Justin Skelton is lead vocalist and guitarist on the new immersive musical, Dystopia 26: The Rock Opera, which is heading to Edinburgh Fringe next month.
“A five-star, two-part, immersive political satire and electrifying rock spectacle. You’re not just an audience – you’re a Dystopian, summoned to join a state “Dystopiation” event where you will vote. From martial law to election to a glittering new cult of happiness, this two-part odyssey skewers power, greed and propaganda with monstrous masks, biting lyrics and a ferocious live band. Performed as if from prison by disgraced spin doctor Beldon Haigh and arsonist Helen Raiser, it’s bold, provocative and unexpectedly human – a defiant beacon of hope.”
Where: Auditorium at Bedlam Theatre
When: 7-29 Aug (not Mon)
Ticket link: https://www.edfringe.com/tickets/whats-on/dystopia-26-the-rock-opera
What is the show about, and where did the idea come from?
Dystopia 26: The Rock Opera is a satirical musical about power, propaganda, happiness, and the stories societies tell themselves.
At its centre is Beldon Haigh, a failed spin doctor who helped build the very system that ultimately imprisoned and discarded him. When we first meet him, he is trapped in a dictatorship ruled by President Blame and the Finger of Blame government, which maintains power through fear, propaganda and the creation of convenient enemies.
As one of the show’s central ideas suggests: “Even in this world of chaos, we can still find happiness.”
The inspiration came from my lifelong fascination with politics, media, propaganda and human behaviour. Throughout history, societies have repeatedly placed their faith in leaders, movements and ideologies that promise happiness, security and prosperity. I wanted to explore those ideas through the energy of a rock concert and the emotional depth of musical theatre.
Sell the show to a potential audience in one sentence!
Part immersive rock concert, part political cabaret with grotesque masks, and part cautionary tale, Dystopia: The Rock Opera is a funny, provocative, and surprisingly moving journey through to, possibly, the happiest dictatorship you’ll ever encounter.
What does the Fringe mean to you, and do you have any particular memories?
The Fringe has been part of my life for as long as I can remember. I grew up between Falkirk and Edinburgh and spent my childhood seeing hundreds of shows with my parents. Those experiences shaped me as a writer, musician and performer, but perhaps more importantly, they shaped my understanding of what art can, and for me, should be.
The Fringe taught me that creativity doesn’t have to be safe. In fact, I prefer it when it isn’t. Art is often at its most powerful when it is disruptive, challenging, thought-provoking and unpredictable. Being fearless is more important than being perfect. That said, I also love a slick, high-quality production, and that’s always what we strive to deliver.
For me, the Fringe remains the greatest laboratory for artistic experimentation anywhere in the world. It’s a place where ideas can be developed in public, tested in front of real audiences and refined in real time. There are very few places like it.
There’s also something special about a long Fringe run. When a company performs together for twenty-four nights, something happens to both the cast and the show. The material evolves, relationships deepen, performances gain confidence and new discoveries emerge. The show that closes the Fringe is rarely the same show that opened it; in my view it shouldn’t be either, and that’s one of the things I love most about Edinburgh.
What are you looking forward to in Edinburgh?
One of my favourite parts of the Fringe is talking to audiences after the show. Those conversations are often every bit as valuable as the performance itself. I’m fascinated by which ideas resonate with people, which moments surprise them, and how different audiences interpret the themes.
Dystopia 26: The Rock Opera started as seven performances in a pub, has been constantly evolving, particularly as politics and geopolitics continue to become stranger and more theatrical than many satirists could ever have imagined. Every year the show absorbs new influences, observations and questions. Edinburgh provides the perfect environment to discover how that material lands.
I’m also looking forward to seeing how the show develops over the run. The audience becomes part of the creative process. Every performance teaches you something. The reactions, discussions, and atmosphere in the room all help shape what the show becomes. Those opportunities to learn and grow are one of the reasons I keep coming back.
What’s next for the show?
Dystopia 26: The Rock Opera has grown far beyond its original concept. Following successful Edinburgh Fringe runs, international critical acclaim and sold-out performances across Scotland and in London, the ambition is to continue developing the production for larger stages and wider audiences.
We’re building a world that extends beyond a single theatre production through music, animation, immersive experience, visual storytelling and satire. The long-term vision is to establish Dystopia as a major contemporary rock musical while continuing to expand the wider Beldon Haigh universe.
At its core, though, the mission remains the same: to use music, humour, storytelling and audience participation to explore the political and human questions that define our age while creating an entertaining night out that audiences can enjoy regardless of their political beliefs.
Ultimately, we want audiences to leave not only entertained, but thinking more deeply about happiness, freedom and the role each of us plays in shaping the societies we live in.