Inside Murder on the Allotment, The Musical at The Cockpit
After the success of our 2025 Camden Fringe Interviews, we thought it only right to attempt a repeat for 2026. So throughout July we’ll be publishing new interviews each day to give a taste of what to expect from London’s best fringe theatre festival. The festival starts Monday 3 August this year, so we may give ourselves a couple of days off inbetween the end of the interviews and the first shows… then again, we might not.
You can find out more about Camden Fringe, along with details of every show playing this August here. You can also find all of this year’s interviews as they are published here.
What happens when you wrap an urgent, thought-provoking narrative about immigration, asylum, and media-fueled hostility inside the deceptively cozy, fiercely competitive world of a traditional British allotment garden? You get Murder on the Allotment, the Musical, a sharp, poignant new satirical musical comedy opening at The Cockpit this August for Camden Fringe 2026.
Spurred by a direct call to action from a theatrical mentor and deeply affected by real-world encounters with young asylum seekers and foster families, debut playwright Elizabeth Wood crafted a story that completely avoids easy answers. Alongside director and musical director Tess Adèle Glinert and lead performer Seraphim Gumede, the creative team has cultivated a remarkably warm, multi-layered show that balances a whodunit mystery with deep human connection. We sat down with the team to chat about moving past simple “goodies and baddies,” pulling from personal family histories, and a mysterious, budget-friendly stuffed cat.
If you had to describe the vibe of your show in just one sentence, what would it be and how does it manifest on stage?
ELIZABETH: It’s a sharp, satirical musical comedy that wraps a poignant story inside the cozy world of traditional British bigotry.
Why is 2026 the absolute right time for this story to be told?
ELIZABETH: With the increasing intolerance and division around immigration and the incendiary media coverage of “small boats,” the play is meant to challenge preconceptions and open hearts, but also to be deeply thought-provoking. How big are our hearts? How wide is the gate? What are liberal values worth if they aren’t accompanied by actions? The show is designed to be fun and promote empathy, all while challenging any notion of easy answers.
What was the “eureka moment” that sparked this script, and how did it evolve?
ELIZABETH: The spark came from meeting a young asylum seeker and hearing his story, reading toxic newspaper headlines, and meeting an incredible couple who foster underage asylum seekers.
The script has changed drastically since I first put pen to paper! In the first drafts, there were clear “goodies” and “baddies” the young immigrant was the hero, and the older, bigoted characters were the villains. But then I realized more nuance would be infinitely more interesting. Casting people strictly into “good” and “bad” isn’t productive for the divided society we live in. Now, all three characters are deeply human, giving a glimpse into the origins of their biases and provoking empathy in all directions.
Seraphim, what was it that drew you to this project and your character, Karwan?
SERAPHIM: Every now and then, a project stays with you. Murder on the Allotment was one of those for me. What drew me in was how the show handles heavy subjects with honesty while maintaining a remarkable sense of warmth.
My father was a refugee; he fled decades ago to escape a system that is now recognized as a tragedy. Yet, my father is not a tragic figure, he is a warm, loving man. That duality is something I rarely see represented: carrying the trauma of a journey few can truly understand, while still finding connection, community, and joy. I saw a lot of my father in Karwan his longing for home, his search for belonging, and his moments of feeling othered. I hope audiences find a piece of themselves in him.
Fringe spaces mean minimalist staging. How are you bringing a changing outdoor environment to life?
TESS: Our show is set on an allotment where each character’s plot evolves as the seasons go by. On a fringe budget, bringing that to life is trickier but essential! We have creatively found ways to translate the passing of time and the characters’ investment into their plots so the audience remains completely immersed in this outdoor world.
What is the weirdest or most unconventional prop making an appearance?
ELIZABETH: The allotment cat a weird, cheap stuffed animal that’s always present… until it’s not! Dun dun duuun!
What is the best piece of career advice you’ve received that pushed this show into reality?
ELIZABETH: “If you are going to be a playwright, you better start writing,” from Nadine Gray, founder of Riverscribes at Riverside Studios. I went straight home and started writing this play. If anyone is thinking about doing the Camden Fringe next year, my advice is to just sign up! That forces you to get off your butt and get it done.
Many thanks to Elizabeth, Seraphim and Tess for their time. You can catch Murder on the Allotment at The Cockpit on Monday 10 and Tuesday 11 August, as part of Camden Fringe.
