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Sex, scandal and devil dogs: Henry Naylor on tabloids, Elton John and the ‘cracking yarn’ behind his new Fringe show

Richard Beck Richard Beck
10 Jul 2025

We talked to Henry Naylor about his previous writings and this year’s show at the Edinburgh Fringe, Monstering the Rocketman.

Henry, your production at this year’s Fringe marks a departure from the seven plays you’ve written about the West’s uncomfortable interactions with the Middle East. Before we get on to your new show, can I ask for your take on the current situation in the region?

It’s a total shitshow. And when will it end? All nuance seems to be lost and no one seems to be listening to one another. There’s so much bad blood, hostilities could last for generations.

If you were to write a play about the Middle East now, what aspect would you focus on and what points would you want to make?

Wow, massive question!

My focus has been on the impact of global events on the person in the street. I feel that the news typically deals with the decisions and movements of politicians and armies; news bulletins rarely dwell on the impact of their actions on ordinary folk – which is unfortunate, because it distances Western audiences from the story. I believe art can bridge the gap. By writing about civilians, I hope to create some empathy. Echoes was about the impact of Isis on a schoolgirl; Angel, about a law student who became a sniper; The Collector, about a translator during the Iraqi occupation; Borders, about a graffiti artist, etc.

Nowadays, I’d focus on the ordinary people who are fleeing the region. I think refugees deserve more understanding and compassion.

So why have you left the Middle East behind this year and gone for something completely different?

To be honest, when I first wrote the Arabian Nightmares series, the UK artistic community was silent about the Middle East. It’s easy to forget how nervous British theatre was when Isis burst on the scene. There seemed to be a collective ostriching – artists were scared to touch it. The National Theatre tried – then cancelled – its production of Homegrown days before it opened. I felt theatre was failing audiences. People wanted answers. Having worked in Afghanistan, and having retained contacts with both Afghans and journalists, I felt I had some small insight. I’m proud to say Echoes was the first play in Britain to deal with Isis.

Now, there are more informed commentators – and opportunities are being given to eastern voices. So it feels right to step back – unless I can provide a perspective that isn’t being covered by others.

Let’s move on to this year’s show, Monstering the Rocketman. What’s it about?

Well, it’s based on a true story!

In 1987, The Sun printed the unverified claims of a rent boy, who said he’d arranged a sex and drugs party for Elton John. But it wasn’t true. Elton hadn’t even been in the country when the alleged orgy took place – and he could prove it. But bizarrely, The Sun didn’t back down and pursued Elton mercilessly. A two-year tussle took place, which resulted in Britain’s biggest-ever libel case, and features Ferraris, punch-ups, gangsters, prostitutes, bugged phone calls, a £10 million divorce suit, Princess Diana, the Vice Squad and a pair of devil dogs...

With all that, it almost seems redundant to ask what appealed to you about the story. Was it just too good not to take up, or did you want to make a point about the media’s treatment of people and this was a structure to wrap it around?

Partly because it’s a cracking yarn... partly because I think Elton should be celebrated... but mainly because I wanted to write a piece about the vital importance of a reliable popular press.

There’s no nuance in the debate about the tabloids at the moment. There’s a general feeling that they’re a bad thing. In fact, a recent Ipsos survey found that only 13% of adults had confidence in the press! That needs redressing.

Not all tabloid journalists are the “scum” of the popular imagination. There are some good folks out there – who have a really important role to play: holding power in check and protecting the people. We can’t keep taking our news from dodgy internet sources. But to recapture trust, the mistakes of the past need to be acknowledged and lessons learned. Many of those mistakes loomed large in the Elton John case.

(To be fair to News Group Newspapers, they’ve paid massive damages after the phone-hacking scandals, made contrite noises, shut News of the World, etc. All steps in the right direction – but more needs to be done.)

Did you consult Elton John about it?

I pitched the idea to his company a few years ago. They loved it, but the movie Rocketman was in the final stages of production. They told me they couldn’t get behind two Elton-biography shows simultaneously and to “come back in a few years”... Now, there is the possibility they were fobbing me off – but I’m pretty confident they weren’t. So here I am, working the idea up.

What is the process of turning a news story into a production? What’s the style of the show and how did its format evolve?

I’m old enough to remember the story as it happened – and how extraordinary it was to see a national newspaper print a full front-page apology. I thought for a long time it would make a great show. So I spent over four months in the British Library reading 1980s tabloids to understand what happened – and capture the context and attitudes of the era. And wow, Britain has changed so much!

The show takes the form of a monologue, told from the perspective of a fictional Daily Mirror journalist who covered the story.

What would you like audiences to take away from the show?

A few good laughs, a ripping yarn and a load of talking points.

Richard Beck

Richard Beck

A graduate in theology and education, Richard acted and contributed to dance, drama and music productions throughout his teaching career. He joined Broadway Baby in 2014 and is now our Editor-in-Chief. He usually disappears to warmer climes for the winter to pursue his passion for travel.

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