Interview with Oscar Brennan

With SELF CENSORED, writer-performer Oscar Brennan brings a bold and deeply personal debut solo show to audiences ahead of its Edinburgh Fringe run. Developed at Leeds Conservatoire and premiering at Leeds Theatre Festival, the drag-cabaret piece blends original live music, storytelling, comedy and performance art to explore autism, masculinity, identity and self-expression. Through the larger-than-life drag persona Scarlet, Oscar examines the masks we wear to navigate the world and the tension between authenticity and self-protection. Ahead of the London previews and Edinburgh Fringe debut, I spoke with Oscar about creating SELF CENSORED, finding his voice as an artist, and transforming personal experiences into compelling theatre.

What first inspired you to create SELF CENSORED?

One of the things I valued most about studying at Leeds Conservatoire was being encouraged to think beyond being "just" a performer. We were constantly challenged to create work that drew on our own skills and experiences.

Rather than starting with an idea, I started by looking at the combination of skills and experiences that only I could bring to the table - being a drag artist, coming from a background in music and composition, my experiences with autism, playing unconventional instruments like the recorder and bassoon, all alongside my background in musical theatre.

For a long time I'd viewed those things as disconnected, or even as obstacles. SELF CENSORED became the place where they finally came together, growing into a show rooted in my own experiences and the unconventional combination of skills that have shaped me as an artist.

The show combines drag, cabaret, theatre and live music. How did you arrive at this unique format?

The format wasn't something I settled on from the beginning; it grew naturally out of the story I wanted to tell.

Drag became the obvious lens because SELF CENSORED is all about masking, identity and self-expression. Scarlet is able to say the things Oscar can't, making drag an integral part of the storytelling rather than just an aesthetic choice.

Music has always been central to how I tell stories. It can express emotions that dialogue sometimes can't, while live instruments add another layer of character and meaning. Every creative choice exists to serve the story, so although the show draws on drag, cabaret, theatre and live music, it feels like one cohesive piece rather than a collection of different art forms sharing a stage.

Who is Scarlet and how does she challenge or amplify different aspects of your personality? And what does this persona allow you to explore that might otherwise be difficult to express?

Scarlet is everything I'm not brave enough to be on a Tuesday afternoon. She's loud, glamorous, chaotic and completely unapologetic - to a fault.

The show explores masking, and I've always thought of drag as the opposite of the masks we wear in everyday life. Most masks are designed to help us fit in or hide parts of ourselves. Drag does the reverse. It gives me permission to stop apologising, to embrace both masculinity and femininity, vulnerability and confidence, all at the same time.

That makes Scarlet the perfect person to tell this story. She can say the things I'd normally censor, laugh at herself when things get uncomfortable, and tackle difficult conversations without shame. Ironically, by putting on the biggest mask imaginable, I end up being the most honest version of myself.

How much of the show is drawn directly from your own experiences?

The emotional core of the show is entirely rooted in my own experiences. While not every moment is lifted directly from my life, every theme, conflict and conversation comes from something I've genuinely wrestled with.

At its heart, SELF CENSORED is about trying to find the balance between protecting yourself and expressing yourself. Scarlet and Karl represent two extremes of that spectrum: one encouraging complete self-expression, the other desperately trying to keep everything safe and controlled.

Sharing something so personal is undeniably vulnerable, but I think that's where the show's honesty comes from. Performing it through drag creates just enough distance to talk openly without becoming self-indulgent. It allows the show to ask difficult questions with confidence rather than apology, and hopefully gives audiences permission to reflect on the parts of themselves they might still be censoring.

Autism, masculinity and identity are all central themes. Why did you feel it was important to bring these conversations to the stage?

Although the show explores autism, masculinity and identity, they're all connected by one central idea: masking. It's something often associated with autism, but I think it's something almost everyone does to some extent. We adapt ourselves to fit in, avoid judgement, or become the version of ourselves we think people expect.

What interested me was exploring where that instinct to protect yourself stops being helpful and starts holding you back. While the show is rooted in my own experiences, the desire to fit in is something most people can relate to, regardless of who they are. Despite its wonderfully chaotic premise, at its heart it's a story about learning to be comfortable with yourself.

How has your experience as a musician influenced your approach to storytelling?

Music has always been central to how I tell stories. I love the way musicals can take a thought or feeling that might normally be expressed through dialogue and transform it into something bigger. Music can heighten a moment, reveal something a character might not say, and make emotions linger in a way that words alone sometimes can’t.

I also love the associations that instruments bring into a piece. The recorder instantly evokes childhood and school, making it the perfect instrument for moments that revisit growing up, while an acoustic guitar naturally creates a feeling of honesty and vulnerability. These associations become part of the storytelling, helping the audience connect with a moment before they’ve even processed why.

What role does humour play in tackling such personal and sometimes vulnerable subject matter?

Humour is a really important part of how I approach personal and vulnerable subjects. Especially through drag, there’s an opportunity to be completely honest while also being able to laugh at yourself. The show explores my own flaws and insecurities, but it does so from a place of self-awareness rather than self-pity.

I think humour reminds us that even in difficult or uncomfortable moments, there is still a way through. We all have embarrassing moments or parts of ourselves we’d rather hide, but being able to acknowledge and laugh at them is part of accepting them. The comedy doesn’t take away from the more emotional moments — it makes them feel more human, because honesty doesn’t always have to be serious.

How has the show evolved since its premiere at Leeds Theatre Festival?

The show has changed enormously since its premiere at Leeds Theatre Festival in 2024. While the core ideas and conclusion remain the same, the storytelling has become much clearer, the themes more connected, and the emotional journey much stronger.

The biggest change has been the development of Scarlet and Karl’s roles within the story. Scarlet, representing the desire to be completely uncensored, and Karl, an overprotective figure trying to keep Oscar safe, now sit at opposite ends of the central question of the show. Karl, who originally existed as a silent supporting character, has since become a fully-fledged co-star and a vital part of the story.

The show has grown from thirty to fifty minutes, gained a live accompanist, and expanded from a small creative team into a wider collaboration of artists from a range of leading UK drama schools.

How has studying at Leeds Conservatoire helped shape you as a performer and writer?

Studying at Leeds Conservatoire helped me develop as both a performer and creative practitioner, giving me the confidence and skills to create, develop and shape my own work. SELF CENSORED began during my MA and grew through an environment of collaboration and experimentation, allowing me to explore my own voice and combine my different skills into something personal and distinctive.

Taking the show to the Fringe feels like a continuation of that training — applying the independence, creativity and collaborative approach I developed at Leeds in a professional setting.

Drag has become an increasingly prominent art form in recent years. What does drag mean to you as a creative tool?

For me, drag is a powerful tool for exploring identity and self-expression. SELF CENSORED is a deeply personal story, so using drag as the lens through which to tell it felt like a natural fit. Drag allows me to explore different parts of identity, gender and expression in a way that feels both playful and honest, creating space for conversations that might otherwise be difficult to approach.

I also love the power of seeing a drag artist on stage. Drag challenges expectations, plays with ideas of gender and allows people to present themselves in ways that might not fit traditional boundaries. Putting a drag queen alongside a childhood cuddly toy creates a fascinating contrast: one represents freedom and self-expression, while the other represents childhood, safety and the parts of ourselves we carry with us.

What does it mean to you personally to be performing at the Fringe after growing up attending it every year?

The Fringe has been part of my life for as long as I can remember. Growing up in Edinburgh, I attended the festival every year, and some of my earliest experiences performing were through youth theatre shows there.

Bringing my own show to the Fringe feels like a huge full-circle moment. I’ve spent years sitting in audiences discovering surprising, moving and completely unexpected pieces of theatre, and now I get to contribute something of my own to that landscape.

It’s incredibly exciting, but also daunting. The standard of work at the Fringe is extraordinary, and being able to share such a personal piece in the city where my love for theatre began feels like a privilege.

If audiences leave the theatre with one lasting thought or feeling, what would you hope that is?

Hopefully, people leave remembering the show with the drag queen and the talking kiwi. But ultimately, I hope the show encourages people to question what they censor and embrace the parts of themselves they might usually hide.

Thank you, Oscar, for taking the time to speak with me about SELF CENSORED. It has been fascinating to learn more about the inspirations behind the show and your journey as a writer, performer and musician. I wish you every success with both the London previews and your Edinburgh Fringe debut. SELF CENSORED plays at The Drayton Arms Theatre, London, on 17–18 July at 7:00pm, before heading to the Edinburgh Festival Fringe in August 2026. For tickets and further information, visit the show's Instagram page @self_censored_ and follow updates ahead of the Fringe run.