Would you mind giving us an insight into what your show/event/performance is?
SMUT is a filthy, funny solo show with more heart than it initially lets on. Washed-up former burlesque superstar Entendre Entendre is launching her scandalous memoir, SMUT, which chronicles the many, many lovers she’s collected over the years. Through filthy poetry, song, dance, striptease and audience interaction, Entendre recounts her sordid adventures and questionable decisions. She lets it all hang out—sometimes more than she intends.
Tell us about the creative team and the process involved?
The core creative team is me as writer, producer and performer, and Rachel Resnik, who directs and co-devised the show. Because we live on opposite coasts, much of the show was developed remotely.
Over the course of a year, we built SMUT between time zones, video calls and the occasional in-person creative retreat. At one point, after I’d spent the day dancing, swimming and drinking Aperol Spritzes on the beach in Italy, I had a particularly tapped-in, emotional rehearsal. Keen to keep that momentum, Rachel’s main note was: “That was great, so I guess moving forward: be more Italian.” It remains one of the best directing notes I’ve ever received.
The show premiered to sold-out audiences at Hollywood Fringe 2025 before going on to sell out multiple performances in Edinburgh and receive two four-star reviews, including one from The Scotsman. Turns out twenty-odd performances make for a pretty great editing process. Over the last year we’ve trimmed the fat, sharpened the jokes, and given the emotional moments more room to land.
Huge thanks also to CK Kimball for producing and technical support, and to Callum Cheah for the sound design
How does it feel coming to (back to) the Fringe?
I’m truly running the gamut, mate. It’s exciting, exhilarating, heart attack inducing and everything in between. I wonder if there’s a mood stabiliser for that? Sorry, I’m American, we love our medication. ANYwayyyy….
There of course will always be stress and pressure, and I feel it more acutely this year. Last year I knew next to nothing about doing a full run of a show internationally. I came to Fringe alone and essentially treated it as an experiment, wanting to see if my little show could connect with an international audience.
This year feels different. I’m at Assembly and performing in a venue that’s roughly twice the size of last year’s, so I’m feeling the pressure to really show up, show out and deliver the strongest version of SMUT yet.
On the flip side, having spent time in Edinburgh over the last three summers brings me a sense of comfort. I know the city a little better, I understand how the festival works, and have friends scattered across the programme who I can’t wait to catch up with over a drink at Assembly Bar.
With shows from all over the world at the Fringe, what sets yours apart?
I think what sets SMUT apart is its layers.
Kate Copstick wrote in The Scotsman, “There is no section in the Fringe brochure for a show like this,” and I think, in part, that’s because it’s straddling (double entendre intended) several genres. It’s character comedy meets autobiography meets burlesque meets standup, with a healthy dollop of filthy poetry and audience interaction.
But further than that, there’s an emotional depth you might not expect from a comedy this filthy. The vulgarity and humour aren’t the destination, they’re the vehicle. The show seduces you with sex and silliness while quietly becoming more grounded and human. With each layer of clothing removed, something more than skin is revealed; we start to see the person beneath the persona.
So yes, you might come for the dirty jokes and a bit o’ T&A, but there’s a good chance you’ll leave feeling something you didn’t expect
On that, is there anything in the production or production team’s backgrounds which influences the way the show is performed or told?
Absolutely. I’ve never been particularly good at staying in one artistic lane. Outside of Fringe I dabble in stand-up, music, burlesque, poetry, dramatic acting and comedy, so when I was creating the show, different moments naturally called for different mediums. And, of course, my own colourful romantic history provided the source material.
I tend to be very word-focused and analytical. Rachel comes from an extensive background in clowning and physical theatre. That combination makes us a great creative partnership. She’s the perfect yin to my yang, helping pull ideas out of my head and into the physical world, transforming Entendre from words on a page into a fully realised person.
Is there anything specific you’re hoping the audience will take away?
One of the beautiful things about art is that ten people can see the same show and walk away with ten completely different takeaways. If people leave having laughed, enjoyed themselves or maybe discovered something they weren’t expecting, I’ll be thrilled.
Beyond that, I hope it’s resonant—that they find something that stays with them, or perhaps simply makes them feel seen in some way.
Your Ideal audience is in attendance, who’s watching? Or more importantly – who isn’t…?
SMUT is definitely for the she’s, gays, theys and feminists of any gender. And of course people who love vulgarity.
My less-than-ideal audience? Misogynists. And drunk lads who’ve wandered in thinking they’re just going to see some tits, and then chat with their friends, completely unaware of the volume of their own voices.
It’s an intense month, so where you’re able, how do you plan to relax, and are there any other shows you intend to see or want to recommend?
Relax? I’m sorry, I’m unfamiliar with the term.
In all seriousness, I hope to squeeze in some meditation, stretching and physical activity whenever possible. Also vegging out to some comfort shows in the evenings.
As for recommendations, there are far too many brilliant shows to list, but I’m particularly excited to see We Had Fun, An A to Z Guide to Dating, F*cking Famous and Succubus.
Bryn Woz runs at Venue 139, Snug Bar at Assembly Roxy
Runs: 5th – 31st August at 21:10pm
Photo credit – Nicole Sloan, Rah Petherbridge, and Lisa Bolden
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