Interview with Dayna Steele

Some of the most powerful theatre begins with deeply personal experiences. The Woman in the Mirror transforms one family's journey through Alzheimer's disease into an honest, compassionate and uplifting theatrical experience that has already touched audiences around the world. Ahead of its Edinburgh Fringe performances, I talked with Dayna Steele, writer, creator and performer of the production, to discuss bringing such an intimate story to the stage, the responsibility of representing carers and families, and the healing power of live theatre.

What inspired you to bring this story to the stage?

Like millions of people, I became an Alzheimer's caregiver overnight. My mother was diagnosed, and suddenly I was trying to navigate a world no one prepares you for. I started sharing the experience on Facebook because I felt isolated. The response was overwhelming. Thousands of caregivers wrote to say, "That's my story too." I realized there was an audience that desperately needed to feel seen. Theatre felt like the next step because laughter and shared experience have a way of opening hearts in ways almost nothing else can.

How closely does the production follow real events?

Very closely. Almost every scene comes from something that actually happened to my mother or to me. Of course, theatre requires structure, so some events are condensed or combined, but emotionally it's completely authentic. If you're a caregiver, you'll recognize these moments immediately. If you're not, you'll probably recognize someone you love. Especially your mother!

What responsibilities come with telling such a personal story?

I felt a responsibility to tell the truth—not just about Alzheimer's, but about caregiving. It's exhausting, funny, heartbreaking, frustrating, and full of unexpected grace. I didn't want to create saints or victims. I wanted to show real people doing the best they can under impossible circumstances. Caregivers feel alone, like they are the only one going through the experience and having all sorts of thoughts - good and bad. Our show gives caregivers permission to be okay.

How did you balance honesty with theatricality?

By never forcing either. Real life is already dramatic. It's also surprisingly funny. Some of the biggest laughs in the show come directly from things that actually happened. We trusted the audience to move naturally between laughter and tears because that's exactly what caregiving feels like. Although I am still trying to learn whether or not cow-tipping is just a Texas thing. 

Why is Alzheimer's a subject that theatre should explore?

Because almost every family will be touched by dementia in some way. We talk about the medical side, but we rarely talk about what happens inside a family. Theatre creates empathy. It allows audiences to spend an hour inside someone else's life. That's far more powerful than statistics.

What research informed the production?

The foundation is my own experience caring for my mother. Beyond that, I've spent years talking with caregivers around the world through my books, podcasts, speaking engagements, and online community. Their stories helped shape the emotional truth of the play. We also made sure the medical realities of Alzheimer's were portrayed accurately. And I learn so much for every single audience, someone always has a story to share with me.

What has the rehearsal process revealed about the material?

That the humour is even more important than I realized. Every rehearsal reminds us that laughter isn't the opposite of grief—it's often how we survive it. We've also discovered just how universal the story is. Even people who've never experienced Alzheimer's find themselves relating to the family dynamics and the complicated ways we love each other. 

Did creating the show change your understanding of caregiving?

It reminded me that caregivers rarely give themselves credit. We spend so much time focused on the person we're caring for that we forget our own journey matters too. Writing and performing this play has helped me appreciate the resilience, humour, and strength that caregivers show every single day.

What role does hope play in the story?

Hope is everywhere in the play, but maybe not in the way people expect. It's not about pretending Alzheimer's gets easier. It's about discovering that love, laughter, and connection can still exist alongside loss. Hope is found in small moments, and sometimes those are the moments that matter most. And the show gives caregivers the hope that they did do a a good job, the best they could.

Why is live theatre uniquely suited to telling stories like this?

Because you experience it together. Complete strangers laugh together, become quiet together, and often cry together. That shared emotional experience creates understanding in a way that's difficult to replicate anywhere else. You leave knowing you weren't alone in what you felt.

What do you hope audiences take away from the show?

If you're a caregiver, I hope you leave feeling seen, understood, and maybe a little less alone. If you've never been a caregiver, I hope you leave with a deeper appreciation for the people who quietly do this work every day. If you were a caregiver in the past, I hope you release a bit of the guilt we all feel when it's over. Mostly, I hope audiences remember that even in the hardest seasons of life, there is still room for laughter.

Why was now the right time to bring the production to Edinburgh?

The Edinburgh Fringe has introduced the world to extraordinary personal stories like Fleabag, Baby Reindeer, Six, and Operation Mincemeat. It's a place where intimate, honest theatre can find a global audience. Alzheimer's isn't just an American story or a British story—it's a human story. There couldn't be a better place to begin that conversation. 

I would like to extend my sincere thanks to Dayna Steele for so generously sharing both her remarkable story and the creative journey behind bringing it to the stage. The Woman in the Mirror receives its UK premiere at the Edinburgh Fringe Festival, presented by Blue Squirrel Productions in association with Suzanna Rosenthal Productions. The production runs at ZOO Southside (Studio) from 7th–30th August (excluding 12th and 19th August), with a preview performance on 7th August. Performances begin at 3:15pm, and the show runs for 70 minutes. More information can be found via