Grace O’Keefe arrives at the Edinburgh Fringe with An A to Z Guide to Dating, a bold and humorous new musical at Underbelly (Buttercup). Blending comedy, original music and personal storytelling, the show reimagines a decades-old dating guide for a modern audience.
As both writer and performer, O’Keefe brings a unique perspective to relationships, exploring love, feminism and family through the lens of their mother’s advice book. The result is a lively and relatable take on dating across generations.
An A to Z Guide to Dating runs at Underbelly (Buttercup), George Square, from 5–31 August 2026 at 17:15. Tickets are available here.
You’re the writer and performer of An A to Z Guide to Dating at Underbelly (Buttercup), what can you tell us about the show?
An A to Z Guide to Dating is a one-woman musical based on a dating advice book my mother wrote, and I play my mother.
What drew you to transform your mother’s original dating guide into a musical, and what has that creative process been like?
I had been wanting to adapt the book for years because it’s a gold mine of content.
I knew it would be special, however, so I didn’t want to rush into it. Last year I had the revelation that I should play my mother, and all the stars aligned quite quickly.
It’s been really rewarding, albeit stressful, but fortunately I feel like I’ve really grown as an artist and a writer in the process.
The show explores relationships across generations, what themes are you most excited for audiences to connect with?
The two things that I’m really grappling with are what it means to be a woman and what it means to perform.
Relationships are a big part of that, but not just romantic relationships — also how we view our relationships and how we behave around our mother.
I hope people examine how they perform certain roles in their life and relationships, but also feel that performing can be both exhausting and exciting. Maybe they’ll go home and read some Judith Butler or watch some John Waters.
How does music, from 80s synthpop to show tunes, help bring the story and its humour to life?
The score is set in three sound worlds: 1950s golden age showtunes, 80s synth, and then a more modern lens that emerges as the show goes on.
Some people have described it as Charli XCX-like, but I mostly listen to Sondheim, so I cannot confirm.
I’ve had a lot of fun experimenting with sounds you wouldn’t normally expect in the mix, like sports whistles, heavy breathing and maniacal laughter.
Things get quite trippy at some points, which I think is quite funny but also underscores the horror.
This is your first solo show at the Fringe, how does it differ from your previous work and what challenges have you embraced?
It’s funny because although my last show, Summoning Sondheim, was about becoming a writer, this is the first show I feel like I’ve properly “written”.
Summoning Sondheim was more birthed in a rehearsal room, and while there was brilliantly written dialogue, I should give credit to my fabulous co-writer and star Jordana Belaiche, who is my Assistant Director and Dramaturg on A to Z, for the pithiest lines.
It’s been intimidating but really rewarding to do everything myself and unavoidably discover my unique voice as a writer and performer.
What would you say to anyone thinking of booking to see An A to Z Guide to Dating?
If you are single, buy a ticket. If you’re not, buy a ticket.
If you’re a mum, love a mum, or have a mum, buy a ticket.
It’s the sort of show that could have only been born at the Fringe, but I think has a little bit of something for fans of comedy, cabaret and musicals alike.
