Sigh. Oh yeah, this is what the Edinburgh Fringe needs more of: a story about a guy who moves from overseas to New York City with the aim of making it big on Broadway. (As Homer Simpson once put it, “By the way, Marge, I’m being sarcastic!”) To be fair, though, there are touches of realism: Matt (Jono Darby) finds himself trying to scrape enough money together to afford attorney fees to obtain the kind of visa that would allow him to audition for American Equity contracts. Set in 2001, this show was a timely reminder, a quarter-century after the terror attacks on 11 September that year, not only of the destruction of the Twin Towers, but how much the world has changed well within living memory. Matt was being paid cash in hand for a job at a video rental store, made international calls back home on a payphone in the street and worries about not getting notifications about possible callbacks on account of limited internet access and a reliance on someone else’s landline for a contact number.
Drama about drama has been done before and will be done again: although the struggle comes across convincing in a narrative that isn’t overly laboured with quarter-life crises and personal trauma. And it’s always good to see a single performer take on a range of characters, including Matt’s mother, father and grandmother, as well as work colleagues, work manager, casting directors and fellow actors, amongst others. The attention to detail in Emily Steel’s script is at the right level, enough to give the narrative credibility but without getting the storyline bogged down in minutiae.
One of those shows that relies heavily on the art of storytelling, it’s a compelling and nuanced production. The character development is strong in this play, surprisingly amusing even the central character’s myriad challenges. Far from a pity party, it’s a story of resilience and versatility when dealing with life’s curveballs. So despite my initial reservations within the first few minutes of the show, the production redeems itself through a poignant and nuanced narrative.
Review by Chris Omaweng
Exploring the personal and psychological impact of a world-changing moment through the eyes of someone who just happened to be there, this is a darkly funny account of survival, ambition and disillusionment. A single performer plays twenty-eight characters, bringing to life a kaleidoscope of personalities, from a hopeful Aussie newcomer to a jaded New York lawyer to a British compulsive liar. It captures the chaos, absurdity and emotional fallout of a life derailed and reshaped.
Performer – Jono Darby
Writer and Associate Director – Emily Steel
Director – Corey McMahon
Sound Designer – Jason Sweeney
Lighting Designer – Chris Petridis
Production and Costume Designer – Meg Wilson
HOW NOT TO MAKE IT IN AMERICA
Summerhall at the Edinburgh Fringe
6 to 31 August 2026
