We’re big fans of Alejandro Postigo’s work, having interviewed him earlier this year about the show ‘Miss Brexit’, which he co-directs and which is currently being performed at Underbelly.

But you can also find Alejandro on stage this Fringe, performing ‘Copla – A Spanish Cabaret’. It’s described as a “celebration of Spain’s vibrant cultural and political history, brought to life with a queer twist”, reimagining the Spanish music genre of copla for “a new, intercultural generation”.

I spoke to Alejandro to find out more about ‘Copla’ – both the genre and the show – and to discuss his Edinburgh plans.

CM: Can you start by telling us about the format of the show? What style of performance can audiences expect?
AP: It’s a solo cabaret that blends storytelling, song and subversion, with hints of Spain. Think vintage glamour meets queer migrant storytelling, with a healthy dose of melodrama, humour and emotional honesty.

There’s live violin, striking visuals and audience interaction. It’s intimate, theatrical and deeply personal.

CM: Do you tell a story through the show? Where does it take us?
AP: Yes, through my own journey as a queer Spanish migrant in the UK.

I use songs and personal anecdotes to explore identity, cultural memory and the feeling of living between worlds. It moves between past and present, Spain and Britain, tradition and reinvention.

CM: What themes are you looking at through this show?
AP: Displacement, belonging, queer resilience, cultural inheritance and the beauty of being in-between. It’s about translating not just language, but emotion, and how music helps us carry our histories.

CM: Can you tell us a bit about the history of copla and where it came from? Which artists were associated with it?
AP: Copla is a dramatic song form born in early 20th Century Spain. It flourished during Franco’s regime but often carried subversive messages beneath the surface.

It was made famous by singers like Concha Piquer, Miguel de Molina and, later, the iconic Lola Flores and Sara Montiel.

The songs are full of longing, repression and power, often told from the perspective of women enduring great emotional or social hardship.

CM: How would you describe it in terms of its sound?
AP: It sits somewhere between Spanish folk and musical theatre – with sweeping melodies, dramatic lyrics and orchestral arrangements. Think of it as the Spanish cousin of fado or chanson, but with more glitter and heartbreak.

CM: Are contemporary artists still creating this kind of music?
AP: New copla hasn’t really been written since the 1980s, but it’s been reclaimed by drag performers and queer artists in Spain. Even young artists like Rosalía keep doing new versions of the songs.

There’s a kind of underground revival happening – not always musically, but aesthetically and politically. And I wanted to push that further with translation, reinterpretation and international staging.

CM: Why do you love it and what inspired you to make this show?
AP: I grew up hearing copla and never really understood its power until I moved away. As a queer person, I suddenly recognised the emotional codes embedded in those songs – the repression, the yearning, the strength.

This show is a way of honouring that, while reclaiming it for today.

CM: Has the show grown or developed since you first performed it?
AP: Absolutely. It began as an ensemble musical fifteen years ago, then toured significantly as a fictionalised solo show, but over time it’s become more autobiographical, more political, and more accessible for non-Spanish audiences.

I’ve translated songs, added visuals, and refined the balance between humour and heartbreak.

CM: Have you performed in Edinburgh before? What made you want to perform this show here? What expectations do you have for it?
AP: This is my first time performing at the Fringe, though I’ve attended before as a very enthusiastic audience member.

Edinburgh feels like the perfect place to share something as culturally rich and emotionally layered as ‘Copla’. I’m hoping to reach new audiences and connect with programmers and artists from all over the world.

CM: What will you get up to when you are not performing? Will you see other shows?
AP: Definitely – I’ll be running between venues to see as much as I can. I’m also directing ‘Miss Brexit’ at Underbelly, so it’ll be a full-on month!

CM: Speaking of which, we interviewed you about ‘Miss Brexit’ earlier in the year when it was on in London – has that show changed since then?
AP: Yes – it’s tighter, cheekier and more interactive than ever. We’ve reworked the structure to heighten the satirical impact and added new music and costumes. It’s grown from a playful concept into something sharper and more provocative.

CM: What plans do you have for both the shows going forward – will you keep performing them?
AP: Absolutely. ‘Copla’ is designed for international touring and we’re already looking at dates abroad. ‘Miss Brexit’s immediate afterlife will depend on the interest it generates at the Fringe. Both shows are important parts of my wider artistic practice.

CM: What hopes do you have for the future? Any aims or ambitions that are unfulfilled?
AP: I’d love to bring both shows to Spanish-speaking audiences and continue working across languages and borders.

I also hope to expand our community engagement work – especially with LGBTQ+ migrants – because those conversations are at the heart of the work I create, particularly for ‘Copla’.

CM: Do you have any new shows or projects in the pipeline?
AP: Yes! I’m collaborating on new work that blends flamenco protest traditions with Spanish Civil War memory, rooted in the lost histories of friends and family.

It’ll be a mix of song, testimony and visual performance – another emotional bridge between past and present.

Alejandro Postigo performed ‘Copla – A Spanish Cabaret’ at Assembly George Square at Edinburgh Festival 2025.

‘Miss Brexit’ was performed at Underbelly Bristo Square at Edinburgh Festival 2025.

Photo: Jake Bush