You and Me (and Whoever Comes Next) review , a theatre crafted with love and compassion
The article, originally published on 12 August 2026 and sourced from You and Me (and Whoever Comes Next) review – theatre crafted with love and care | Edinburgh festival 2026 | The Guardian has been rephrased.
The stories told by Patch of Blue can be challenging, but this compassionate theatre company approaches them with care and sensitivity. In their 2022 fringe production, “Cassie and the Lights”, one of the abandoned children kindly lent her froggy hat to an audience member during a difficult scene, demonstrating their understanding of how tough these stories can be. The new show – which shares that same blend of emotional honesty, gentle humor, and social purpose – sees the cast seamlessly weave in and out of the narrative to guide us through.
There’s a real sense of safety in their storytelling – a central theme of the play. Inspired by disabled actor Keron Day, who also stars as himself, the show explores his experiences with a line of live-in personal assistants. We meet Keron, 22, as he encounters PA Dani (Lauren Koster) in a humorous, swearing-filled meet-cute. But it’s the friendship that develops between them – rather than romance – that complicates the relationship.
Written by Day, Helen Chong, and directed by ex-care worker Alex Howarth, the play delves into the delicate boundaries between personal and professional roles. Keron depends on Dani for daily tasks like cleaning and dressing; she, in turn, relies on him as her employer. Some might see Keron as the one in need, but a quick look at Keron’s past PAs (played by Martha Walker) reveals that those in caregiving roles can be needy, distant, or even unkind.
The intimacy of this work is immediate – Keron describes his PA as the first and last person he sees each day. The play explores two extremes: the PA as confidant or, after a falling-out between Keron and Dani, as “the robot that takes you to the toilet.” As the title suggests, their relationship is fragile and uncertain, with government cuts looming over both their lives. The script balances the specificity of Keron’s situation – including the pity and ridicule he faces from strangers and friends alike – with a universal resonance about relationships and dependency.
Joined by Merle Powell-Smith, who performs her own soothing folk compositions on stage, the production feels less like an ensemble piece and more like a community. The show concludes with Keron’s vow to protect others in similar positions, and the entire hour is delivered with the utmost care and respect.
