If you reviewed your own show, how would you describe it?
This show made me feel intellectually stimulated, emotional, and somehow slightly turned on at the same time. The way Mario finds laughter and levity in a dark topic like sexual assault in the modeling industry is remarkable. He’s smart, emotionally intelligent, thoughtful, hot, and somehow still humble.
Tell me a little more about your show and what audiences can expect.
It’s a comedy show about my journey from a small town in Germany to becoming a male model in New York, navigating power dynamics, rejection, and the desire to fit in. It explores sexual assault from a male perspective, challenging many of the taboos around what men are allowed to talk about.
Can you talk about some of the creative team involved?
I’ve spent years writing comedy every morning, trying to find the right way to tell this story. My road opener and director, Bill Dawes, has been instrumental in shaping the show. With his theatre background, he pushed me to create something that feels different from my usual stand-up and to lean further into storytelling and vulnerability.
Where do you draw inspiration from for your work, both in terms of creation and performance?
I don’t consume a huge amount of media. Most of my inspiration comes from conversations with people. When someone tells me a story that genuinely moves me, they’ve usually tapped into something universal. Whatever connects people in real life will also connect with an audience on stage.
Looking at this production, how would you say it links to your previous work, personally and thematically?
I’d describe the show as somewhere between Zoolander and Baby Reindeer. It’s playful and silly on the surface, but underneath it explores masculinity, identity, and sexual trauma in a deeply personal way.
Why is this an important story to tell?
It’s a story that’s traditionally been told from a female perspective. By sharing a male experience, I hope to challenge assumptions about masculinity and encourage more men to be honest about their emotions and experiences.
What would you like audiences to take away from seeing your show at the Fringe?
I used to be a model and thought I only had permission to be hot. I’m also a German man and thought I wasn’t supposed to have emotions. I hope people leave realising that we don’t have to live according to other people’s expectations. The things we’re told not to talk about are often the things worth talking about most.
Do you tend to take inspiration from events happening in the world around you? Do you think artists have a responsibility to respond to what’s happening?
Politics finds its way into my comedy because immigration and cultural identity are personal to me. But I don’t think every artist has a responsibility to comment on current events. There’s also enormous value in simply making people laugh and creating a shared experience.
What do you do to relax in August?
I’m German. I don’t relax. My version of taking it easy is going on a gentle 32-kilometre walk through the Scottish Highlands.
How do you feel about the current arts landscape in your country and your part in it? Does it excite and inspire you to keep pushing boundaries?
I live in the US and I’m constantly impressed by the range of creative expression, both online and on stage. The freedom to joke about almost anything is a privilege. I have friends in countries where that simply isn’t possible, and it reminds me not to take creative freedom for granted. It definitely inspires me to keep pushing myself.
Why are arts festivals such as the Fringe so important for international exchange?
Different cultures coming together is incredibly valuable. It reminds us that we’re much more alike than we are different. The world often feels divided, but events like the Fringe – or even the World Cup – bring people together and make those labels disappear, at least for a little while.
What can the wider arts community do to get more people involved in their disciplines?
I think traditional arts communities have sometimes looked down on social media. Embracing new platforms instead of resisting them is one of the best ways to introduce new audiences to live performance.
Have you got your eye on any other shows in the programme?
I’m excited to see what comedians like Gianmarco Soresi and Daniel Sloss bring to the Fringe. It’ll be interesting to see how their festival shows differ from their regular stand-up.
What’s next for you, and how are you feeling about the future in general?
I feel incredibly grateful that I get to travel the world making people laugh while learning about different cultures. It’s genuinely my favourite thing to do, and I’d probably do it even if nobody paid me.
How can Edinburgh audiences keep up with you beyond the festival?
Come find me on Instagram and YouTube @marioadrion. I recently uploaded a video making fun of the English – which, thankfully, they seem to be enjoying.
Mario Adrion: Live a Little, Pleasance, 5-22 Aug (not 17, 18), various times