Author Archives: Dan Lentell

EdFringe Talk: It’s the Economy, Stupid!

Posted in *Written Interviews, EdFestivals 2024 by

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“I definitely learned from that Fringe was to pace myself and rest more – I’ll be sure to do that this year!”

WHO: Joe Sellman-Leava

WHAT: “Joe Sellman-Leava and Dylan Howells embark on a quest to uncover how the economy wins elections, and why the force that dominates our lives is so bloody complicated! Armed with bags, boxes and an old board game, Joe and Dylan calculate how their lives have been shaped by the economies they grew up in. Developed with and directed by internationally acclaimed Katharina Reinthaller, and produced by Worklight Theatre, It’s the Economy Stupid is a bold new show from the Fringe First winning creators of Labels and Fanboy.”

WHERE: Pleasance Dome – Jack Dome (Venue 23) 

WHEN: 13:10 (60 min)

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Is this your first time to Edinburgh?

Hello! This will be my sixth Edinburgh Fringe – my first was in 2012, with Worklight’s first show called How to Start a Riot. Edinburgh is a beautiful city to begin with, and transforms every August into something even more unique: Fringe is full of some of the most vibrant and innovative shows in the world. As a performer/producer, I love seeing new work and spending a month in the same place as so many brilliant artists. And for anyone who loves going to see theatre, comedy, dance and or spoken word, it really is the best place in the world.

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

My last Fringe was in 2022 – the first full festival since the pandemic, so there was a sense of making up for lost time, both in terms of seeing shows and catching up with people. Amazing in some ways, but something I definitely learned from that Fringe was to pace myself and rest more – I’ll be sure to do that this year!

Tell us about your show.

It’s the Economy, Stupid! asks why elections are so often framed around the economy, and what the cost of this might be, in a wealthy (but unequal) country, like the UK. I wrote it, based partly on my family’s experience of losing our home and livelihood in the 90s recession (when James Carville coined the phrase the title is based on). It’s been developed with designer Dylan Howells (who is also performing in the show), and director and dramaturg Katharina Reinthaller. I’ve worked previously with Katharina on Labels, and with Dylan on Fanboy (also returning to Fringe this year, for a limited run), but we’ve never worked as a trio before. This something I’ve been really excited about – they’re both brilliant collaborators, each with a unique skillset and perspective, and I think that comes through in the show. It feels like it’s something we could only have made together.

After Edinburgh, we’re touring the show to London, Leeds, Norwich, Burnley, Bristol, Bath, Basingstoke, Cornwall, Cheltenham, Exeter and Harrogate.

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

James Rowland, because he’s one of the best storytellers out there. Jonny and the Baptists, because their musical comedy is second to none. John Luke Roberts, because he’s doing ALL of his previous shows in one Fringe! Hettie Hodgson and Emma Louise Howell – who I’m lucky enough to have worked with before– have a show called I Really Think This Will Change Your Life, which sounds fantastic. Britt Plummer has a clown comedy show about love called Fool’s Paradise, which everyone who’s seen it loves.

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EdFringe Talk: Our Little Secret: The 23andMe Musical

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“Every once in a while, I see a show that I not only love, but that changes my idea of what is possible in theatre.”

WHO: Noam Tomaschoff

WHAT: “Winner: Best of Fringe Toronto 2023! What does a 31-year-old theatre kid do when a DNA test reveals that his biological parents aren’t quite who he thought they were? Write a musical, of course! In this hilarious, moving and true story, Noam Tomaschoff grapples with questions of family, identity and just how many brothers and sisters he really has. Blending comedy, drama and addictive music, Noam takes the audience on an unforgettable journey, ending with a message of optimism that will make you hold your family just a little bit tighter.”

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

WHEN: 17:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It is! And every day I hear something new that puts the sheer magnitude of it into greater relief. For example. Today I learned that Fringe is the third highest ticketed event in the world after the World Cup and the Olympics. For a first-time Fringer like myself, that is extremely daunting, but it also makes things simple: just like an athlete, when the show begins, all the hubbub and distractions fall away, and it’s just you and the stage and the audience that matters. I love performing Our Little Secret- I feel like it’s exactly what I’m meant to be doing, and my biggest wish for the fest is that I can make audiences feel the same way every night!

Outside of my own work I am especially looking forward to seeing the most creative theatre practitioners in the world all in one place. Every once in a while, I see a show that I not only love, but that changes my idea of what is possible in theatre. This is exactly the type of work I’m looking to get into this summer as an audience member. I want to leave shows saying “wow, I didn’t know you could do that…”

And then stealing all the best ideas of course!

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

This is the first solo show I’ve ever done, and by far my biggest takeaway as a performer is just how alive and active the connection with the audience is. It makes sense, it’s just the two of you together in that room, but only once I started doing the show did I fully feel how the engine of the show, the thing that drives it forward, isn’t just me, but rather the energy that lives in the space between myself and the audience. It’s an electric and addictive feeling that I don’t think you get anywhere else in life. As a lesson, it’s taught me to stop thinking ahead in performance and relish each individual moment as they come, and trusting that one moment will naturally lead to the next.

And I am buzzing to see what the famous Edinburgh audience and I can create together.

Tell us about your show.

Our Little secret is a solo musical that tells the true story of when I ordered a DNA test on a lark a few summers ago, and discovered that my parents aren’t quite who I thought they were, and oh, surprise! I’m not actually an only child, but actually have 35 half siblings all across North America…. I can’t say more! But the show is a blend of comedy, drama, music, confession, and communion, taking the audience through my and my family’s journey of genetic discovery right up until the present day.

As the revelations about my genetics and heritage were rocking my world, I quickly realized that I was going to have to create something out of this experience, or I wasn’t going to make it out in one piece. Luckily, my best friends from high school and I are still in close contact, and we LOVE musicals – we performed in them, sang them around the piano instead of playing Mario Kart, and even wrote and produced one as kids! I got together with Ryan Peters, the composer, Russell Citron, the producer, and Ben Deverett, who does the musical arrangement, and we decided we were going to make a musical. I wrote the book, and Ryan, Russell and I camped out in Ryan’s basement for a week and wrote the music, and Ben, or rather, Dr. Deverett, did the arrangement on his laptop in the call room when he wasn’t anaesthetizing patients. Less than a year after I ordered the DNA test and got the news, we were premiering Our Little Secret at the Toronto Fringe Festival of 2023.

Toronto Fringe was an incredible success. We sold out every show, won the Patron’s Pick award and Best of Fringe, and we just recently secured our first mainstage production, which will be in the spring of 2025 at the Segal Center Theatre in Montreal.

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

My best friend Arsalan Akhavan is doing his solo show “The Good Iranian” August 13-26 right across the street from us at Just the Tonic! He weaves together the story of the Persian epic myth the Shahnameh with his own experience growing up as a Middle Eastern kid in the post-9/11 American South. Tremendous stuff.

Also, my long-time favourite sketch group BriTaNick are back with their live show at Pleasance. I saw their work in progress last year back in LA and I think they’re one of the best comic duos working today.

Another cool show at our venue the Gilded Balloon is Artificial Intelligence Improv, which I’d never heard of before- an improv show hosted by a robot. We should all be very interested in seeing how our future overlords fare with yes and-ing!

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EdFringe Talk: Come Dine With Me: The Musical

Posted in *Written Interviews, EdFestivals 2024 by

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“The Fringe is our favourite place on earth. We love the exhaustion, the overstimulation, the constant flyering, the dazzling talent, the late nights, the weirdness, and (especially) the post-show pub trips.”

WHO: Sam Norman & Aaron Nihal King

WHAT: “Take a bunch of tuneful strangers. Mix in a dollop of behind-the-scenes skulduggery, a Sound Man playing detective, a sprinkling of star-crossed love, and plenty of juicy arpeggios. Marinade, cook for 60 minutes… and serve hot. The result is a mouth-watering fusion dish, combining the beloved TV show and a sumptuous original score to form Come Dine With Me: The Musical – a winning recipe that will delight even the pickiest palate! (Warning: May Contain Spice.)”

WHERE: Underbelly, Bristo Square – Cowbarn (Venue 302) 

WHEN: 14:20 (60 min)

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Is this your first time to Edinburgh?

We’re no strangers to the Edinburgh Fringe, and we couldn’t be more thrilled to be bringing up Come Dine With Me: The Musical! It’s an irreverent musical comedy about a group of strangers who sign up for a reality show and discover what it means to be human. Come for a pinch of mystery, some friction in the kitchen, and plenty of silly rhymes!

The Fringe is our favourite place on earth. We love the exhaustion, the overstimulation, the constant flyering, the dazzling talent, the late nights, the weirdness, and (especially) the post-show pub trips. We brought our first-ever musical up here aeons ago, and it’s incredibly exciting to be back.

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

We were lucky enough to have our first public showing in 2023 at the MTFest. We had three days to put the show on its feet before doing several concert performances to sell-out crowds. The feedback was fantastic – not all musicals are lucky enough to get a trial run! – and the experience kickstarted a blizzard of rewrites and this brand-spanking-new scaled-up production.

Tell us about your show.

We (Sam & Aaron) are the writers, and we were brought onboard by superstar TV producers Nell Butler and Genevieve Welch, who came up with the concept for the musical adaptation. We’ve been brilliantly supported by Channel 4 and MultiStory Media at every turn. And our producer is the amazing Paul Taylor-Mills, who picked us up and has taken this musical from page to stage.
We’re all set for a week at the Norwich Playhouse, then the glorious madness of Edinburgh, followed by a few weeks off-West End at the Turbine Theatre in London. Then sleep!

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

We can’t wait to go and see all the musicals we can find – I Wish You Well, Silence! and My Son’s a Queer all spring to mind. Other personal favourites include Sam’s old a cappella group The Alternotives (he’s just that cool), and improv geniuses Racing Minds. But we want to see everything, the weirder the better.

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EdFringe Talk: For the Love of Spam

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“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)

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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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EdFringe Talk: Gulliver’s Travels

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“The Fringe is a really important part of our calendar, partly as a place for our company to share work, but also as a source of inspiration – even after all these years, I still leave full of renewed excitement and enthusiasm, which is quite a gift!”

WHO: Noel Byrne

WHAT: “With ingenious puppetry, stirring shanties, and sharp, relevant satire, Box Tale Soup bring Gulliver’s breathtaking journey to life in this astonishing adaptation. Inventive, imaginative and sublimely skilful, let the current carry you through tiny realms and giant waves to a raft of bizarre civilisations… This is Swift’s classic tale of adventure and discovery as you’ve never seen it before. ‘Beautifully performed… simply wonderful’ ***** (TheWeeReview.com). ‘Time and space hold no bounds… remarkable’ ***** (ThreeWeeks). ‘Outstanding… extraordinarily talented’ ***** (ScotsGay). ‘Crafted to perfection… flawless’ ***** (ChrisOnTheatre.wordpress.com). Commissioned by Clark Library, UCLA. Creation supported by Arts Council England.”

WHERE: Pleasance Courtyard – Above (Venue 33) 

WHEN: 13:00 (65 min)

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Is this your first time to Edinburgh?

Our company, Box Tale Soup, has been coming to the Fringe since 2013, and I’ve been going a lot longer than that – my first visit was when I was sixteen, and I haven’t missed one since! So, we always really look forward to seeing all the friends we’ve made from all over the world. It’s also amazing to be immersed in all of the creativity, connect with new people, and see incredible shows all in one place. The Fringe is a really important part of our calendar, partly as a place for our company to share work, but also as a source of inspiration – even after all these years, I still leave full of renewed excitement and enthusiasm, which is quite a gift!

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

We’re always learning as we go, each show is a progression, and you try to build on everything you’ve done before. Although both of the shows we’re doing this year have been to the Festival before, I think they have developed, and we’ve made a few improvements here and there. We had a fantastic Fringe in 2023, with so many brilliant reviews and reactions, so I think the biggest takeaway is a sense of encouragement, that people like what we’re doing and we’re heading in the right direction – it gives you confidence to push further.

Sadly, there’s another bin strike threatened during the Fringe this year (there was one in 2022), but it makes us glad that we’ve continued to pursue our sustainability goals and do a ‘paperless’ Fringe – we don’t have any flyers for the shows, so there’s nothing to be thrown away or dropped. We tried it first in 2022, and again in 2023. The reactions from the public have been really positive, so we’ll continue to do more if we can. We make most of our sets and puppets from reclaimed, recycled or sustainable material and avoiding waste is important to us – ‘Don’t be wasteful, be creative’ is a kind of unofficial motto for the company.

Tell us about your show.

We have two shows this year! We’re performing them back to back, one after the other at the Pleasance Courtyard. This first show is ‘Casting the Runes’, a supernatural thriller based on the stories of M.R.James, the grandfather of British horror – we performed it at the Fringe last year and it went down incredibly well, it’s been touring the UK since then and has gathered an array of fantastic reviews. The second show is ‘Gulliver’s Travels’, based on the classic novel by Jonathan Swift, an amazing adventure featuring a huge range of puppetry and original sea shanties – we’ve performed it around the UK and taken it to the US and Malta, again receiving outstanding reactions and reviews!

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

The Fringe is such an amazing chance to see acts from all over, especially since we often don’t get a chance when we’re touring. Obviously, we love to see some puppetry, so we’ll try to catch Blind Summit’s ‘The Sex Lives of Puppets’, which is their exposé of puppet sexuality! Otherwise, we keep our ears to the ground for interesting theatre, Ugly Bucket are in the same space as us with ‘Stuffed’, a clowning show about food banks, so we’ll see that if we can, and we’d like to see George Rennie’s ‘Hamstrung’ too, with Yorick the jester exploring what really happened in Elsinore… Flat and the Curves are a great comedy girl band we saw unexpectedly last year – lots of glitter, great vocals and good gags – and they’re back with ‘Rosé-tinted’, so we’ll definitely try to catch them. We always try to see some circuses too – we saw ‘Sophie’s Surprise 29th’ last year, a brilliant selection of high-skilled circus acts arranged as a surprise birthday party, and I notice they’re back again. We really enjoyed ‘Yuck Circus’ a couple of years ago, a wild, all-female, Australian acrobatic troupe, they’re back too so we’ll go and check that out!

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EdFringe Talk: Catafalque

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“My unedited CV is messy as hell and if it was completely uncensored, it would also include the times I needed to make room for illness, heartbreak or just to have a good old think.”

WHO: Amy Conway

WHAT: “Fern doesn’t get invited to dinner parties anymore. They used to love her tales of the macabre. But now? The mask is slipping. Written by Amy Conway and directed by Beth Morton, Catafalque is a one woman eulogy to death through the lens of a civil celebrant. How do we grieve the ungrievable? How do you speak of death when no-one wants to look? A show about love, loss and a lifetime of secrets. Join Fern as she navigates the complexities of a grieving family and learns to tell the truth when it repels the bravest of us.”

WHERE: Summerhall – TechCube 0 (Venue 26) 

WHEN: 12:25 (60 min)

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Is this your first time to Edinburgh?

This is actually my 13th time at the Fringe as a performer! Luckily I’m not superstitious! But it is only my second time bringing my own work so in that sense I still feel quite green and vulnerable. I adore the festival though, the atmosphere alone is exciting and being in a hotbed of creativity usually does a brilliant job of reminding me why I do this. I say usually but there is a dark side to punting a Fringe show and it’s only with experience and being surrounded by a truly excellent production team that means that I’m feeling more confident this year that I’m fully equipped to weather the storm of self-doubt that buffets every artist at some point during the festival.

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

Slow down! Where are you in such a big rush to get to? This is a lesson I’ve had to learn the hard way since the Pandemic hit. It’s rare that you can just keep going forwards in a straight line in life so while you’re waiting to find the path, look around you, take a seat, have a picnic, build a rockery. If you can’t go big and fast, go small and slow. My unedited CV is messy as hell and if it was completely uncensored, it would also include the times I needed to make room for illness, heartbreak or just to have a good old think. In lockdown when live theatre wasn’t possible, I taught drama online, I made a podcast, I bought some rollerskates and I became a civil celebrant which inspired me to write Catafalque a couple of years later. The lesson I’m still learning is it’s all allowed and it’s all important.

Tell us about your show.

Catafalque comes from my long-standing collaboration with Stephanie Katie Hunter, Artistic Director of Scissor Kick. Stephanie and I have been working together on a number of projects since 2019, and she’s continued to support my work through her incredible skill as a producer and creative. Not all theatre projects make it to an audience of course and Scissor Kick knows that artists need investment and the confidence from those that hold the purse strings to make any headway with all the ideas they’re incubating.

As a mark of their confidence in me as a writer, Scissor Kick made the decision as a burgeoning production company to commission Catafalque, which was their first commission and my first full commission as a playwright and a huge boost to my motivation to keep going in this industry. I was even given mentoring from the brilliant Jenna Watt as part of their package of support. So Catafalque was actual already a couple of drafts down the line before Scissor Kick got the additional funding to go to full production this year. At which point things got particularly exciting because we were able to recruit the rest of our creative team.

Beth Morton has such vast and varied experience as a director that I feel in incredibly safe hands both as a writer and the sole performer. And we’ve got some gorgeous home-grown Scottish talent in Olivia Millar Ross as Associate Director, Aisha Oyedepo on Lighting Design and Gary Cameron on Sound Design, not to mention Colin Bell as Production Manager and Susan McWhirter as Stage Manager. I feel so lucky to have such a highly skilled, experienced team behind the show, especially since it’s got some heavy themes and material that needs some holding and it takes a team to do that.
We’re taking the show around Scotland immediately after the Fringe and hope to tour it further in 2025.

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

I’m planning on spending a lot of time at Summerhall. Catafalque is showing there for starters but it’s also my favourite venue by a long shot. It’s the venue where I’m most surprised. I expect to be surprised (if that’s not too paradoxical!). If you’re looking for other shows about death or death adjacent (because why wouldn’t you be?) then OUTPATIENT and LITTLE DEATHS both at Summerhall are a good place to start.

The Show for Young Men, a dance piece about masculinity and friendship is technically a show for children but I know will be tender and beautiful and have me reaching for the tissues. There is some brilliant work for young people made in Scotland and I urge you to seek it out!
For something lighter but still packed with meaning and theatre magic, I’ll be heading to Gracie and the Start of the End of the World (Again) at Assembly Roxy and I am expecting to be delighted with weirdness.

And I already have my ticket to A History of Paper at the Traverse because I loved the radio play written by Oliver Emanuel and loved it so much and now it is a musical with songs by Gareth Williams and it is going to be very special.

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EdFringe Talk: 1 Moment in Time

Posted in *Written Interviews, EdFestivals 2024 by

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“Let go of the small stuff and live life to the full. You have to put yourself out there and be authentic!”

WHO: Sean Alexander

WHAT: “In his brand new, thought-provoking show, magician and mind illusionist Sean Alexander reflects on the defining moments in time that shape each and every one of us. With jaw dropping magic throughout, each instance intertwined with powerful metaphors and storytelling, this show is unlike anything else. Discover your moments in time all over again… ‘You are incredible, I will have you attend the palace’ (HRH Princess Michael of Kent). ‘Incredibly talented’ (Stephen Mulhern). ‘I love magic that tells a story and I really like you’ (Simon Cowell).”

WHERE: theSpace @ Surgeons’ Hall – Fleming Theatre (Venue 53) 

WHEN: Varies (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my debut Edinburgh Fringe and something I have wanted to do for many, many years now. It’s been a BIG bucket list for me and now feels the right time to finally do it. It’s such an incredible and important occasion for performance and performers and every time I visit as a spectator, I am in awe of it and the company’s that work so hard to bring a show here.

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

I’ve learnt a lot in recent years since the pandemic and not just 2023. I’ve learnt that life is far too short and sometimes you just have to go and do what’s right for you. To take risks which mostly turn out ok in the end. To let go of the small stuff and live life to the full. You have to put yourself out there and be authentic!

Tell us about your show.

The show is a thought provoking magic show about moments in time that define us. I initially wrote a couple of routines that have been a part of general shows that I do for a number of years and I wrote a piece for TV that unfortunately didn’t air. So rather than waste it I have turned it into an entire show that I am immensely proud of. It’s emotive, inspiring and has incredible moments of magic throughout.

Nell Hardy who is a fabulous writer and someone that writes and directs shows based around trauma has helped with the scripting and narrative of the show. She is an amazing person who has been a big help.

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

The big shout outs would be fellow magicians who always produce amazing work. They would be Arturo Brachetti, Ben Hart, Chris Dugdale and Colin Cloud.

Arturo Brachetti and his show Solo is absolutely incredible. I saw it a few years ago and it’s really great!

Ben is exceptional and his storytelling is so captivating.

Chris is in his 11th year at Ed Fringe and always produces a great show. He usually sells out too!

Colin has just landed a Vegas residency and is definitely one to go see

Other 2 stand outs are La Clique and Massaoke!

La Clique is a brilliant cirque show that is very funny.

And for the party goers it would have to be Massaoke who are Brilliant!

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EdFringe Talk: Murder, She Didn’t Write

Posted in *Written Interviews, EdFestivals 2024 by

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“Fast forward a few years and it’s just so exciting for us to be celebrating this 10th-fringe milestone and to be playing in our biggest venue yet.”

WHO: Peter Baker

WHAT: “Celebrating their 10th year at the Fringe! A classic murder mystery is created on the spot from audience suggestions in this ingenious and hilarious show from Fringe favourites, Degrees of Error. Lady Violet exploded on fireworks night? Madam Gold slain on the catwalk during fashion week? You decide, but will you guess whodunnit? ‘Outstanding performances delivered by a seriously talented cast!’ ***** (ThreeWeeks). ‘Absolutely fantastic… incredibly clever… laugh-out-loud funny… a truly entertaining and hilarious take on the murder mystery and absolutely not one to miss’ ***** (VoiceMag.uk). ‘Hilarious… the show is a riot’ (Daily Mail).”

WHERE: Assembly George Square – Gordon Aikman Theatre (Venue 8) 

WHEN: 15:50 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my 8th time to the fringe, my 7th with Degrees Of Error, and the 10th year of Murder, She Didn’t Write at the fringe! When I first joined the show, we were performing in a small venue, living in a small flat, had a small budget but we were dreaming big. We didn’t just put the work in making the show the best it could be, but also grafted hard to get the punters in! (Flyering rotas and pure enthusiasm are my top tips if anyone wants them.) Fast forward a few years and it’s just so exciting for us to be celebrating this 10th-fringe milestone and to be playing in our biggest venue yet.

We keep coming back because the fringe is such an inspiring environment to be a part of. Nowhere else has the same breadth and range of shows as Edinburgh Fringe, and for nearly a whole month you get to meet amazing artists, discover new viewpoints, be challenged by provocative work and have a right old laugh! I just love the fact you can see proven productions alongside new exciting experiments, and see work from all over the world.

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

I think the biggest thing I learned last year was the importance of self-care. Treating myself to a walk, cooking a good meal, making time to hang out with the gang. This year, our company manager, Rachael Procter-Lane has created a brilliant company guide and checklist for having a fab fringe, a Fringe-survival guide if you will. Dedicated nights for a flat social, providing communal kitchen items for the flat, tips on things we might want to bring with us to make our room feel homely and so on. Being thoughtful about your fringe experience is a great lesson, and we’re lucky Rachael’s done a lot of that thinking for us!

Tell us about your show.

As our title suggests, Murder, She Didn’t Write is improvised, so every night’s a different story, with different jokes, characters, murders etc… The format was created by the company, who all met at the Bristol University Improv Society and realised that performing and creating work was the course for them. That’s how the name of company came about: “Degrees of Error” because they’d all made the wrong choice on the UCAS form! Some of the members of Degrees Of Error also ended up founding the Bristol Improv Theatre – the UK’s first theatre dedicated to improvised theatre.

For the last few years, we self-produced, steered by our uber-capable castmate and director extraordinaire, Lizzy Skrzypiec putting in our own savings to get us up here. This year, however, we’ve got the wonderful Laura Elmes from Wildpark Entertainment, who’ve had tremendous success with the hilarious Ursula musical, Unfortunate by Fat Rascal and Algorithms among many others.
Post-Edinburgh we’re excited to tour the show around the UK and beyond, including our dream gig at the Agatha Christie festival in Paignton. Or if you fancy seeing us on a ship, book yourself onto the Cunard Queen Anne in January! You can see our future dates on degreesoferror.com/tour.

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

Well, after seeing our show, you’ll have a taste for the comedic, the dramatic, the intriguing, the farcical, the high-brow wit, and the downright murderous mayhem.

So breaking those down:

For comedic, check out Defence Mechanism by Hannah Platt at The Pleasance.

You can never have too much comedy and I can never have too much Sooz Kempner , bringing her new show Class Of 2000 to Underbelly.

For a good dose of drama, Surrender playing at Summerhall is gripping, intriguing and brilliantly acted.

For high-brow wit, satire and great songs, see Will Of The People by Will Sebag-Montefiore at Underbelly.

And for more murderous improve, then definitely catch The Adventure Of The Improvised Sherlock Holmes performing at Just The Tonic.

Less murderous, but just as improvised and equally as brilliant are Austentatious who are up the first two weeks Underbelly.

Also up for the first two weeks are Up The Antics with their show Antics Joke Show at TheSpaceUK– we love them and their show, and that’s not just because one of our cast is in it!

Oh, and I’m also chomping at the bit to see Horses by Elf Lyons at The Pleasance.

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EdFringe Talk: Driver’s Seat: Obsessive Compulsive Disaster

Posted in *Written Interviews, EdFestivals 2024 by

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“It’s actually my first time traveling to Scotland at all, but I have quite a bit of Scottish ancestry (I’m apparently very distantly related to Mary, Queen of Scots?!?!) which makes this experience even more meaningful and exciting.”

WHO: Ellie Brelis

WHAT: “When you’re eight, monsters live under your bed. Ellie’s live in her head, threatening to harm her sister and taunting the imminent death of her parents. After her monster was diagnosed as OCD, the life in threat became hers. It’s 2020: Ellie can’t drive, she can’t eat pizza, she decidedly can’t keep a boyfriend… but the one thing she can do is find humour in the horror. Buckle up for a shockingly funny and twisted ride through a young woman’s epic breakup, major breakdown, coming out, and – just possibly – learning how to drive.”

WHERE: theSpace @ Surgeons’ Hall – Theatre 3 (Venue 53) 

WHEN: 15:10 (45 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes, this will be my first time at the Edinburgh Fringe Festival! It’s actually my first time traveling to Scotland at all, but I have quite a bit of Scottish ancestry (I’m apparently very distantly related to Mary, Queen of Scots?!?!) which makes this experience even more meaningful and exciting. As a theatre lover, the Edinburgh Fringe Festival’s legendary and it’s a dream to be able to bring DRIVER’S SEAT: OBSESSIVE COMPULSIVE DISASTER to the festival. I am prepared to be overwhelmed by the Royal Mile, but I can’t wait to share my show, meet with other artists, and explore Edinburgh!

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

This is a fabulous question, and the short answer is: I learned a lot, which I share in my show! So without giving too much of it away… I’d say that 2023 taught me things rarely go according to plan. Healing often hurts, but it should not necessarily cause harm. I experienced a lot of loss and witnessed a lot of suffering and it reminded me: while we all live in the same world, we operate in very different realities based on the resources we have available to us. 2023 also encouraged me to reexamine how I approach things. To look at the function of an action, over the form. If I’m doing something because it brings me closer to my values, great. If I’m doing something simply so it is “right” or “perfect” or is what I “should” be doing, then I probably need to take a step back and examine what’s really motivating my action and if it is adding anything to my life.

I also would say that 2023 reminded me nothing is binary (including myself!). There is always so much more to any one given experience, thing, being. Growing up in the States, I was socialized and conditioned to hustle hard and never let a moment pass you by… However, last year I realized I had missed most of the meaningful moments in my life because I was rushing through them trying to do everything the “right” way. So I’ve been working on challenging my sense of urgency to understand what is really a priority in my life. I do not want to waste my time, but I do want to take it. I don’t want to speed through, hustle through, amazing moments and experiences (like Edinburgh Fringe Festival) and feel like “thank goodness that’s over!” I want to challenge myself and make the most of the opportunity, but for me, that also means enjoying myself and practicing compassion.

TLDR; I’m never going to feel ready. Anything I really care about will never feel “done.” There is always more I could have done, more I could have prepared for… and there’s also always more out there. More opportunities after one on to the next. It’s scary… but also freeing.

Tell us about your show.

I wrote Driver’s Seat because it felt necessary. During my recovery, I searched for representations of OCD and mental health treatment that resonated with my experience and found absolutely nothing. In 2022, the opportunity was presented to perform it at the NY Frigid Festival. I performed in a literal basement with no expectations except to share my story. The show ended up winning four awards, including the Audience Choice Award, and that’s when it felt really important to share with a wider audience.

I was introduced to a theatre producer in LA, Misha Riley, and did a 5-week run in Los Angeles in the fall of 2022. He brought on a new director, Emily Mikolitch, as well as my stage manager/associate producer Roella Dellosa. We immediately connected as people and as collaborators, and it has been a joy reuniting to take the show to Edinburgh. I am beyond grateful for Misha, Emily, and Roella’s fierce friendship, incredible insight, and incomparable compassion and creativity.

After Edinburgh we have an engagement booked at Martha’s Vineyard Playhouse in Massachusetts in summer 2025, and we would love to tour theatrically to continue sharing the piece with new audiences.

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

We are also always looking for recommendations on shows to see, but here are a few we definitely have our eyes on!

Tomatoes Tried To Kill Me But Banjo’s Saved My Life by Keith Alessi (Directed by Erika Conway) This is a show I learned about the Frigid Festival and it is moving, funny, and crafted by some of the most compassionate creators I’ve had the privilege to meet! Erika and Keith have been SO helpful and supportive as we navigate our first time at Fringe and you should definitely check out this moving, funny, and true story!

Stamptown: one of our Director’s picks. You’ll never know what you’re going to get each night, but it’s certain you’re in for a wild, raucous, hilarious ride. (Bonus: Host Zach Zucker is also a great human)

Other shows we are on the lookout for:
– Let’s Tidy Up: Josh Thomas
– F*GHAG: Dylan Mulvaney
– Don’t Kill Yourself Yet: Kenice Mobley
– What If They Ate The Baby?: Xhloe and Natasha
– I Sell Windows: Kacie Rogers
– Love is Blind: An Improvised Musical

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EdFringe Talk: Temping

Posted in *Written Interviews, EdFestivals 2024 by

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“You can see such a huge variety of shows at ticket prices that are really reasonable!”

WHO: Alley Scott

WHAT: “In a basement office in Illinois, there’s a job waiting for you. Sarah Jane is on vacation, and you’ve been hired to fill in. In this interactive show for one, you’ll explore her cubicle, answer her phone, and receive her faxes as the story of Sarah Jane unfolds. Sit down, send an email, and experience a meditation on life and death between the cells of an Excel spreadsheet. Created by narrative technologists Wolf 359. ‘A technical masterclass’ ***** (EdinburghGuide.com). One of The Telegraph’s best theatre shows, 2022. ***** (Telegraph). ‘Jewel-like’ **** (TheArtsDesk.com). **** (List.com).”

WHERE: Assembly George Square Studios – The Cubicle at Buccleuch Place (Venue 17) 

WHEN: 10:00, 11:30, 13:00, 14:30, 16:00, 17:30, 19:00, 20:30, 22:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

On no. We’ve been at the fringe steadily since 2016 and we LOVE it. It’s the best place in the world for experimental, immersive, interactive and developmental theatre to find a new audience. As a producer when you find a great place to work, like The Assembly, there really isn’t anything like it, but as a punter – well you can see such a huge variety of shows at ticket prices that are really reasonable!

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

Our show, Temping, has one audience member at a time. And what we learn not just from 2023 but from every one of our audience members is how different each show is. Its fascinating to get to know them so closely in some ways during the hour they are with us. I don’t want to give much away – but our audience members teach us more about the show than we show them sometimes!

Tell us about your show.

Temping is an interactive, immersive theatrical experience for only audience member at a time. As that audience member you are the temp for the day at an office filling in for Sarah Jane Tully who just went on vacation. You will interact with the piece via spreadsheets, phone calls, emails, voice memos, printouts and whatever else you can find. Its a fun and beautiful piece about loneliness, work, and what it means to be an individual. Dutch Kills Theater is producing it (the company I run) and it was developed by the narrative technologists at Wolf 359. This is our third year at Edinburgh and our fifth production of this little piece. We love it and there isn’t anything like it out there yet, so you’ll want to get your tickets early! Only nine audience members per day.

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

Well! We have some fellow New Yorkers coming to the fringe this year. Recent Cut Backs is bringing their hilarious show “Hold Onto Your Butts” to the Pleasance and if you like Jurassic Park, if you don’t like Jurassic Park but you remember it – whatever – you’ll love it. So check that out. Also Salty Brine, a NYC cabaret performer will be at Assembly Checkpoint with his take on an Annie Lennox album called “These Are the Contents of My Head.” He’s just amazing and one of my favorites. Otherwise I’m looking forward to seeing the new Darkfield show – I think its called “Arcade”? I love how precise their design is and I’m always transported by them. Who doesn’t love being in the dark completely immersed in a very strange mostly nonlinear story? I certainly do. And “The Ceremony” which was my favorite show at the Adelaide Fringe this year. Both of those are at Summerhall.

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