Author Archives: Dan Lentell

‘Achilles, Death of the Gods.’ (Venue 152, Aug 9-10, 12-17, 19-25)

Posted in 5*, EdFestivals 2024, Rated: Outstanding by

“If you like the Ian McKellen reading of ‘The Odyssey’ you will love Jo Kelen’s telling of ‘The Illiad’.”

Editorial Rating: 5 Stars (Outstanding)

“Sing, O muse, of the rage of Achilles, son of Peleus, that brought countless ills upon the Achaeans.”

To be honest, I had never expected to encounter the muse herself but here she is persona personalmente. Memory’s daughter is a dark-eyed classicist with a grip on her material tighter than how a Cyclops holds his dinner. We enter to discover nothing more complicated than a camping stool and a table, the latter dressed in red with three candles as well as jugs for water and wine. This is as close as many of us will get to the authentic experience of having a storyteller rock up to our mead hall, take the best seat by the fire, and sing a story for their supper.

And what a story we have tonight. The hugely ambiguous amorality tale of when the barbarians were at the gates. Women plundered like cattle. Men butchered like goats for the spit. The highest of high drama so familiar and yet… and this is the good bit… delivered so fresh. This is a story that lives in our cultural marrow, yet Jo Kelen tell it as fresh as the spring flowers which upsprang from the Earth on which Zeus and Hera were making the divinity with two backs. If you like the Ian McKellen reading of ‘The Odyssey’ you will love Jo Kelen’s telling of ‘The Illiad’. She is as poised and perfectly to the point as when Colin Firth beats up a pub full of yobos at the start of ‘The Kingsman’ franchise.

This is an EdFringe show and with only 45 minutes runtime so something had to be cut. Kelen has made the bold (and certainly definitely probably controversial) choice to leave out the gods – who have taken themselves off to lounge around in fruit baskets at the Paris Olympics. What is left is more. More of the bromance. More of the anger. More of the self-centeredness. More of the sacrifice. More of heroism and yes, more of the brutality and more of the suffering. This is an unapologetically bold and self-confident production which makes no effort to accommodate our Celtic predisposition towards swiftly flowing changes of rhythm and tone. This is the classics done classically and, if you are fortunate and sensible enough to secure a ticket, it will be recalled for time immemorial as a classic of EdFringe24.

Get your bronze armoured coats on and go see this!

ALL our recent coverage? Click here!

‘The Old Queen’s Head’ (Venue 8, Aug 9-22)

Posted in 5*, EdFestivals 2024, Rated: Outstanding by

“David commands attention in the way that the Field Officer in Brigade Waiting commands the Trooping of the Colour.”

Editorial Rating: 5 Stars (Outstanding)

It is a truth universally acknowledged that the head of Queen Elizabeth II appeared on more coins, stamps, in more photos, on more film, sculptures, and paintings than any other human being in history. “We have to be seen to be believed” is a quotation often attributed to our late, much-lamented monarch. So it’s not at all surprising that many people feel a deep personal (spiritual even) bond with the longest-serving head of the Church of England.

David Patterson adopted Elizabeth as his spirit guide early in life. It was something he shared with his grandmother and carried with him through school and high school and on to the lofty heights of student politics at East Fife College. Elizabeth was there, in a sense, at every step of his journey as a closeted gay man. Coming out for David involved asking some deep and meaningful questions about his self-imposed, Elizabeth-inspired mantra to avoid being “’too much, too obvious, too different.”

This is a deeply personal story ringing with universal truths. David commands attention in the way that the Field Officer in Brigade Waiting commands the Trooping of the Colour. His material is mustered, drilled, rehearsed and regimented BUT it is never stiff or stilted. This is a lively performance sparkling with spontaneity like a tira sparkles on the head of a blushing newlywed. The set is precisely the right kind of minimal, reflecting each stage of this coming-out journey. Every detail of this production has been considered and curated so as to highlight and understate in all the right places. This is how storytelling at the Fringe should look and feel.

Come for the personal journey. Stay for the lively portraiture of the supporting characters in David’s life. Get your royal rainbow coats on and go see this!

ALL our recent coverage? Click here!

‘Aaaand Now for Something Completely Improvised’ (Venue 17, Aug 9-11)

Posted in 3*, EdFestivals 2024, Rated: Nae Bad by

“This is a fun show by fun people for folks who aren’t minded to splash all their Fringe cash on dead parent, my house was bombed by moomins, what’s the point of existence? serious and sombre stuff.”

Editorial Rating: 3 Stars (Nae Bad)

We enter to find the troupe dishing out Opal Fruits, interacting with the audience, and getting the energy levels up. It’s a very welcoming space. You can feel the energy crackling. It’s obvious that the chaps on stage really enjoy working together and we’re all invited to share the bromance. An absent-minded grandparent is about to tell a story to his grandlings, but what story? Any suggestions?

What follows is an entirely unpredictable series of vignettes, sidebars, and recurring characters. When the chaps ask if anyone has ever heard of Sunderland Footballer Len Shackleton, not actually the brother of Earnest, it’s all I can do to stop my Geordie GetYourCoatsOn colleague, the one with a still unwritten play about Colin Veitch, from launching into his favourite before, during, and after dinner lecture – luckily he’s busy chewing on an Opal Fruit.

Over the course of the hour we’re in the sea. We’re on an island. We’re on a rollercoaster of madcappery and bonkersosity that provides much merriment. This is a fun show by fun people for folks who aren’t minded to splash all their Fringe cash on dead parent, my house was bombed by moomins, what’s the point of existence? serious and sombre stuff.

I have to admit I raised an eyebrow when I read the show’s listing at EdFringe.com – “Improv Legends” is a strong sell. It’s also an admission that the show is not new. So is it still fresh? Is it still quick-witted? Certainly, these Oxford Imps almuns have appeared (and are appearing) in some of the best-known improv shows at the festival including ‘Austentatious’ and ‘Adventures of the Improvised Sherlock Holmes’. Definitely, they are good at what they do. However, undeniably, there is a flatness and a whiff of complacency. Like an undergased, overpriced pint in a plastic glass from a popup bar there’s something there that’s missing. At several points, when the ball slips into dead air, I find myself wishing Len Shackleton would give the boys a talking-to in the dressing room about the importance of possession and positioning.

I would like to see this show getting back to basics and resting on a few fewer laurels. The best thing about improv is that it exists only in the moment, so the moment matters more than anything before or after. There’s plenty more Fringe in the sea lads, so stop treading water. This improv needs improving if the best days are still ahead.

ALL our recent coverage? Click here!

‘Chokeslam’ (Venue 8, Aug 9-10, 12-25)

Posted in 5*, EdFestivals 2024, Rated: Outstanding by

“Tegan Verheul might not be doing any of the moves. She might not be that comfortable standing on a chair even, but she delivers an inspiringly fearless performance.”

Editorial Rating: 5 Stars (Outstanding)

I don’t know anything about professional wrestling except that it has something to do with ‘Moana’ and the greatest movie ever made – ‘The Scorpion King’. Tegan Verheul on the other hand fell head over heels in love with pro-wrestling even as she fell in and then out of love with her husband. It’s not hard to see why creative people would be drawn into the high-energy, high-stakes, high-cannot-believe they just did that world within a world of big muscles, big personalities, and even bigger rivalries.

Pro wrestling immediately captures the imagination in a way that only the very top six or seven Fringe productions about the impacts of climate change on inland colonies of kittiwakes during the prohibition era can. Is mass appeal crass appeal? Who chuffing cares if it makes people happy?!

Tegan Verheul might not be doing any of the moves. She might not be that comfortable standing on a chair even, but she delivers an inspiringly fearless performance that will leave you feeling like you too could just about pull off an Inverted Death Valley driver on the grandmother of whichever EBay bidder it was who jumped in at the last minute and stole that mint condition Saraya Jade Bevis action figure from under your nose.

Just like the megastars she’s describing, Verheul has a pedigree scaffolding her rise to greatness. I don’t know if The Royal Central School of Speech and Drama or the Guildhall School of Music and Drama offer programmes in pro wrestling, but maybe it’s time they did. It is a joy to hear one highly trained professional throw so much love and light on the work, dedication, struggles, and legacy of those working another cultural seam. This is a show that hits all the high notes (with a steel chair) even for an admittedly disinterested newbie. This is a show that simply crushes those same high notes (and makes them cry for their meemaw) with the wrestling super fans in the audience who are on the edge of their seats from the get-go and on their feet stomping like Rey Mysterio just slammed Silo Sam into the mat.

The show is structured with a double-helix. It’s a fan’s starstruck journey and it’s also a woman’s heartsick journey. There is a pretty hefty shovel in my garage and I would take it kindly if you would bash my brains out with it the very moment I ever turn down a woman like Tegan Verheul. But somebody did! Repeatedly! leaving Tegan feeling starved of love even as her cup of wrestling friendships overflowed.

If you have ever felt underappreciated, this is a show for you. If you have ever wondered what it takes to step back, re-evaluate, pick a new life course, abandon the disappointing but familiar present and take a chance on the possibility that you too deserve to be loved and happy, then this is a show for you. If you are totally unmoved by pro wrestling but simply love a cracking bit of storytelling delivered by a professional at the top of their game and loving it, then this a show for you.

Get your Wrestlemania coats on and go see this!

ALL our recent coverage? Click here!

EdFringe Talk: Songs for a (Brave) New World – Free

Posted in *Written Interviews, EdFestivals 2024 by

image of event

“My show is a satirical cabaret.”

WHO: Richard Lewis

WHAT: “Songs for a (Brave) New World. Richard Lewis follows up last year’s hit show A Cabaret called Hamlet by looking at the state of the world in 2024. Whether it’s politics, digital dating, Trump, green issues or political correctness, Richard finds a musical reason to spotlight the natural absurdity of the human race – and if that’s not your cup of tea, just sit back and enjoy the piano playing! ‘Not only is Lewis’ patter quick-fire and knowledgeable, but his piano playing is sublime’ **** (JonathonBaz.com, 2023).”

WHERE: PBH’s Free Fringe @ Fingers Piano Bar – Fingers Piano Bar (Venue 221) 

WHEN: 16:20 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I’m from Edinburgh and did my first show here when I was 10 for the Edinburgh International Festival. Since then I’ve done numerous shows here both at the fringe and the Edinburgh International festival.

The fringe is great, but always a challenge. With the EIF, you just get a fee which makes your life a lot easier!

What are the big things you’ve learned since 2023 and have you absorbed any of the lessons yet?

The biggest thing is, I’m very grateful to be an Edinburgh resident. God knows how anyone else is able to afford it…

Tell us about your show.

My show is a satirical cabaret looking at contemporary themes such as digital dating, politics, environmental issues and anything else I could think of.

I try to mix as many musical styles as possible as my background is in classical as well as pop and musical theatre.

What should your audience see at the festivals after they’ve seen your show?

I confess, I haven’t seen anything else as yet! I’m doing two shows a day and rehearsing a third one.

I am musical director on Wallis at The Space and very very happy to plug my excellent colleagues on that show.

From the 19th to the 25th, I do Liberace in his own words.

LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: The Techtonics: 44 Days of Liz Truss (A Cappella)

Posted in *Written Interviews, EdFestivals 2024 by

image of event

“I went into the 2023 festival as a tourist with zero information on it other than that Fleabag originated there.”

WHO: Alex Christopherson

WHAT: “It’s been a bumpy few years in UK politics, and one story is particularly comical: Liz Truss’s stint as prime minister. In 44 days, Trussonomics tanked the economy, her cabinet made more U-turns than Mr Bean on a roundabout and, after one meeting, the Queen passed away. Who could be more fitting to tell this story than an all-male a cappella group of nerds from Imperial College London? Not just any group though: the only UK group to have won the ICCAs! Yes, that’s the competition in Pitch Perfect.”

WHERE: Gilded Balloon Patter House – Doonstairs (Venue 24) 

WHEN: 11:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Even though I actually put Edinburgh as my insurance university, the first time I ever visited was for the Fringe last year and I fell in love with both the city and the festival. I had never seen such an amazing and diverse display of the arts which, as a performer my whole life, was really special. It’s not the first time the group has been to the Fringe though – back in 2016 The Techtonics had a sell-out show, though none of the current members were there. Once the trauma of those stressful few months had been forgotten, talk of going back resurfaced, and that’s when I had this idea…. the alumni still think we are crazy.

What are the big things you’ve learned since 2023 and have you absorbed any of the lessons yet?

What haven’t I learned? I went into the 2023 festival as a tourist with zero information on it other than that Fleabag originated there. Now we’re about to start our run at the 2024 festival with a show I’ve written, directed, and am starring in! Safe to say there has been a lot to learn, and I’ve gained a real appreciation for just how much work goes into putting on a stage show. It seems endless, but it’s worth it!

Tell us about your show.

Weirdly, the group was formed as part of the Imperial College Croquet Society in 2008 when a group of guys realised they had a mutual love of A Cappella. Over many generations of “techtoddlers” we’ve released three albums, been on international tours and won and hosted competitions, but this show is something very new for us.

I came up with the idea myself just after Liz’s chaotic premiership back in Autumn 2022 as the group were planning what to do the following Summer. Eventually we decided not to go to Fringe and instead head on tour to the USA, but the idea stuck with me. When the same conversations happened ahead of the next academic year, I teamed up with Alex Li (together we are called Alex Squared) to pitch the show again. Our president, Robert Brickle, joined to produce the show and friend of the group Mari Dickenson came on to choreograph. Its been a roller-coaster ride putting this together, especially alongside Summer term at university! We did manage to preview the show back in June though, so are very excited to be coming to Fringe next week!

What have we got planned for after the Fringe? Well, that’s up to the returning and new members of the group! Sadly, this is my last project with the group, but it won’t be over right after our last show because we are making a film of the show too!

What should your audience see at the festivals after they’ve seen your show?

Where to begin? Of course I have to recommend our A Cappella partners in crime from the University of Bath, Aquapella. Unlike our show, theirs is just an hour of music (no politics!), but boy is their music good. If you see two A Cappella shows this year, make it them and us, and, better still, we’re in the same venue, one after the other!

My other university group recommendation is Musical Theatre Warwick: The Improv Musical. Every show is different and based on audience prompts, but somehow the singers and jazz band come up with a full soundtrack right in front of you!? I really don’t know how they do it, but its incredible and hilarious every time.

Moving away from student groups, I am super excited to see Newscast and No Such Thing as a Fish live at the Fringe! These two podcasts are where a lot of my random/topical facts come from for our own show!

Of course, my inpiration isn’t just podcasts… I am an absolute sucker for stand up comedy and topical panel shows, so I can’t wait to go see Hannah Gadsby and Tiff Stevenson.

LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: The Chairs Revisited

Posted in *Written Interviews, EdFestivals 2024 by

image of event

“We’re not only actors but also producers, marketeers, writers, translators, designers, proof readers, costume designers, pencilpushers (a term from the play) and roadies.”

WHO: Louise

WHAT: “Following five-star success with Miss Julie (*****, ThreeWeeks) and The Nine Lives of Antoine de Saint-Exupéry (*****, CafeBabel.com), the veterans are back with a perfect lockdown party. Picture an ancient couple, beached in life and marooned in some isolated spot, inviting many imaginary guests. Sometimes life is more absurd than fiction. ‘Brilliant new version of Eugene Ionesco’s surreal, funny and moving mini-masterpiece with rhyming rhythms and sizzling dialogue’ (Scotsman). ‘A pot-pourri of word-plays, slapstick and physical comedy. Well-paced theatre and highly entertaining. A wee bit like Waiting for Godot meets The Marx Brothers’ ***** (Herald).”

WHERE: Gilded Balloon Patter House – Other Yin (Venue 24) 

WHEN: 10:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This will be our 15th time at the the Edinburgh Fringe Festival. Over the years this Festival has grown and grown and grown and grown and exploded all over town to as far as Leith in the north and the Meadows in the south. In 1996 we were invited by Ricky Demarco and the Demarco European Art Foundation to perform the Chairs in his St. Mary’s School building in Albany Street in Edinburgh’s NewTown. There were other theatre groups from Eastern Europe and in the front of the building was an art exhibition with new work by Jimmy Boyle. We probably fitted into his
Eastern Europe programme because Eugene Ionesco is from Romania. The next year our Director
Andrew Dallmeyer got us into The Assembly Rooms on George Street in a long and narrow room
with crystal chandeliers on a tiny high stage where you could easily fall off. Of course we haven’t
been every year but pretty regularly though. Producing and writing takes a lot of time and research especially if you wear all the hats. We’re a small company but we have performed in all the big venues. New and existing plays, we’ve brought it all to the Edinburgh Fringe Festival. We’re not only actors but also producers, marketeers, writers, translators, designers, proof readers, costume designers, pencilpushers (a term from the play) and roadies. It is great to see how much people can enjoy the imagination that is inherent to theatre. It is an event of communication in which the experience of imagery is shared with others. The Festival is great to discover new talent, to see such a variety of performers and the city is buzzing with creative energy.

But to get them to your show…. You have to work hard get an audience in. They don’t come flying
in like that, especially when there is so much choice, so you REALLY have to work for it. It’s
always nice to run into people who say their friend urged them to come and see us. Word of mouth is the best publicity. We can’t complain, we’ve always had very decent audience numbers and even some groupies that check us out whenever we’re back.

What are the big things you’ve learned since 2023 and have you absorbed any of the lessons yet?

Since 2023 we learned that Absurd theatre is appreciated and recognized much more in this day and age than in the past. And we see a much wider range of people – young, old, comedians, and people who would never go to a theatre play – all craving to have an absurd experience that touches on the essence of life. Before the Covid pandemic absurdity in Western Europe was a term only used by dramaturgs or high brow theatre critics to describe incomprehensible niche plays. In Eastern Europe absurdity and black humour was part and parcel of daily life. A way to cope with the stark reality of daily life. A way to express yourself and talk about things that mattered. Since the pandemic however we have all been experiencing absurdity in our daily lives: rigorous rules that had to be obeyed turned out to be rules that changed every day. Experts on virus infections had more unanswered questions every day. Nothing was certain, everything was real and not real at the same time. Theatres were closed, technical operators found new work installing solar panels. People changed careers because of Covid, divorced or fell in love, lost friends and neighbours, bought dogs for company and suddenly realized what really mattered in life. Ionesco was a close friend of Samuel Beckett. They lived in Paris and were part of a group of European writer friends who, after the horrors of World War II, had a different look on life. They concentrated on the emptiness and absurdity we encounter in our lives. Now we recognize their take on the world.

Another thing learned since 2023 is that the importance of social media is nothing to be sniffed at. I never cared much for social media, but now really have to force myself to contribute to all the different platforms on behalf of the company. It’s a steep learning curve. This way to advertise and keep people informed, to me feels as an easy, lazy and ephemeral way to communicate and work yourself into the picture. Apparently it’s the thing to do so we have to adapt to that phenomenon and go with the flow. I still prefer language over emojis and the old-fashioned contact between real people over all that digital froth. Funnily enough on my rounds I meet a lot of people who re-appreciate the old legwork and real contact with someone who is involved in a show over the virtual deluge of information they are forced to swallow every day.

Tell us about your show.

Eugene Ionesco wrote The Chairs in 1952. He wrote many other plays like Rhinocéros. That play deals with the temptations of Fascism. A very bizarre play, probably because it is not realistic but at the same time a very striking a comparison with our own society. That is his strength and that is what we liked about The Chairs. A very old couple, living on a remote lighthouse island. One day the old man decides it is time to reveal his message to the world and invites all the great and the good to come and listen to his message to mankind. We hear the boat arriving, the doorbells – they have many front doors -we see the chairs they pull out from every nook and cranny but we don’t see any real guests. However we can imagine very well what they all look like and how they (mis)- behave.

After the pandemic we decided to take up this play again because it made so much sense all of a sudden. We call our new translation The Chairs Revisited because the same actors are coming back with the same play, after 28 years, to the same festival. During the Covid pandemic we all had to adapt to living in small bubbles. Just like that old couple in the play. Those restrictions led to apathy and depression for some of us and to revolt, protests and inventive actions for others. What can you do when all entertainment and all sportclubs shut down? You go for a walk in the woods. There we stumbled on secret meetings: friends gathering in the middle of nowhere far out on the moors, looking over their shoulders while carefully nipping at glasses, passing around a bottle of Gin. We passed grandparents and grandchildren sitting on a fallen tree the midst of the woods. With all the restaurants and theatres shut where else to go for fun and entertainment? Experts and politicians, that we looked up to, had to bring hope and clarity but in the end proved to be inexperienced weak humans like the rest of us. They did not know the answers to all our questions and misbehaved as much as the rest of us. All this and more (Greta Thunberg) you can find back in our new translation/adaptation of the play from 1952. We plan to bring it to other theatres after the Fringe and are working on a Dutch translation to be able to show it in Belgium and the Netherlands.

What should your audience see at the festivals after they’ve seen your show?

Please go an see other theatre productions during this Festival. It is a small section in the Fringe guide but worth exploring. What about Myra’s Story. I keep running into people who were deeply moved by this play, a one woman show and I plan to see it this year now my schedule will not clash. Grandma ‘s shop sounds really interesting, a granddaughters investigation in the life of her own grandmother, new work and multi characters. Also in Gilded Balloon Patter House: The Steamie. It is a fantastic play done by a great team with music, funny and heart warming. And don’t forget the comedians: Jason Byrne, I saw him a couple of years ago, he never fails to surprise you with anarchy and fun. Michelle Brasier, saw her last year, she’s a powerhouse very inspiring, good connection with her audience and quick witted. And of course: the magician Caspar Thomas who combines self-deprecating humor with really clever tricks and a very good with his audience. Check out Anu Vaidyanathan. I met her last year, we were both flyering for our shows and found her already very funny off stage, this year our shows are not at the same time and I plan to go to her show at Gilded Balloon.

LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: Shaolin Clown

Posted in *Written Interviews, EdFestivals 2024 by

“I’m not here with any expectations rather than hone this new physical comedy show to perfection.”

WHO: Tom Corradini

WHAT: “Physical and visual comedy. A Shaolin monk relives his childish and clownish soul in his Zen practice, discovering a world always full of surprises and which finds its meaning in seemingly insignificant little things. Suitable for all ages and nationalities.”

WHERE: Banshee Labyrinth – Chamber Room (Venue 156) 

WHEN: 19:20 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It’s my second time at the Edfringe. Previously, I was here in 2012 with another solo show (titled ‘Superheroes’). Then, sotospeak, a lot of water passed under the bridge. I produced and written several shows (you can find some of the scripts on Amazon), set up my theatre company, created a physical theatre festival, became a full time YouTuber and also set up a talent agency for film and TV during covid which has taken a life of its own. I did A LOT of festivals around the world (Brighton, Prague, Tallinn, Adelaide) and attended for 6 years AVIGNON OFF (I’ have written the only guide available in English for non-French speaking companies interested in attending Avignon off, titled “The Avignon Off Rough Guide”). Now I’m back to Edinburgh as the final step of a summer tour that took me to Prague Fringe, Athens, Avignon Off and now here.

I’m not here with any expectations rather than hone this new physical comedy show to perfection. As a matter of fact I’m not even listed on the official guide of the festival (I’m part of PBH Free Fringe and I’m listed there).

I just wanted to do as many performances as I could with my show and also go back to Edinburgh to feel its vibe. When you are a full time performer like me and travelling like I do (this season China, India, Germany, France, Italy, etc.) it’s easy to isolate yourself in your own bubble. I like watching shows and see what’s around.

What are the big things you’ve learned since 2023 and have you absorbed any of the lessons yet?

The most important lesson I learned in 2023 is to care less about what other people think of me and to follow my way. I’m very much into alternative comedy. In 2023 I decided to go full time on YouTube impersonating MUSSOLINI. I have a live feed every Wednesday where I take questions as Mussolini and my channel made over 1 million 200 thousand views in 2023.

I’d like to take this show I have in Edinburgh to countries I have never touched: Iraq, Iran, Algeria and other countries in Asia. The New World… as the old one is crumbling to pieces. I’m not trying to follow mainstream. I don’t want to be ‘discovered’ – I want to create my own destiny.

Tell us about your show.

The idea of the show was born in 2014 after I read a book titled “Shaolin – Du musst nicht kämpfen, um zu siegen!” (Shaolin you don’t have to fight in order to win) by Bernhard Moestl. At the time I was living in Berlin and going through a major transformational period. I started to develop the clown character of a Shaolin monk in Berlin, doing lots of open mic nights there. Then I carried on with my other shows (in 2018 I performed 169 days out of the year) and kind of forgot about it.

In 2022 I performed in Vietnam and South Korea with another show I produced and I had to retrain an actor to perform with me (I usually play this show, titled “The Lehman Brothers” with another actor, you can find the photo catalogue of that experience on Amazon if you search for “The Lehman Brothers Asia Tour”). The whole experience was tyring for me so I finally decided to go solo with a silent comedy show. This is the 3rd silent comedy show I’ve produced (and I written tons of others)

In 2023 I partecipated in the Tallinn Fringe festival and used that opportunity to premiere the show there. Then after a winter/spring pause I’m now touring with it all over the summer.

As I said I’d like to take the show to the Middle East and Asia.

What should your audience see at the festivals after they’ve seen your show?

It’s a funny question. Edfringe is soooooooooooo DIVERSE, so much to see. I’d say watch another show of the PBH Fringe. Discover tomorrow’s new artists. Stay away from the mainstream.

I’d also say go watch Tim Licata A MAGIC MORNING! (for kids) and James UNBEFLEAVABLE! A FLEA CIRCUS MAGIC SHOW – they are before and after my show. Incredible guys.

LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: Showtime!

Posted in *Written Interviews, EdFestivals 2024 by

image of event

“I truly feel Edinburgh Fringe is the most magical place on Earth; it is one of my happiest places in the world.”

WHO: Em Hoggett aka EM The Master

WHAT: “If Tim Burton met Stephen Sondheim in the KitKat Club… and they were a woman… This twisted one-woman musical is an electric exploration of the life of the artist. As Amelia’s prime source of inspiration, her charismatic alter-ego, The Master, gradually becomes her sadistic captor, we travel through the depths of workaholism and the lengths one will go in pursuit of “the dream”. A frantic Dad, dodgy agent, oh… and that 65-year-old boyfriend, all come to life through The Master’s larger-than-life ‘Show Dahling!’, while Amelia believes one thing is more important than entertaining an audience: the truth.”

WHERE: C ARTS | C venues | C aurora – studio (Venue 6) 

WHEN: 19:45 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes! I’ve been as a punter many times, but this is my first time performing at the Fringe. It has been a lifelong dream of mine and I am so thrilled and excited to finally be realising it! I truly feel Edinburgh Fringe is the most magical place on Earth; it is one of my happiest places in the world. It is so unusual to have an entire city dedicate itself to the arts for a full month. Being surrounded by the energy, the creativity, the plethora of shows – it’s such a gift to be here. I know that being a performer will be a very different experience, but I can’t wait to jump in!

What are the big things you’ve learned since 2023 and have you absorbed any of the lessons yet?

In January 2023 I was hit with a sudden, shocking vocal injury followed by general illness which saw me bed-ridden for months. At that point I was performing 1-3 times per week, and I suddenly had to cease all performances. I have not performed since, so this will be my return to the stage after 18 months. It was extremely challenging and led me into an identity crisis and feelings of low self-worth, as I came to terms with the fact I had associated my whole sense of being with my work.

This led me to write and complete a show which had been living in my brain for years. A one-woman-musical, about workaholism. My over-drive led me to collapse last year, and I’ve now written a show which explores to two sides of my mind – my day-to-day self, the artist, and my wild and charismatic alter-ego, The Master, who wants to fight for the dream at all costs. I realised that this side of me was killing me and leading me down a road of more and more destruction.

The major things I have learnt from this experience is that wellbeing MUST come first, that balance is essential, that there is more to life than my work, and that there is more to ME than reviews, applause and success. The experience massively opened up my life as I allowed myself to experience joys which I’d deprived myself of, due to being so obsessed with my work. I think that other artists may relate to this battle and I am putting on this show to confront the grind-culture we live in.

I have absorbed this lesson wholeheartedly, but it is still a daily struggle for me, especially in such a full on environment as the Fringe! One day at a time, I hope to value myself more and more and spread a message of ease and calm. We’ll get there! (I hope!).

Tell us about your show.

SHOWTIME! is a twisted one-woman-musical. It is autobiographical and tells the story of a young upcoming female artist and her wild escapades along the way. Told by Amelia, and her enigmatic alter-ego, The Master, we enter a world in which The Master intends to put on the greatest show you’ve ever seen, while Amelia is more interested in uncovering the truth. Hilarious and laugh-out-loud funny to begin with, we soon discover darker truths lying under the surface which cause us to ask… how far will one really go in pursuit of ‘the dream’? Is self-abandonment too far, or expected?

I wrote, produced and composed all of the songs for SHOWTIME! I am absolutely thrilled that Anessa Marie, a fantastic orchestrator/arranger (currently on Broadway in Cabaret at The Kit Kat Club), orchestrated all of the songs and brought them to life in such a magical way. Kris Engelstad choreographed the piece, and I am thrilled to have worked with an all-female team on this production.

This is the world premiere and I see a large life for SHOWTIME! beyond the Fringe. I ultimately hope for it to become a longer ensemble musical. But for purposes of the Fringe and finances… I thought ‘well, I guess I’ll just play all the roles myself!’

What should your audience see at the festivals after they’ve seen your show?

SHOWSTOPPER! the improvised musical – because it’s hilarious and we all love spontaneity! I go every single year!

The Bloody Ballad of Bette Davis – my pals with a brand new original musical!

My Son’s A Queer (But What Can You Do?) – years ago I went to school with Rob and it has been a joy to watch their success over the past years. This will be my first opportunity to see the show and I am so excited to see it!

David O’Doherty – hilarious hilarious at The Fringe every year! A must.

LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!