Blackstar Productions on ‘Every Brilliant Thing’ Inspired Dramedy GREYJOY
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.
“Think This Is Going To Hurt meets Every Brilliant Thing.”
That is how writer Becca Harper describes GREYJOY, a sharp, profoundly touching new dramedy heading to the Libra Theatre Cafe this August for Camden Fringe 2026. Produced by Blackstar Productions, the play was born from a brilliantly absurd afternoon where Harper volunteered as a “mock patient” for medical students’ clinical exams, crying over a fictional dying father while an examiner aggressively typed in the corner.
What emerged is a brilliant investigation into the performance of healthcare, medicine, and the emotional toll exacted on an exhausted workforce. The twist? The production features a rotating roster of over 20 guest performers who step onto the stage having never once read the script. We sat down with Becca, director Tom Onslow, and cast members Zee Obeng, Macey Pattenden, and Xander Lewis to explore theatrical danger, medical school boundaries, and the art of doing it scared.
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?
BECCA: GREYJOY is a touching dramedy about the failings of the healthcare system, involving performers who have never read the script before. Simple, really.
What sparked the initial idea to turn the healthcare system into a theatrical experiment?
BECCA: I volunteered as a mock patient for medical students’ clinical skills exams and had to play someone whose close family member was dying. There was something horribly funny about it: a wink-nudge between the student and myself acknowledging that none of this was real, all while an examiner typed very loudly in the corner.
As a Psychologist and service user, I wanted to look at the performativity of bedside manner. Does it matter if a doctor is just following a checklist if it makes us feel good? What happens to them when they are on the other side of that conversation?
How drastically has the script evolved since you first sat down to write it?
BECCA: It’s changed completely. Having people come in and cold-read was not in my original vision, and now it’s a pivotal part of the show. The energy and electricity that unprepared performers bring to the room is unmatched as they mingle with our returning cast.
Zee and Macey, what was it that drew you to this project as actors?
ZEE: There is something very human and raw in Rebecca’s writing which lent itself to naturalism beautifully. It’s the kind of show where you watch and see parts of yourself reflected back in an exposing, satisfying way.
MACEY: As a medical student, seeing a show investigating the current state of healthcare through the lens of medical school exams was instantly compelling. It looks internally at the systemic framework rather than just placing arbitrary blame.
How challenging is it to anchor a show where your scene partners are completely unprepared?
ZEE: Playing Cait is particularly challenging because the structure is formed around the clinical exams. Having to act within those rigid boundaries is hard enough when our guest performers are brilliantly hilarious and throw me off with wonderful improvisation. These scenes are different every single night!
How crucial is audience connection when the performance is changing every evening?
XANDER: Audience interaction is sort of the whole point, given that our rotating cast of guest stars comes directly from the audience or other fringe shows! It forces the people watching to engage closely. You cannot be a passive audience member at GREYJOY.
What is the “secret sauce” that keeps your ensemble dynamic together amidst the chaos?
ZEE: It’s definitely how we let go of our inhibitions. We allowed ourselves to have fun and look utterly stupid in front of each other without fear of judgment.
XANDER: The secret sauce comes from the large range of inventive, wacky games Rebecca and Tom get up to with us in rehearsals. Once you’ve ridiculed yourself thoroughly enough, you can completely open up.
What are some of the standout props or set pieces we should look out for?
BECCA: I love the fake medical flyers hanging around the set. A reviewer on our original Oxford run pointed them out and noted how real they looked. I didn’t have the heart to tell them that all of them were completely made up, not least the one that says ‘Theatre Is Dangerous’ next to an x-ray of a broken leg!
MACEY: There’s also an ever-growing collection of real energy drink cans and coffee cups used during our pre-show. It just came from the cast relying entirely on caffeine to survive.
What is the best piece of advice you’ve leaned on while bringing this show to London?
BECCA: “Do it scared.” My dad said that, probably. Whenever I try to talk myself out of something, part of my brain screams DO IT SCARED! It has got me to experience some amazing things, not least taking this play to the Camden Fringe.
Many thanks to Becca, Tom, Zee, Macey, and Xander for finding time between either patients or rehearsals to chat with us. Greyjoy will play at The Libra Theatre Cafe from Monday 10 to Friday 14 August as part of Camden Fringe
