“The RemAIns of the Butler” by Mike McAlpine

What if a humanoid robot challenges a butler’s world?

In “The RemAIns of the Butler”, manservant Michael may maintain his composure but, rest assured, this is a butler in the midst of an existential crisis. He asks himself the question no profession can avoid today: can I survive in the age of AI?

Michael is a top-notch British butler. Ivor Spencer-trained, no less. But what is the long-term worth of a butler to an employer who has just purchased a humanoid robot?

Many consider a butler a status symbol: ramrod posture, frock coat, quiet assurance. To others he’s a cynical mercenary with contracts in Hollywood and the Emirates and a flourishing offshore account to boot. Or perhaps the impeccable backbone of every aristocratic household’s operation.

Now technology poses a new kind of challenge. Early computers were a mere blip, but agentic AI is a very different cup of tea.

Yes, machines can autonomously book flights and organise holidays but can they save the blushes caused by a slip of the tongue at royal events? Smooth over the ill humour created by a dropped vase? Discreetly manage the overnight appearance of an unexpected guest, swiftly and without fuss?

Through storytelling, character comedy and physicality, Michael examines what might truly be irreplaceable. Or how a butler might increase his worth orchestrating the very technologies threatening his very existence.

Funny, thoughtful, and quietly provocative, “The RemAIns of the Butler” is solo theatre about service, survival, and the value of the human touch.

August 16, 2026   FringeReview

Recommended Show

Low Down

McAlpine is butler to the Lord of the manor, in this case the mythical Kirklevington Hall, where his future is threatened by the arrival of an AI inspired robotic potential replacement.

Cue much muttering below decks from the servants, concerned that their hitherto relative sheltered, cushy careers might come under threat. Time for McAlpine to prove that a gentleman’s gentleman is genuinely irreplaceable.

Review

The butler, immaculately attired in tails and waistcoat, white cuff-linked shirt with not a crease in site, appropriately striped trousers and shoes you can see your face in, is an enduring, quintessential part of the upper classes’ support world. And “a gentleman’s gentleman” is a wonderfully apt description, socially ironic but precise – a manservant who prides himself in matching his master’s faultless appearance.

One might also have added that a real gentleman’s gentleman will come up with the ideal solution before his master becomes aware of the actual problem. But what if AI, in the form of a humanoid robot were to mount a challenge to this time-honoured profession?

Michael McAlpine is doing his best to maintain his composure, and it’s nothing to do with the cramped and stuffy venue he’s been allocated at Laughing Horse’s Counting House for this exploration of the art of butlering, or what could remAIn of the profession if AI were to make a great leap forward into the unknown.

McAlpine is head butler to the Lord of the manor, in this case the mythical Kirklevington Hall, which is hosting a three day conference on behalf of USWeCare, leaders in the delivery of reductive emotional reassurance (AI robotics to you and me) from, yes, you’ve guessed it, the good old US of A, led by a Stetson wearing CEO with a Southern drawl so deep you could swim in it. And, to butter up the old Lord, the CEO has offered him the use of his latest invention, a robotic Jeeves. Cue much muttering below decks from the servants, concerned that their hitherto relative sheltered, cushy careers might come under threat. Time for McAlpine to prove that a gentleman’s gentleman is genuinely irreplaceable.

That’s the premise for an hour that’s an engaging mix of sketch comedy, monologue, catchy songs, the odd bit of poetry (with the emphasis on the “odd”) and a good dollop of mime. All provided by the superbly versatile McAlpine himself, who plays a range of characters and caricatures with alacrity.

There’s the butler himself of course, urbane, smooth, perfect elocution, manners and bearing. Nothing can ruffle him, even the infuriating Jenkins, the aforementioned AI programmed robotic upstart who McAlpine is charge with training, who comes complete with monotonal voice, jerky movements that would never cope with serving his Lordship’s afternoon tea, and a propensity for logic and efficiency when nuance would be the better option.

Then there’s Micky, the under, under butler, the Geordie accented, archetypal cheeky chappy who is where he is for a reason but wouldn’t mind being somewhere better. And let’s not forget her Ladyship, an eccentric to the manor born, especially after her second gin of the morning. Finally, we have the Stetson totting CEO, all corporate baloney and false promises.

It’s a nice range of characters around which to weave this engaging tale, each one differentiated in the manner described and several of whom appeared to be in the room at the same time, largely due to this talented raconteur/actor’s abilities on the physical theatre front.

That the satire sometimes seems akin to a sledgehammer is justifiable, a reminder that we need to strike a balance between harnessing the obvious potential of AI to improve lives and the danger that, in so doing, it could dehumanise the very thing that created it.

There’s a butler in every one of us. It’s the part of us that provides service without servility, retains their dignity without being a doormat, anticipates problems and provides help, assistance and solutions to others. On one level McAlpine’s The RemAIns of The Butler is a wonderful allegory on the need for the human race to help each other. On another, it’s a polished, professional piece of theatre cum storytelling cum sketch comedy cum, well, jolly good way to spend an early afternoon at the Fringe.

Thoroughly recommended, especially for any passing nobility but, please, do remember to leave the butler a decent tip at the end. It’s the done thing, you know. Click Here For Article

August 12, 2026    A Young(ish) Perspective

REVIEW: The RemAIns of the Butler @ The Counting House

REVIEW: The RemAIns of the Butler @ The Counting House

Abbie Murray
2 hours ago


Reading Time: 2 minutes
⭐⭐⭐⭐
Rating: 4 out of 5.
‘Wacky, wonderful and filled with the humble heart and soul of Fringe Theatre’
‘The RemAIns of the Butler’ comes to the Edinburgh Fringe from English Germany-based performer and former butler himself Mike McAlpine, who uses physical comedy and seamless character transformations to pose the very relevant questions of how can we live alongside AI and its integration into primarily human-based roles? Through this satirical, light-hearted one-man comedy show, McAlpine explores AI’s hypothetical use in high society, an area of society that relies upon particularly traditional values and taught human etiquette.

McAlpine takes the audience to Kirklevington Hall, where Head Butler Michael McAlpine and his wacky Under-Under Butler Mickey (both humorously named after himself) prepare to host an international AI conference. As preparations are under way, they soon find out that their employer has purchased Jenkins, a humanoid robot butler designed to cut costs and ensure smooth event-service efficiency. It is quickly discovered that this is not the case for a humanoid robot with no understanding of empathy or etiquette, so both Michael and Mickey take Jenkins under their wings in attempts to teach him the ways of the butler world.

McAlpine throws himself into every eccentric character, fully transforming his body language, mannerisms and even his accent alongside simple costume changes. His physical comedy is constant, accompanied by finger-clicking musical segments filled with daft humour, and you can tell he genuinely enjoys himself when performing, making his performance so refreshing and easy to watch. His butler experience is also apparent not only in his portrayal of Michael but also his energy as a whole, as he radiated a warming and welcoming presence from the get-go.

This performance also reminded one of the humble nature yet the immense heart and soul of Fringe Theatre; this performance specifically only included this reviewer with no other audience members, which may have seemed jarring, yet McAlpine did not falter and still delivered exceptionally. This experience really opened one’s eyes to the meaning of theatre, of still being dedicated to the craft and delivering a great performance even if little people are watching. This reviewer still got the full experience, with pretend audience interaction segments, and a fully committed performer who never once made the experience feel awkward or unwelcoming; he was having a great time, and so was this reviewer.

‘The RemAIns of the Butler’ is a free, unticketed event oozing with dad-esque humour (complimentary) and relevant, thought-provoking questions through a light-hearted and satirical lens. If you’re looking for an easy-to-digest, light and whimsical comedy show to attend mid-day during your exploration of the Edinburgh Fringe, this is definitely one to come to. McAlpine deserves his flowers for a free full-fringe run that illustrates his dedication to the art of theatre, and his effective demonstration of how theatre doesn’t need to be big and bold with an expansive cast and set to be enjoyable.

This performance runs from the 6th-30th August (excluding the 18th) at the Laughing Horse @ The Counting House (The Attic) venue located at 38 West Nicolson Street in Edinburgh. Tickets can be found here: https://www.edfringe.com/tickets/whats-on/the-remains-of-the-butler Click Here For Review

August 8, 2026    EdFringe Review

The classical music flowed through the room as the audience awkwardly bustled into the loft, a small intimate space packed full with possibilities. We were looking at a very bare set with a coat stand, a cowboy hat resting upon said stand, and a bell. But then enter: Mike McAlpine. Decked out in a tail coat and button up shirt, hair slicked and gratefully closing the door behind him, he waltzed toward the stage and began dusting, watering plants and ironing - all conveyed through mime. The scene was immediately set.

This one-man performance peel back the veil of the inner workings of the servants' quarters under Kirklevington Hall as they play host to an International AI conference and introduce AI butlers to their service. The audience are not left behind for this endeavour and instead are brought alongside the Head Butler, also named Mr. McAlpine, and others, to learn about the work behind the scenes in a series of crowd-work sequences: pouring tea and offering scones. McAlpine repeatedly insists 'This is what we do.'

It wasn’t until the play came to a close that the significance of those words, which also fittingly served as the final words of the whole show, held their full resonance. The exploration of AI is not an uncommon theme across media at the moment, with many new film and tv series placing it at the forefront of their stories; pioneering tales about the dark sides of AI and fearing the takeover of the world and the defeat of all of mankind so that there are only robots left to rule all…There’s a lot.

This show’s message isn’t entirely different to the others. I felt appropriately warned about the dangers of AI and what it lacks when placed directly beside a human being and so, I would have liked to have seen some more nuanced creative decisions risked. However, this show’s emphasis sits specifically on the poetic dichotomy between the characterisation of Jenkins - the robotic, emotionless AI - with the naturally charismatic, painfully human role of the Butler. McAlpine, as a performer, does an exceptional job in emphasising this juxtaposition through the split characterisation of Jenkins and Michael. It is this direct comparison, something that feels uniquely possible only with the medium of a one-man show, that does make this production distinctive amongst others like it at the Fringe. His physicality shifts are so slick, you’d miss it in a bat of an eye and assume someone had swapped onto stage. McAlpine’s use of mime is very clear each time, varying in style for the respective characters, and each action, as Head Butler Mr. McAlpine, is performed with a level of delicacy next to none, showing the differing magnitude of care between them. Creative decisions such as these are what hammer home the overarching point that the work the human does is not 'superfluous', to counter Jenkins himself.

There was no point where McAlpine was not completely in character, which seems like a useless comment to make for a performance-driven piece, until I tell you that he consistently shifted between many and at no point was the immersion broken. Fliting between accents, mannerisms, even postures with an ease so exceptional, I was almost shocked to hear his natural speaking voice at the end of the performance. A stand-out was the character of Nicky, a Geordie Under-Under Butler with a passion to learn and follow in the footsteps of Mr. McAlpine. One particularly intriguing element was a confession Nicky made regarding how they were treated in their work, receiving comments about the pronunciation of 'Butler' and enunciating 'T’s' efficiently enough. These sorts of insights into prejudices and divide between the North and South are conversations not seen so often interspersed with conversations of technology and AI. This layer was just another element that gave this particular story a more unique lens.

This is a show that absolutely warns about the increasing dangers of AI in our current climate but, above all else, this show emphasises the significance of remembering that what you do is always important. Click Here For Review

August 8, 2026    Edinburgh Reviews

Review: The RemAIns of the Butler, Fringe 2026

Review: The RemAIns of the Butler, Fringe 2026

Mike McAlpine brings his solo show, The RemAIns of the Butler, to The Attic at Laughing Horse @ The Counting House for the Edinburgh Festival Fringe. Set during an international AI conference at the fictional Kirklevington Hall, this 55-minute character and musical comedy examines what happens to traditional service professions when a humanoid robot joins the domestic staff.

Mike McAlpine
The RemAIns of the Butler
Performing daily at 3:00 pm on West Nicolson Street, McAlpine draws directly on his real-world background as an Ivor Spencer-trained butler to pit human empathy against mechanical efficiency. The result is a lighthearted, early-afternoon Fringe hour that tackles the current cultural anxiety surrounding artificial intelligence with warmth and silliness.

Etiquette, Empathy, and AI in The Attic

The Attic at The Counting House warms up rapidly on an August afternoon, forcing both audience and performer to contend with the muggy Edinburgh summer conditions. McAlpine handles the atmospheric challenge with professional composure, seamlessly integrating a towel into his routine while modifying his formal attire on stage. His real-world background as a butler shines through in these practical adjustments, offering audience members genuine insights into traditional service etiquette alongside the scripted comedy. I wish I had planned better and brought a fan.

The plot tackles existential dread surrounding job displacement, a recurring thematic thread across this year’s Fringe circuit. Rather than offering a dense technical analysis of artificial intelligence, the show uses technological change as a backdrop to highlight human connection. The central story relies on the idea that true service requires predicting human needs and offering genuine care, two qualities an algorithm cannot easily replicate.

A Triple Threat with Character Craft

McAlpine proves himself to be an adaptable performer, smoothly shifting between the distinguished Head Butler Michael, the enthusiastic Under-Under Butler Mickey, and the newly arrived robotic substitute. The opening relies on silent mime as Michael prepares a cup of tea, which creates a slightly slow initial pace before audio cues and sudden musical transitions kick the performance into gear.

Once the rhythm establishes itself, McAlpine displays his musical talent with original songs and precise timing. His uncanny ability to produce musical accompaniment simply by snapping his fingers provides an eerie, almost folk flair that somehow matches the show’s technological themes. As a character study, it stands as a charming character comedy with proper butler etiquette, delivering a funny, affectionate look at service in the age of automation.

Overall

The RemAIns of the Butler is a gentle, entertaining character comedy that offers an easy entryway into afternoon Fringe viewing. While the pacing stumbles slightly during the silent opening and the venue heat presents a physical hurdle, McAlpine relies on his authentic butler background and musical versatility to deliver a warm performance. It earns three stars for its clever premise, endearing character work, and practical lessons in table manners. Click Here For Review

August 7, 2026   Geek Native

Artificial intelligence meets white-glove service: Mike McAlpine on The RemAIns of the Butler

Artificial intelligence meets white-glove service: Mike McAlpine on The RemAIns of the Butler

AUGUST 7, 2026 BY ANDREW GIRDWOOD

CRITICAL SUCCESS: LINKS EARN MONEY FOLLOW UPDATES
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Tabletop roleplaying games and speculative sci-fi have long wrestled with the concept of synthetic labour. Whether it is a sleek synthetic synth serving drinks in a dystopian cyberpunk sprawling metropolis or a rogue construct turning on its creators, automated service is one of speculative fiction’s most reliable tropes. However, as agentic AI and advanced robotics move steadily from tabletop sourcebooks into actual modern workplaces, the questions surrounding automation have shifted from distant hypothetical scenarios to immediate personal realities.

The RemAINs of the Bulter
At this year’s Edinburgh Festival Fringe, British actor, character comedian, and former professional butler Mike McAlpine takes on this exact transition in his solo comedy show, The RemAIns of the Butler. Drawing directly from his real-world background as a graduate of the prestigious Ivor Spencer Butler School, McAlpine dons the tailcoat once again to play Head Butler Michael McAlpine. Set inside Kirklevington Hall, the show follows Michael and his companion Mickey as their employer introduces a humanoid robot to the estate, forcing a traditional manservant to confront what white-glove service truly means in an age of mechanisation.

We caught up with Mike McAlpine to talk about the human nuances that algorithms cannot replicate, how his show subverts sci-fi tropes, and why an eccentric human butler will always deliver the better story.

The “The RemAIns of the Butler” Interview

You actually trained as a professional butler at the Ivor Spencer Butler School. What is the most ‘human’ element of that training that you think a humanoid robot or agentic AI could never replicate?

I think the difference in the training was truly the human aspect of it all. Mr. Spencer and his sidekick at the time, Don Weedon taught us with such care and concern for the employer’s practical needs, but also their emotional needs. Although they impressed upon us, we should not get involved in relationships with the employer emotionally, the keyword was observation but never giving them the feeling they were being observed. These two gentlemen had lived such interesting lives, that their teaching was filled with interesting anecdotes, ranging from the many royal events they had worked at to simple tasks in ordinary households. Role-playing played a major part, which encourage the human aspect. Placing oneself in a variety of situations that may arise within a household, and recognising the needs of the employer. From welcoming guests, serving at table to organising a theatre outing and ensuring their greatest comfort and smooth entrance to any event without them having to make any effort themselves. Judging the employer’s needs by observing their behaviour and emotional state, those nuances, are clearly the aspects in which the human butler is still streets ahead of their robotic counterpart.

Tabletop roleplaying games (Cyberpunk, Shadowrun) have long featured robotic servants, but they are usually portrayed as silent, emotionless utilities or rogue threats. Your show treats the humanoid robot as a threat to a butler’s identity. How does Michael’s existential crisis compare to how sci-fi usually treats automation?

I suppose my creation of the character, Mr. Jenkins, the robot, has automatically been influenced by robots I have read about or seen in film before. I bore in mind the fact that AI is potentially insidious and ultimately could present a threat to humanity. There are elements to this in Jenkins, which clearly surprise butler McAlpine and increasingly worry him. Moments where it is suggested robot Jenkins has an ability to think and react instinctively. These moments, however, are more playful in The Remains of the Butler. At one point, Jenkins suggests eradicating the threat of a drunken guest by removing him beyond the city limits and reintroducing to the ecosystem. In a swiftly mimed sequence it is clear he is suggesting the inebriated gentlemen should be punished with death and buried in a clandestine manoevre. Comical at that moment but hopefully chilling, when you really think about it. Jenkins has a cheeky aspect to him, which increases the rivalry between him and the established head Butler Mr. McAlpine. The robot’s suggestion of playing back audio recordings of a lady guest’s nighttime flatulence to the audience is subversive, but clearly the kind of comical aspect I enjoy exploring. That kind of thing titillates me. Naughty but worrying if extrapolated two largest spheres.

You are a British actor based in Germany who performs in both languages. Have you noticed a difference in how British and German audiences react to the concept of AI taking over traditional human roles?

I’m afraid I don’t have much knowledge of how British audiences react to the AI takeover. I’m hoping to glean some knowledge of that during my Edinburgh run. Edinburgh is actually my world premiere of The Remains of the Butler, so I have as yet to receive any audience reactions anywhere. However, AI is a regular conversation piece in Germany, especially among friends and colleagues. I know a number of voice artists and actors, who have clearly been hugely affected by the introduction of AI. Voice over work is something which provides good earnings compared to theatre: formerly financial backing for the creation of theatrical productions. The economic fallout of these jobs disappearing to AI are becoming very obvious as time goes by. I also worked for many years has a translator German to English. Those jobs have fallen by the wayside also due to AI. Not a career I would recommend to a young person!

Your show introduces Mickey, an ‘Under-Under Butler’. In game terms, we’d call him a classic companion character. How does his relationship with Michael shift when a literal, perfect machine enters the workplace?

Initially Mickey is excited about the prospect of a robot in the house. He is amazed at its ability, him being an innocent. Mickey takes Jenkins at face value and befriends the robot, giving him an honest insight into the workings of the household, Kirklevington Hall, their workplace. He introduces Jenkins to the children of the house and playfully instructs him, prompting knowledge regarding all kinds of historical activities and games. However, he is forced to consider the situation despite his innocence. Mr. McAlpine is his mentor and he weighs up the situation, recognizing the immense human value his boss has. This is summed up in Mickey’s Poem “ What makes a great Butler?” This is a moment of realisation which underlines the significance of the role of the servant: not subordination but, when done correctly, an observant, discreet and dignified presence, ensuring smooth operation and client satisfaction involving selflessness, and personal consideration. The suggestion is that a robot perhaps would not have the necessary human touch to react to the situations sensed in people’s body language or aura.

If a wealthy employer offered you a choice between a perfectly programmed, tireless robot butler and a deeply eccentric, slightly flawed human butler, which one makes for a better story?

The eccentric butler certainly makes for a better story, especially as in the world of comic theatre, the characters can be highly exaggerated. This of course, also applies to the role of a robot in theatre, as unexpected traits are introduced for their character too, as long as one does not stray too far from the realms of reality. It all depends on where one wants to draw the borderlines. The closer to reality the characters remain, the more potentially chilling or meaningful the action. I suppose I meander in the middle ground.

Thanks, Mike!

Whether tech-driven automation ends up replacing human roles or simply forcing a recalibration of what human labour is best suited for, The RemAIns of the Butler highlights the nuanced, emotional, and undeniably silly traits that make humans irreplaceable.

The RemAIns of the Butler runs as part of the Free Festival at Laughing Horse @ The Counting House (Attic) daily at 15:00 during the Edinburgh Festival Fringe. Fans of character comedy and physical performance can also catch Mike McAlpine’s evening show, A Slice of Elvis, running daily at 22:30 at the same venue. Further details and show listings are available on the Edinburgh Fringe website. Click Here For Article