in our bedrooms, we've not thought about what it would feel like in front of people.' Are there any tensions between Ada and Bron after their opening gigs? 'Our show is at 11pm so resetting our body clocks means we've been too exhausted to talk to each other, let alone fight,' says Waugh. 'Once we have settled into a rhythm we will have more energy to have a proper domestic,' says Player. 'Honestly, can't wait!' The Fit Prince … is at Pleasance Courtyard until 25 August. Awkward Prods Get Married (But for Real) is at Pleasance Courtyard on 16 August. Imago is at Assembly Roxy until 24 August. Couplet: Honey Honey Moon Moon is at Assembly Rooms until 24 August. Ohio is at Assembly Roxy until 24 August. Ada and Bron: The Origin of Love is at Pleasance Courtyard until 24 August.

The National
an hour ago
- The National
Oasis fan goes viral after spreading ashes at Murrayfield gig
Footage of the tribute from one of the band's Murrayfield shows was posted on TikTok and has since gained more than 600,000 views. As reported by Edinburgh Live, the fan can be seen opening a small container holding the ashes and spreading them onto the ground in front of him during the Gallaghers' performance of "Don't Look Back In Anger". The video has since gained more than 620,000 views and 19,000 likes, receiving a mixed reaction from fans. Several fans shared that they were planning to do a similar thing with their loved one's ashes. One fan said: "I took some of my brothers ashes he loved oasis had champagne supernova played at his funeral. [heartbreak emoji]" Another person said: "Im going to the concert in November 16 at River Plate Stadium in Buenos Aires so this video gave me an idea of what to do with my dad's ashes". READ MORE: Charity rowers mistaken for 'illegal migrants' by Rupert Lowe arrive in Scotland And another fan added: "I'd want someone to to that for me regardless if your trampled or swept up after someone thought of you & knew what the concert would mean to them fitting tribute imo [heart emoji]". However, some fans disagreed with spreading ashes at the show, as one said: "If it was on grass I'd understand but this don't sit right with me". And another said: "all to get brushed or washed away [thumbs up emoji]. Would of made sense if it actually went onto the grass, so it got into the soul". Oasis played three sold-out shows Edinburgh's Murrayfield Stadium on August 8, 9 and 12. An estimated 70,000 people were packed in to hear them play each night. During the first gig, Liam Gallagher hit out at Edinburgh Council chiefs after they were accused of suggesting the band's fans are "drunk, middle-aged and fat". The first gig saw three people arrested for a variety of offences, including assault, drug offences and abusive behaviour. The National also reported on an Oasis fan who travelled from Italy to Scotland, who died just hours before he was due to see the band perform.


Edinburgh Reporter
2 hours ago
- Edinburgh Reporter
Fringe 2025 – Adam Riches Presents Sean Bean Reading Le Morte d'Arthur Out Loud for an Hour ⭐⭐⭐
This is a show in which I found myself being twirled around a dark room by a very sweaty comedian who was wearing an approximation of 15th century dress. One to remember! 'Good luck reviewing that!' This highly engaging show by former Edinburgh Comedy Award winner Adam Riches was very much a work in progress show, with Riches trying out various activities. Riches was very open with his audience that not all aspects would succeed. There were plenty of brilliant moments to enjoy, in a show that is clearly in a developmental stage. 'Good luck reviewing that!' was one comment I received at the end. Riches too wished me luck! It certainly was a typical polished show, but it's anarchic character gave it energy, with the audience never quite sure what might happen next. That Riches didn't take things too seriously helped create the right atmosphere for his rather risky approach. Throughout, his self-deprecatory aspect helped Riches keep the audience on his side. As an example of Riches trying things out, there were two lengthy game activities played with the audience. You felt as if Riches was trying both to see which worked best. You imagine that if the show gets polished, he will drop one of them. In my view, the battleships style game worked better, with more of the audience directly involved. 'it neither has to work or progress' Riches has long been a performer who continually tries new things, never settling on repeating the same type of show year after year. He is a former Edinburgh Comedy Award winner; winning in 2011 with Bring Me the Head of Adam Riches. He has not stood still since. That desire to continually evolve is not universally shared among Fringe performers. I've certainly seen some who have regurgitated the same, tried and tested, material year after year. Not so with Riches. Riches defined a work in progress show as one in which 'it neither has to work or progress'' In the case of this show, this was inaccurate as much of it did work, and there was a definite sense of a more realised show being formed. Most of audience seemed familiar with Riches' style, so were happy to buy into it. Riches playfully teased the venue (Monkey Barrel 3 on Blair Street) for their erroneous description that this was the 'coolest room in the Fringe'' in terms of temperature. This was not the case, with Riches soon discovering the folly of wearing a heavy costume in such a steamy space. Fortunately, the show had plenty of inspiration to match the buckets of perspiration. Soldiering on Riches also questioned whether it had been a good idea to accept the venue's offer of an extra show – addressing the large portion of the venue that was empty. The implication that he was just soldiering on to fulfil his contract. Throughout he asked the tech assistants how long he had left; always sounding disappointed that he wasn't nearer his 1 hour target. Even when aspects didn't go as planned or maybe didn't have the impact he'd hoped, he was skilful enough to make it work and get the audience on his side. The show relied quite a bit on audience interaction and participation. Again, he did this in a very 'unthreatening' way, supporting those who were brave enough to get up on stage and creating a collaborative atmosphere in the room. Quick-witted and playful For significant portions, Riches did exactly as the title of the show suggested; 'Adam Riches Presents Sean Bean Reading Le Morte d'Arthur Out Loud for an Hour'. He playfully used the character of Sean Bean, referencing the actor's tendency to stubbornly stick to his Yorkshire accent, even when playing American parts. His exaggerated comic parody of Sean Bean has featured on the panel show 8 Out of 10 Cats Does Countdown. Riches read out portions of the book, trying to imagine how Sean Bean might approach a text written in florid Middle English. It was not so much Riches' reading that engaged the audience as his amusing, knowing, asides. In general his interactions with the audience were quick-witted and playful, with Riches skilfully dealing with the unexpected ('that's one of the strangest heckles you could imagine'). In good hands The show's central conceit was that he had to stretch out meagre material into a 1 hour show, almost like a supply teacher doing an emergency lesson. Indeed, there was a cobbled together character to the show, but the quality of the performer shone through and raised the level. This was in marked contrast to many shows I've seen in which the performers have struggled, aware that the show isn't as developed as it should be. That weight on their shoulders has ultimately led to a bit of car crash. If they were car crash elements to this, they were entertaining with the audience always reassured that they were in good hands. This is a show that has clear potential by a very adroit performer. Note: The season has ended for this show. Like this: Like Related