Category Archives: EdFestivals 2023

EdFringe Talk: Rockbeth

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“Neurodiversity is actually a blessing in disguise. Everyone thinks different, but some people think more different to others! I’m still trying to figure out what this really means.”

WHO: David Aldred

WHAT: “‘The Queen, my lord, is dead…’ but the band is live! It’s the Scottish play as you’ve never seen it before, twisted with a fistful of rock‘n’roll. Including classic rock songs from AC/DC, Black Sabbath, The Doors, Jimi Hendrix, Santana and The Sex Pistols… it’s a brand-new genre: Tragic Rock. Is this a guitar pick I see before me? Yeah, dude! You won’t wanna miss this foot-tapping, arm-waving, spine-tingling thriller of a show that has Shakespeare rockin’ in his grave! Rock on!”

WHERE: theSpaceTriplex – Big (End On) (Venue 38) 

WHEN: 14:50 (55 min)

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Is this your first time to Edinburgh?

This is my 10th trip to the Fringe. Crikey that makes me feel old! I’ve been coming to the Fringe with shows, family, friends and school groups since 2003. In that time, I’ve had the pleasure of introducing many young people – and by extension their families too – to Edinburgh and the Fringe. Many come back and it’s always great to see them and find out what they’re up to, with many continuing to perform. However, this is my first visit with More The Merrier which is a group of neurodiverse performers. We are from a school in Surrey that specialises in the educational therapy of boys with special educational needs. It’s been an amazing journey to create Rockbeth with this talented group of young people who face many personal challenges, and to bring it to the Fringe.

What are the big things you’ve learned since 2022 and have you absorbed any of the lessons yet?

That neurodiversity is actually a blessing in disguise. Everyone thinks different, but some people think more different to others! I’m still trying to figure out what this really means. With any play, there are always moments during the rehearsal process when you wonder if you can pull it off, and then everything always seems to fall into place. This one really made me wonder! There were so many extra challenges with Rockbeth but that’s what made it such a special show. There’s a punk rock feel about it, and that is also captured by the music and the look – which is inspired by Vivienne Westwood. Because it did seem like it might actually, really crash, I very much needed reassurance from my colleague (and show designer) Trace who said, “It’ll be fine!” until I believed her. And how right she was.

Tell us about your show.

Some dude called William Shakespeare wrote Macbeth, which we chucked up in the air to see how it landed. We adapted it by editing, modernising and adding classic rock music to make it rock! It was first performed at More House School in February and was so well received that we thought it deserved a wider audience so… “Let’s take it to the Fringe!” We put the thought out there and got so much support from family and friends who helped raise the money to make it happen. And here we are.

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

There’s so much of everything. See a mix. We’re going for Shakespeare for Breakfast – always a great start to the day with a croissant and a coffee included. It’s a shame we can’t see Theatre Ad Infinitum this year (on around the same time) as we love them too. We have booked a show every day for the company to go to including theatre (Bangers, which sounds like a lot of fun), stand up (Ed Byrne), and improv (Showstopper). The Fringe provides a rich diet of theatre at an affordable price, which is why it’s such great learning for young performers honing their craft.

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EdFringe Talk: Climb

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“Even though I miss the spectacle of my show when it was bigger, with lighting transitions etc. The stripped-down version of my show is stronger.”

WHO: Duane Forrest

WHAT: “Jamaican-Canadian singer/songwriter Duane Forrest shares his stories and songs, gleaned from his travels around the world. Whether he’s singing about love found and lost in Latin America, or telling stories about seeking clarity gigging throughout Asia and Europe, his soulful voice and samba/reggae vibes seek joy and hope in this broken world. Proceeds support Duane’s charity Genesis Community of the Arts. Creator: Duane Forrest. Dramaturg: Ins Choi. Producer: John McGowan. Starring: Duane Forrest.”

WHERE: ZOO Southside – Studio (Venue 82) 

WHEN: 16:50 (45 min)

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Is this your first time to Edinburgh?

NO, this will be my 3rd time. And honestly, I keep asking myself why am I going back?! it’s literally the second hardest thing I have done in my life, (the first is surfing) but it keeps calling, and I know what it is – meeting amazing artists and festival goers. Being able to showcase new work, get feedback and ultimately make better art.

I can’t get enough.

What are the big things you’ve learned since 2022 and have you absorbed any of the lessons yet?

That bigger isn’t better. In 2022 I reduced my show to a solo show, just me and a guitar and storytelling. Even though I miss the spectacle of my show when it was bigger, with lighting transitions etc. The stripped-down version of my show is stronger.

I have focused in even more on the storytelling, timing and flow of the show, I can’t wait for you to see it.

Tell us about your show.

CLIMB is my story – beginning in Toronto, growing up in a Jamaican family to exploring the world and becoming a songwriter. The journey has laughter, sadness, introspection and suspense. I play the guitar, sing songs I have written on the way as I narrate stories from my life that will have you leaving the show full of hope and emotions.

The show is based on my album with the same name “the Climb”. I wrote the songs knowing I would one day make it a stage play. I first performed it with a crew of 10 in the Toronto Fringe Festival, where Gregory Nixon, the festival’s founder said it was ‘an engaging, multi-layered work of song, storytelling and movement’ and ‘one of the highlights of thisyear’s Fringe.’

CLIMB just finished a SOLD-OUT run in the Milan Fringe Festival June 2023 where we were runner up for the Critic Award.

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

There are some great ones!

You’ve got to see anything done by Manuel Cinema, They have blown my mind each year I have been at fringe.

Magical Bones is so entertaining, he’s a breakdancing magician, need I say more?

Myra Dubois. Just please , go.

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EdFringe Talk: Almost Adult

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“I am also working with an incredible team that includes Elf Lyons as Comedy Advisor, PJ Cunningham as Assistant Producer and the CNC team as our Publicists. These are all incredible women whose work I came across at Edinburgh last year and they have each brought commitment, vibrancy, and inventiveness to the project.”

WHO: Charlotte Anne Tilley

WHAT: “Hope’s leaving her hometown up north for the bright lights of London. It’s going to be mind-blowing. Attractive Hinge dates. Mature new friends. A job at a dinosaur-themed bar. Hell. Yes. Okay, her manager’s a creep. And her housemate seems to hate her… But we don’t need to talk about that. With a hilariously naïve protagonist, ‘blisteringly funny’ (Indiependent.co.uk) Almost Adult combines quick-witted character comedy with touching vulnerability. That’s right, Charlotte Anne-Tilley (Winner of Everything Theatre’s Award for Ingenuity and 4theatre’s Best Debut Performance) is returning to Gilded Balloon for 2023. ***** (@TheatreAndOtherThingsLDN, Instagram).”

WHERE: Gilded Balloon Patter Hoose – Snug (Venue 24) 

WHEN: 19:00 (60 min)

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Is this your first time to Edinburgh?

This will be my third time going to the festival and it is the most beautiful, colourful, creative place to be in the month of August. I think Edinburgh Fringe’s uniqueness comes from the sheer wealth of artistic expression happening and the fact that you can see any kind of theatre at any time of the day or night. There’s nowhere else like it.

What are the big things you’ve learned since 2022 and have you absorbed any of the lessons yet?

Find your allies at the Fringe. This is a piece of advice I got from Francesca Moody at a workshop on Producing for the Fringe and, following my experience of Fringe last year, I think it’s the most powerful part of the festival. You meet future collaborators, friends who are passionate about the same weird sub-genres that you are passionate about and we’re going through exactly the same experience together. Reach out to creatives whose shows have similar themes to yours, it will make the month a whole lot more manageable.

Tell us about your show.

I have been working on the show for around three years as the actor, writer, and producer. It began as a 15 minute zoom play that I put together and cast during lockdown. Since then, it has been produced three times in London and once at EdFringe 2022. I was 20 when I first started working on it and I am now 24 so, as you can imagine, the production has grown and evolved as I have. This year, I am rewriting the script which is very exciting. I am also working with an incredible team that includes Elf Lyons as Comedy Advisor, PJ Cunningham as Assistant Producer and the CNC team as our Publicists. These are all incredible women whose work I came across at Edinburgh last year and they have each brought commitment, vibrancy, and inventiveness to the project.

In terms of the future of Almost Adult, I am working on a television pilot script of the show, so who knows? Maybe you’ll see it on your screens in future years.

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

There are so many shows that I am desperate to check out! I have been part of organising the FemiFringe Podcast, events and resources so I am particularly excited for the female and non-binary artists heading up to fringe. There are hundreds of incredible shows but here are a handful: Junk Monkey by Olivia McLeod; Waiting for the Train at the Bus Stop by Mwansa Phiri; Break Up with your Boyfriend by Scylla’s Bite; Dugsi Dayz by Side eYe Productions; This Charming Man by Sian Davies.

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EdFringe Talk: Horizon Showcase: Birthmarked

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“Although the show is very visual and musical and in many says very fantastical, it’s based on a very true story, and I’m learning to trust that as the heart of it.”

WHO: Brook Tate

WHAT: “A young Jehovah’s Witness comes to terms with his sexuality and finds his feet (and high heels…) in a world he once believed would be destroyed at Armageddon. Birthmarked is a new concept gig written and performed by Brook Tate and his grand ol’ band of pals. With original music likened to Stevie Wonder and Joni Mitchell, alongside a whale, a paintbrush and a pair of tap shoes, he hopes to shine a light on what it means to be marked… at birth. Written and composed by Brook Tate. Directed by Sally Cookson.”

WHERE: Assembly Rooms – Ballroom (Venue 20) 

WHEN: 19:15 (90 min)

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Is this your first time to Edinburgh?

This is my first time at Edinburgh Fringe, and I’m kind of trying not to overthink it. I keep reminding myself that it’s just me and my pals doing a gig, which we’ve done so many times before, but there is certainly a pressure in the background…! I think the main thing I have in mind is that this is an opportunity to talk about something I was told never to talk about, and to be able to bring this to the biggest festival in the world feels very special. I had never been to a festival until 2016 when I left the religion of Jehovahs Witness. I started going to music festivals and my mind was just blown open with how expressive people were, and how much creative freedom people had. It took a few years, but I eventually let myself be more expressive creatively, and Birthmarked is a result of that. I have always loved theatre, and I’ve realised that a festival of theatre is where I’m meant to be. So I’m extremely excited about being part of Edinburgh Fringe this year. I just need to make sure I sleep…somehow.

What are the big things you’ve learned since 2022 and have you absorbed any of the lessons yet?

We performed Birthmarked last year at the Bristol Old Vic as part of Mayfest, an international festival of theatre in the south west. It was the biggest show and longest run of performances I had done, and I learnt a lot about my brain, that it can run at 200mp, but I need to learn to apply the breaks, and that’s the hard part sometimes. I’ve kind of had to learn to trust the show and trust us as band. Although the show is very visual and musical and in many says very fantastical, it’s based on a very true story, and I’m learning to trust that as the heart of it.

Tell us about your show.

I ‘wrote’ Birthmarked in 2021, and by ‘wrote’ I mean I started explaining the meaning behind the songs I performed with my band. I’ve been playing gigs with my band since 2017, but I had never unpacked what I was singing about. I had written a bunch of songs after I had been excommunicated from the religion I grew up in – Jehovah’s Witnesses – and I used them as a way of processing what had happened and how it had affected my family, but no one really knew what I was on about. Then, in 2021, I decided I would open up about it all. The religion has very harmful practices and I felt a pretty strong drive to shine a light on it, especially after seeing how it had effected many people I knew. When I lost contact with people I was once so close to, I felt kind of desperate. Due to how powerful the practice of shunning is, I was left to accept that I had lost, and the religion had won. But eventually I realised I couldn’t just lay down and let this happen.

Performing and telling this story is the best way I can think of to get my experience across despite being ‘silenced’ to the ears of the people I most want to hear it. So, I started giving context behind the songs, added some costumes, some body paint, some puppetry and some tap shoes, and the show formed itself. Eva Redman, my drummer, took on the role of Gayle the Whale, and we improvised our way through the ‘show’. Hannah Smith, producer of The Wardrobe Ensemble, supported me in the show’s first ‘outing’ at a small festival in 2021, and she is still producing the show today (which I’m SUPER grateful for. She’s so fab. Ta Hannah… v much.)

Sally Cookson saw a very rough version of the show and offered to help take it to the next stages, which lead us to getting support from The National Theatre, and eventually to the main stage of the Bristol Old Vic in 2022 as part of Mayfest. We currently don’t have any plans beyond Edinburgh Fringe, but we have been selected by Horizon Showcase as one of ten shows this year, which brings over international producers to see the work one show. So, hopefully, a whale and a zebra will be getting to explore the world a little bit in the future…?!

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

If audiences are interested in finding out more about the workings of Jehovahs’ Witnesses, there is a play by an ex- Jehovah’s Witness called ‘Awake, Gay and Writing a Play’, which gives an insight into the world of someone who was deeply committed to the preaching work and how their world unravelled as they dissevered more about their religion and themselves. The gaps that are left in my show are covered very much in this one…

Also, I saw an utterly beautiful storyteller last year called Niall Moorjani, exploring queer identity, gender and mystical folklore and it was sooooo gorgeous. Amongst all of the spectacles and highly produced shows, this storyteller at the back of a library really stuck with me. They are performing a new show called A Fairie Tale this year at the Scottish Storytelling Centre.

To keep track of what I’m up to and how things are developing you can find me on instagram @brooktate and twitter @brooktateart. My website is brooktate.com and you can also find me on Youtube under the same name!

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EdFringe Talk: Chopped Liver and Unions

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“It’s a celebration of the working class and its resilience and uses protest songs to illustrate specific moments in history.”

WHO: Lottie Walker

WHAT: “The East End of London has burned with the fires of rebellion for centuries. From the Matchgirls in 1888 to the Made in Dagenham workers at Ford’s in 1968, its women have fought for change. In 1928, Sara Wesker led a 12-week strike with the workers literally singing for their suppers on the picket line. In 1936 she fought at the battle of Cable Street. But did this formidable woman’s passion for the cause destroy the passion for the love of her life?”

WHERE: theSpace on the Mile – Space 2 (Venue 39) 

WHEN: VARIES (45 min)

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Is this your first time to Edinburgh?

It’s my third time at Edinburgh as a performer and 4th as producer; I’ve experienced other, smaller fringe festivals, which has been lovely but there’s nothing like Edinburgh! The “spirit of the fringe” is very much alive and well; despite there being so much competition people look out for each other and support other people’s shows.

It’s an in your face experience however you’re involved, but if you think Edinburgh Festival Fringe is overwhelming from an audience perspective-imagine what it’s like from a performer’s. It’s full on sensory overload for an entire month. I’ve certainly learned to pace myself over the past few years!

What are the big things you’ve learned since 2022 and have you absorbed any of the lessons yet?

Tough question – every day’s a school day! I think the most important thing I’ve learned over the last year is to concentrate on fewer things and do each of them well. And to be consistent – whether it’s remembering to do vocal exercises, promote my shows, take my vitamins or achieve that elusive 10,000 steps a day!

I’ve also learned to go with my instinct; This show has been over a year in the making and I wish we’d bitten the bullet and got it out on the road last year. Had we moved a little faster and debuted it at the 2022 fringe we would have really captured the zeitgeist; Imagine doing a play about singing strikers amidst the mayhem of the refuse collectors’ strike last summer. The publicity would have written itself.

Tell us about your show.

Chopped Liver and Unions is the story of Sara Wesker, trade union activist, communist, refugee, top party guest – and aunty to playwright Sir Arnold. It’s written by J.J. Leppink with whom I share a love of history, especially the forgotten stories of people who should be remembered and particularly forgotten women. It’s a celebration of the working class and its resilience and uses protest songs to illustrate specific moments in history. Feel free to join in – you’ll know the tunes if not the words!

The production company, Out of the Fire is the new sister company to Blue Fire Theatre Co. Both companies produce plays about forgotten heroes but whereas Blue Fire focusses on theatrical themes, Out of the Fire has a broader remit and community focus. We’re hoping once we’re back from Edinburgh to tour this show, bringing Sara’s story to a new generation. We’re particularly keen to work in East London and similar working class areas where the locals will relate to Sara and her story and if we can tie in the performances with some textile -related workshops we’d love it. It would be great to share a stage with union banners made by that night’s audience.

We did a short preview run of the show at Brighton Fringe, followed by one performance locally in London and have been touched by how many people the show resonates with. It is a play for today. Sara’s fight is our fight. Nearly 100 years after she led her first strike and fought at the Battle of Cable Street we are seeing civil unrest across the world, war in Europe, the rise of populist political parties and the erosion of workers’ rights. Nothing has changed except the names. The struggle continues.

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

Oh there is SO much good stuff this year! I’m a sucker for the historical and female focussed stuff but if you can’t broaden your horizons at the Edinburgh Fringe, where can you..? I’m going to be checking out all of these:

Marie Lloyd Stole My Life This is a bit of self interest – it’s my own Victorian Music Hall show – all together now!

Havisham The story behind the tragedy of Dickens’ Miss Havisham. Missed this in Brighton – can’t wait to catch it in Edinburgh

The Last Flapper – brings Zelda Fitzgerald out from the shadow of her husband, the novelist F. Scott Fitzgerald. Really looking forward to some 1920’s decadence – Zelda’s experience was a world away from my Sara Wesker’s!

OTMA – the final few hours of the daughters of Tsar Nicholas II of Russia. Right up my street!

Mrs President – the widowed Mary Lincoln’s quest to find her own identity and image following the assassination of her husband

And This is My Friend Mr Laurel – seen this already and seeing it again! moving and veyr entertaining account of the life of Stan Laurel

Ay Up Hitler – the “true” story of what happened after Hitler escaped the allies and fled to – Yorkshire!

Diana: the Untold & Untrue Story – an outrageous imagining of Diana Princess of Wales.

A Gefilte Fish Out of Water – Stacey looks to her (Jewish) heritage to cope and heal with food and humour.

Godot is a Woman – “A whip-smart interrogation of gender, authorial copyright and the cultural significance of Madonna’s 1989 album Like a Prayer”- who could resist?

The Last of the Soviets – “Two Russian artists in exile reveal the cruelty of Soviet life with a good dose of dark humour”

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EdFringe Talk: Brain Hemingway

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“Prepare yourself for having one person in your audience and double down on how awkward it is for everyone. It will turn out to be your favorite show.”

WHO: Erin Murray Quinlan

WHAT: “A blocked playwright with a looming deadline is haunted by the subject of her last failed show: Ernest Hemingway. Brain Hemingway returns to the Fringe for the second year in a row! This love letter to the artist’s process was widely loved amongst writers, artists, and musicians, and was counted as an unexpected favourite by audiences at Edinburgh Festival Fringe 2022 and Boston Mini Fringe 2022. Once Hemingway is in your brain, you’ll never get him out!”

WHERE: Greenside @ Nicolson Square – Fern Studio (Venue 209) 

WHEN: 17:30 (50 min)

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Is this your first time to Edinburgh?

This is our second time to the Fringe with ‘Brain Hemingway’, but I have also been to Edinburgh several times. The most memorable non-Fringe visit was going through the Edinburgh Dungeon by myself and somehow being chosen for every single audience participation moment and then watching the Dungeon actors slowly realize that they had caged someone no one cares about.

The Fringe is special because it combines the things I love about theatre in one magical place: the scrappiness, the necessity that breeds invention, being surrounded by people who are as happy with five audience members as they are with a full house. The ability for every type of person to be creative is on full display, and it warms my cockles to bits.

What are the big things you’ve learned since 2022 and have you absorbed any of the lessons yet?

1. Don’t get covid during rehearsals. I know it was all the rage last year, but walking up the Fleshmarket steps everyday with post-covid lungs is not worth it.

2. When meal deals are your only option, Boots is the Dark Horse winner, followed by M&S, Sainsburys, and then Tesco if things are that dire.

3. Prepare yourself for having one person in your audience and double down on how awkward it is for everyone. It will turn out to be your favorite show.

4. DO get a QR code sticker to wear so people can have easy access to the ticket site without needing a flyer. DO NOT put that sticker anywhere near you chest or gross weirdos will take a picture of your admittedly excellent cleavage.

5. Hydrate hydrate hydrate hydrate, no not with cider.

Tell us about your show.

‘Brain Hemingway’ is a two-person one-woman show about a playwright who is harassed by visions of her last flop’s subject, Ernest Hemingway. It’s based in fact. Ten years ago, I wrote an exhaustively researched show called ‘Hemingway’s Wife’ that got bad reviews, some of which went so far as to attack my personal character. It also elicited one of my interview subjects to ask me, “what does a little girl like you have to say about a big man like Hemingway?” This play is about trying to write and be true to my voice while being hounded by the memories of those bad reviews and experiences. It’s a comedy, if I have to make that clear.

Tawnydog Productions is the company my husband Evan and I run, one because he is a very good actor and I value him as a collaborator, and two because you don’t have to pay your spouse and I’m not made of money. Our production before ‘Brain Hemingway’ was ‘God Save Queen Pam’, which premiered Off-Broadway in NYC and was published by Stage Rights. I only mention this because if you search for it, it comes up on Google Books and that tickles me.

The world is our oyster as far as what happens next with Brain Hemingway, because it is just the two of us, and once Elon Musk puts chips in our brains, we won’t even need a tech person because I would just be able to trigger sound cues by blinking. So I’m thinking the Duke of York’s, 2026…?

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

This feels like an impossible task because there are so many excellent shows coming, but the first ones that spring to mind are ‘Alan Turning- A Musical Biography’ and ‘Butchered’ which I missed last year; two from Awkward Productions: ‘Untold Diana’ and ‘How to Live a Jellicle Life’; also looking forward to ‘The Society for New Cuisine’, the new spin on classic Chekhov, ‘Three Sisters and Them’, and ‘Almost Adult’.

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EdFringe Talk: Hypnotist Matt Hale: Top Fun! 80s Spectacular

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“You’ll find a real high energy party style of a show – lot of big music and movement, and a massive focus on pure fun.”

WHO: Matt Hale

WHAT: “Joyful. Crazy. Fun! The unmissable international smash-hit comedy hypnosis show with 80s party vibes. Laugh along, sing along, even star in the show. You choose! All-ages friendly, grab tickets now! ‘The laughter is uncontrollable!’ ***** (FringeFeed.com.au). ‘Rollicking good time’ ***** (SeeDoEatReview.com). ‘Ensures everyone in the room has fun!’ ***** (PerthHappenings.com.au). ‘Stomach-grabbing humour… not to be missed! ****½ (Advertiser, Adelaide). ‘Spectacular silliness! Absolute feel-good, must-see show’ ****½ (XPressMag.com.au). Comedy Hypnotist Matt Hale gives you his 100% chicken-free guarantee! Multi-award winner, regularly sells out and seen on Best Shows/Top 10/Pick of the Fringe.”

WHERE: Gilded Balloon Patter Hoose – Big Yin (Venue 24) 

WHEN: 17:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

First time bringing my show to Edinburgh (I’m Australia based) – it’s been a long time coming! Visited the Fringe a few years ago to check everything out, but then obviously a few wonky years got in the way for international travel. I’ve been performing my shows at the 2nd and 3rd biggest Fringes in the world (Adelaide Fringe, and Fringe World Perth) for nearly 10 years, but it feels fantastic to finally know I get to perform at the biggest. The buzz of being surrounded by thousands of other artists and up-for-it audiences is always a joy.

What are the big things you’ve learned since 2022 and have you absorbed any of the lessons yet?

Have definitely seen that people are now tending to book much later for shows, which is always a nail-biter for a performer, and especially when you do a full month’s run of shows! But have found that as long as you’re constantly putting the best show on you can each night, and creating a real fun buzz for those there, the word of mouth spreads from each performance.

Tell us about your show.

Ever since I started performing comedy hypnosis shows, I always wanted to make sure they had a very modern feel. No swinging watches, no mysterious staring, no embarrassing anyone…and every show has always come with my 100% Chicken Free Guarantee! You’ll find a real high energy party style of a show – lot of big music and movement, and a massive focus on pure fun. This year’s show is the first time I’ve actually themed a show though, and it all stemmed from a terrible pun of Top Gun, which obviously had a big revival recently. So with the name Top Fun in place, and a seemingly big current fascination with the 80s around in general at the mo, I went all in on the theme. It went down an absolute treat at the other Fringes I’ve been at this year, so I’m hoping Edinburgh will embrace the pure ridiculousness of it too!

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

OK, I’ll niche it down to some other Aussie acts:

Comedian Joe White : Ethiopian and Still Not Hungry – Very funny, warm and engaging from a friend who has made his way from a refugee camp to travelling the world entertaining.

Dizney in Drag: Once Upon a Parody – a very adult fairytale you’re not going to forget very easily!

Dom Chambers: A Boy and His Deck – u may have seen my magician friend with his viral beer trick on America’s Got Talent, but this hilarious show takes what he can do with a simple deck of cards to the next level

Anna Piper Scott: Such an Inspiration – funny, moving, and everything in between, and has been rightfully gathering up a ton of awards along the way at other festivals

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EdFringe Talk: Potty the Plant

Posted in *Written Interviews, EdFestivals 2023 by

“This brave little musical that can, is being produced by myself and my business partner, Stephanie Cubello, and in terms of the future, we truly believe the sky’s the limit.”

WHO: Sarah Oakland

WHAT: “A new dark-comedy musical starring Potty, a singing, talking, tap-dancing pot plant. When mysterious things start happening at Little Boo Boo’s General hospital, a ragtag bunch of dysfunctional nurses must pull together to save the day. What could be happening to all the missing children? Will the beautiful Miss Lacey ever find true love? Is there more to the nasty-looking Dr Acular than meets the eye? Will Potty and the gang solve this mystery before it’s too late? Annoyingly catchy songs, heart-warming friendships and twisted humour.”

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

WHEN: 18:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes, we are Edinburgh Fringe virgins. A few of our team have visited as punters before but in terms of creating or performing in a production, we’ve still yet to pop our Fringie Cherries.

Being so warmly welcomed into the Edinburgh Fringe family has been wonderful. Most of our team members have dreamed of performing at the Fringe for many years and it’s just been an immense privilege to make that happen.

On a personal level this is also my first time producing. Going for a full musical in a big prestigious venue at the biggest fringe festival in the world feels a little like throwing myself in at the deep end, but with such a fantastic team behind me, I can see this being an absolutely brilliant, life changing experience.

What are the big things you’ve learned since 2022 and have you absorbed any of the lessons yet?

2022 was my first time even attending the Fringe as a punter and let me tell you, I learned a lot! 1. Always take a raincoat 2. Never piss off the bin men 3. An open mind is the key to great discoveries 4. Never accidentally admit to a standup comic that you’re into bdsm.

2022 Fringe was all about learning for me. I went with the expressed purpose of seeing musicals and learning more about how the Edinburgh Fringe works. There were a lot of do’s and don’ts to consider, but thankfully, so far (touch wood) they all seem to have sunk in and been solidified.

Tell us about your show.

Potty The Plant is the brain child of Baden Burns (Composer, writer, director, Potty puppeteer, all round genius), Aeddan Sussex (Writer, original director, production consultant) and Me, Sarah Oakland (Producer, writer, performer, endless worrier). Potty The Plant was originally created by Aeddan and Baden as a 10 minute film school short that won several awards, the evidence of which can still be seen on YouTube. I entered the scene in 2022 and just knew straight away that the world needed more Potty and that the Fringe would be the perfect home for him. This brave little musical that can, is being produced by myself and my business partner, Stephanie Cubello, and in terms of the future, we truly believe the sky’s the limit: More fringes, tours, West End, Broadway, Hollywood, world domination and supreme galactic empire rule.

Potty The Plant is a charming, twisted, annoyingly catchy dark comedy musical. Our star, Potty, is an adorable pot plant puppet who will, in the space of one hour, take you on an adventure in the hospital he calls home where mysterious things are happening.

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

Little Women and Rent – Bare Productions – Should be a fantastic couple of shows.
After this plane has landed – Exit Productions – Emotional new musical, should be great.
On Your Bike – Chordstruck Theatre – Musical comedy, catchy tunes, pizza, what’s not to love?

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EdFringe Talk: Brotipo

Posted in *Written Interviews, EdFestivals 2023 by

“So while I’m at the office writing these lines, I’m looking forward to live a full month of new connections in August!”

WHO: Jean-Felix Belanger

WHAT: “Welcome to the world of Quebec’s circus clowns! Presented in 18 countries, winner of multiple awards, Brotipo is back this year! Before your eyes, a friendship will be put to the test to make you laugh, dance and even sing! In the colourful atmosphere of traditional big tops, the acrobatic duo creates a story with handstands, diabolo and hand-to-hand acts. An amazing chance to see the ‘masters of slapstick’ (Scotsman) again and again with the whole family!”

WHERE: Assembly George Square Gardens – Piccolo (Venue 3) 

WHEN: 13:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Third time in my life, second time with the show Brotipo! Beside the crazy pace of the festival, I could say it’s now a comforting tradition. It’s the time to see again longtime artist friends, find back our favorite coffee truck, absorb the energy of the city and of course discover so many shows and hidden spots!

What are the big things you’ve learned since 2022 and have you absorbed any of the lessons yet?

2022 was a big touring year for our company and it was a reminder of how much the stage is a place of exchange, interaction, connection. Especially because we are doing clown, there’s a unique conversation with the public. It feels good for both sides. So while I’m at the office writing these lines, I’m looking forward to live a full month of new connections in August!

Tell us about your show.

Brotipo was created by me and Remi in 2015 and we are still the two artists performing in it. Even after 250 shows all around the world, we love to jump back in these costumes and create such a festive moment with the audience. We are doing acrobatic clown, a precise balance between circus, acrobatics, clown and physical comedy. Our company, les Foutoukours has the mission to actualize the clown arts but we are also so fascinated by the traditions. This is why we created Brotipo from our interest in traditional circuses, the atmosphere of the Big Top, the high energy entertainment… how can we bring that in a small place? How can we concentrate all this joy in a tent with 150 people?

The initial challenge seems to have been achieved as we are coming back to the Fringe for a second year in a row and that tours are planned until 2025 in Singapore, Canada, Italy and New-Zealand. Everybody likes to party with the clowns!

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

I’ll first cheer up for our friends from Montreal, Agathe and Adrien with N.Ormes. A circus duo who is at the opposite of our style, in a more contemporary process, but that’s why we love the diversity of circus arts!

If you are looking for another children show, go see our venue partner The Bubble Show at the Piccolo. We spent last August with him backstage, great man, great show!

The most touching story at the Fringe this year will be told by André and Dorine. You laugh, you cry, you’re surprised.

Finally come with us to see Chevalier – Hobbyhorse Circus, I love this company and I’m thrilled to see this new show!!

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EdFringe Talk: Take The Bins Out

Posted in *Written Interviews, EdFestivals 2023 by

“I was commissioned to write “Take The Bins Out” by a British businessman (who has asked, for personal reasons, to remain anonymous).”

WHO: Mark Janicello

WHAT: “Take The Bins Out is a dark comedy, telling the story of Finley Whitmore, whose congenital eye disorder wreaks havoc on his professional and personal life. It’s a touching, funny, one-man show with music. Bins stars TikTok Sensation Milo Mooney (@milomooner), a visually impaired actor in the title role. The play was written and directed by the award-winning author/playwright, Mark Janicello. ‘I’ve learned that there are all kinds of blindness, and true to form, I’m guilty of most of them. You must never lose sight of what’s important’ (Finley Whitmore).”

WHERE: Greenside @ Nicolson Square – Lime Studio (Venue 209) 

WHEN: 18:25 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I attended the Fringe in 2019 and again in 2022, both times as an audience member. This is my first time attending the Fringe with a production. Back in 2019, I promised myself that I would be performing at the Fringe as I had so much fun there. I thought I would be here as an actor or a singer, and didn’t imagine that my first time would be as playwright/director.
In any case, it’s a thrill to be working in Edinburgh.

What are the big things you’ve learned since 2022 and have you absorbed any of the lessons yet?

I would hope that I continue to learn and grow on a daily basis, and not just from 2022 onwards. 🙂 I’ve been onstage or in front of a microphone or camera since I was 4 years old. I’m now 60. That’s 56 years of my life in the arts in one form or the other. The one truth that has never changed during these many years is that: “If you don’t grow, you shrink.” I moved to London two years ago from Berlin, Germany. I had spent 28 years in Europe (I also speak German and Dutch fluently), because I felt that I was no longer growing. I no longer felt challenged personally, professionally or artistically. I moved to London to be in a market where I was an absolute unknown and would have to really hustle and work very, very hard to make a name for myself — basically to “start over” at 58 years old. My friends in Europe thought I was crazy! However, in the UK you are competing for roles and jobs with Oscar-, Tony-, Brit-, Olivier-, Emmy- and Grammy Winners. It’s a HUGE challenge. It’s both difficult and at the same time a thrill, to be the “worst one in the room” and to continually have to “up my game” to compete.

Tell us about your show.

I was commissioned to write “Take The Bins Out” by a British businessman (who has asked, for personal reasons, to remain anonymous). In 2022, I answered an ad on StarNow or Mandy (I don’t recall which) looking for a playwright. This gentleman had an idea for a story and wanted someone to dramatize it. I sent some of my other stage works (I have written 7 other productions for the stage) as well as some of my screenplays and a few of my articles as a journalist and critic. He liked my writing a lot. After meeting in person a few times, hearing his concept for this project, and spending some time together, I accepted the commission. Over the period of a few months last Spring, I wrote the play.

The play, as it now stands, is quite different than what this gentleman originally envisioned. However, through our talks I felt that the core of the story was not in what he was communicating to me, but rather what he left unsaid. It was that “unsaid” storyline that I felt needed to be told. That was what interested me in doing this project, what he WASN’T saying. After quite a bit of back and forth and with some gentle arm-twisting, I convinced him, that what ended up as “Take The Bins Out” was the story he wanted to tell all along.

This same gentleman is providing the financing for the Edinburgh Production. I am producing and directing it. The Edinburgh Fringe is the World Premiere Production for “Take The Bins Out.” We plan on doing a regional production of the play sometime next season and eventually bring the show to London in an “Off” theatre.

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

There are two “Opera for Kids/Young People” productions playing at the Fringe this year that look like a LOT of fun. I was an operatic tenor for many years. Opera and classical music as art forms are slowly dying out because we are not reaching younger audiences. These two shows (neither of which I have seen myself) are trying to introduce classical music in a lighthearted way to a new and younger audience. The Fringe, because the tickets are so inexpensive, is a perfect place to do that. It’s “low risk” in this setting. It’s not like you’re paying West End prices for something you’re not sure you’ll like. This way, people can experiment and see if that music and those stories speak to them. Both Brian Bannatyne Scott and “Madame Chandelier” look like they are having a blast. That joy with classical music is contagious and might encourage a new audience to seek out opera or classical music outside of the fringe. I’m all for it!

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