Edinburgh Fringe 2026
He Wants Kids, She Doesn’t
BF Productions
Venue: Just The Tonic at Subway
Festival: Edinburgh Fringe
Low Down
Have you ever heard of a romcom where all of the characters are played by one person? Enjoy a punchy comedy at Just The Tonic that shows us what fringe theatre is all about.
Review
Written by Hong Kong artist Emma Tsoi, this delightful comedy is marketed as a one-person romcom and it wonderfully delivers on that promise. It begins with a familiar premise: a simple misunderstanding that spirals into an increasingly elaborate chain of events, before finally resolving in a way that leaves the status quo recognisable, even if subtly changed. Following a couple navigating the question of whether or not to have children, alongside a cast of their eccentric family and friends, the play explores this relatable tension for maximum comic effect.
Directed by Matt Folliott, this one-person show is Fringe theatre at its best: minimal props, simple technical requirements, and an abundance of creativity, skill, and passion to tell a good story. The small corner stage at Just The Tonic at Subway felt like the perfect space for a stripped back show with the staging being a small clothing rack, minimal and two chairs. Although the opening ringtone was a little piercing, the rest of the sound cues were seamlessly integrated and enhanced the production’s comic rhythm.
Tsoi multi-rolled five different characters. She switched seamlessly between the roles, relying on only hats, wigs, and a scarf to distinguish characters, supported by distinct vocal choices and physicality for each person. The result is both impressive and entertaining. By the time they held conversations between two of the characters, miming with their wigs on the stage, the effect was well-earned and the result hilarious.
The jokes lands consistently throughout and we were left howling at the dim-witted but well-meaning boyfriend every time he made an appearance. One standout line was a rare fourth wall break, to clarify a character switch “for the four audience members who never get it, every show”, earned a well-deserved laugh.
At the heart of this comedy is a relatable story of love and questions of next steps for a relationship. This allows the audience to connect with the characters within the heightened nature of the performance. Speaking of hearts, our female protagonist, has a heart-shaped uterus. One of the highlights of this show, it how it doesn’t shy away from cruder elements but yet approaches them with restraint. Every joke feels carefully judged and contributes to the comedy, without overwhelming the play’s warmth and charm.
We are anchored the production by Tsoi’s charisma, excellent comic timing, and a warmth that makes every character relatable – yes, even Daniel, the male best friend who has been sucked in by the manosphere. Within the play’s fast-paced chaos, their performance provides a clear emotional guide for the audience.
Managing multiple roles within such a tightly paced production is a considerable challenge, one that is handled with skill and energy. Although the physical characterisation is generally clear, greater precision in a handful of transitions could bring an extra level of polish to the performance.
He Wants Kids, She Doesn’t is a European premiere at the Edinburgh Fringe Festival 2026, after having sold out at The Aftermath in Hong Kong. With its punchy plot, recognisable characters, and sharp comic timing, this is a warm, crowd-pleasing production that demonstrates how an engaging story and committed performance can achieve far more than elaborate staging and bid budget productions ever could. And that’s why we love the Fringe.
