Category Archives: EdFestivals 2019

All our coverage from the 2019 festivals.

+3 Interview: The Perfect Opera

Posted in *Written Interviews, Plus 3 2019 – Features by

“I wanted to raise the bar and make a comic opera that wasn’t about medieval commedia dell’arte tropes.”

WHO: Leo Doulton, Words/Director

WHAT: “Love! Death! And a pantomime camel! After extensive audience research, we listed the 47 things people demanded in operas and shoehorned them into this show. Macbeth enters, riding a camel. Macbeth and the camel are deeply in love – but when Lady Macbeth finds out, magic, murder and a mad scene ensue. With drag queens, ballet scenes and social relevance (but not forcing ideas down your throat), this hip-hop foxtrot operatic sketch comedy show is (technically) The Perfect Opera. Winner of the Francis Chagrin Award from the Sound and Music Foundation.”

WHERE: Paradise in The Vault – The Annexe (Venue 29) 

WHEN: 15:55 (45 min)

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Is this your first time to Edinburgh?

I’ve been coming since 2013, when I had my first ever directing experience with a student sketch comedy show. And another one the year after. Both were… pretty much everything you expect student sketch comedy at Edinburgh to be. But I had a wonderful time seeing everything, and got a bit hooked on the Fringe buzz. So in 2015 I came with a show I co-wrote and co-directed with Charley Ipsen – At The Break Of Dawn, which toured around Germany and got nominated for that year’s Amnesty International Freedom of Expression Award. After that, I decided to take a few years out until I had a really amazing show to bring into the Fringe madness.

I’m pretty sure the rest of the company hasn’t done Edinburgh before – I’m excited about sharing something so amazing with them all.

What’s the biggest thing to have happened to you since Festivals ’18?

Ooh, that’s a tough one. Personally, I’d say speaking at my first academic conference – Shakespeare and Co. in York, talking about how shoehorning a pantomime camel into a very loose adaptation of Macbeth is definitely justified by Shakespeare’s role as a shared myth in our society, and not just something I thought was funny. I got very nervous and gabbled through the paper – but it’s the first time I’ve ever presented to academics, so I’m pleased to have had my first taste – next time, it’ll be better!

Tell us about your show.

It came from two frustrations.

One was a personal frustration about people saying ‘oh, you should include [love/death/a pre-existing story/a more original story…] in your next opera’ and decided that I’d shove them all into one ‘perfect’ opera.

The other was a frustration that in my comedy work, people viewed ‘I laughed once every five minutes’ as a devastating criticism, but my opera friends saw it as high praise for operatic comedy. I wanted to raise the bar and make a comic opera that wasn’t about medieval commedia dell’arte tropes – there’s been a lot of recent changes.

Once the libretto was done, I brought Peter Davis (our composer) onboard, and got together a team of fantastic singers who were excited by the project and doing a very silly sketch comedy opera. They’re all great at comedy – not just for opera singers, but just as comedians in their own right.

We’re working with Virtually Opera – they’re devoted to fusion opera, mixing it with clowning, YouTube videos, and vampire B-movies and tabletop roleplaying games. All to try and make it open to more people.

Edinburgh’s our first run – we had a workshop performance last year, and will have a London preview at the Tête à Tête Festival. After that, we’re hoping that our Edinburgh shows will make people excited enough about the show to pick it up for a tour – fingers crossed!

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

It’s so hard to say before getting to Edinburgh! (I haven’t yet had time to read the whole programme) But:

If they love opera-y comedy where you’re there to have a good time, not contemplate sublime beauty and titter politely, you should definitely go and see Madame Chandelier’s Guide To The Opera. She’s fantastic, and we both share an ideal of opera that’s fun and for everyone, not something terribly intellectual you need to be super-educated to enjoy.

More generally, I love the Creative Martyrs’ brand of musical satire and comedy – I discovered that magnificent pair on my first time at the Fringe, and it really stood out. Definitely an influence on how I do musical comedy.

Adventurers Wanted do a great job boosting accessibility through their unique mix of tabletop gaming and theatre, which swings delightfully between silly comedy and some of the most beautiful character-led drama you’ll see at the Fringe. They really set the benchmark for me in terms of ‘shows should be accessible by default,’ and making me try much harder in my work since seeing theirs.

And if you want to see some opera, I’m hoping to see La Voix Humaine – it’s an amazing Poulenc opera I’ve never seen live, and has a few showings as part of the Fringe. I’m gutted to be missing the opera at the International Festival – but Eugene Onegin’s a good one for people who’ve never seen an opera before, and want to have a good time watching something beautiful.

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+3 Interview: Nick Elleray: Big Nick Energy

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“I turned 50 and I hate it so, so much. I would appreciate the media’s respect of my privacy at this very difficult time.”

WHO: Nick Elleray, Writer/Performer

WHAT: “Nick Elleray brings the mellow thunder to the Fringe with a brand-new stand-up show with a great new zeitgeisty title that the kids will love. Where do you find joy in these grim times? Should you be asking Nick? Come along and find out. ‘Brilliant, astute observational comedy about middle-aged life’ (Adam Bloom). ‘A fine variety of cracking good jokes’ **** (ThreeWeeks). ‘Time and money spent on Nick Elleray is time and money well spent. He’s great’ **** (Edinburgh Festivals Magazine).”

WHERE: Laughing Horse @ The Counting House – The Attic (Venue 170) 

WHEN: 12:45 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my sixth year performing a show at the Fringe. Breaking that down, it means that I’ve spent approx. 0.66% of my life performing in Edinburgh. I figure if I keep at it, I can get that figure up to 0.75% or 0.8% before I die. Fingers crossed!

This is my third solo show. Three of the previous visits were split-bill shows where I performed with another act. It’s a double-edged sword, the split-bill show – yes, I want to share the shame and disappointment with a close friend, but the glory – oh, the glory – that’s all mine, thank you very much.

What’s the biggest thing to have happened to you since Festivals ’18?

I turned 50 and I hate it so, so much. I would appreciate the media’s respect of my privacy at this very difficult time.

Tell us about your show.

Let me just say that without me, this show wouldn’t exist. I’m not saying I wrote, produced and perform it entirely by myself, but I’m also NOT not saying that*.

I hope I’m not giving away any industry secrets, but my production technique for producing a solo stand-up show is: write it, perform it a lot, try and make it good, repeat until August.

Special mention should go to Heidi Regan, who gave me the title; Alasdair Beckett-King, who designed the poster; and James Deacon, who took the promo photos for it.

* Okay, I am saying that.

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

The Delightful Sausage are on at the same time as me this year, so I can’t recommend them. A shame, because if we weren’t in direct competition for punters, I’d really big them up.

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+3 Interview: Harriet Braine: Les Admirables

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“Time really flies! Seems only yesterday I was standing like a baby tree on the Debating Hall stage… so wooden and nervous.”

WHO: Harriet Braine, Performer

WHAT: “In this historical feminist coming-of-age musical comedy show, Harriet brings forth a team of rebellious women from the history of science to help her wage battle against ignorance, patriarchy and her inner demons. She also looks back over her career as a performer, from school plays to now, presenting her achievements alongside those of renowned inventors, healers and technological pioneers. Bold move, idiot. Funny Women Award winner and So You Think You’re Funny? finalist, 2016. Buxton Fringe Comedy Award winner 2017. ‘Marvellous’ (Chortle.co.uk). ‘Her lyrics were truly inspired’ (Bruce Dessau). ‘Fairly niche’ (Stylist).”

WHERE: Gilded Balloon at Old Tolbooth Market – Top (Venue 98) 

WHEN: 18:00 (60 min)

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Is this your first time to Edinburgh?

This is my third time doing a solo hour in Edinburgh, but my seventh or eighth time at the Fringe! (I lived in Edinburgh for five years – you can’t escape it). Last year and the year before I did shows with the free fringe and I had an amazing time, the year before, which would be 2016, I was up doing the semi-final and then the final of the So You Think You’re Funny? competition. Time really flies! Seems only yesterday I was standing like a baby tree on the Debating Hall stage… so wooden and nervous. Now this year I’m back once again to reminisce about my student days in Edinburgh, thinking about all the very non-prestigious things that I did during term-time in these prestigious venues. I don’t have to imagine audiences naked because I’ve seen worse.

What’s the biggest thing to have happened to you since Festivals ’18?

I’ve written and recorded another series of a great podcast with Bec Hill and Dr Lucy Rogers, called The DesignSpark Podcast, which I’m very proud of. I’ve also performed overseas for the first time, in Sweden and Belgium, which is awesome! I’d like to get booked somewhere hot next, though (please).

Tell us about your show.

My show is a solo hour of musical comedy, I wrote it, it’s produced by Objectively Funny. We’re all pretty new to the collaborative process of creating a proper smasher of an Edinburgh show, but it’s great because I’ve got a wonderful group of people looking out for me, and I can focus on getting the show ready. I’m doing previews of the show all over the country, including four dates at Buxton Fringe (11-15 July), which has become an annual joy for me. I’m lucky enough to be taking this show to Lund Festival in Sweden after Edinburgh, and after that, who knows!

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

There are so many goodies to see at the Old Tolbooth Market (my venue buddies), including Isa Bonachera’s show about space, Archie Henderson’s show about jazz, Bad Aunts, a show about a group of older women who’ve gone totally rogue. Then there’s a few absolute titans of comedy like Rosie Jones, Jayde Adams and Sooz Kempner. And of course my podcast-mate Bec Hill whose show looks mad good. I never really see improv outside of the Fringe either so I’ll be having me some of that – Austentatious and Spontaneous Potter are top of that list. Then there’s my favourite theatre people too – Xnthony’s Confirmation is a must-see, and, for the pretentious arty kids out there like me, anything and everything at Summerhall.

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+3 Interview: Tania Edwards: Don’t Mention It

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“I tell jokes about domestic bliss – and sometimes I tell the truth.”

WHO: Tania Edwards, Performer

WHAT: “Amused Moose Best Fringe Show 2018 winner. Award-winning stand-up comedian Tania Edwards explores these emotionally incontinent times and explains why it’s imperative to repress our emotions. But just how easy is it to be bashful and brazen, coy and courageous (and make sure everyone notices)? ‘A dark, dry and hilarious show’ ***** (VoiceMag.uk). ‘Cuts daggers with sharp one-liners’ (Glamour).”

WHERE: Monkey Barrel Comedy – Monkey Barrel 2 (Venue 515) 

WHEN: 16:00 (60 min)

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Is this your first time to Edinburgh?

I’ve been clocking in at the dream factory since accommodation was cheap. I’ve gigged off the beaten track, down piss-soaked alleys, and in an elusive basement at noon where before each performance the bar staff evicted anyone who wasn’t carrying ID – most people at lunchtime – it was a challenge. This year I’m at Monkey Barrel which is fantastic.

What’s the biggest thing to have happened to you since Festivals ’18?

Joining The Cutting Edge team at The Comedy Store. And having a baby… I’m discreetly knocking them out between Edinburgh shows.

Tell us about your show.

I’m a stand up. I tell jokes about domestic bliss – and sometimes I tell the truth. More generally it’s about my struggle to be a narcissist in the current climate. Everyone’s so self-obsessed these days it’s almost impossible to be the biggest dick in the room.

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

If you’re a punter and you want to have fun – definitely more stand up – Candy Gigi Markham, Danny Ward, Luke McQueen, Tiff Stevenson, Lou Sanders, to name a few. If you’re an act and you want to crack the fringe – look out for anyone crying into their pint – find out where they’ve gone wrong and try to avoid making the same mistakes.

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+3 Interview: The Official Edinburgh Fringe Christmas Show

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“I’ll be telling the story of my Christmas Fundamentalist upbringing through the medium of character comedy.”

WHO: Richard Duffy, Performer

WHAT: “Richard Duffy has been celebrating Christmas every day since the day he was born. Come witness his mental breakdown… live! One third of critically acclaimed sketch group Planet Caramel goes rogue to tell the story of how he escaped his Christmas fundamentalist upbringing. Expect lots of jokes about Christmas, Christmas themed characters and interactive Christmas experiences. Praise for Planet Caramel: ‘Bright and witty… fast-paced, energetic and wonderfully silly’ ***** (EdFringeReview.com). ‘Glimmers of comedy genius… genuinely new and presciently funny’ (ThreeWeeks).”

WHERE: Champions of Festival @ The Scotsman – Drawing Room (Venue 445) 

WHEN: 15:20 (60 min)

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Is this your first time to Edinburgh?

I’ve performed in every Fringe since 2011 (and also live in Edinburgh) but this is my first time as a solo performer. You might recognise me as the “tall one with the hair” from intergalactic sketch trio Planet Caramel or, if you’ve got a really good memory, as the “tall one with the hair” from slightly less intergalactic sketch trio We’ve Become Mango.

What’s the biggest thing to have happened to you since Festivals ’18?

I’ve come out as a Christmas Fundamentalist, which means I celebrate Christmas every day. My friends and family have been really supportive which is why I felt compelled to bring this show to the Fringe this year.

Tell us about your show.

You can view the show as a sort of recruitment drive for the Christmas Fundamentalist movement. I’ll be telling the story of my Christmas Fundamentalist upbringing through the medium of character comedy. Imagine the largest amount of Christmas you can fit into one hour and then multiply it by Christmas.

The organisation plans to recruit between 400,000 and and 450,000 new Christmas Fundamentalists during the festival then I will be embarking upon a 5 year long world tour of 365 cities with the aim of recruiting the remaining world population.

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

Although my show is the Official Edinburgh Fringe Christmas Show, there are other shows this year which seem to feature Christmas quite heavily. I can recommend Sleeping Trees: Christmas Special… in August as well as The Hollywood Summer Christmas Show. Jared Christmas: A Funny Hour does seem like it should be about Christmas but I think this might be some false advertising. I can confirm he is a very good non-Christmas stand-up though!

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+3 Interview: And the Birds Did Sing

Posted in *Written Interviews, EdFestivals 2019 – Reviews by

“Our Fringe run will be the premiere…”

WHO: Christine Devaney, Artistic director, writer, performer

WHAT: “This is about living but it began with a death. This is about existing and not existing, and a child’s heart-bursting belief that there is something in between. This is about love. A woman remembers a girl who knew a woman who listened to the birds. Inspired by the depth of feeling in one tiny moment of knowing that the world will never be the same again, this evocative solo work, a collaboration between choreographer Christine Devaney, musician Luke Sutherland and artist Yvonne Buskie, explores the interplay between music, dance and the origins of stories.”

WHERE: Dance Base – Studio 1(Venue 22) 

WHEN: 14:15 (40 min)

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Is this your first time to Edinburgh?

No – we have done a number of Fringe shows over the past decade, include our award-winning production of found in 2009 which scooped a Fringe First. Our 2018 production, MamaBabaMe, a co-production with Starcatchers, received the coveted Fringe Sell-Out Show accolade.

What’s the biggest thing to have happened to you since Festivals ’18?

We’ve recently premiered We Are All Just Little Creatures at the Traverse Theatre, our co-production with Lung Ha Theatre Company in association with Lyra; and we’re planning international tour dates for MamaBabaMe after its successful 2018 Fringe run.

Tell us about your show.

Our Fringe run will be the premiere – it’s a piece that tells the story of a woman who remembers a girl who knew a woman who listened to the birds.

It’s written and performed by the choreographer, Christine Devaney (Artistic Director of Curious Seed) and was inspired by the depth of feeling in those tiny moments of knowing that the world will never be the same again.
It is a solo work that has been developed through the ongoing collaboration between choreographer Christine, musician Luke Sutherland and artist Yvonne Buskie, exploring the connections and interplay between music, dance and the origins of stories.

Beyond that it’s is part of a larger project called Moving Monologues which Curious Seed will produce in the future.
We currently have no plans to tour it after the Fringe – so seize the chance to see it while you can.

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

Hard to be Soft: A Belfast Prayer – Oona Doherty; Before – Fishamble; Juliet & Romeo – Lost Dog.

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+3 Interview: An Audience with Yasmine Day

Posted in *Written Interviews, EdFestivals 2019 – Reviews by

“Our first year we literally performed in the corner of a bar. So when the football was on things got quite interesting.”

WHO: Jay Bennett, Comedian

WHAT: “Failed 80s diva and Dorking’s most successful pub singer Yasmine Day boldly attempts to revive her flagging career with a last ditch concert extravaganza. Expect unique renditions of 80s power ballads, world-famous originals you’ve never heard of and (definitely true) celebrity anecdotes. Debut character comedy from Jay Bennett. Finalist: London Cabaret Awards; nominated: Best Comedy Event (Buxton Fringe). As seen on BBC 3.”

WHERE: Pleasance Courtyard – Bunker Two (Venue 33) 

WHEN: 22:30 (60 min)

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Is this your first time to Edinburgh?

It’s not my first time in Edinburgh but it is my first solo show! I’m also in a double act called Next Best Thing and we have done three shows in the past. Our first year we literally performed in the corner of a bar. So when the football was on things got quite interesting. We also did a tap dance in that show so people would just walk in and see two girls smashing out an entire dance routine whilst they ordered a whisky and coke.

What’s the biggest thing to have happened to you since Festivals ’18?

I finished all 8 seasons of The Vampire Diaries.

Tell us about your show.

My show is called An Audience with Yasmine Day and it’s about a disillusioned 80’s singer who attempts to put on this big concert. She’s a pub singer essentially but thinks she’s Celine Dion. It’s a character comedy show with a musical element to it. There are a few popular 80’s songs in it, plus some of her ‘original hits’.

I’ve been performing Yasmine Day for almost two years now. It started by mistake, I was asked to perform at an 80’s themed comedy night and I came up with a power ballad singer called Yasmine Day. I had so much fun doing it I decided to keep going! Slowly I built an hour show which is my debut in Edinburgh this year.

Objectively Funny are producing the show. They host regular comedy nights in London and have banded together to become a sort of super collective of producers and they’re FAB!

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

There’s so many amazing shows going up this year! But if a had to pick: James Barr: Thirst Trap

Doug Crossley: Give me one moment in time (he has no social media he is basically a modern day hero)

Sunil Patel: White Knight

And of course all the Objectively Funny crew – Will Rowland, Siblings, Harriet Braine, Tom Mayhew, David McIver, Nathan Roberts – I think that’s everyone!

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+3 Interview: Kevin James Doyle: Loud Blond Bald Kid

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“…in all of my silly lawsuit preparation, I have learned a lot about writing.”

WHO: Kevin James Doyle, Performer

WHAT: “First kisses, weird hairs, the cool group: navigating adolescence was a challenge for everyone. These painfully hilarious stories of growing up will make you feel thankful you never have to go back – and surprised to realise we all actually made it out OK. Hailed as a dynamic heartfelt storyteller this is Kevin James Doyle’s follow up to The 30 Year Old Virgin which was called brutally honest and wildly funny. Best Comedy, FRIGID Festival NYC.”

WHERE: Laughing Horse @ Bar 50 – Marquee (Venue 151) 

WHEN: 13:45 (55 min)

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Is this your first time to Edinburgh?

I was at Fringe in 2017 with my first solo hour called The 30 Year Old Virgin. I had been wanting to come to Fringe for years because the thought of putting together a longer set with an arch and theme was always very intriguing to me. And all the chaos and creativity of the festival was definitely addictive. I am just glad to be back with a little experience and know that it was in fact true that you need rest or else you will get sick by week 2. What is exciting is in my last show I was sharing a wild story only I had, this show is about the embarrassing aspects of growing up that everyone has experienced, so I look forward to humiliating myself in hopes that after the show people will share all their humiliating stories from growing up because we all have them. I masturbated to the thought of my cousin for all of sixth grade and I am so thankful to finally get that information out of my head and into the world.

What’s the biggest thing to have happened to you since Festivals ’18?

I mean, well if you want the truth, I am involved in a lawsuit with my Landlord for not fixing the door of my building and I was robbed. So I am suing her to try to get reimbursed for my bike that was stolen. And I will tell you this… I have done more preparation for this lawsuit than I ever have for material on stage. I better get a five f**king star review AND a judgement in my favour. It is actually funny because comedy and stand up is a lot about making your arguments and stories clear and concise and in all of my silly lawsuit preparation I have learned a lot about writing. So there’s the silver lining of my means of transportation being stolen due to my Landlord’s negligence!

Tell us about your show.

I started developing material about my adolescent years after I found a journal that I kept from a theatre camp I went to when I was 15 years old. I am so earnest and pretentious. I write about how I need to figure out if I am gay or not and I commit to being “not just an actor but an artist who paints on this pallet we call the stage.” It was so embarrassing to read I had to do it in front of audiences, who cringed and laughed along with me. I first premiered it earlier this year at the Frigid Festival in New York City and it won Best Solo Comedy. One entry says ‘I want to be great at everything, acting, directing, writing, sets, costumes. I think with hard work I will leave this camp with the knowledge to do just that.’ It’s funny to read that now and see that I am making fun of the younger me that wrote that but I am doing all those things at the biggest festival in the world. It’s funny but kind of sweet.

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

There seem to be more and more New York comedians coming over to the Fringe which is great and Emmy Blotnick is as good as they get. She is a great, great joke writer and just whips up laughter out of thin air with her presence. Go see her.

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+3 Interview: Who Is Daniel King

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“A comedy about male ego, expressing yourself and dancing.”

WHO: Ed Eales-White, Writer/Actor/Producer

WHAT: “A story of a man who decides to be a dancer. Daniel’s living the patriarchal dream, everything that should bring happiness. It hasn’t. He discovers what he really wants, but is it what he needs? A comedy about male ego and dancing by Ed Eales-White. Writer/performer of Clever Peter and Bucket. As seen in National Treasure (Channel 4), The Crown (Netflix) and Olivier Award-winning Rotterdam (Trafalgar Studios/NYC). ‘Perfectly embodies the play’s balance between brisk humour and sensitivity’ (Evening Standard, for Olivier Award-winning play Rotterdam). ‘Eales-White the foppish, earnest auteur’ (Guardian).”

WHERE: Assembly Rooms – Powder Room (Venue 20) 

WHEN: 18:55 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No. It’s my first time since 2015. I performed almost every year there between 2007 & 2015. I wrote & performed in comedy sketch group Clever Peter (2008-2014), acting in a play called The Head of The Fork (2009-2010), wrote and performed my a solo character show CHAMPIONS (2012) & wrote/performed in Double Act comedy show Bucket in 2015.

What’s the biggest thing to have happened to you since Festivals ’18?

I’ve had a daughter, called Rae. She’s wonderful.

Tell us about your show.

The show is called Who Is Daniel King, It’s the story of a man who decides to be a dancer. A comedy about male ego, expressing yourself and dancing. I wrote it and am producing it as well. The show will premier at this years Edinburgh Fringe and hope there will be plenty of life beyond the fringe with future productions in different parts of the UK and perhaps even beyond.

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

With Child, 3.30pm Pleasance Theatre. A one-woman character show, 6 women, one thing in common – they’re all pregnant -it’s very funny and entertaining.

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+3 Interview: Ane City

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“Ane City is our company’s first project and we’ll be premiering it at Edinburgh Festival which is incredibly exciting for us both.”

WHO: Taylor Dyson: writer and performer & Calum Kelly: director, dramaturg and musician

WHAT: “Tay has returned to her hometown of Dundee for a summer of relaxation, drinking and self-discovery. But first, she has to get through a night out with her friends, hitting the streets of Dundee. From tacky pubs with seedy bouncers to revelations on the McManus steps with Rabbie Burns, Tay attempts to find herself in the city of Dundee. A theatrical, poetic one-woman show that combines elements of Scots language, storytelling, song and comedy. ART Award Winner 2019.”

WHERE: Assembly Roxy (Venue 139) 

WHEN: 14:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

TAY: We’ve been to Edinburgh a few times being quite local, however this is actually our second time performing at the Festival Fringe. In 2017, we took a Scots adaptation of Lysistrata for two nights at The Arthur Conan Doyle Centre.

CAL: We did it for the experience of taking a show to Edinburgh really. Performing at the Fringe is a world away from attending. The show was a feminist retelling of Lysistrata, set in a Glasgow pub, with songs. But Ane City is our first show as Elfie Picket Theatre.

What’s the biggest thing to have happened to you since Festivals ’18?

CAL: Unfortunately, we weren’t able to do any festivals last year as we were both completing Masters Degrees at Glasgow University, and all of our deadlines fell in August. However, we won the Assembly Roxy Theatre Award for Ane City and are just off the back of previewing the show at Prague Fringe Festival.

TAY: Which was such a fun and exciting festival to preview our first show at. We got on really well, and had some great feedback from audiences; it’s made us even more excited about bringing the show to Edinburgh.

CAL: I guess the biggest thing that’s happened to us since last year is that we both gained Masters Degrees and started Elife Picket as our own theatre company.

Tell us about your show.

CAL: The production is completely ours; Taylor wrote it and is performing the piece, and I’m the director and dramaturg.

TAY: We’ve been working together on it since 2018. We’ve been together as a couple for four years and our company Elfie Picket currently consists of just the two of us.

CAL: We created Elfie Picket last year with the focus of creating work relevant to a younger audience (16+) with a focus on Scots language.

TAY: Ane City is our company’s first project and we’ll be premiering it at Edinburgh Festival which is incredibly exciting for us both.

CAL: You’ll find us performing in Assembly Roxy Downstairs with the piece as we won the venue’s 2019 ART Award for new writing.

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

We would highly recommend Lucille and Cecilia by Bang Average Theatre, Cat Loud’s Torch Songs, Sugar by Lip Theatre Company and Gone Native.

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