Every year at Edinburgh I am reminded about the importance of word of mouth and the excitement around shows as they do their first performances. At last year’s festival, I heard about a solo play ‘In the Black’, which was being performed at theSpaceUK in the mornings and I rushed to find out why there was such a buzz around it. Quaz Degraft’s dark comedy centring on an aspiring black accountant ended up being one of my favourite shows of the 2025 Fringe and when I heard that it was returning for 2026, I couldn’t wait to ask the creative some questions about the show’s origin and what he is taking into the experience this year.
‘In the Black’ is loosely inspired by your own journey, from finance to acting. What inspired you to create such a thought-provoking piece of theatre?
Growing up as the eldest child in a first-generation household, I always felt a duty to excel and make sure my parents’ sacrifice wasn’t in vain. Combined with the financial struggles of my upbringing, that stirred a deep ambition inside me to “make it” – and to me, making it meant financial security. Never having to worry about money again. With the work ethic my parents instilled in me, I chased exactly that. But the cost of that laser focus was time away from the people I love. I began to fear being consumed by my own ambition. In the world of finance, where greed corrupts those who fly too close to the sun, I started asking myself: how far is too far? And at what cost?
The play’s themes include morality, racism, career goals and the lengths humans will go for their loved ones. Why is now the right time to share this original piece of writing?
I think it’s a universal story that many people can relate to. We see the effects of hustle culture, burnout, and capitalism playing out on a global scale every single day. A lot of people are genuinely re-evaluating the lens through which they view the world and how they move through it. At least, I know I am.
How did you go about creating the piece?
It started during a solo performance class I took while studying at the University of Southern California. Having never written before, that class really opened up the process for me and showed me how to approach building a solo show from the ground up. With guidance from my USC teacher Lee Chemel, I learned how to shape and structure a dramatic piece, and it grew from there.
Why did you decide to tell this narrative through the format of a one-person show?
I’ve always been enamored by the one-person show, from Whoopi [Goldberg] to Michaela Coel to John Leguizamo. I love how you can transform into entirely different characters and invite the audience into a whole world through shifts in voice and body alone. At its core, it’s the oldest, rawest form of storytelling. And honestly, it’s just a lot of fun getting to be all those different people.
Looking back to last year’s Fringe, what did you learn from the experience?
I went into last year’s Fringe pretty much in the dark about what a behemoth Edinburgh actually is, and looking back, I’m glad I did. There was no room for doubt or worry because I didn’t know what I didn’t know. I learned the importance of rest in order to show up in the best mental and physical shape every day. I learned how to pitch my show to a complete stranger while flyering, landing it in under ten seconds, which is a skill in itself. But most importantly, I learned to be adaptable as a performer: staying open to different audiences coming in day after day, and rolling with it if cues are off.
How are you finding having the opportunity to revisit the material this year?
It’s truly been a gift. Last year I wrote the piece in a truncated window as I was in the middle of my final year of drama school with everything that comes with that. Now I’ve had the time to let the piece breathe, to find deeper layers and dig into them properly. I’m really excited to bring a fuller, more developed version of the show to audiences this year.
What do you hope 2026 audiences take away from seeing the show?
I hesitate to prescribe something specific because I’m not sure that’s my place. But I do hope people leave with some kind of shift, even if it’s simply a better mood from the laughs.
Catch ‘In the Black’ at the 2026 festival
It is brilliant that Quaz is returning to Edinburgh this year and the fact that the show is coming back with even deeper layers is really exciting. ‘In the Black’ is based at Daisy at Underbelly, Bristo Square (venue 302) from 5th – 31st August (not 18th). Performances start at 14:45 (1 hour), with the show on sale via the EdFringe website now.
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