A review of Helen Bradley: Painter and Storyteller, Fringe 2026

Actress and artist Kara Wilson is doing something important; sharing the history of female artists in a way that feels personal, engaging and warm. Telling stories whilst painting as the artist she’s bringing to life is no small feat, with Wilson having previously portrayed Beryl Cook and Vanessa Bell. This is Wilson’s sixth play, focused on the late Helen Bradley (1900 – 1979).

The vibe

As a Fine Art student, I felt selecting an art show as my first of Fringe 2026 was a good way of easing myself into the month, and I knew it was a good choice the moment the character of Helen Bradley began welcoming ‘budding artists’ with a cup of tea in hand.

‘Helen’ makes her audience feel instantly at ease, as she begins to introduce herself and the family members she’s beginning to paint.

Because it’s officially the first day of Fringe, and may shows are in previews at the moment, there wasn’t a big audience – I’m not sure if that added to the intimate feeling I got when I was sitting in the front row, or whether that came from the atmosphere Wilson has herself created.

Either way, it feels like we’re starting to get to know Helen, who seems cheery and nostalgic.

The show itself

Painting in Helen’s trademark ‘naive’ style (my own art lecturer hates that descriptor), she begins by painting herself first, as a six-year-old girl in a sailor suit – followed by her brother, George – also in a sailor suit.

We learn about her mum, who liked to wear white, and her aunts – including Aunt Frances, who was christened Fanny.

We get to hear many tales, of family holidays, of war, and of Helen’s early days with an art scholarship at 13 years old – a scholarship she learned nothing from, as she embraced her newfound ‘freedom’. We do a bit of skipping back and forth, when we learn Helen only began painting at the age of 65.

Although this is my first experience of Kara Wilson, her portrayal of Helen felt genuine, warm and like we were experiencing seeing Helen paint and chat in own home or studio. It was almost like we were making friends with someone (especially with the casual observational quips added in like “that doesn’t look much like an arm, does it?”), who we know is now dead and whom we likely won’t see again once the hour is up.

I was grateful as well for the five tips for budding artists Helen bestowed on us right at the very end. It felt like things I could use (not that I ever do let household chores get in the way!).

Overall

I really enjoyed getting to know Helen Bradley in this intimate setting, and Wilson’s characterisation and mannerisms brought real warmth (as warm as The Cellar in the Pleasance Courtyard can be!) to the character.

It’s worth noting that Wilson was able to work with Bradley’s granddaughter for the show, which is why she was able to fill it with a “treasure trove of verbatim stories”. So, you really do feel like you’re getting a good picture of the real Helen.

We’re treated to a really lovely, heartwarming hour where you’re silently cheering for Helen as she recounts her path to becoming a professional artist. Key moments where she had her first solo show, her works making it down to the Big Smoke, and how she felt when they actually sold, made me very happy.

At the end, Wilson revealed the companion piece of art to the piece she had been painting – technically making it a diptych! It does make me wonder if Wilson will be painting something different each time, or whether it will be the same painting for each show (which I can imagine might get boring for Wilson!).

I now want to go and learn more about Helen Bradley – which I expect is the exact result Wilson is hoping to achieve. Job done, and done well!