Category Archives: EdFestivals

All our coverage, from all Edinburgh’s festivals, past and present.

Elizabethan (theSpace @ Surgeon’s Hall: 3-11 Aug: 12:05: 50 mins)

Posted in 3*, EdFestivals, EdFestivals 2018, EdFestivals 2018 – Reviews, Musical Theatre by

“A healthy serving of bawdy silliness “

Editorial Rating: 3 Stars

Elizabethans aren’t particularly well-known for their musical theatre prowess, so developing a one-man (is it fair to call it a juke-box?) musical comprising songs only from the turn of the 17th century sounds like a risky move, but a compelling concept for those of us who enjoy a bit of both history and musical theatre.

The resulting Elizabethan follows the loves and losses of one Tobias Bacon, who comes of age after his father dies in 1599. Yet though it’s billed as a musical, what’s delivered is much more like a comedy cabaret – a lot of chat and period puns, with the odd musical ditty thrown in – but with very little in the way of narrative or emotive development. Disappointing if you’re expecting to be wowed by a 17th century equivalent to Tell Me on a Sunday, but packed with laughs and merriment – especially if you’re a fan of historical wordplay.

Elizabethan is created and performed by David William Hughes, who accompanies himself on the lute for each song. This stripped back musical simplicity of man and lute certainly works for the more melancholic moments, while attempts to rock out and mix up the vocal styling do go some way to adding interest and excitement to the subtle nature of the music when required. Hughes is clearly a gifted musician, but more complex arrangements and variety in style would help keep the songs more engaging while maintaining the integrity of its renaissance roots.

Hughes also shows himself as a very competent improviser in relation to audience reactions, which is where perhaps the biggest risk of this production becomes apparent. Hughes requires several audience members to participate in this production (though – thankfully! – nobody is asked to sing or play the lute), and these contributions make up a good bulk of the comedy and tension within the performance. While willing subjects make the show fresh and funny, it does rely rather too heavily on their good grace and humour for my liking.

On the whole, Elizabethan is a healthy serving of bawdy silliness with a couple of nice (though fairly samey) songs thrown in. It’s good for a giggle, though somewhat lacking in depth.

 

Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 5 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Stardust (Pleasance Dome: 1-27 Aug: 16:20: 60 mins)

Posted in 4*, EdFestivals, EdFestivals 2018, EdFestivals 2018 – Reviews, Pleasance, Potterrow & Teviot, Theatre by

“Entertains and enlightens”

Editorial Rating: 4 Stars

While, to many, the Fringe is a place to be entertained, it is also a place to be challenged and to learn something new. I’m not ashamed to say that before watching Stardust I knew very little about the country of Columbia. And that my knowledge extended barely any further than the stereotype it has garnered for being the home of cocaine – another subject about which my knowledge was paltry. Step up, then, this part-documentary, part one-man-theatrical-masterclass which entertains and enlightens on both counts.

In entering the space, performer Miguel Hernando Torres Umba gives each audience member a warm welcome and entrusts a select few to look after mysterious boxes, which go on to become significant parts of the show (nothing scary!). The mood set is one of familiarity and friendship as Umba then explains his Columbian heritage and the purpose of the show he has created as artistic director of Blackboard Theatre.

What follows is a whistle-stop tour through the history of cocaine, how it has become a multi-million pound (and very dangerous) industry, and the wider effects this industry has around the world. With very imaginative use of audience interaction, projections, sound, contemporary dance and many other devices besides, it’s certainly a feat in creative communication. Yet while each section is captivating and powerful, the connection between them often comes across as a little disparate and scrappy, working against the relaxed and open atmosphere at the heart of this show. The game show element in particular is engaging and fun, though rattled through almost too quickly to get the most out of it, and then we’re on to a different aspect of the story.

The joy of this performance, though, is driven by the passion and personality of Umba. His likeability and charm make the learning very enjoyable, and his honesty and communication style are very engaging without going over the top. He shows himself to be adept at multiple performance styles within the piece and knowledgeable and authoritative about his subject.

Overall, Stardust is a well-thought out and compelling discussion, though disappointingly (albeit achingly honestly) leaves a bittersweet taste as there appears to be no resolution or obvious path forward. Well worth watching to learn a few facts about Columbia’s biggest export, though.

 

Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 2 August)

Visit the  Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Bowjangles: Excalibow (Gilded Balloon: 1-26 Aug: 14:00: 60 mins)

Posted in 4*, Comedy, EdFestivals, EdFestivals 2018, EdFestivals 2018 – Reviews, Gilded Balloon, Music, Rated: Outstanding, Theatre by

“I don’t think I’ve ever come across a more multi-talented group”

Editorial Rating: 4 Stars: Outstanding

Bowjangles are not your average string quartet. Indeed, they extend the well-known triple threat (performers who can sing, dance and act) to a fourth dimension by adding the musical string to their bow. (Sorry). And what’s more: they can do all four at the same time. Prepare to be amazed as these performers act out a dramatic saga while accompanying themselves (more than capably) on their instruments.

Excalibow is Bowjangles’ latest Fringe offering (marking the troupe’s 10th year together) and sees them embark on an adventure to find the magical bow Excalibow, which will enable them to become (ahem) the Lords of the Strings. Yes, the jokes and musical puns are that good throughout. It’s a fairly ridiculous story, that unfortunately come across as a rather hastily put together pastiche of fairytales, but the characters are fun and fantastical, and the ever-changing mood created by the performers and their instruments is nothing short of masterful. I don’t think I’ve ever come across a more multi-talented group in all my years of reviewing.

What really makes this performance special, though, is the chemistry and personality that ooze from this awesome foursome. They appear very natural onstage together, and are clearly very well-rehearsed and comfortable in being able to deliver this slick and energetic production. Their smiles never stop beaming, so even if the thought of watching an all-singing, all-dancing string quartet brings you out in a cold sweat, you’ll no doubt find yourself swayed into at least a grin by their charm and charisma.

For me, the overall structure and narrative of the piece is where it all falls a little awry, as the action chops and changes between many locations and subplots that it all gets somewhat confused – though the fun and frolicking nature of the performance makes this relatively unimportant in terms of overall enjoyment. Particular highlights include a snippet from a well-know ABBA song, and a comedic take on a certain moment from the film Titanic.

This is a show that’s bags of fun, packed with personality and great for the whole family (bar the odd naughty word which slips out). A definite for the shortlist as a welcome break from some of the harder-hitting shows out there.

 

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 2 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

FCUK’D (Gilded Balloon: 1-27 Aug: 12:30: 60 mins)

Posted in 4*, EdFestivals 2018, EdFestivals 2018 – Reviews, Gilded Balloon, Potterrow & Teviot, Spoken Word, Theatre by

“Hints of truly brilliant wordplay”

Editorial Rating: 4 Stars

There’s been a pleasing rise in popularity in spoken word and verse performances over the last couple of years, opening theatre up not just to new audiences, but also new artists who might previously have thought the medium too inaccessible for them. And what makes the Fringe so special is being able to experience stories of those that don’t normally get a stage. FUCK’D is one such verse piece, where a young man from an estate in Hull, who dropped out of school early, longs simply to stop his little brother being taken away from his broken home by the authorities.

Following their mother’s breakdown having being left by their father, the two boys must fend for themselves, and when the clipboarded do-gooders finally arrive in their shiny cars, the elder brother makes the split-second decision for them to both jump out the window and run for it. With no plan and less money, the journey they make is one of desperation, reflective of the plight of many such teenagers around the country today.

Niall Ransome’s script cleverly interweaves narrative drive with descriptive passages to tease out the background and develop the world the characters grew up in. A romanticised view of their home estate and its personalities nestles next to the tense escape scene, while reminiscences of rainy picnics are juxtaposed with hiding under a bridge, to add poignancy and personality. It’s artistic and moving with hints of truly brilliant wordplay.

George Edwards is the performer tasked with delivering this urgent tale, and he commands the stage with power and honesty. It’s a tough task to sustain the rhyme and mood for almost an hour, but this is a commendable effort, supported by a simple yet effective soundscape.

While the narrative and performance quality lacks some of the artistry and finesse of works by similar artists such as Luke Wright, this is a solid and capable outing that is almost aching with potential. It would be great to see a bit more pumping pace and extremes in mood to create more intensity – and while Edwards does very well to carry the performance, more dynamic changes and depth would really make this show zing.

A sterling effort, that with a bit more polish could become something very special.

Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 2 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: Glasgow ’14

Posted in *Written Interviews, EdFestivals 2018, Plus 3 2018 – Features by

“I have had personal experience of male mental health problems and know the isolation and anxiety it can cause amongst family and friends, male and female of those affected.”

WHO: Sally Lewis, Writer

WHAT: “From award-winning director Benet Catty, this one-man show examines the ‘unseen’ illness of male mental health through the eyes of four different male characters, coping day to day, when an unexpected trauma sets the picture unraveling. Writer Sally Lewis, who scored a hit at the Edinburgh Festival Fringe 2016 with How is Uncle John?, returns by popular demand with an equally sensitive take on an overlooked subject, inspired by real life stories. All four characters are played by master of the monologue, actor Neil Gwynne.”

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

WHEN: 20:10 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I made my Fringe debut in 2016 with ‘HOW IS UNCLE JOHN’, a powerful story about modern day slavery, but Ben Catty, our director, is a Fringe veteran having been here with 6 plays,of which three won London Fringe transfers and four featured on multiple Critics Choice lists. Neil Gwynne, actor and master of the monologue makes his debut playing four characters in this one-man show.

What’s the biggest thing to have happened to you since Festivals ’17?

For me its the opportunity to write this play and work with mental health charities such as Brothers In Arms Scotland to get male mental health out into the open and start the conversation. It’s been vital to me to see how men can find support and know they do not have to suffer alone, since Festivals ’17 I have had personal experience of male mental health problems and know the isolation and anxiety it can cause amongst family and friends, male and female of those affected.

Tell us about your show.

Neil, the actor brought ben (the director) and myself (writer) together. Neil and Ben were old friends who went back to theatre school days, I was the newcomer. Neil already had an idea about looking at male mental health as a subject and we chatted. He had read my script for HOW IS UNCLE JOHN and liked the style of my work. Together we collaborated on what is now GLASGOW ’14. We had one performance back in Neil’s home town of Romsey and are delighted to say it went down well. We are all keeping our fingers crossed and hoping for a tour after Edinburgh.

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

They should visit the bar firstly. There’s nothing like a drink and a chat to let the play really seep into the consciousness. Then they should head off to see My Left/Right Foot – the musical, and the Underground Railway Game @The Traverse.

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+3 Interview: Antigone na h’Éireann

Posted in *Written Interviews, EdFestivals 2018, Plus 3 2018 – Features by

“It was a huge challenge dealing with a brand new Fringe in a brand new city for the first time (not being able to flyer in City of Manchester council area being a prime example) but it was exciting and ultimately paid off.”

WHO: James Beagon, Director & Writer

WHAT: “Driven by faith to resurrect the IRA, Annie battles to bring her family the honour they deserve. A new Northern Irish adaptation of the myth by multi award-winning writer James Beagon. In the not too distant future, a hard-border Brexit has severed Ireland in two once and for all. Annie and her siblings will not let this stand. An unshakeable shadow lingers over their journey as faith, family and factions collide: the shadow of their father and the memory of the Disappeared. Inspired by Sophocles and other sources. ***** (Families Edinburgh). **** (FringeGuru.com). **** (BroadwayBaby.com).”

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

WHEN: 18:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is the fifth successive year that Aulos has presented a production at the Edinburgh Fringe and we’re thrilled to be back at Paradise once more!

Last year, we presented “Gobland for the Goblins!”, which won Best Children’s Show at the Derek Awards, and in the years before that we produced “Lest We Forget”, “Women of the Mourning Fields” and “First Class” respectively.

What’s the biggest thing to have happened to you since Festivals ’17?

Probably the biggest thing would have been in July, when we toured “Antigone na h’Éireann” not only to the Buxton Fringe (which we’ve done several times before) but also to the up-and-coming Greater Manchester Fringe for the first time.

It was a huge challenge dealing with a brand new Fringe in a brand new city for the first time (not being able to flyer in City of Manchester council area being a prime example) but it was exciting and ultimately paid off with a collection of very good reviews which we otherwise wouldn’t have.

Tell us about your show.

“Antigone na h’Éireann” is a brand new take on the Greek myth and more than a simple adaptation of the famous Sophocles play. Instead, it’s a completely new script which draws its inspiration not only from the Sophocles but also from other classical writers who told the story in a different way.

It’s set in a hypothetical post-Brexit Northern Ireland in 2019, where a “hard border” has resulted from the UK leaving the EU and the island of Ireland is essentially severed in two. But Brexit isn’t really the focus of the play; instead, our play is about faith and family. Annie (our modern Antigone) is a devout Catholic in our version of the story, and the play deals with the conflict between her religious and political ideals, as well as the looming shadow that the legacy of her father casts.

As previously mentioned, we’ve just come off the back of a week’s run at the Buxton Fringe and Greater Manchester Fringe, where we picked up an award nomination and several excellent reviews. There’s talk of performing it after the Edinburgh Fringe finishes but it’s very much hypothetical at this stage.

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

We have loads to recommend! There’s so much excellent stuff happening this Fringe and a lot of it is from Edinburgh. The shows that immediately come to mind are:

– “Twelfth Night” by Some Kind of Theatre, performing at Paradise in the Vault
– “Ganymede” by TypeCast Productions, performing at Paradise in Augustines
– “The Monster In The Hall” by Capsize Collective, performing at theSpace on the Mile
– “Dr Korczak’s Example” by Strange Town Theatre Company, performing at the Just Festival at St John’s Church
– “Like Drowning” by Theatre Paradok, performing at theSpace on Niddry Street
– “Number, Please” by Paprichoo, performing at theSpace on North Bridge
– “The Henriad: Histories of Betrayal” by Festivus Collectivus, performing at Greenside on Royal Terrace

There are more but that’s a good start to keep you going for a while!

A cheeky bit of self-promotion – we’re also doing a second show “Shakespeare Catalysts” from 20-26th at Espionage as part of the Free Festival, but we’ll do a second interview for that one!

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+3 Interview: Individual Medley

Posted in *Written Interviews, EdFestivals 2018, Plus 3 2018 – Features by

“I’m really excited to get more time in the city and discover more good people, more good food and lots of creativity.”

WHO:  Katrina Quinn, Writer, performer, producer

WHAT: “Q: What happens when you move a 12-year-old from Basingstoke to Zambia? A: She swims. Katrina weaves together poetry, swimming lessons and some 00’s RnB in a mesmerising coming-of-age memoir about crossing borders. Learn to butterfly, learn how to speak to boys, learn to fit into your skin. And remember to ‘breathe, 2, 3, 4…’ Award-nominated at Brighton Fringe. ‘Katrina’s poetic prowess is truly gold-medal material’ (The Cornishman).”

WHERE: Sweet Grassmarket – Grassmarket 4 (Venue 139) 

WHEN: 11:55 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

As a Fringe performer yes, although I’ve been several times before to visit and love it! One trip involved improvised dance (with flags) at Arthur’s Seat, on the Royal Mile and in the Castle grounds. Other trips mainly revolved around good people and good food, and last year: the Fringe. So I’m really excited to get more time in the city and discover more good people, more good food and lots of creativity.

What’s the biggest thing to have happened to you since Festivals ’17?

Ooooh… I became an aunty, moved into a lovely flat right by the sea, and signed up for Edinburgh!

Tell us about your show.

I wrote, performed and produced “Individual Medley”, which debuted at Brighton Fringe 2017. It was a bit of a solo-endeavour, an experiment post-turning-30 to see if I could give this creative thing a proper go instead of letting life be overtaken by ‘proper’ jobs with barely time to perform poetry now and again. That said, through performing the show and developing it over the past year I’ve met and worked with some brilliant women: Lauren Gauge, Jesse Payne, Rosie Powell, The Junkyard Dogs ladies (award-winning Brighton venue).

Since Brighton, “Individual Medley” has gone to Penzance Litfest, Hove Grown and Swindon Fringe. In the future it would be awesome to perform it in or next to a swimming pool!

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

Pecho Mama’s “Medea Electronica”, which is a lot darker but very moving with a stunning live soundtrack. Rhum & Clay’s “Mistero Buffo” because they never disappoint (and I did drama A-level with Julian and Nick and they’re ace). Kinky Theatre’s “Love like 90’s RnB” if you didn’t get enough TLC, or “The Mariner” for more poetry and water. I’m looking forward to seeing Harry & Chris and Flo & Joan for musical comedy genius. And for more spoken word shows check out Robert Garnham, Fay Roberts and Koko Brown.

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+3 Interview: The Basement Tapes

Posted in *Written Interviews, EdFestivals 2018, Plus 3 2018 – Features by

“I lost my front tooth! If you come to the show, please humour me by saying you can’t notice the fake.”

WHO: Stella Reid, Performer/co-author

WHAT: “Following her grandmother’s death, a girl faces the overwhelming task of clearing out the basement. She discovers a series of mysterious tapes with recordings made by her grandmother. As she hears these tapes for the first time, things start to unravel… Twin Peaks meets Serial in this award-winning New Zealand mystery, set and performed literally in a basement. Inspired by podcasts and Robert Lepage’s comment that radio is the most visual medium. ****1/2 (Age). ****1/2 (Sydney Morning Herald). ‘Totally engaging. A must-see production’ (Stuff.co.nz). ‘Eerie, thrilling and totally engrossing’ (TheatreView.org.nz).”

WHERE: Summerhall – Former Womens Locker Room (Venue 26) 

WHEN: 18:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I went to Edinburgh as an audience member in 2012. I found it very overwhelming, and had no idea what to choose to see, but looking back that may have been because of the impending sense the world was going to end. It didn’t, thankfully. Which is why I’m here again six years later.

What’s the biggest thing to have happened to you since Festivals ’17?

After performing The Basement Tapes in Melbourne Fringe in 2017 I ended up in hospital with a jaw infection. I lost my front tooth! If you come to the show, please humour me by saying you can’t notice the fake. Oh, and The Basement Tapes’ director Jane Yonge got married to her longtime high school sweetheart Robin, which I think is just as equally important and life changing.

Tell us about your show.

The Basement Tapes fire was ignited when a tape recorder was found while cleaning up my Grandmother’s house when she died. This artefact was its own little mystery (Why did she have this? Why in the basement? What did she record?) but something about this obsolete technology inspired me in a Lynchian, Buñuel fashion. Bringing together three other devisors, including director Jane Yonge (married), sound designer Thomas Lambert (of NZ’s Sonorous Circle) and set designer Oliver Morse (who built his own house!), we wrote the story that is The Basement Tapes together over one year. We are lucky to now be joined by producer Lydia Zanetti, from Zanetti Productions, as we bring our show halfway across the world for the first time.

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

Given the vibe of place I’ve got so far, I’d advise they stay at Summerhall and see Extinguished Things (as soon as we are over!), Sam Snedden’s livestream Running, Valerie by Last Tapes, and finish the night (or really begin?) by listening to the audio tour Happy Hour by Binge Culture.

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+3 Interview: James Hancox: Sports for the Unsporty

Posted in *Written Interviews, EdFestivals 2018, Plus 3 2018 – Features by

“I bought a window box. It’s probably the most adult thing I’ve done.”

WHO: James Hancox, Performer

WHAT: “Do you have the heart of an athlete, but the skills of a toddler? Then this is the show for you! James Hancox is rubbish at sports. As a response he’s invented his own, and plans to unveil them to the world. Remember, if you can’t beat them, just make up a different game and beat them at that instead. Star of 8 Out Of 10 Cats Does Countdown and the award-winning Abandoman. ‘Lightning quick wit… has us all laughing uproariously’ ***** (GutterCulture.com). Nominated: Best Comedy Award, Fringe World Perth 2018.”

WHERE: Assembly George Square Theatre – The Bubble (Venue 8) 

WHEN: 16:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I’ve been to the Fringe four times before with Abandoman, but this is my first time solo!

What’s the biggest thing to have happened to you since Festivals ’17?

I bought a window box. It’s probably the most adult thing I’ve done. I spent a weekend researching which plants grow in shady areas. Oh, and I was nominated for a comedy award (Perth Fringe World).

Tell us about your show.

My show is called Sports For The Unsporty. I’ve always been awful at sporting things, so this year I’ve decided to make up my own sports and teach them to Edinburgh. The sportmaking formula is quite simple as I see it: take an action; repeat that action for 90 minutes; get really good at it; become the face of crisps like Gary Lineker. The show is produced by Sharon Burgess Productions. I took it to Perth at the start of 2018, where it received 5 star reviews and a Comedy Award nomination.

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

JOEY PAGE, JOSH GLANC and KATIE PRITCHARD are all doing gloriously silly stuff at the moment. DAN ATTFIELD’s show last year was a funny blend of Google-based nerdery and musical comedy, so I’m looking forward to seeing this year’s show. If you like surreal games, check out ZAZUTINANY. Or for the perfect Fringe experience, go see the 6-ft bearded bombshell GINGZILLA in The Bubble (the same venue as me!)

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+3 Interview: Dysney Disfunction

Posted in *Written Interviews, EdFestivals 2018, Plus 3 2018 – Features by

“The show’s a heart-stopper. You’re going to be swept up in the magic of it all, but the rug is also going to be pulled from underneath you.”

WHO: Michelle Sewell, Writer/performer

WHAT: “In Brexit Britain happily ever after (and UK residency) is just a marriage visa away. But Australian Alice’s visa expires today and she’s only got Primark flats for glass slippers, an Oyster card for a pumpkin coach and a prince who won’t twerk. Love, Alice thinks, is a fairy tale. Visa-less and forced to return to a country she doesn’t call home anymore, she waits at the tube for Prince Charming to rescue her. Alice quickly learns love changes people and childhood stories have no place in the adult world. Created by Malcolm Bradbury Award winner Michelle Sewell.”

WHERE: Assembly Rooms – Front Room (Venue 20) 

WHEN: 15:40 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It’s the first time I’m bringing a show that I’ve written and performed in. Last year I came up on a StartEast mentorship programme working with British Showcase productions Rhum & Clay’s Testosterone, and had worked on Curious Directive’s Frogman.

Although the first time I ever performed a show at the Edinburgh Fringe was when I was eighteen and it was my first year in drama school in Sydney. I was chosen to be part of this show where I only had like two lines. Now I have fifty minutes to myself. I guess I have a lot more to say now. Haha!

What’s the biggest thing to have happened to you since Festivals ’17?

Finding out that I can’t renew my visa at the end of the year. That was a shock (to say the least…). It gave me the impetus to write this show and it has actually made me appreciate my life in the UK a whole lot more. It’s also made me consider that tear between your home home – being Australia for me- and my home – being Norwich in England. I’ve also been thinking about Tim tams a lot more than I probably should be.

Tell us about your show.

The show’s a heart-stopper. You’re going to be swept up in the magic of it all, but the rug is also going to be pulled from underneath you. The director, David Gilbert, has done an awesome job in building the show into a really enjoyable theatrical piece of drama.

I wrote the piece which started as a three minute performance with SOHO and The Barbican’s Stage at the Walthamstow Garden Party. This then became a five minute journey with Cambridge Junction, Vaults Festival and the Lyric Hammersmith. Now it’s a 50 minute Beast of a play. We’ve previewed at Theatre 503, Cambridge Junction and Norwich Arts Centre. This has been such an incredible experience being able to take the show across the UK.

We’re hoping to transfer it to Adelaide Fringe next year then West End (a girl can dream, yeah?).

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

Oh goodness, there’s so so many kick-ass shows this year. I would definitely say Weird and Dangerous Giant Animals- two one-woman shows that deal with disabilities, which I think are just going to be beautiful and stand out this Fringe. There’s some really great shows from our Norwich friends, Laughing Mirror, who are on at The Space- definitely go check them out! And F*ck you Pay Me at Assembly.

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