Click on image to buy show tickets
There’s something irresistible about a show that knows exactly what it is and leans into the chaos with style. This Little Thing of Ours does just that — a gleeful mash‑up of mob mythology, musical theatre swagger and the kind of character work that only comes from creators who genuinely enjoy the world they’re building. Speaking with James and Michael, you get the sense that this project didn’t just arrive fully formed; it grew out of shared obsessions, late‑night ideas, and the kind of friendship where one person says “I want to write a musical” and the other immediately replies, “Right, let’s get started.”
What follows is a conversation that gets right to the heart of the show: the rivalry, the comedy, the family dynamics, the theatrical mischief, and the sheer joy of making big, bold musical theatre out of the mafia canon. Their answers are sharp, funny, and full of the enthusiasm that’s driving this show straight into Fringe folklore.
Frankie Coglione’s family curse is such a fun hook – when you first started developing the show, what came first: the mafia mythology or the musical comedy angle?
The inception of the story came from Michael. He mentioned in passing that he wanted to write his own musical, and two days later I was on the phone asking to get involved. It was always going to be a musical given Michael’s background, and we both love mafia‑related films and TV shows, so that cemented the initial direction. Once we dove into the writing, comedy came most naturally — the characters were so laughably ego‑driven that we needed to take them down a peg.
The press release hints at a real tug‑of‑war between Frankie and Tony. How did you approach building that rivalry so it feels both dangerous and delightfully theatrical?
Frankie and Tony are both bad guys — Tony is just much worse. Frankie has had a speedrun to the upper tiers of the mafia while Tony has had to grind, scheme and hustle to get where he is. There are a lot of back‑and‑forths between them, culminating in an 80s glam‑rock style duet.
Your Nonna character sounds like a force of nature. What inspired her, and how central is she to the emotional spine of the story?
We wanted Nonna to be the all‑seeing eye in the family business. Nothing gets by her and she’s sharp as a tack. We liked the idea that she had a secret web of informants throughout the crew, reporting every tiny piece of information so she could use it to her advantage. Female characters in mafia shows are often complicit bystanders; we wanted Nonna not just to witness events, but to be the puppet master pulling the strings.
You describe the show as “The Sopranos with full‑scale musical mayhem.” What elements of classic gangster cinema were irresistible to parody or reimagine on stage?
The way characters express themselves — in their words and gestures — in mafia cinema is so captivating and feels prime for parody. We loved the idea of these big macho guys singing about their beef with other members of the “Family.”
The idea that you don’t just whack someone – you give them a closing number – is brilliant. How did you balance the comedy with the stakes of a mob story without tipping too far in either direction?
Alice came up with that line — thanks, Alice. Shows like The Sopranos can have comedic elements in the darkest scenes. We tried to keep the story ticking over without getting too dark, but anything mafia‑related certainly heats up in the second half.
Michael Mackay’s Fringe experience and James Bruce’s BBC background make for an interesting creative pairing. How did that collaboration shape the tone and rhythm of the show?
Our collective experience allowed us to take ideas that worked well and avoid the things that didn’t. We’ve been friends for a long time, so we tend to be on the same page about what we find funny.
Alice Humphries’ previous Fringe success clearly brings strong directing pedigree. What new energy or perspective has she brought to This Little Thing of Ours?
Alice has been the real driving force of the show. She’s brought so much experience that we desperately needed. We met her in February and since then she’s been invaluable in bringing the songs to life.
You’ve assembled a cast of local Scottish talent. What qualities were you looking for to bring this heightened, musical‑gangster world to life? The obvious requirement was that they needed to pull off the accent and sing. We also looked for people with a bit of dark energy about them. I think all of the cast would be quite comfortable playing villains.
The show features a live band of professional musicians. How integral is the live sound to the storytelling, and what does it let you do that a backing track never could?
A live band is essential — it brings the show to life. Backing tracks or playing to a click creates a stale, repetitive atmosphere. Having four musicians playing live and feeding off the audience is much more fun.
Fringe audiences love a late‑night discovery. What do you hope people walk away with after seeing your 22:30 performance – what’s the lasting flavour you want them to carry home?
We hope they ignore the Omertà oath the mafia enforces and tell everyone they know.
Leave a Reply