Well now, this is the sort of post that lands in my satchel and makes me stop mid-delivery for a proper read…
The 2026 House of Oz Purse Prize has announced not one, but two winners this year, with Fuccbois: Live in Concert and How Not to Make It in America sharing the honour and setting their sights firmly on the Edinburgh Festival Fringe.
Now in its third year, the prize has quickly become one of the most exciting pathways for Australian artists heading to the Fringe. House of Oz selects standout work from Adelaide and backs it all the way to Edinburgh, giving artists the kind of support that turns a hopeful trip into a proper international moment.
And this year, they simply couldn’t choose between two very different but equally striking productions.
Fuccbois: Live in Concert arrives as a glitter-soaked, high-energy pop comedy, following a boyband on the brink of farewell as egos clash and old tensions bubble up. It’s bold, camp, and knowingly chaotic, poking fun at modern dating culture while delivering a full musical spectacle. Expect big laughs, sharp satire, and just enough heartbreak to keep it grounded.
Then there’s How Not to Make It in America, which takes a very different route straight through the heart. Set around 2001, it follows a young Australian actor chasing dreams in New York, only to be derailed by real-world events, personal loss, and the ticking clock of a visa. Performed by James Smith, who takes on 28 characters, it’s an intimate and emotional piece that explores identity, ambition, and what happens when everything you planned suddenly shifts.
Together, these two winners reflect exactly what the prize was created to celebrate: bold storytelling, originality, and work that isn’t afraid to take risks.
They were selected from a shortlist of five, which also included I Can Have a Dark Side Too, Tilly Does A Show, and Man Sings The Same Song Over And Over Again For An Hour — a lineup that shows just how strong the field was this year.
For the winners, the prize means more than just recognition. It brings financial support, industry connections, and the chance to present work on one of the biggest stages in the world. For audiences in Edinburgh, it means two shows arriving with real momentum behind them.
From where I’m standing, leaning on a postbox and watching the Fringe map unfold, this feels like one of those deliveries that matters. Two shows, two very different voices, both making the journey from Australia to Scotland with something to say.
And if my satchel’s taught me anything, it’s this: when a prize backs artists like this, it’s worth paying attention.
Who Is Andrew “The Guvnor” of Theatre Village?
(As delivered by Grace Hatchell, 2nd Act Couriers, First Class & Slightly Nosy Service)
Now then… if you’ve spent any time wandering through Theatre Village, you’ll have felt it. That hum. That buzz. That sense that somewhere, behind the curtain, someone’s pulling the strings, brewing the tea, and making sure the spotlight actually turns on.
That, my lovely lot, would be Andrew.
Or as I’ve taken to calling him… The Guvnor.
Not in a scary, “don’t cross him” sort of way—no, no. More in a “quietly building an empire while everyone else is still reading the programme” kind of way.
I’ve seen him, you know. Not always in plain sight—he’s not one for centre stage—but always there. Watching. Tweaking. Thinking. Probably got about ten ideas bubbling away at once, and another five already halfway out the door.
Theatre Village didn’t just appear overnight, you see. It’s been stitched together bit by bit, like one of those proper handmade costumes—threaded with passion, a bit of cheek, and a genuine love for the stage. Not the flashy, red carpet side of theatre… but the real stuff. The fringe. The underdogs. The ones pouring their hearts out in tiny venues with dodgy lighting and big dreams.
That’s where Andrew’s eye is.
He’s got a knack for spotting something special before the crowd catches on. A show tucked away upstairs. A performer giving it everything. A story that deserves to be heard. And instead of just nodding along like the rest of us, he builds a whole blooming platform for it.
And let me tell you—this village? It’s not just for show. It’s growing. Expanding. Streets being built, doors opening, new voices moving in. He’s not just writing about theatre… he’s creating a place for it to live.
Bit clever, that.
Now, he won’t say it himself—far too modest—but there’s graft behind it. Late nights. Early mornings. Probably a fair few “what am I doing?” moments along the way (haven’t we all, eh?). But he keeps going. Keeps building. Keeps believing there’s room for more stories, more voices, more magic.
And I like that.
Because in a world where it’s easy to shout about the biggest shows with the biggest budgets, Andrew’s quietly making sure the smaller ones don’t get lost in the post.
(And trust me, as a postwoman, I take that very seriously.)
So if you ever find yourself wandering through Theatre Village, just remember—you might not see him straight away… but The Guvnor’s there. Somewhere between the lines, behind the scenes, keeping the whole place ticking along nicely.
And if you listen carefully… you might just hear the next big idea being scribbled down.
Now then—
I’ve got letters to deliver, gossip to gather, and probably a biscuit waiting for me somewhere.
See you round the Village.
— Grace
