“The show has had a remarkable trajectory. It premiered in Brazil and had a sold-out run at the Pleasance last year, followed by two highly successful runs in London earlier this year.”
WHO: Caleb Lee & Brent Tan
WHAT: “A comedic, multi-sensory, participatory one-woman show dedicated to two things: canned meat and colonialism. Find out how this (delicious) canned meat symbolises modern-day colonialism and threatens the very livelihood of a whole civilisation in these West vs East political games. Can this formerly Catholic, angry and God-fearing woman help educate (and feed) the masses, all while “liberating” her island? Performed by CHamoru/Filipina theatre maker Sierra Sevilla, originally from the island of Guam and passionate about shifting immigrant narratives. Recipient of the Pleasance’s Charlie Hartill Fund 2024.”
WHERE: Pleasance Courtyard – Beside (Venue 33)
WHEN: 14:10 (60 min)
MORE: Click Here!
Is this your first time to Edinburgh?
Caleb: No, it’s not my first time to Edinburgh, and I absolutely love this city! I’ve been fortunate to visit Edinburgh a few times, often for the Imaginate Festival, which is a fantastic celebration of children’s theatre. This year marks my second time at the EdFringe, with my first visit almost a decade ago. Back then, I had the incredible experience of bringing a children’s production to the festival, which was a unique collaboration between artists from Singapore and the UK.
What’s truly special about the EdFringe is its sheer scale and diversity. It’s the largest arts festival in the world, and it transforms the entire city into a vibrant, buzzing hub of creativity. Every corner of the city becomes a stage. You never know what you’ll stumble upon next – a hidden gem in a small venue or a groundbreaking performance in a historic hall.
As a producer, EdFringe is particularly exhilarating. It’s a rare opportunity to see so many exciting shows in one place, meet a diverse array of talented artists, and discover new works to produce. The festival is a melting pot of ideas and innovation, and it provides an excellent platform for networking and collaboration. The conversations you have, the shows you watch, and the creative energy you absorb are incredibly inspiring and often spark new ideas and projects.
Experiencing a festival as a producer is quite different from being a punter. As an audience member, you get to immerse yourself in the performances and enjoy the festival atmosphere without the behind-the-scenes pressures. As a producer, however, you’re constantly on the lookout for new talent and potential collaborations, balancing the enjoyment of the shows with the excitement of scouting for the next big thing. Both perspectives offer their own unique thrills and insights and having experienced EdFringe from both sides, I can say it’s a truly magical event no matter your role.
Brent: It is also not my first time in Edinburgh but it’s my first time producing for the fringe. I visited for holidays and watched tons of shows in the previous Edfringe. I love that I can bask in the vibrancy and the atmosphere of creatives and that sense of adventure when discovering new talents and new works much of which many have not seen or heard before.
As a producer, everything goes into the planning. From logistics to marketing and financial investment, making sure the production brings the best from the experiences to the punter. The experience provides a deeper understanding of the festival’s inner workings and a greater appreciation for the artistry involved. Being a punter before, I’ve enjoyed the engagement of the performances and would build a strong social following to see where such performances will go next.
What are the big things you’ve learned since 2023 and have you absorbed any of the lessons yet?
Caleb: Since 2023, I’ve learned the importance of adaptability, collaboration, sustainability, and resilience. Staying flexible and open to change has become crucial in the evolving arts landscape. Embracing diverse perspectives has enriched our productions while integrating sustainable practices is now essential. Resilience has helped us navigate challenges and maintain a positive outlook.
These lessons have not only shaped how we live but have also enriched the quality and impact of our work, allowing us to continue producing meaningful and engaging theatre for our audiences.
Brent: In 2023, I’ve learned so much and will continue to build myself on these crafts of being creative and being able to communicate those ideas. Coming from a technical background, I have learned and am still learning about the language of working in the creative process and translating it into the technicalities of theatre productions. It is also recently that at this point of my career is when I can start to inspire others to build the team in collaboration and to expose myself with the creativity of many artists.
Tell us about your show.
Caleb: Our show is a heartfelt and compelling exploration of migration, belonging, home, and the universal language of food. Written and performed by the incredibly talented Sierra Sevilla, with Izzy Rabey as the director and dramaturg, and a creative team from ESEA, Pacific Islander and mixed heritage backgrounds, the show has resonated deeply with audiences.
Brent and I first encountered this piece at Camden People’s Theatre, where Sierra and Izzy presented a short scratch performance. Even in its early stages, we saw immense potential. As ESEA creatives, the show resonated deeply with us, and we knew we wanted to help bring it to a wider audience. Thus, we decided to produce it, and it’s been an amazing journey ever since.
The show has had a remarkable trajectory. It premiered in Brazil and had a sold-out run at the Pleasance last year, followed by two highly successful runs in London earlier this year. Before making its way to the Fringe, it also had the opportunity of touring in Hawaii. Our production has received both the Charlie Hartill Fund and the Keep it Fringe Fund, which are tremendous accolades for the work we’ve put into it.
After the Fringe, our Spam-venture continues. We have been invited to the prestigious Kia Mau Festival in New Zealand next year, and we’re also planning a tour in Singapore. Additionally, we are hopeful for a regional tour across the UK, bringing the show to new audiences and continuing to share its powerful message.
It’s been an exhilarating experience watching this show grow and connect with audiences around the world, and we can’t wait to see where it takes us next.
What should your audience see at the festivals after they’ve seen your show?
Caleb: You should also check out the other shows at the Pleasance – particularly the other 2 Charlie Hartill fund winners – Duck (by Two Magpies Productions) and Crying Shame (by Sweet Beef Theatre). Duck, by award-winning playwright maatin, is a brilliant piece of new writing about the pressures of competition and finding your identity in an environment that doesn’t cater for differences. Crying Shame is an excellent cabaret by the emerging queer theatre collective Sweet Beef, who work to explore socio-political issues with a healthy dose of audience interaction and comedy. Please come and support emerging & marginalised artists – it means a lot to us!
Alongside these, there is a super fun participatory family show, the Blue Badge Bunch by Ingenious Fools Ltd (WINNER Disability Champions Award) who champions the arts and inclusivity for children. Additionally, don’t miss the fantastic musical Gwyneth Goes Skiing by Awkward Productions – a story of love, betrayal and skiing – where you are the jury; which had a sold-out run in London.
Brent: I am also working on another show called Tones: A Hip-Hop Opera (by Wound Up Theatre) which will be at the Summerhall Roundabout. This is a unique production that combines the gritty underground sounds of hip-hop, grime and drill with the melodrama of opera to present a piece of gig theatre like no other.
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