“Sometimes the life beyond Edinburgh for a piece comes in a way you never imagined. It always surprises.”
WHO: Philip Meeks: Writer
WHAT: “National treasure Su Pollard gives a one-woman tour-de-force performance in this razor-sharp and bittersweet dark drama.
Birdie’s a hoarder. The neighbours call her a harridan and a harpy, although most have never even met her. They see her hoard as a hazard for house prices. But it isn’t rubbish. It’s her life’s work and it exists because years ago something deeply cherished was stolen from her; Birdie’s not been able to give up anything since.
She’ll do anything to get this priceless thing back. Anything at all.
National treasure Su Pollard gives a one-woman tour-de-force performance in this razor-sharp and bittersweet dark drama from Fringe First award-winner Philip Meeks (‘Kiss Me Honey, Honey!‘, ‘Murder, Margaret and Me’).”
WHERE: Brunton Theatre in Musselburgh
DATES: 20 March
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Harpy is one of the many derogatory terms about women borrowed from mythology. I’m sure these terms were originally used in this way by men and since one of the themes of the play is that men are frightened of women, like rich people are frightened of poor people, I decided it was a good short sharp title.
The play is also partly a homage to the sub-genre of horror films often called Grand Dame Guignol. The first of these was ‘Whatever Happened to Baby Jane‘, which was born out of cruelty. Jack Warner wanted to see how desperate two of his aging out of work stars really were. He cast Bette Davis and Joan Crawford as aged grotesques and then marketed the film by spinning tales of battles between the pair on set. Of course, these two fantastic women triumphed and the movie saw a revival of both their careers. So, Harpy has a sort of dark thriller feel to it.
Finally, the story is about a hoarder and in mythology Harpies hoarded precious things they often stole from their victims.
Harpy premiered at EdFringe’18. Does the Fringe still have value as an incubator of productions?
Absolutely. But you have to really work out what you’re doing when you take something there. I’ve tried taking plays that already existed and it can feel like knocking a square peg in a round hole. I think its best if you do something you create specifically for the environment. An idea you know you will be able to expand and build upon beyond the time and production constraints of Edinburgh. But first you have to have to focus on making it as complete as it can be for Edinburgh and have no expectations for a life beyond. Often you can have a huge success and the play will never see the light of day again. Sometimes the life beyond Edinburgh for a piece comes in a way you never imagined. It always surprises.
Of course you need stamina for Edinburgh. It’s a bit more brutal than it used to be. But whenever you feel you’ve got a huge disaster on your hands you don’t have to try too hard to find someone having a tougher time than you. In 2018 one of the shows at our venue was really struggling and I overheard one of the actors desperately trying to flog it to punters by saying, “you must come and see us. We share a dressing room with Su Pollard.”
Are there any differences between what was on stage in ’18 and what’s going on stage in 2020?
We have a largely new creative team and the director Abigail is bringing a wonderful energy to the proceedings – she’s really asked me why I’ve written what I’ve written. It’s great to be challenged so wonderfully and makes the writing process far less lonely. The production is bigger and we’ve now got an elaborate set full of surprises, more musical moments and far more nods to movies that inspired it. I think its sadder and funnier. I’ve also been able to build upon the fact that it is set in the corner of South London where I live and all the people Birdie encounters actually exist.
What’s the one thing you know now that you wish you’d known at the start of rehearsals?
Why there are so many parakeets living in London! The reason is now in the play and it’s one of my favourite bits.
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