When Jade Franks stepped off the stage at the Pleasance Courtyard on August 26, 2025, after her 25th sold-out performance, she didn’t just close a show—she ignited a conversation about who gets to tell stories in British theatre. Her debut solo play, 'Eat The Rich (but maybe not me mates x)', didn’t just sell out; it swept the Edinburgh Festival FringeEdinburgh, winning three major awards: The Scotsman's Fringe First Award, The Holden Street Theatre Edinburgh Fringe Award, and The Filipa Bragança Award. The Guardian gave it five stars, calling it "a scorching comedy about class privilege," while The Times called it "tightly written and very funny." And it wasn’t just critics—audiences showed up, too. All 3,750 seats across 25 shows were filled, making it one of the Fringe’s top 0.5% of reviewed productions.
From Cambridge Cleaner to Fringe Star
Franks, a 28-year-old writer, actor, and director from Merseyside, didn’t come from the traditional theatre pedigree. She studied English Literature at the University of Cambridge, but while her peers were networking at high-table dinners, she was scrubbing floors in student dorms. "I did go to Cambridge," she told A Young(ish) Perspective in July 2025. "And I did work as a cleaner when I was there. I did date posh people and have posh friends. But of course..." The pause spoke louder than the rest. That tension—between belonging and being used, between privilege and poverty—is the heartbeat of her play.It’s not just personal. It’s political. Her work emerged from years spent in outreach programs across Merseyside, where she saw how few voices from working-class backgrounds made it onto national stages. That’s why the 2023 Boundless Theatre report—revealing only 17.3% of professional UK theatre practitioners came from working-class backgrounds—felt like a wake-up call she’d been living. "If we’re going to talk about class," she said in a 2024 interview, "we need people who’ve lived it, not just studied it."
The Road to Edinburgh
Before the Fringe, Franks honed the show during a 2023–24 residency with Boundless Theatre’s Accelerator Programme in London. There, she was labeled an "emerging artist focused on class representation"—a label she didn’t reject, but didn’t want to be boxed into either. She’d previously served as Associate Writer/Director for mynameiskatied and worked with the Cambridge University Amateur Dramatic Club and the Cambridge Footlights, but those roles rarely centered her own story. "I spent years writing characters who weren’t me," she admitted. "This time, I wrote the person I saw in the mirror after a 10-hour shift."The play’s title—with its wry, self-deprecating twist—wasn’t just clever. It was a shield. "Eat the rich? Sure. But not my mates. They’re just trying to get by."
What Happens Now?
The Fringe didn’t just launch a show—it launched a career. Independent Talent Group, the London-based agency representing Franks, called her success "firmly establishing Franks as an emerging force." By November 2025, multiple international streaming platforms had inquired about adaptation rights, though no deals were finalized. Meanwhile, Nick Hern Books announced the play’s script would be published in a first print run of 5,000 copies, hitting shelves on December 15, 2025.Franks is now deep into her next project as part of the Liverpool Everyman and Playhouse Theatre’s Playwrights’ Programme, under the mentorship of Artistic Director Hannah Price. She’s been working on the new play since October 2024, with a target completion date of February 15, 2026. Expect more autobiographical storytelling, more sharp wit, and more questions about who gets to sit at the table—and who’s left washing the dishes.
Why This Matters Beyond the Stage
This isn’t just about one play. It’s about who gets funded, who gets reviewed, and who gets remembered. For decades, British theatre has been dominated by voices from elite schools and privileged backgrounds. Franks’ success proves audiences aren’t just hungry for diversity—they’re starving for truth. And truth, in this case, comes with a mop, a Cambridge degree, and a killer punchline.The Edinburgh Festival FringeEdinburgh hosted over 3,300 shows in 2025. Fewer than 17 made it into The Guardian’s "must-see" list. Franks’ play was one. That’s not luck. It’s legacy in the making.
Frequently Asked Questions
How did Jade Franks’ background shape 'Eat The Rich'?
Franks drew directly from her time as a cleaner at the University of Cambridge while studying English Literature and dating affluent peers. The play’s humor and pain stem from these contradictions—being in elite spaces without belonging to them. Her working-class roots in Merseyside and outreach work informed the authenticity of the characters, making the satire feel personal, not performative.
Why did the play resonate so strongly at the Edinburgh Fringe?
In a festival crowded with 3,323 shows, audiences craved honesty over spectacle. Franks’ play delivered raw, relatable class commentary wrapped in sharp comedy. With only 17.3% of UK theatre professionals coming from working-class backgrounds, her voice was rare—and refreshing. Critics and crowds alike responded to the unapologetic authenticity.
What awards did 'Eat The Rich' win, and why are they significant?
It won The Scotsman’s Fringe First Award (for originality), The Holden Street Theatre Edinburgh Fringe Award (for audience impact), and The Filipa Bragança Award (for bold new writing). These aren’t just trophies—they’re gate-openers. Winning all three signaled to producers, publishers, and streaming platforms that Franks’ voice had commercial and artistic legitimacy.
Is there a film or TV adaptation in the works?
As of November 28, 2025, no official deals have been signed, but multiple international streaming platforms have expressed serious interest in adapting the play. The script’s intimate, character-driven structure makes it ideal for a limited series. Franks’ agent confirms discussions are ongoing, though she insists any adaptation must retain its working-class perspective.
Where can you read or watch 'Eat The Rich' now?
The full script is published by Nick Hern Books and will be available in print starting December 15, 2025. While no official recordings exist yet, Franks has hinted at potential live-streamed performances in 2026. The play is not currently available on streaming platforms, but its publication makes it accessible to theatre companies worldwide for future productions.
What’s next for Jade Franks?
Franks is developing her next play through the Liverpool Everyman and Playhouse Theatre’s Playwrights’ Programme, with a target premiere in spring 2026. She’s working under mentor Hannah Price and plans to continue exploring economic inequality through autobiographical storytelling. Her goal: to make sure the next generation of working-class artists doesn’t have to clean their way into the room.
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