Meet the mother and daughter both bringing uproarious shows to the Edinburgh Fringe


After winning a Scotsman Fringe First in 2022 for her debut play Breathless, Laura Horton is back this year with a bigger and more ambitious show, Lynn Faces, about a woman whose mid-life crisis involves forming a punk band inspired by the character of Lynn, Alan Partridge's personal assistant. Meanwhile, Horton's mother Babs is making her Fringe debut, at the age of 71, with a play called In the Lady Garden, “a rip-roaring feminist comedy by three women over 60”. Here, the two reflect on their creative relationship and what it feels like opening Fringe shows at the same time.
Laura on Babs
My mum grew up in Tredegar and dreamt from a young age about being a writer, but assumed it would be an impossibility for her. I’ve read lots of articles over the years from writers talking about their routines, often about where they write – in their second homes, or how their children know not to disturb them while they’re working. My mum worked on her book in the corner of the living room for years, slowly chipping away between working long hours in a psychiatric unit and shouts of “what’s for dinner?” and “where are my PE shorts?” from my brother and me, before my dad got home to take over.
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When she finished her first novel, A Jarful of Angels, she spent nine years sending it off to publishers before it was finally published when she was 49. During the recession, things became a lot harder in the publishing industry, but she kept going, continuing to write and share her work. It’s this doggedness I find so motivating, she never gives up on herself, even though I’m sure she’s been tempted at points. This has been such an important lesson for me; it’s crucial to remember that things rarely happen overnight.
My mum ran a writing group for young people for years, encouraging and supporting their journeys. She has always given a lot of herself, and I often get notes and messages from people to tell me how much they love her. When we ran workshops together at Theatre Royal Plymouth, it was such a joyful experience. I was in limbo and exhausted from juggling careers, but her enthusiasm was really uplifting.
When my mum turned her hand to theatre, she attacked it with the same gusto. Her first play Wings was long-listed for the Bruntwood Prize for Playwriting and she set to work writing more. When my mum’s play In the Lady Garden was selected for the Pleasance Regional Partnership with Theatre Royal Plymouth, I was so delighted. I’m taking my second play to the Fringe at 40 and my mum is taking her first play at 71, we’re both testament to the fact it’s never too late. It's comforting to know we’ll be there together and will have each other for support. I’m lucky to have writing as a shared passion with her, I trust her implicitly and we often read each other’s work.


I was always very lucky that my parents encouraged creativity at home and were always very playful with us. When my mum would walk us to school, she’d tell us tales all the way up the hill, making up fantastical and intricate worlds from the journey that stay with me to this day. She’s never lost that curiosity for the world and it’s infectious to be around. I never laugh so much as when I’m around her. When I told her about the idea for my new play, Lynn Faces, she told me to go for it – I was worried it was too weird: “Ah just give it a whirl!”
Babs on Laura


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Hide AdWhen Laura was a toddler our weekly shopping trip involved buying a book. She’d spend a happy time turning the pages and once, let out a blood curdling scream startling the other shoppers when she saw a picture of the awful troll in the Billy Goats Gruff.
Her favourite bedtime story was The Cow Who Came Over the Mountain. She knew the book inside out and if you missed one word she would sigh loudly and make you start again.
She had a little theatre for Christmas and used to put on plays. The family lined up and handed over their 50p – no concessions or refunds! Up went the curtain and the drama began. Her brother Jack was roped in and there was often a contretemps when in the middle of a serious piece of Sylvanian drama, he made rude noises.
After university, jobs were scarce, and Laura became an usher at Theatre Royal Plymouth. Always pragmatic she said: “I get to see all the shows for nothing!” This is where her awesome knowledge of theatre stems from. It was there she did some unglamorous shredding work but met the CEO who suggested she apply for an upcoming job in PR, an area she excelled in.
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Hide AdIt’s wonderful sharing our writing. I trust her implicitly and value her opinions. We have many a laugh and occasional cry. We’ve jointly run writing groups and wrote a poem together for the Theatre Royal’s 40th birthday celebrations that was staged by a group of ushers from the theatre. When she began writing I worried about how rejection would affect her; she’s a sensitive soul and puts everything into her work. I’d had many rejections, so I shared the best remedy, which is an energetic, sweary rant, punching pillows and then start writing all over again. And again. You must be dogged to be a writer. And she is.
She’s faced disappointments and triumphs. When her first play Breathless won a Fringe First and went to America I was delighted for her; she deserved her moment of glory. She can be too hard on herself, and I want her to savour the good times and take time to rejoice and celebrate. People have told me that Laura’s writing has helped them overcome some of the same hurdles she has faced. She’s had some tough times in her life and cares deeply about helping people.
I’m envious of her capacity for getting impossible things done. She said that she needed not one but two life-sized crocheted cows for a production. Lo and behold, a few weeks later a large grinning cow had centre stage in my dining room which has for the past six months been home to props for Lynn Faces and In the Lady Garden. Laura has supported me wholeheartedly in my venture into theatre and I value her knowledge, her energy and unwavering support. It’s so exciting that we both have plays at the Edinburgh Fringe and we’re going to drink deep on all the joys this glorious city has to offer.
Lynn Faces, Summerhall, 7.35pm, until 26 August; In the Lady Garden, Pleasance Courtyard, 2.15pm, until 26 August
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