Category Archives: EdFestivals 2023

‘Edgar Allan Poe: The Murders in the Rue Morgue’ (Venue 53, until AUG 26th)

Posted in 3*, EdFestivals 2023, Rated: Nae Bad, Theatre by

“…a slick performance in which his character exudes the gravitas required of a predecessor to Sherlock Holmes, often giving light relief with heavily-accented asides that veer towards the comic buffoonery of Inspector Clouseau.”

Editorial Rating: 3 Stars (Nae Bad)

Often described as the first modern detective story, Edgar Allan Poe’s 1841 classic overlaps with the horror genre as the mystery at its heart unfolds. This is a welcome stage adaptation of the tale that introduced the world to the French sleuth Auguste Dupin.

Actors Darren Haywood and James Nicholas present us with a straightforward two-hander in a black box setup with minimal scenery. Haywood as Dupin delivers a slick performance in which his character exudes the gravitas required of a predecessor to Sherlock Holmes, often giving light relief with heavily-accented asides that veer towards the comic buffoonery of Inspector Clouseau. For such a dark tale, there were often moments when the audience chuckled at episodes of quickfire banter onstage. One such particularly engaging passage portrayed a police officer interviewing a succession of witnesses to the eponymous murders. In a cross-channel double act of gallic repartee, Nicholas played the investigating gendarme, while the elastic-faced Haywood adopted a lively comic sequence of caricatures of low-life Parisians.

Nonetheless, I’m afraid I struggle to give this production and its cast the four-star review that parts of it deserve. Overall the play depended rather too heavily on narration and exposition, such as the reading aloud of an explanatory newspaper article. Stage adaptations of literary works can be very engrossing, but to avoid the feel of a radio play this show needs a little more physicality, business with props and costumes, and more imaginative use of the set, however basic it may be. Leaving the denouement to narration backed by sound effects rather emphasises the audio character of this production.

The performance I saw was the first of a month-long run, which I hope will give the cast the opportunity to work up a little more visual action into what is a potentially gripping drama.
That said, both cast members are appearing in other shows at the Fringe this year, including an adaptation of a Conan Doyle story featuring Dupin’s immortal literary successor: Sherlock Holmes, in The Speckled Band. Coming down at well under an hour, this show is suited to those who like their entertainment traditional and on the literary side. So get your coats on and go see this. Come for the classic detective tale that fired the starting gun for a whole genre. Stay for the gallic repartee. Leave to investigate clues in the Fringe brochure that will lead you to discover The Speckled Band!

ALL our recent coverage? Click here!

‘Casting the Runes’ (Venue 33, until AUG 27th)

Posted in 5*, EdFestivals 2023, Pleasance, Rated: Outstanding, Theatre by

“We quickly left the outside daylight behind for a haunting and foreboding vibe whose icy fingers crept into every corner of the auditorium from the outset..”

Editorial Rating: 5 Stars (Outstanding)

Fans of the classic ghost stories of M R James will be familiar with the TV adaptations that grace our screens each Christmas. Now, here in Edinburgh, on a deceptively sunny lunchtime, the chilling horror of one of his best tales is vividly brought to life in close-up.

The Box Tale Soup theatre company faithfully reflect the master storyteller’s art in lifting his chilling tale off the page and onto the stage. We quickly left the outside daylight behind for a haunting and foreboding vibe whose icy fingers crept into every corner of the auditorium from the outset. The story itself is classic James: the safe, scholarly world of academe gradually subverted by the creeping menace of some much older, darker force that belongs between the pages of dusty medieval tomes rather than modern textbooks.

A cast of two are aided by some skilful use of puppetry for minor characters, including the decidedly creepy Mr Karswell. Noel Byrne, who looks suitably like Peter Cushing’s worrisome young brother, plays Professor Dunning, an academic with an interest in the occult. With the help of a new acquaintance, he explores a number of mysterious messages and a weird picture that seems to have a life of its own. Antonia Christophers, who plays the acquaintance, does a nice line in quivering fear and wide-eyed terror, as well as operating and voicing the often unsettling mannequins. A simple set is put to effective use, evoking a suitably Edwardian gothic vibe, with door handles that seem to turn themselves, creaking hinges, and a swirling mist worthy of any Hammer horror. No spoilers here, but there was a sudden lighting reveal that made the two ladies behind me audibly squeak as they jumped in their seats. A coup de theatre, that – you seldom get those sitting in your armchair at home.

The sense of fear so skilfully manipulated by James and the cast of this play echoes similar feelings evoked by Samuel Taylor Coleridge in his poem The Rime of the Ancient Mariner, some telling lines from which are quoted at one point:

“Like one, that on a lonesome road
Doth walk in fear and dread,
And, having once turned round walks on
And never turns his head;
Because he knows, a frightful fiend
Doth close behind him tread…”

I know I was not the only one in today’s audience who felt the tingling anticipation of a disembodied tap on the shoulder at certain points during the show.

Situated in a venue that’s part of the popular and lively Pleasance Courtyard complex, the haunting quality of this show is emphasised all the more as you emerge at the end into the contrasting, unfamiliar daylight. Though, this being Edinburgh, the leaden skies were throwing down a moribund shower of rain in ironic tribute. So get your coats on and go see this! Come to see a tale by a master storyteller. Stay for the creepy puppets and creaky hinges. Leave safe in the knowledge that no ghosts will follow you home in the daylight as you head off for lunch.

ALL our recent coverage? Click here!

EdFringe Talk: Lipote: An Interconnected Journey

Posted in *Written Interviews, EdFestivals 2023 by

“You should be prepared to constantly change and edit any production to make it ready for a performing somewhere such as Fringe.”

WHO: Oliver Farrow

WHAT: “A new UV opera-musical told from the roots of trees about the impact of intensive agriculture on forest systems. Inspired by the ongoing problems surrounding deforestation and palm oil monoculture in Borneo, it tells the story of a rainforest as it struggles to find help in the soils around its home, after the root system suffers the effects of a devastating storm. Based on the research of anthropologists, scientists and naturalists into forests and plantations and written in collaboration with UK ecologists this show explores issues that are important and relevant to us all.”

WHERE: C ARTS | C venues | C aurora – main house (Venue 117) 

WHEN: 13:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is our first time performing at the Fringe and every member of our team is feeling excited, nervous and thrilled to be part of this global arts festival and to see other people’s work. The diversity on offer, makes more experimental shows such as ours fit well into the whole programme. We recently performed this work at Nozstock Festival 2023, which is predominantly a live and dance music festival. The audience there were great but certainly did not expect to be experiencing opera and we hope with our blend of subject matter, design and musical influences that me might also be able to capture the attention of some non opera goers in Edinburgh. We are also aware we will learn so much from being able to participate in this Festival and it will help to build and bond us as a company at such an early stage in our development.

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

In the last year we have worked hard on the piece and learnt that you should be prepared to constantly change and edit any production to make it ready for a performing somewhere such as Fringe. We have showcased the work to a couple of audiences to gather feedback and understand where we needed to make changes. We have also included the music of the talented Leon Trimble, an expert in all things modular synthesiser, who will be performing with a plant alongside the opera. We have learnt that this topic is ceaselessly relevant to all our lives, even though it seems disconnected from us, and we hope that we are doing it some justice in our show.

Tell us about your show.

This show was written by myself (composer Oliver Farrow) and librettist Roxanne Korda. We began working on it during lockdown in 2020 and have been slowly but steadily developing it since then, bringing Wanshu Li (designer) and Jingya Peng (choreographer) on board. Our company Shaky Crown Collective is a result of this collaboration, the name being taken from the first line of the script.

The show itself is an exploration of different types of forest systems. We have focused primarily on the impact of deforestation due to palm plantation in Borneo and other areas. The story is told by the roots of trees as they traverse different soils to find help outside of their home. The music is unique and eclectic with influences ranging from opera, to musical theatre, to pop, to world music. The set and costumes are all designed to work under black light (UV).

This show is really a one off and not like any “opera” you will have seen before.

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

A local company to us – RoguePlay – will also be performing a work about deforestation (although not from the perspective of the soil). They are a physical theatre circus who will be performing at C Venues as well.

I would also recommend Amy Webber’s stand up show No Previous Experience that is partly about having an opera degree which hasn’t yet been useful for her… I met her when she performed at The Glee Club in Birmingham last month.

We enjoyed seeing Lachlan Werner – Voices Of Evil at Nozstock Festival last month, and recommend their high energy and absurd.

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: Who Walks This Path

Posted in *Written Interviews, EdFestivals 2023 by

image of event

“Our connections with each other need to be strong and central.”

WHO: Elspeth Furini

WHAT: “Interactive storytelling with audience participation and improvisation about loss, community, our human need for connection, and the pain and humour of the journey. We tell the story accompanied by music and song, teaching several songs to “the village” audience. Our songs spring from our deep work engaging with communities, supporting well-being and positive mental health through song. Our show is an intimate gathering together to weave laughter and soul work through the old ways of music and story. Have fun, sing and walk this path with us!”

WHERE: Greenside @ Nicolson Square – Fern Studio (Venue 117) 

WHEN: 11:45 (45 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It’s been 38 years since I Iast performed at the Edinburgh Fringe so it’s a long overdue return. A lot of life has happened since then but composing, singing and performing has been a constant creative outlet. Following two musicals that were performed at the Brighton Fringe in 2016 and 2018, I was determined to bring a show to Edfringe. We’ve been here a couple of days and it’s clear the Fringe experience is very different from the mid-1980s….bigger, busier, more produced, slicker, but the excitement and buzz feels very similar. It really is great to be back here and taking part. We just hope we can get people to come and see the show!

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

I’ve learned to slow down and keep things simple. The value and joy of connecting with people and sharing our common humanity is something I think we were all reminded of over the pandemic. It was especially true for me in my work as choir leader for Cascade Recovery Choir in Brighton supporting people recovering from addiction. Our connections with each other need to be strong and central and our latest show deals with this through a simple story rooted in universal themes and archetypes, backed with original music and song.

Tell us about your show.

The show has grown from a song I wrote which the show is named after, Who Walks This Path, that was a central part of my work with the recovery choir during lockdown. It’s a song about our feelings of loneliness and isolation that make us feel cut off from each other, while all the time there are people waiting to support us and walk with us, who share the path we walk on. It’s about not being alone if we can reach out and if we allow ourselves to be seen.

The song has been performed many times by the choir and I have run workshops on it with community groups and for International Women’s Day at the Brighton Dome.

Around this song the story of a young woman emerged who had to face loss and suffering and find a way of being in the world. We tell the story with a number of songs exploring the same themes which I have written over the last few years. All the music is acoustic and unplugged. There is something simple and direct and intimate in this medium that brings us closer to our audience. The Fern Studio at Greenside at Nicholson Square adds to this intimacy. And did I mention the audience joins in with the singing? We teach the show’s title song at the beginning of the performance. It’s about all of us being connected.

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

This is a tough question as we’ve only just arrived so haven’t seen many shows yet. We saw Dirty Words today at The Pleasance which I’d definitely recommend seeing. It touches on some of the same themes as our show, as well as looking at how language is used to create divisions and control. There are great looking shows at our shared venue too. We’re looking forward to seeing Torch Ensemble’s The Climate Fables as it combines fairytale, storytelling and possible end of the world scenario, so big important themes there!

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: The Easy Rollers: Drop Me Off in Harlem

Posted in *Written Interviews, EdFestivals 2023 by

“The arts is still recovering from the last few years. It’s almost like starting again and the one thing that will build up momentum is supporting other artists.”

WHO: Dani

WHAT: “Taking you back to the golden age of jazz, The Easy Rollers are a roaring seven-piece jazz outfit performing hits from the speakeasy bars of the Prohibition era and beyond. Expect theatrical interludes, raucous showstoppers and some of the finest jazz this side of the Atlantic! ‘A slick, tightly choreographed hour of sizzling speakeasy from a melodious young septet’ (FringeReview.co.uk).”

WHERE: The Jazz Bar – Partially Seated (Venue 117) 

WHEN: 16:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

We came to Edinburgh in 2017 for our first fringe! We had no idea what to expect because our band had been based in Manchester and nobody knew us in Scotland. We did ONE show. That was it… and it sold out! So every year we have developed the show and added more nights. The show has really turned into something special and if you’ve followed us on the journey, you’ll know what I mean!

We love the community around fringe as artists and particularly at The Jazz Bar as a venue hub. The space is perfect for the music we play and so we love coming back every year. We are thrilled to be back this year 21, 22, 23 and 24 August at 4PM.

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

2022 was a great year for us at Fringe. We did 7 shows..! One thing we learnt is that accommodation is expensive..!

But in all seriousness, we have learnt that the arts is still recovering from the last few years. It’s almost like starting again and the one thing that will build up momentum is supporting other artists. The community from last year was like no other. It was reassuring hearing everyone’s stories and to know we have all experienced such similar things being in the arts during this time.

On a more positive note: As a band, we have learnt that this show is getting too big for us! In all the best ways! We have definitely absorbed this one! We have expanded the show to a 2 act cabaret which is being toured this October in Theatres and Concert Halls… more about that later.

So the big one for us is that now we are looking for producers to take us on and help us manage the show as it keeps growing. We never imagined the show would get to this stage and we are so grateful for everyone who has joined us on the way and supported us. If you want to know more about the extended show, head to our website. And if you’re a producer, please come and say hi after the show! We’d love to meet you!

Tell us about your show.

Our show is musical and theatrical journey through the Prohibition era into the Swing Era. The music is the main focus, and how could it not be with seven award winning musicians, but we have threaded it together with skits and theatrical interludes about the culture, music and happenings of the time presented in a fun and engaging way. Excellent music and slightly educational… almost.

We are 100% self produced. Alex Hill and I manage the band and produce the shows as well as create the concepts and write the script. We have an amazing band who, especially in the last few years have become really involved in the show, offering incredible inputs to song arrangements and script suggestions. It has really developed and changed every year since 2017.

Not often do you see the band members get involved with the script..! We have grown this over the years and it’s so great to have a full ‘cast’ in the band. This year as well, we have worked with a text and vocal coach called Anne Whitaker. She has given us tips on how to use our voices in the space and different tools to deliver text. Often if you have an instrument in front of you, you won’t need to speak on stage so this has been extremely vital in the progress of the show.

The last time we interviewed here, we mentioned wanting to take the show on tour… and now we ARE! Later this year we are heading to London, Wells, Newcastle, Manchester, Liverpool, Nottingham, Cheshire, Norwich and Marsden to present our extended 2 act show!! You can head to our website to get tickets, see dates, venues and more details. You’re not going to want to miss it, ol’ sports!

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

My Best Judys is happening at Zoo Southside Main House. It is a glamorous night of beautiful singing and celebration of all music Judy. The venue is great and it’s the show’s first time in Edinburgh! Go check it out for sure if you like Judy Garland and tunes by Gershwin, Arlen and more. The musical era slightly after The Easy Rollers.

If you want to stay in this jazz world, but go even further back in time, we highly recommend Tenement Jazz who play at The Jazz Bar. We see these guys every year and think they are great. One day we will have to do a show with them… dream gig. Go see them.

We also recommend Garry Star. He is one of our faves. VERY different to our show’s world but we go every year. Great physical comedy… very physical.

Amy Webber is another comedian we would highly recommend. She incorporates her music background with her stand up and we think she is hilarious.

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: ARRAN BIRKS: TRUTH HURTS

Posted in *Written Interviews, EdFestivals 2023 by

“That all sounds very self-important. Maybe I just need a pedestal.”

WHO: Arran Birks

WHAT: “I’m a liar. You’re a liar. We’re all liars. But why? On a mission to find out is solo comedian Arran Birks. During the show, Birks breaks down the woes of his ex-corporate job, faces the fears of his health issues, and encounters a lie detector that fights back. Formerly of the Oxford Revue, Arran Birks gets honest about being dishonest.”

WHERE: Strathmore Bar (Venue 160) 

WHEN: 12:40 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my fifth time in Edinburgh, fourth time as a visitor to family, third time at the fringe, second time as a performer (I performed with the Oxford Revue last year), first time as a solo performer. The fringe is a vital and comprehensive celebration of all things entertainment. I always get drawn back because while promotion and performing are overwhelmingly competitive, there doesn’t exist a better place to perform or watch comedy acts. In my opinion.

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

I put off trying to do a solo stand-up show for years because I thought I wasn’t ‘ready yet’. At the beginning of 2023, I gave in to the unexplainable insuppressible urge that the time for waiting was over and I should just do it. From this, I would think that a lesson 2022 taught me was that I should stop waiting for something to happen to me and go out and make it happen myself. But that all sounds very self-important. Maybe I just need a pedestal.

Tell us about your show.

My show ‘Arran Birks: Truth Hurts’ was entirely created and written by me. I haven’t premiered anything pre-Edinburgh – the festival shows will be the only shows. Unless someone likes it and wants me to perform in their garden or something. The process of making it took about seven months on-and-off, while I debated with myself whether it was a good idea. I eventually convinced myself I wanted to know what a stand-up set marred by an annoying lie detector would be like. Safe to say I am significantly bricking it.

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

My brother Fraser Birks is doing a show called ‘How to Prevent the AI Apocalypse’, which is through PBH’s Free Fringe, just like my show. His differs from mine in that his is a Science & Rationalism show, and those are a rare breed at the fringe. His show is well worth seeing for it being the perfect balance of informative, thought-provoking, & funny. We could all do well learning more about Artificial Intelligence!

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: Dazzling

Posted in *Written Interviews, EdFestivals 2023 by

“I had my name plastered all around the city on a poster that said ‘Ugly Chicken Fisters’ in huge writing.”

WHO: Holly Sewell

WHAT: “Alix is in their mid-twenties and, at first sight, full of the joys of life with flatmate Jan. But the cracks quickly start to show, and they get wider, and darker. A relationship with a beautiful stranger frames six months of their life, triggering drastic career changes and relapses into depression and substance abuse. ‘Undoubtedly tragic… but so joyous in its raw depiction of emotion’ (TheTab.com), it’s a portrait of a modern, queer woman’s descent into despair. Dazzling premiered in March to a sold-out run in Cambridge. ‘A stunning production that I could not recommend enough’ ***** (TheTab.com).”

WHERE: theSpace @ Niddry St – Studio (Venue 9) 

WHEN: 13:10 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes! A few of the company members have been before, but it’s our first time taking a show up together. For me, it’s the first time I’ve even gone. I’ve been doing a Maths degree for the last three years, and didn’t have a clue what I wanted to do until I tried writing a play, completely impulsively, last summer. It was the best impulse I’ve ever had (and I have a LOT of them), and I entered it for a competition, which I didn’t expect anything to come of really. Since I thought it would never see the light of day, I called it ‘Ugly Chicken Fisters’. Funny, right? No – it ended up winning a week’s run at a student theatre, and I had my name plastered all around the city on a poster that said ‘Ugly Chicken Fisters’ in huge writing. Ridiculous.

The play we’re taking to the Fringe is a little less crassly named; Dazzling. It’s more personal, more intense, and much darker than the last one, and I’ve been lucky enough to have a team of some of the most genius people I’ve ever met working on it. It’s been so brilliant to have people who are more Fringe veterans than I am on the team. Without them, I think the make-or-break environment of Fringe, even just online, would feel terrifying and impossible to navigate.

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

In a classic move from someone who likes to write, I think I’ve tried to sum up the lessons I’ve learnt in the last year in the show! I’m sure everyone feels like this, but when I look at myself from the start of 2022, I see a pretty young and vulnerable person. Something I’m trying to work on is taking accountability in my relationships when things go wrong – definitely not totally sunk in yet, but it’s slowly getting better. The protagonist of our show, Alix, is the embodiment of someone who hasn’t learnt this yet. They’re utterly selfish, (again, something I’m trying to work on!), eventually to the detriment of themself and everyone around them. I always have to remind myself that being self-absorbed in an insecure/critical way is still being self-absorbed! There’s no point sitting around telling yourself you should be better. Try putting more energy into other people than yourself.

That being said, I’m very much a work-in-progress in all these ways – super clichéd to say, but it’s true. I’d love to think I’ll get to the point of totally absorbing all sorts of life mantras, but rewiring your brain is such a slow and painstaking process. Always good to give it a go, though!

Tell us about your show.

Dazzling is a solo show about love, art and addiction. I wrote it after a tumultuous year of relationships, and needed somewhere to put all the feelings I was having. It’s extremely intimate and emotionally intense – we’ve had quite a few people leave the show in tears. There’s a smattering of Fleabagesque humour (and a nod to Fleabag in the show), but it’s more dark than it is funny. Having got my friend to produce the last show I did, I decided it wasn’t worth the stress of finding a producer and produced the first run we had, which was just three nights in Cambridge. For Fringe, I’m really lucky to have found a fellow theatre-lover to help me with all the extra challenges producing for the Fringe brings. We’d love to go on tour to more places with it after Fringe, but for now we’re just working on one thing at a time.

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

Go and see something that’ll make you feel good – something different from ours, you’ll want the relief! Two shows I’m really excited about are Character Flaw, which is a show all about having ADHD (odds are you’ll relate if you’re spending a month at Fringe), and Meat Cute, which is all about a woman on a mission to turn her Tinder dates vegan, and which has already had a big shiny array of five-star reviews. If you’re on the look-out for something in the same vein as us, check out Lovesong Prods’ ‘Sing, River’ – it’s a queer folk musical, and looks visually absolutely stunning. Or if you’re at Fringe before us, check out Peach Productions’ Wishbone, all about a queer ex-couple in isolation together! Show lots of love for queer folk, POC folk, women, trans-led companies, disabled-led companies and any kind of marginalised voice you can come across in the deafening racket of Fringe. It’ll be wonderful and joyful and creative and you’ll have a better time the more different voices you get to hear.

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: 30 Minute Musicals: Top Gun

Posted in *Written Interviews, EdFestivals 2023 by

“You can have all the time in the world, you’re never quite ready.”

WHO: Brooke Seguin

WHAT: “30 Minute Musicals, direct from Hollywood, reports for duty with their fan favourite musical parody of quintessential homoerotic 80s film, Top Gun. Don’t miss singing and dancing fighter pilots flying high in the sky, steaming up the locker room and getting sweaty on the beach!”

WHERE: Assembly Checkpoint – Assembly Checkpoint (Venue 322) 

WHEN: 19:50 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is our second time at Fringe with 30 Minute Musicals! Though some of our performers, IE Tom Lenk, have been many, many with multiple productions in the past: Tilda Swinton Answers an Ad on Craigslist and Lottie Plachett. Performers love to return to Fringe year after year because it’s so special. There’s such an explosion of art in Edinburgh during fringe! It’s addicting! Even though producing/performing at Fringe is incredibly hard, exhausting work, it all becomes worth it onstage when you have that connection with that audience.

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

Ha! Well, we initially tried to get back to fringe in 2020, 2021, AND 2022… Some of those years, it was obviously impossible. But, 2022, we just weren’t ready or recovered enough from “pandemic-times” to make it from the US to EdFringe!! What have I learned?? You can have all the time in the world, you’re never quite ready. Fringe is always a leap into the unknown and, no matter what, is always THRILLING!

Tell us about your show.

I am responsible for writing/directing the show. All of our performers: myself, Tom Lenk, Tommy Hobson, Brant Cox, JD Barton, Mark Jude Sullivan, and Nathan Frizzell with our trusty Los Angeles Stage Manager, Stephaine Boltjes, are responsible for production the show at Ed Fringe. The show was originally produced in LA back in 2012 and has undergone many iterations throughout the years. We brought it to Fringe in 2019 as a part of a roulette series where the audience picked the show they’d like to see that evening, between – Top Gun, Jurassic Park, and Die Hard. Jurassic Park won many nights. So, we brought Top Gun back to give the show it’s due.

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

I will definitely be seeing “Chris Grace: As Scarlett Johansson”! Chris is hysterical ALWAYS. I’ve been looking forward to his show. Baby Wants Candy – always great. Also, “Tim Murray is Witches” is a must see. I had the opportunity to catch “Blue” in LA, written by June Carryl, who will also be starring in this production with Assembly, and that show was stellar!!! Very thought provoking and impactful! Can’t wait to see it again here at Fringe. …. and I can never get enough Reuben Kaye. I’m still talking about things I’ve seen at The Kaye Hole years later. Very excited to share a venue with one of my favorites at Fringe!

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: Gate Number 5

Posted in *Written Interviews, EdFestivals 2023 by

“You generally have no idea what’s going to happen. And meeting one special person, who inspires you, can take your life to a whole new place”

WHO: Henriette Laursen

WHAT: “A half-live, half-virtual interracial lesbian love story between a white European and a black former refugee. Become a passenger on a funny and heartfelt journey from their first date to a loving, cheeky, honest (sometimes too honest) lesbian relationship, told in a mix of film, visual media and live performance. Inspired by true events, prepare to fall in love as they begin their extraordinary, almost too good to be true, love story that leads them through life to Gate Number 5.”

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

WHEN: 16:55 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is not my first time in Edinburgh, no. Years ago, I was fortunate enough to get an Erasmus spot at Glasgow University (granted I was the only one applying for it), and I got to spend 4-5 months roaming the Scottish landscapes – and Edinburgh was one of them. And what a contrast this stunning, old city was to the edgy life of the home of Trainspotting.

Although I partook in drama, starring as the fearful pirate #4, in the student production of Peter Pan, I surprisingly never made it to Edinburgh Fringe during my time there.

Years went by, and instead I was to pop my Edinburgh virginity with my own comedy show, Going Straight to Gay, when I secured a great spot at a great venue in the year of 2020.

Since the year that never happened, performing at Edinburgh Fringe has been at the top of my bucket list, and I think the magic of it is, that between thousands of shows, yours might stand out, and that thrills me. Furthermore you get to see a bunch of new theatre all in one place and all in a few days – how often does that happen? (I guess the answer would be once a year and all over the world at theatre festivals multiple times a year, but you know what I mean).

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

Depends on when in 2022 we are referring to. At the beginning of 2022, I was recently dumped, 30 years old, living in a flat-share and had next to no income, sure that this would be my life for the rest of my life (because, you know, women’s worth declines after 25 right?), so I was ready to invest in a pet – had I had money for it.

Then, later that year, I met my girlfriend (when we first met, she was just a hinge date – the girlfriend part came later that year), and I fell in love. She did too. We became a couple, and she inspired me to write a story about two women in love, who are not traumatised by being queer, which is – surprise, surprise – the story I’m bringing to Edinburgh this year.

Fast forward to 2023 – I’m only a year older, but no longer live in a flat-share, are thankfully not recently dumped and have a proper income (the last bit is a lie, there’s still not a proper income).
So what I learned, is that you generally have no idea what’s going to happen. And meeting one special person, who inspires you, can take your life to a whole new place – whether that person being a friend, a date, a co-worker or partner.

Tell us about your show.

The show is a half-live, half-virtual interracial lesbian love story between a white and a black immigrant told in a mix of film, visual media and live performance. So, opposite traditional theatre where all the characters are on stage, and opposite the general one-person show, my show is a mix of both, where I’m the only one on stage and the other characters are projected onto a backdrop. Why you may ask? That good question will be answered during the show.

The main team consists of Rasheka, Callista, Vincent and I, and we came together through different platforms.

Vincent, our DOP, and I went to East15 together, and we’ve been creating short films on-and-off since, so when he offered to film the show for me, I was extremely happy to say ‘Yes, please!’.
Rasheka, my director, and I met last year when this show was an 8-minute monologue. I loved her vibe and asked if she wanted to join as director for the full 1-hour performance. So, in other words, she’s really been part of the show from the very beginning.

Callista, my co-producer, I contacted through Young Vics program, and after a chat over coffee, she was keen to help bring this story to life.

We’ve had some work-in-progress and pre-views in London but our premiere will be on 20th August at Edinburgh Fringe. Our goal is to tour the show after Edinburgh and the dream would be to perform this piece again with a proper run in London – and in Denmark where I’m originally from, as I believe this immigrant story is important to share.

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

I’m basically sharing the list of shows I have on my GET-TO-SEE LIST, and it keeps growing, so i do apologise for the shows I think you should see, but don’t currently have on my list.

Paved with Gold and Ashes (another show about immigrants, YES!)

Apple of My Eye (Steve tends to do one-person shows that excel in all its form)

An Evening With the Ladies of The Sutton Coldfield Cliff Richard Fan Club 1995 (Paul is by far one of the most talented performers – although he’s not performing in this, he wrote it – so I have high expectations and he normally lives up to them. He’s also just a bloody lovely human being, that anyone would be lucky to encounter)

INSIDEREN (Anne, who wrote the play, is a talented Danish play writer, that I’ve been fortunate to work with back when I started out. I’m extremely excited to see what she does next!)

Actually, Good (when anyone gets compared to my absolute favourite play writer Duncan MacMillan I’d be stupid not to go see this play by Gillian)

Trojan Women (I’m a history geek and love everything ancient greek – especially with stories from women’s perspectives as they are often missing from history. I’m guttered I’m not in Edinburgh when this is on).

I’m also excited to see a bunch of female-driven and queer theatre!

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: Blue

Posted in *Written Interviews, EdFestivals 2023 by

“People WANT theatre.”

WHO: June Carryl

WHAT: “Newly promoted FID detective LaRhonda Parker is assigned to investigate the death of a Black motorist during a traffic stop involving her husband’s ex-partner, Boyd Sully, a 29-year veteran. His story keeps changing, but a disturbing revelation forces Parker to decide whether to protect one of her own or pursue an investigation that could up-end her marriage and her career.”

WHERE: Assembly George Square – The Box (Venue 8) 

WHEN: 17:05 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I’m new to the Edinburgh Fringe, but fell in love with the idea of going around 2014 after producing and performing in another two-hander at the Hollywood Fringe Festival. Tore my hair out a lot that first go round! There’s just so much to think about — where do you put the show up, how do you raise the money, how do you get audience, buzz — it’s kinda nuts but really wonderful at the same time. My director, Michael Matthews, and producers Julanne Chidi-Hill (who originated the role in the World Premiere in Los Angeles), and Mark Giberson brought a couple of really cool shows twice in years past, THE BACCHAE and SLEEPING GIANT. The flyers, man. That’s what scares me most. The flyers. What makes a great festival is the people! There’s so much excitement at the prospect of performing. No one telling you, “No, you can’t.” If you can dream it, you can do it. It’s awesome.

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

Getting to workshop BLUE in 2022, I think the biggest eye-opener is that people WANT theatre. Are still hungry for it. Especially since the pandemic forced us into separation. It’s a different kind of theatre mind you: less spectacle, more rooted in story and relationship. I think the theatre closures we’re seeing in the US are actually a sign of theatre going back to its roots: people coming into community to experience something deep and meaningful together.

Tell us about your show.

The show is called BLUE. It’s a two-person play written by me, June Carryl. It had its world premiere in Los Angeles this past April at Rogue Machine Theatre in West Hollywood. John Colella originated the role of Sully and Julanne Chidi-Hill originated the role of Parker. Director Michael Matthews was really clear about who he wanted and when he named them, I was just like, YES. THEM. I was sitting in Matthews’ after we signed on for the run at Rogue Machine and said, I want to go to Edinburgh and he was like, “Okay. You call Mark. I’ll call Rebecca [Eisenberg], and that was that. Colella came on as producer and is reprising his role and Julanne is our cover. We’re hoping to take the show to New York after this.

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

SEE THIRTY MINUTE MUSICALS!!! They’re doing a spoof of TOP GUN. I had the chance to see it and it’s PHENOMENAL.

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!