“The sheer scale of the festival, the diversity of genres, the mix of people from all over the world, the enchanted setting–it’s a recipe for something special.”
WHO: Jane Elias
WHAT: “What does it mean to remember the Holocaust in 2024? How do you bear the legacy of trauma while forging ahead in the 21st century? Jane Elias grapples with these questions through an acute portrait of her relationship with her father, a Greek Holocaust survivor. Realizing she may not be able to grant his wish to one day dance together at her wedding, she instead honors him by taking part in the March of the Living in Poland. A transcendental pas de deux between two generations and a daughter’s love letter to her dad.”
WHERE: Bedlam Theatre – Bedlam Theatre (Venue 49)
WHEN: 15:30 (70 min)
MORE: Click Here!
Is this your first time to Edinburgh?
This is my first time participating in the Edinburgh Fringe! My first visit to Edinburgh was way back in college when I was doing a study abroad program in London and took a weekend trip to Edinburgh (in winter). But it wasn’t until last summer that I returned to the city to finally experience the festival. Some friends and fellow artists from New York were doing shows that I had wanted to see, so I had an “excuse” (not that I needed one!) to take a quick trip over and catch the last four days of the festival. I had such a great time–saw a wide variety of shows, enjoyed the beauty of Edinburgh, and basked in all the positive creative energy. The sheer scale of the festival, the diversity of genres, the mix of people from all over the world, the enchanted setting–it’s a recipe for something special. I can’t yet speak to the experience of the festival as a producer and performer except from the perspective of planning, of which there is a lot! I’m looking forward both to performing and taking in as many shows as possible this year.
What are the big things you’ve learned since 2023 and have you absorbed any of the lessons yet?
Oof. One big thing I’ve learned on a more cellular level is the value of delegating. There are many things one can do oneself, but the fact of being able to do something doesn’t mandate that you do it. It’s much better to focus your energies on the things ONLY you can do, and to collaborate with others with whom you can divvy up some responsibilities. This is true both specifically in preparing for the Fringe, and more generally in art and life!
Tell us about your show.
My show is called DO THIS ONE THING FOR ME and is an autobiographical solo piece that I wrote and perform; it’s being produced by me and A/Park Productions. The play spotlights my relationship with my father, who was a Holocaust survivor who was born and raised in Greece. I’m exploring the ways in which our individual narratives and experiences inform each other, and asking what it means to inherit this particular legacy: What are the responsibilities of the next generations going forward? How do we live our lives staying true to ourselves while at the same time honoring our parents? You know, all the easy stuff! The play has had a life in New York in several incarnations over the last ten years: it premiered in the 2013 EstroGenius Festival, then had runs at the Access Theater and TBG Theatre in 2014 and 2015, respectively, both in NYC. The last production was in 2018 in the New York Fringe. I’m excited to be bringing it back and to share it with new audiences in Edinburgh this summer! Beyond Edinburgh is TBD. Stay tuned!
What should your audience see at the festivals after they’ve seen your show?
My ever-growing list of shows to see includes: N.Ormes (saw it last year and was blown away–look forward to seeing it again!); Yoga with Jillian (I know the playwright and her other work, and this one comes highly recommended!); A Transcriber’s Tale, Ni Mi Madre, Whore’s Eye View, Lost…Found, Unseen, Leni’s Last Lament (all fellow solo performers); Batsu! (didn’t see it last year, but I hear great things); Bill’s 44th (I met the performers last year when I was visiting but hadn’t had the chance to see their puppet show, and now they’re back!); 13th Morning (because I want to know what happens the morning after Sebastian and Olivia get hitched); Bloody Ballad of Bette Davis (what if Bette Davis were a witch? I’m in); Every Brilliant Thing (I’ve hear so much about this play and have yet to see a production if it, now’s my chance!); 3 Chickens Confront Existence (existential crises in the factory farm–who hasn’t been there?)
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