Eurovision is the theme of a new piece of writing heading to the Edinburgh Fringe this summer, Carys Should be the UK’s Next Eurovision Entry, created by Carys Jeffrey Evans. Marking the artist’s first professional performance in over a decade, Carys has written a one person show that is part comedy, part musical, part memoir, part persuasive essay, and throughout the performance she will try and convince the audience that she should be the next person to represent the UK at the contest. As a fellow Eurovision fan, I was thrilled to have the opportunity to ask the performer some questions about the show and find out about her personal connection to the song contest.
The Eurovision Song Contest is the subject matter for your one-woman musical comedy. What inspired you to write a show centred on representing the UK at the competition?
For years, I have had a rolling list on my phone in my notes app called Things I still feel like I might do in my life because I’m mildly delusional. I’ve always had a wide array of interests, and the note started as a running log for all of these things I wanted to achieve in my lifetime. The items on the list range from “completely do-able” to “incredibly aspirational”. Two separate items on the list were Perform a show at the Edinburgh Fringe and Represent the UK at Eurovision. But the BBC doesn’t currently have any public selection process for Eurovision hopefuls, and a Fringe show needs a concept…and then one day last summer it clicked for me that the two dreams could create an excellent combination that could tick one, if not both items off the list! The show really just started pouring out of me from there.
What does the Eurovision Song Contest mean to you?
It’s easy to just think of Eurovision as a silly little song contest, and in many ways it is. But it’s also so much more than that. Eurovision was created in part to help repair and reunite a broken Europe after World War II. I strongly believe that 70 years later, Eurovision has opened all of our eyes to cultures, styles, and points of view that many people otherwise may not have been exposed to. Learning more about each other through song and storytelling allows us to gain greater empathy and compassion for one another. And unlike other transnational cultural touchpoints – like the Olympics or the World Cup – there’s next-to-no barrier to entry to enjoy Eurovision. It’s one night a year, every year; there are no real rules you need to understand, and everyone speaks the language of music.
Who would you say is the most iconic Eurovision act of all time and why?
How could I choose just one?!
From a UK perspective, Sam Ryder has to be the most iconic entry in the 2010s-present era. He really proved that the UK can still perform well at Eurovision, and he’s just the perfect example of song, staging, vocals, and showmanship all flawlessly combining to create an absolute powerhouse entry.
Otherwise, if we’re talking most iconic within the last 20 years…I’d probably say Alexander Rybak’s ‘Fairytale’. Not only is it perpetually stuck in my head, but I also find that it’s the one that even non-Euro fans can recall nearly 20 years after the fact!
How will both longtime fans of the contest and casual watchers relate to the material?
It was important to me to create a show that would be appreciated by hardcore Euro fans, but that would also be entertaining for casual viewers of the contest and any non-fans who may even get dragged along. There’s music, quintessential references, and so many ESC tropes layered throughout the show that Eurovision fans are going to love, but the audience is also going to learn a lot about me in the process and (I hope) feel inspired to take more chances and explore their own dreams.
This year’s Fringe will mark your first professional performance in a decade and it is also your Edinburgh debut. How are you preparing for your festival run?
I have been trying to soak in and enjoy every step of this process – from research and writing to staging and rehearsing, poster design, marketing, PR, and all of those other elements that come with producing and performing at the Fringe as a one-man band. Lately I’ve been focused on my voice lessons and being in tune with my voice and body to make sure I can stay healthy and perform at my best throughout my full run. I’m taking vitamins! I’m drinking electrolytes! I should definitely be doing more stretching!
The show is about following your dreams, believing in yourself and being a part of something larger than yourself. What do you hope audiences take away from coming to see a performance?
Life is long, but it’s also so bloody short – and no day is guaranteed. I really hope audiences feel inspired to revisit some of their dreams and explore what is holding them back. I would absolutely love it if my show inspired even one person to take a chance on themselves and tick something off their own bucket list.
Oh, and I also really hope they walk away going, “Wow, that Carys really should be the UK’s next Eurovision entry!”
Catch Carys Should be the UK’s Next Eurovision Entry at the 2026 festival
Whether you are a superfan of Eurovision or it’s a guilty pleasure that you tune into once a year, it sounds like the themes of this show are universal and will likely inspire others to just go for their dreams. Carys is totally right about the contest, it really brings people together. Carys Should be the UK’s Next Eurovision Entry is based at Theatre 3 at theSpace @ Surgeons’ Hall (venue 53) from 7th – 22nd August (not 16th and 23rd). Performances start at 15:05 (50 minutes), with the show on sale via the EdFringe website now.
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