The Last Mad Man, by Steven Phillips Horst.

The Last Mad Man at Edinburgh Fringe 2026 ★★★★★

★★★★★ The Last Mad Man | Assembly Roxy: Downstairs

In The Last Mad Man, Steven Phillips-Horst fights to remain relevant as a copywriter when he is asked to re-brand ‘The Apocalypse’.

Photo Credit: Hiroki Tani

Steven Phillips-Horst’s new play, The Last Mad Man, is an investigation of what happens when capitalism is still persistent in the final days of human civilization. How does a copywriter sell to consumers when they are full of fear about the final days? Part dark comedy, part social commentary, this one-man performance is the kind of script that makes you rethink the ways in which identity has become commoditized. It has everything you might expect from corporate commentary– From a Ted Talk esc presentation about rebranding a plus-size women’s boot conglomerate, to Wilson the robot-assistant that keeps Steven organized (and not lonely). 

This script is clever, starting off in a more cartoonish way with Steven playing into a heavy accent. But the more the audience is engulfed in this post-apocalyptic world of ‘Plussy’ boxes that never stop arriving, and radio ads that guilt consumers into buying fast-fashion to prevent it from going into the ocean, the more this fantasy doesn’t feel too far from the current present. Although exaggerated for effect, there is an honesty and truth to The Last Mad Man that allows an unsettling reality-realization to overwhelm the audience, making you rethink how capitalism has rebranded human purpose. The flashbacks included in the show are aptly timed, and intentional to understand Steven in a more full capacity. The audience sees how even he has been corrupted by the corporate advertising world as he’s tried to feel like a hero worthy of praise. 

The Last Mad Man reminds the audience that when we are on death’s door, what we truly will miss is not the products we could have had, but the people we never spent enough time with. After all, at the end of the day, all we have is love.