What the Heart Wants

Theatre (comedy, new writing)

  • Accessibility:
    Wheelchair Accessible Toilets
    May not apply to all performances. You'll find more information about accessibile performances and how to book tickets in the accessibility tab below.
  • Babes in arms policy: Babies do not require a ticket
  • Policy applies to: Children under 2 years


A new comedy by Bert Tyler-Moore co-creator of The Windsors. 1992. Mia Farrow accuses Woody Allen of child abuse. Former husband Frank Sinatra pays Woody a visit and takes his baseball bat... But Frank in the twilight of his career, has another comeback on his mind and forces Woody to collaborate on a movie script. Is he serious or is he simply toying with Woody? Either way as the evening draws to an end, Woody has to face the question: was he right to allow his heart what it wanted?

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General venue access

  • Wheelchair Accessible Toilets
  • Accessible entry: Patrons enter the building via either 3 shallow steps or the platform lift. Please note the platform lift is only suitable for manual wheelchairs and not power wheelchairs. The Big Yin can be accessed via the building lift to the 3rd Floor. The Accessible toilet is located in the Basement. Please make yourself known to a member of staff (in a pink t-shirt) if you require assistance or require a specific seat.
  • Wheelchair access type: Building Lift

  • Stairs: Information not supplied

Each venue can contain several space with different accessibly information. Visit the venue page for full venue accessibility info

How and when to make an access booking

Our access tickets service is available to anyone who:

  • Would like to book specific accessibility services, e.g. a hearing loop, audio description headsets, captioning units, seating in relation to the location of the BSL interpreter
  • Requires extra assistance when at a venue
  • Has specific seating requirements
  • Is a wheelchair user
  • Requires a complimentary personal assistant ticket to attend a performance

Jonathan 36 days ago

A must-see for all Woody and Frank fans. Well written and brilliantly acted. Felt authentic as if we really had a birds eye view into Woody's apartment.

If you're looking for something silly and frivolous at the Fringe then this isn't for you.

This is proper good stuff!

Karen 45 days ago

A great play. Clever concept. Great performances.

Bob Cowley 46 days ago

A brilliant concept, brilliantly realised.

Both actors were so perfect in their roles that, while watching the play, I had assumed that it had been written with them in mind.

But no - it turns out that Bert Tyler-Moore (the well-known TV comedy writer) had created this show entirely on the basis of the central idea, without knowing if he would ever find the right actors to bring it to life.

So wow! What luck to find Simon Schatzberger and Richard Shelton, two actors who are able to impersonate so perfectly the look and sound of Woody Allen and Frank Sinatra, as they were in 1992 (when this play is set).

Between them, they have created a magical piece of theatre that everyone should enjoy, but is certainly not to be missed by anyone who is a fan of Woody or Frank.

...And if you were not a fan before, you probably will be by the end of this show!

Darren Machin 46 days ago

What a wonderful production. Two superb performances. One of the highlights of the Edinburgh Fringe for me. The hour passes all too quickly. Deserves far more bums on seats. This bum left feeling thoroughly entertained. 5 stars.

Michael Merricks 50 days ago

Thoroughly enjoyable show. Richard and Simon's portrayal of Frank and Woody are tremendous. A great and interesting story. A must see at The Fringe

Andrew Elliott 50 days ago

An immersive believable play that sucks you into Woody’s manic Manhattan apartment. I found myself in a trance like state looking at these two characters in complete belief that I was somehow present, like a fly on the wall. Frank’s presence is mesmerising with a suspense of will he won’t he sing….

Sean Davis 51 days ago

Woody Allen and Frank Sinatra try to collaborate to write a film treatment starring themselves. Sinatra’s excellent singing combined with their discussions of possible plot variations combine for a unique exploration of relationships. Unhappily, the last line of the play was so badly delivered that the power of its revelation was lost.

It is early in the Fringe, and I have only seen 36 shows of the around 160 I will see. So far, this was the 11th most enjoyable I have seen at the Fringe this year. You may see my other three-sentence reviews, in order from most enjoyable to worst, at my non-commercial website: https://fringefan.com/

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Participants - for further details on our audience and published review policies, including how to add or opt out of reviews, please click here.