An interview with Margaret Curry, part of the cast in, WHO WE BECOME PARTS 1 & 2 ahead of the Edinburgh Fringe opening this week.

Who We Become, Parts 1 & 2

Three powerful stories about human relationships, identity and change. See one or all in Part 1, The Moonshot Tape, and Part 2, Breakfast at the Track and A Poster of the Cosmos.

Where did the inspiration or ideas come from for your show/production?

I first discovered Lanford Wilson’s work as an acting student in New York, not long after college. When I stumbled on The Moonshot Tape and A Poster of the Cosmos, something in them just hit me—especially the character of Diane. Her voice landed in me with a force I didn’t understand at the time, but I knew, without question, that I needed to play her one day.

By 2022, the themes in those plays—the weight of personal history, the ache of being “other” in a world that doesn’t know what to do with you—felt urgent all over again. In 2024, my company brought them to The Flea for a short Off-Broadway run, and the audience response was immediate and deep. That kind of resonance told me we weren’t done. These plays needed more space, a bigger conversation.

So where better than the Edinburgh Festival Fringe? And this time, we’ve added a third Lanford Wilson one-act—another fierce, beautiful dive into the chaos and grace of being human.

What do you plan on doing to relax and get some “time out” during the Fringe?

I can’t wait to see other shows! My Consulting Producer Toni Bashinelli and I actually came to last year’s Fringe to scout and soak it all in—it was incredible. I loved getting to see such a wide range of work and talk with the artists and folks behind the productions. This year, I already have a list of friends’ shows and recommendations from friends of friends, so I’m excited to dive in.

I’m also really looking forward to just being in Edinburgh—walking the city, trying new restaurants, people-watching, and letting the energy of the Fringe wash over me. And honestly? I’ll be doing a fair amount of nothing, too. Rest and reset are non-negotiable—these shows ask for your whole self, and being well is part of the job.

How do you deal with stage nerves before each performance, if you have them?

At this point in my journey, I see stage nerves as just part of the process. They show up because I care—deeply. I feel a real responsibility to honor the playwright’s work. When a writer pours their heart and risk onto the page, I want to meet that with equal presence and integrity.

Theater happens in real time—anything can unfold, and each performance is shaped by the audience in the room. That makes it a sacred exchange. So yes, I expect a swirl of feelings before each show. But I’ve learned how to work with them, not against them. To breathe, ground myself, and trust the preparation—and the moment.

Where are you staying during the Fringe? Did you find accommodation quite easily?

We found a great rental through Edlets. It actually wasn’t too difficult—we started our search right after our scouting trip to last year’s Fringe, which definitely helped. The team at Edlets has been super helpful and responsive, and it’s such a relief to have a comfortable home base lined up for the run.

What obstacles have you faced preparing for the Edinburgh Fringe this year?

Because we did a scouting trip last year, we had a bit of a leg up—we started early and already had a sense of the city and how things flow during the festival. Plus, our director, Mark Cirnigliaro, brought a show to the 2023 Fringe, so he’s been an incredible resource in helping us navigate the landscape.

The biggest challenge has been juggling the timing of all the moving parts—coordinating with the many different companies and vendors, each with their own set of deadlines. That’s where Toni Bashinelli, our Consulting Producer, has been an absolute lifesaver. One of her superpowers is keeping all those pieces in motion without losing sight of the big picture. Thanks to her, I’ve been able to stay sane as both the actress and the executive producer.

What has been the highlight of your career so far?

Honestly, whatever project I’m working on in the moment usually feels like the highlight—I just love what I do that much. But bringing Lanford Wilson’s worlds to life through this production has felt especially meaningful. Watching Geoff Stoner embody Tom in A Poster of the Cosmos, and living inside Diane’s skin in The Moonshot Tape, has been a deeply personal experience.

These two characters’ stories matter to me in a profound way—and judging by the audience response, they matter to others too. That, to me, is what art is for: helping people feel less alone, more alive, more connected. More seen and known.

Why did you decide on the Venue you are using?

During our scouting trip, we focused on experiencing the venues our director, Mark Cirnigliaro, had identified as strong possibilities—spaces he felt would suit the tone and intimacy of our plays. We toured several in person and saw productions in others that were in use during the festival. It became clear pretty quickly when we’d found the right fit.

What really sealed it was our meeting with Charles Pamment, the head of theSpaceUK. He met with us personally—early in the morning, no less—to walk us through venues outside of festival hours. He was so generous with his time and his insight, and we were struck by the fact that he’s not only a programmer, but also a producer and director himself. It felt like he truly understood what we were bringing and why—and he wanted to support it. When he said he’d be happy to have our plays at theSpace, I actually cried.

The Haldane itself felt perfect. It offers the kind of intimacy we were looking for—where the audience feels like they’re right there in the room with the characters. Not in a participatory way, but as witnesses to something raw and private. That closeness is essential to these stories.

In one sentence why should someone come to see your show?

To see yourself—flawed, reaching, real—in Wilson’s characters, and leave a little more open to love, truth, and the fight to keep going.

Name one other show that you plan on seeing at the Fringe?

It’s so hard to name just one—I have a long list of incredibly talented friends bringing shows this year! But I’m seeing Kate Owens: Cooking with Kathryn at Underbelly Cowgate. It runs from 5:10 pm on 31 July to 24 August. I’ve worked with Kate before—she’s hilarious, and her work always delivers. I cannot wait to laugh.

The shows play in rep at theSpaceUK @ Surgeons’ Hall Aug 1-23 (12:50 PM)

Who We Become Part 1: The Moonshot Tape by Lanford Wilson

Aug 1, 3, 5, 7, 9, 11, 13, 15, 18, 20, 22 12:50 PM (50 mins)

Who We Become Part 2: Breakfast at the Track / A Poster of the Cosmos by Lanford Wilson.

Aug 2, 4, 6, 8, 12, 14, 16, 19, 21, 23 12:50 PM (50 mins)

©  Elaine C for theatreandartreviews.com