As an early riser and a theatre fan, one of my favourite things about fringe festivals is the fact that shows are performed throughout the day: from the morning right up until the late evening. None could fit this description more than ‘The Big Bite-Size Breakfast Show’: a series of short plays which are presented as a “menu” in the morning, over a croissant and a cup of tea or coffee. Created by theatre company ‘Bite-Size Plays’, who are also the masterminds behind ‘The Big Bite-Size Show’, the team have enjoyed an 18-year run at the Edinburgh Fringe and for 2025 the format is returning to Brighton Fringe after a long break. I recently had the opportunity to hear more about the concept from creator Nick Brice, ahead of ‘The Big Bite-Size Breakfast Show’ opening at Ironworks Studios next month.
What inspired you to create both The Big Bite-Size Show and The Big Bite-Size Breakfast Show?
I started writing short plays in the early 2000s and experienced some of the more traditional Scratch Nights – events where artists would read or perform 10 or 20 minutes of a play idea. I entered a competition in Australia with an eight-minute play I’d written and made runner-up in the final. While I was there, I saw around 100 examples of 10-minute plays and noticed that some of them stood alone – more than just sketches, but not quite full three-act plays. They just seemed to work.
They could be a quirky idea exploring a human situation in a fresh and light-hearted way, or something more layered that makes you stop and think.
So, I set about researching and uncovering these mini-masterpieces and started showcasing them in 2006 – first at Brighton Fringe, then in Edinburgh that same May. We were too late to get into the Fringe programme and all the venues were full, but we managed to persuade Holly Payton, who ran both the Brighton Fringe and the Roman Eagle Lodge near the castle in Edinburgh, to open her venue at 9am rather than noon. That way we could stage a show in her 50-seat studio at 10:30am. The Breakfast Show was born – out of necessity more than design, but how lucky we were.
Not being in the official Fringe programme was a problem, so we had to flyer early morning and into the afternoon and evening to build an audience – 3, then 5, then 10, then 15 people… and then, after we got a 5-star review near the end, we were getting 40+ at each show.
The short play format appeals to me because I lose attention very easily, and I’d never claim to be any kind of theatre connoisseur – I’ve lost count of the times I’ve lost the plot during a longer play and spent the rest of the hour or two waiting for it to end, while the rest of the audience seemed to be loving it. I don’t think I’m alone in this!
You’ve said, “In a world stuffed with on-screen communication, a great ‘Bite-Size Play’ grabs your attention fast.” During your 18 years at the Edinburgh Fringe, how have you noticed audiences change in how they digest the plays?
We’ve also found growing appreciation for our ‘variety’ format – a smorgasbord of comedy, eccentricity, and the odd mini-drama. We aim to make each menu diverse and accessible to everyone, not just the discerning theatre-goer. We want Bite-Size to be a big experience for people aged 12 to 100 – whether they’re theatre regulars or just looking for something fresh and entertaining.
Bite-Size Plays is known for nurturing new talent. How do you go about finding exciting playwrights?
We’ve built up contacts around the world – agents, writers, and competitions in the USA, Canada, Australia, the UK, and the Middle East. We get offered many plays throughout the year. We also put out a call via the BBC Writers Room for submissions, and we work closely with The Pleasance Theatre Trust in both London and Edinburgh.
How do you ensure each ‘menu’ of short plays offers something for all theatrical tastes?
It’s quite intuitive. Sometimes we survey audiences on their top three plays from a menu of five or six, and it is amazing how differently people respond. One person’s favourite doesn’t even make another’s top three. Having said that, we always include at least three that most people would put in their top three.
It’s hard to stage a menu that absolutely everyone in an audience of 30 – or 300 – will love. But the great thing about our format is that if a play isn’t quite landing for you, just wait a few minutes – something new will come along.
In 2025, you’re returning to Brighton after an 11-year hiatus. What inspired the return?
We’ve got great memories of Brighton, but as our Edinburgh run took up most of the year, we decided to focus on what was then the more viable project. That also meant we worked mainly with London-based actors.
Last year, though, we received funding thanks to former Bite-Sizer Lisa Fairfield and her community theatre company Ignite Fringe. Together, we pulled in a few former Edinburgh stars and some fantastic local talent to put together a team. They did such a brilliant job in Newhaven last November that we knew it was time to come home to Brighton!
What can you tell us about the new Café Theatre experience at Ironworks Studios, where audiences enjoy coffee or tea, croissants and strawberries?
Audiences aren’t just watching a performance – they’re stepping into a relaxed, sociable, intimate environment where the plays often spark conversation and create connection. That feels more important than ever in a world where we’re often disconnected – especially post-COVID and with so much of life lived online.
This Café Theatre format is an up-close-and-personal experience. You’ll get a warm welcome, and can enjoy your breakfast snacks, and then have the plays served right in front of you.
We’re also doing our best to keep it accessible – a handful of show-only £5 standing tickets will be available, and we’re offering discounts when you book multiple shows. We want this to be something the whole community can enjoy – no matter your age or budget. With shows at 10am and 11:30am offering different menus, you can book both – and once you buy your first ticket through the Fringe site, you’ll unlock a 50% discount code for the others.
With twenty plays across four menus, we’ll cover everything from celebrities in space to noir detectives, awkward first dates, lonely hearts, and even a talking dog. It’s a proper mix!
What are you most looking forward to about Brighton Fringe 2025?
Brighton’s always had such a vibrant, creative energy. People here are curious, open-minded, and up for something different – which makes it a joy to share new writing, especially something as playful and varied as Bite-Size.
Being right in the heart of the city again, at the lovely Ironworks, meeting the local community, and sharing our little bit of Fringe magic… that’s what I’m most looking forward to.
Breakfast theatre at the Brighton Fringe
A big thank you to Nick for taking the time to share the origins of Bite-Size Plays and the company’s journey so far. Even though the breakfast concept was born out of necessity, it must be such a novelty for audiences to be able to enjoy some new writing over a croissant and a hot drink. Four ‘menus’ of short plays will be presented in Brighton, across various dates from 3rd to 26th May. Performances start daily at 10 and 11:30am, with tickets available via the festival’s website.
Thanks for reading my blog today.
Love Kat xxxx
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