Following last year’s Fringe hit It’s The Economy, Stupid!, Joe Sellman-Leava returns to Edinburgh with Copycat, an inventive and thought-provoking hour at the Pleasance Dome that blends sharp character impressions with a timely exploration of artificial intelligence.
Most people have attempted an impression of a teacher at some point during their school days. For Sellman-Leava, that ability became the foundation of a school performance and, ultimately, the starting point for this show. From that seemingly innocent act of imitation emerges a wider discussion about creativity, identity and the increasingly blurred line between human expression and machine-generated content.
Sellman-Leava wastes little time demonstrating his remarkable talent. A rapid-fire series of impressions delights the audience, with everyone from Ed Miliband to Patrick Stewart making an appearance, alongside the almost obligatory Donald Trump. The impressions are not only technically impressive but genuinely funny, immediately establishing an easy rapport with the audience and showcasing the skill at the heart of the show.
Under Katharina Reinthaller’s assured direction, Copycat evolves beyond a simple showcase of impressions. What begins as a light-hearted reflection on mimicry gradually develops into a serious examination of artificial intelligence and the influence of Big Tech on modern society. Sellman-Leava approaches the subject with curiosity rather than certainty, inviting the audience to wrestle with the same questions that concern him.
This conversational quality is one of the production’s greatest strengths. Some of the observations are genuinely eye-opening, particularly when discussing the impact AI is already having on creative industries. But Sellman-Leava widens the lens further, exploring the relationship between technology, power and the rise of authoritarian politics. As the show examines how tech giants increasingly shape public discourse and influence democratic processes, Copycat asks unsettling questions about who controls information and where that power may ultimately lead. The show raises enough challenging ideas that many audience members will likely find themselves continuing the conversation long after leaving the venue.
As with Sellman-Leava’s previous work, multimedia elements play an important role. With the support of Dylan Howells’ design, a screen behind the performer projects images and live visuals captured from the desk on stage, adding welcome visual variety and helping to illustrate some of the more complex concepts being discussed.
Yet Copycat does not always feel entirely comfortable in balancing its various strands. The opening promises a comedy-driven hour built around impressions and storytelling, while the latter sections become increasingly focused on artificial intelligence, Big Tech and the threat posed by growing authoritarianism. Each element is engaging in its own right, but the transitions can feel somewhat abrupt, leaving the impression of several fascinating shows competing for space within a single hour.
Nevertheless, Copycat remains an intelligent and enjoyable piece of theatre. Even when its ambitions occasionally pull it in different directions, Sellman-Leava’s charisma, wit and undeniable talent ensure there is plenty to admire.
Listings and ticket information can be found here
