Category Archives: EdFestivals

EdFringe Talk: Do This One Thing for Me

Posted in *Written Interviews, EdFestivals 2024 by

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“The sheer scale of the festival, the diversity of genres, the mix of people from all over the world, the enchanted setting–it’s a recipe for something special.”

WHO: Jane Elias

WHAT: “What does it mean to remember the Holocaust in 2024? How do you bear the legacy of trauma while forging ahead in the 21st century? Jane Elias grapples with these questions through an acute portrait of her relationship with her father, a Greek Holocaust survivor. Realizing she may not be able to grant his wish to one day dance together at her wedding, she instead honors him by taking part in the March of the Living in Poland. A transcendental pas de deux between two generations and a daughter’s love letter to her dad.”

WHERE: Bedlam Theatre – Bedlam Theatre (Venue 49) 

WHEN: 15:30 (70 min)

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Is this your first time to Edinburgh?

This is my first time participating in the Edinburgh Fringe! My first visit to Edinburgh was way back in college when I was doing a study abroad program in London and took a weekend trip to Edinburgh (in winter). But it wasn’t until last summer that I returned to the city to finally experience the festival. Some friends and fellow artists from New York were doing shows that I had wanted to see, so I had an “excuse” (not that I needed one!) to take a quick trip over and catch the last four days of the festival. I had such a great time–saw a wide variety of shows, enjoyed the beauty of Edinburgh, and basked in all the positive creative energy. The sheer scale of the festival, the diversity of genres, the mix of people from all over the world, the enchanted setting–it’s a recipe for something special. I can’t yet speak to the experience of the festival as a producer and performer except from the perspective of planning, of which there is a lot! I’m looking forward both to performing and taking in as many shows as possible this year.

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

Oof. One big thing I’ve learned on a more cellular level is the value of delegating. There are many things one can do oneself, but the fact of being able to do something doesn’t mandate that you do it. It’s much better to focus your energies on the things ONLY you can do, and to collaborate with others with whom you can divvy up some responsibilities. This is true both specifically in preparing for the Fringe, and more generally in art and life!

Tell us about your show.

My show is called DO THIS ONE THING FOR ME and is an autobiographical solo piece that I wrote and perform; it’s being produced by me and A/Park Productions. The play spotlights my relationship with my father, who was a Holocaust survivor who was born and raised in Greece. I’m exploring the ways in which our individual narratives and experiences inform each other, and asking what it means to inherit this particular legacy: What are the responsibilities of the next generations going forward? How do we live our lives staying true to ourselves while at the same time honoring our parents? You know, all the easy stuff! The play has had a life in New York in several incarnations over the last ten years: it premiered in the 2013 EstroGenius Festival, then had runs at the Access Theater and TBG Theatre in 2014 and 2015, respectively, both in NYC. The last production was in 2018 in the New York Fringe. I’m excited to be bringing it back and to share it with new audiences in Edinburgh this summer! Beyond Edinburgh is TBD. Stay tuned!

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

My ever-growing list of shows to see includes: N.Ormes (saw it last year and was blown away–look forward to seeing it again!); Yoga with Jillian (I know the playwright and her other work, and this one comes highly recommended!); A Transcriber’s Tale, Ni Mi Madre, Whore’s Eye View, Lost…Found, Unseen, Leni’s Last Lament (all fellow solo performers); Batsu! (didn’t see it last year, but I hear great things); Bill’s 44th (I met the performers last year when I was visiting but hadn’t had the chance to see their puppet show, and now they’re back!); 13th Morning (because I want to know what happens the morning after Sebastian and Olivia get hitched); Bloody Ballad of Bette Davis (what if Bette Davis were a witch? I’m in); Every Brilliant Thing (I’ve hear so much about this play and have yet to see a production if it, now’s my chance!); 3 Chickens Confront Existence (existential crises in the factory farm–who hasn’t been there?)

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EdFringe Talk: Pippin

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“The huge challenge of Edfringe is probably a big part of what makes it such an amazing and satisfying experience overall.”

WHO: Kyri Antholis

WHAT: “In the dimly lit corners of the stage, shadows whisper tales of a young prince: Pippin. Guided by the mysterious Leading Player, watch as Pippin struggles through a labyrinth of desires, constantly grappling with the call of power, love’s seduction and the allure of self-discovery. But lurking beneath the surface lies a cryptic truth waiting to be unveiled, beckoning Pippin to unravel the mysteries of his own existence. This hilarious yet poignant musical, with lyrics by Stephen Schwartz and book by Roger O. Hirson, is sure to leave audiences spellbound in a realm of mystery and wonder.”

WHERE: Paradise in Augustines – The Sanctuary (Venue 117) 

WHEN: 14:55 (60 min)

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Is this your first time to Edinburgh?

Edinburgh University Footlights has done five shows at the Fringe Festival in the past seven years. As an Edinburgh-based, self-funded, and student-run company, we believe the Fringe Festival is an amazing opportunity for upcoming artists to explore innovative forms of art. In that sense, it is also a time where we can push the boundaries of what we do as a company while also providing our members with an insight into working in the industry, making contacts and being immersed in new theatre.

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

As a company, we want to take the good reputation we have built up over the last few years and all the experience we have at Fringe to really push the boundaries with what we can do as a company. We are leaning much more into the individual talents of our cast, and we chose a show like Pippin that can be taken in so many interesting directions by so many different characters for this reason. We want to make the show our own by bringing our own style and personality to what is already a fantastic musical.

Tell us about your show.

This year, Edinburgh University Footlights are bringing Pippin to the Fringe, produced by Kyri Antholis and Tom Beazley, and directed by Amy Stinton. This iconic musical has music and lyrics by Stephen Schwartz (Wicked) and book by Roger O. Hirson (Walking Happy).

Edinburgh University Footlights was founded in 1989 as a student-run musical theatre group. The society has been dubbed as “one of the most respected theatre groups in Britain” by the Edinburgh Evening News.

Pippin premiered in 1972 and won the Tony Award for ‘Best Revival of a Musical’ for its 2013 return to Broadway. However, this is the first time Footlights will be performing ‘Pippin’ and we cannot wait!

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

Our sister society, the Edinburgh University Savoy Opera Group is putting on the 25th Annual Putnam County Spelling Bee, so we would definitely recommend seeing that – they always produce shows to a high standard and it promises to be a lot of fun!

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EdFringe Talk: REVENGE: After the Levoyah

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“For me what is so exciting and fun about the fringe is sitting in the Summerhall courtyard and chatting to people. I have made many close friends in that place!”

WHO: Nick Cassenbaum

WHAT: “Nick Cassenbaum’s two-hander comedy heist, directed by Emma Jude Harris, romps through 2018 Jewish Essex. Through madcap comedy and biting satire, this explosive tale blows the roof off what it means to be Jewish in the UK. Twins Dan and Lauren meet ex-gangster Malcolm Spivak at their grandfather’s funeral. Malcolm, who’s ‘had enough’, enlists the siblings in a ragtag Yiddishe plot to kidnap then-Labour leader Jeremy Corbyn. REVENGE: After the Levoyah examines antisemitism in the diaspora, the dangers of collective hysteria, and how far one nonagenarian can throw a jar of chraine from a moving vehicle.”

WHERE: Summerhall – Anatomy Lecture Theatre (Venue 26) 

WHEN: 15:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is by no means my first rodeo! When I was at uni I came up as a technician for pleasance. Then after I graduated I bought an outdoor show to the royal mile. I was a chef claiming to eat a cucumber whole…I still recall the disgust on audiences faces.

I then bought my first solo show Bubble Schmeisis in 2015 which was about going to the Jewish steam baths in East London. So I have been a few times! For me what is so exciting and fun about the fringe is sitting in the Summerhall courtyard and chatting to people. I have made many close friends in that place!

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

What have I leaned from 2023…Jesus. The world is on fire? Everything is awful? We are sleep walking into a far right global North and no one seems to be doing anything about it?

Tell us about your show.

So REVENGE: After the Levoyah, is a two hander comedy heist. It is about twins whose grandfather passes away and at his funeral they meet ex-gangster Malcolm Spivak. He enlists them to help kidnap the then Labour leader Jeremy Corbyn. This show is really funny with loads of multi rolling and looks to ask the question, ‘what happens when a marginalised community is pushed to breaking point?’

Written by me, Nick Cassenbaum, directed and dramaturged by Emma Jude Harris, produced by Becky Plotnek. The fantastic cast are Gemma Barnett and Dylan Corbett- Bader. We ae previewing at Soho theatre and the hope is to tour it after the Fringe.

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

Josh Glanc he’s hilarious. He was the vilian in the Jewish panto I wrote. Sh!t Theatre, my old pals. can you really go to the fringe without seeing them? I don’t think so. Their show this year looks very special. Louise Orwin, she makes such interesting work and to see her in the main space at Summerhall! Not to be missed. And of course my old friend and colleague Olly Hawes has his show at the pleasance ‘F**king Legend’. Olly’s work is not for the feint hearted and this show promises to include all the charm and all the horror of his other works. Olly is one of the engaging performers around. Ask him, he’ll tell you. I have worked with him for many years and will still go and see this show. That tells you something! But yeh defo recommend.

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EdFringe Talk: F**king Legend

Posted in *Written Interviews, EdFestivals 2024 by

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“A stage fight went wrong, and I ended up with a knife embedded 8 cm into my spine. My leg went numb. Later, doctors told me the knife missed my aorta by millimetres, and it was written about in a medical journal (article title: A hit! A palpable hit!).”

WHO: Olly HAWES

WHAT: “A show about socks and sex and loving someone even though they’re quite annoying, and buying tat on holiday, and fear of death, and cognitive dissonance, and whether or not it’s an issue that you’re watching the world burn and all you can do is try to find meaning in the dancing of the flames, and also is it even possible to be a good man? Olly returns to the Fringe with a one-man, rollercoaster show that cuts to the core of modern masculinity. ‘A performer sure to find greatness’ (AYoungerTheatre.com).”

WHERE: Pleasance Courtyard – Bunker Two (Venue 33) 

WHEN: 12:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No! The Fringe has been the site of some of the most happy, traumatic and farcical moments of my life.

I used to come every year as a teenager – I couldn’t get enough. It felt like my yearly top up of happiness. I learned about the diversity and brilliance and power of the arts. I also fell in love there for the first time. Under the rain and drizzle, in the middle of the Royal Mile, I put my arms around a girl and felt absurdly light and happy.

Then I went to Edinburgh in a play with my uni. It was a play that had lots of knives. A stage fight went wrong, and I ended up with a knife embedded 8 cm into my spine. My leg went numb. Later, doctors told me the knife missed my aorta by millimetres, and it was written about in a medical journal (article title: A hit! A palpable hit!). When I go past the venue where it happened, I still shudder. Somewhat hilariously, when it happened, the police showed up way before the ambulance.

The next time I took a show, it was a solo show – my first – and it was in a portacabin that only fit 10 people – so I did two shows a day. The thing is, the show featured me giving myself a coffee enema (it was during a more experimental stage of my life), so twice a day, every day, for 25 days, I gave myself a coffee enema, in front of a handful of people. I stank of coffee until the end of September. The Fest review opened with ‘Two enemas a day, every day, for 25 days, Olly Hawes might not have thought this through’. And yet, it was a kind of brilliant show about love and the universe – people still talk to me about it.

Now I’m back, and there are no enemas or knives in this show, promise.

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

HAHAHAHHAHHAAAHA. What have I learned in the last year!? Um, nothing? I think my psychological metaworld is essentially an ongoing seesaw of working out what not to give a fuck about and what to care deeply about, and how not to go insane in the process. I guess I’ve learned to do that a bit better in the last year. Or maybe I’ve got worse at it. I DON’T KNOW OKAY JUST LEAVE ME ALONE.

Tell us about your show.

RIGHT. It’s made by ME and ME alone! But obviously no man is an island (John Donne, pg46), so there have been lots of people in my life who have supported me along the way, but, in an act of life possibly imitating art, I’m not going to mention them here.

Instead I’ll tell you about show’s journey so far:

I don’t know about you, but increasingly I look at the world and I have no idea whether to laugh until my sides split or cry until I’m dead, or just quietly try to make the things that I actually have influence over better. And I particularly don’t know how to do that given that I am a part of the probably most privileged demographic on the planet. Hooray, hooray for me. So the show is about someone trying to make a change, trying to make a change and trying to work out how to make the world a better place. And it does this by drawing a parallel between the state of modern man and the state of the world: everyone, the party is over and we have to make a change. Seriously, loads of bad stuff will happen if we don’t make a lot of big changes, really soon. We can all agree on that, right?

Something happened to me literally two days ago that I think says something about the spirit of the show: a friend of mine was sitting in my kitchen on a stool, looking into the mid-distance, just sort of shaking his head. He was kind of grey in the face. He’d just come back from a stag do, and he was just saying, ‘I just can’t, I just can’t do it anymore. I can’t do it anymore’ and I was like, ‘yeah man, you can’t do it anymore’. I kind of feel like we’re in that place with the state of the world: The party is over. We’ve got to make a change and if we don’t things are going to get really, really bad.

So the show’s about a man trying to change, and finding that hard. For the fans of cultural materialism, it’s a critique of late capitalism or post-capitalism or whatever you want to call it. For the fans of dystopian stories it’s an enquiry into the climate crisis and into the refugee crises. But it’s also about the little things in life. It’s about how we agonise over what socks we should wear in the morning or how acceptable it is to flirt with someone who’s not your partner.

So I suppose in a way I feel like it’s almost like a quintessential Fringe show: it’s massively ambitious, it’s about everything, but it’s just one man on stage, pretending he knows what the fuck he’s doing.

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

Theatre: After The Levoyah
Okay, I’m biassed – Nick, the writer of this show, and I run a storytelling company together, and have done so for 10 years. But the thing is, Nick is barely tolerable most of the time, he’s insanely grumpy, refuses to back down in arguments, and I think he might be trying to slowly poison me… and yet I’ve stuck with him for ten years. Why? Because he is the most brilliant writer, maker, storyteller, whatever. He is the most brilliantly silly and serious artist. The concept of After The Levoyah alone is so outrageous you should go, I’ve seen early versions, it’s going to be wild.

Comedy: Simple Town
You know when you first watched Stewart Lee and you were like ‘what the fuck is this guy going on about – is it innovation or a mistake?’ Well, whilst Simple Town are nothing like Stewart Lee, I think their brand of comedy is just as innovative. On instagram they’re amazing – they’re from New York, and I’ve never seen them live, so they might be shit on stage, but there’s no way I’m not going to see them.

Poetry: John Hegley – Do Horses Have Teeth, Sir
The author of my favourite quick poem that’s about potatoes (The spud sped.), John Hegley was a part of my childhood, teenage years and adulthood. He must be older than Moses now, so help the aged by going to see his show. He writes about love and life in a way that makes me cackle and cry.

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EdFringe Talk: We Forgive You, Patina Pataznik

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“This is my third time at Edinburgh, because I have some kind of undiagnosed clinical obsession with the atmosphere.”

WHO: Olivia McLeod

WHAT: “Jake and Liv deserve the world. But Jake and Liv have nothing. And it’s all Patina Pataznik’s fault. Patina was the It Girl™ of Homebush High. And she’s definitely, totally, 100% the reason Jake and Liv’s lives suck. So when they time travel back to Year 8, it’s obvious what they have to do. Patina Pataznik must die. A camp horror revenge tale for anyone who’s ever wished their high school bully would disappear… forever. ‘Glanc and McLeod are a winning combination’ (MyMelbourneArts.com).”

WHERE: Gilded Balloon Patter House – The Penny (Venue 24) 

WHEN: 18:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my third time at Edinburgh, because I have some kind of undiagnosed clinical obsession with the atmosphere. It’s so hard, but also deeply fun, you can make a whole lot of new friends in ten seconds flat, and see types of work you’ve never seen before but will remember forever.

It is my comedy partner Jake’s first festival though, and I am determined that he will have the best festival experience ever and not make any of the mistakes I have.

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

Stress-induced insomnia is one of the worst things you could come up against during the Fringe, and there’s not much you can do about it, except control how you respond emotionally to it. On a grander scale, everything will feel a lot worse when you’re eating badly and drinking 100 beers a day. Put the show first, and hedonism a close second.

… This is something I hope to absorb by 2028.

Tell us about your show.

We Forgive You, Patina Pataznik was co-created by Jake and I. It’s a high-octane camp horror narrative sketch, or a queer revenge tale for people who wished their high school bully would disappear… forever. It’s absurd, straddles character comedy and clown, and is unlike anything I’ve ever done before.

We had an initial season at Melbourne Comedy Festival in 2023, and we’re currently giving it a massive glow-up in everything from costumes to jokes. We were friends that came together to make a show we would find really funny, and we’re crossing our fingers that Edinburgh will like our weirdo niche-y brand of comedy.

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

Serious Theatre From Serious People (Charlotte Anne-Tilley and Mabel Thomas)
This is their debut collaboration, and both of these creatives made some of my favourite ever funny, topical, memorable solo shows. So it follows that whatever they make as a duo is going to be insane, funny, and probably touching as well.

The Bisexual’s Lament (Lou Wall)
I always say that no one does it like Lou. They meld stand-up, music, and insane video editing in this unique thousand-miles-per-second style. This show is their best, and will make you cry and laugh and fall in love with comedy.

Legacy (Michelle Brasier)
Michelle’s so rooted in storytelling, which is my crack when it comes to stand-up and musical comedy. If you love fast-paced shows that explore a central theme while making you die laughing, this show is for you.

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EdFringe Talk: BANNED the Musical

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“I enjoy creating theatre for small stages with minimal sets, it allows the audience to use their imagination too.”

WHO: April Alsup

WHAT: “BANNED is a modern-day musical that follows a group of gender misfits through the events leading up to their debut at a local performing arts festival. The polarising discourse around gender today goes beyond opinions and has real consequences in society. The characters in BANNED go online to live out their dreams and escape the harsh realities of the world. We witness the juxtaposition of their psyche online and offline, we experience their inner struggles with intimacy, authenticity and acceptance. If the root cause of inequality is marginalisation, the remedy is inclusion.”

WHERE: Greenside @ Riddles Court – Willow Studio (Venue 16) 

WHEN: 18:35 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, my first time was in 2019, it was right before the pandemic and I decided to spend a few nights in Edinburgh before heading out to the small Isle of Eigg in Scotland’s inner Hebrides. I was writing a show about the community buyout of the Island and wanted to speak directly with the islanders and get a better sense for the events leading up to the buyout. Beforehand, I visited with some friendly folks at the festival fringe store and I connected with them in early 2023 and let them know I had finished our Eigg show. They were super helpful and afterwards I connected with Greenside Venues. It was a perfect match. We received several 5 star reviews for the show and everyone seemed to embrace the performance.

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

Developing a 60 minute show from a full-length musical can be challenging, but I’ve found the exercise to be helpful in the development process. You really have to be concise with your performance’s delivery. I typically mount my productions in the basement of an old (1864) church in Denver, we tape off the small theater size and tailor our blocking and choreography for the Edinburgh space. I enjoy creating theatre for small stages with minimal sets, it allows the audience to use their imagination too. The blackbox setup at many theaters at Fringe is immersive and becomes a real conduit between the actors and the venue’s patrons. It’s wonderful!

Tell us about your show.

I’ve been writing and living the songs in the show BANNED my entire life. At a high level the show follows a group of gender misfits through the events leading up to their debut at a local performing arts festival. The characters all go online to live out their dreams and escape the harsh realities of the world. We witness the juxtaposition of their psyche online and offline, we experience their inner struggles with intimacy, authenticity and acceptance. The theatre community has always had its share of gender benders (myself included) and as I was standing up the piece I decided to select actors from a wide spectrum within the category including; straight, gay, transgender, non-conforming & gender queer. In our lifetimes we’ve witnessed a lot of changes around gender and our show tries to make sense of it all.

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

Here are some of the shows that caught my eye at this year’s fringe festival; first, “Shitty Mozart” I’ve been playing Mozart my whole life and it feels like this show will be a personification of my ability to play his music, next up “Skank Sinatra” I always enjoyed playing from the American songbook at local piano bars, but could never sing them very well; on the other hand, Sinatra sang the songs like a songbird, I think this show could make me feel better about my performances. Finally, I really want to see “Potty the Plant” Music theatre is rarely presented as a dark comedy and my sense is the songs will be annoying, catchy and twisted, but all in fun. Besides that, I’m sure I’ll be seeing lots of shows at Greenside Venues, there such a great organization. Thanks Darren and Tara!

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EdFringe Talk: The Jive Aces

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“There is no festival like it on the planet, and believe me we have played at a lot of different festivals all over the world!”

WHO: Ian Clarkson (no relation to Jeremy..)

WHAT: “Together for over 25 years, The Jive Aces have been keeping the show on the road and are renowned worldwide for their high-energy live show in over 40 countries. The band spread smiles and cheer with their swingin’ music and classic vintage style, from crooning smooth swinging ballads to blasting the roots of rock’n’roll. Having played for Her Majesty the Queen, selling out the Royal Albert Hall and becoming the first band to reach the finals of Britain’s Got Talent, they continuously showcase why they are the UK’s No 1 jive and swing band!”

WHERE: Pleasance at EICC – Lomond (Venue 150) 

WHEN: 20:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, we have been coming to the Ed Fringe for countless years! Who would miss the Fringe?!

From our first experiences when we drove up overnight and slept on the hills and used to just play a few dates in a club nearby and we gradually sleazed our way into the festival to becoming part the official Fringe and onwards.. We have played many different venues over the years, always with great creative teams, and we love it! There is no festival like it on the planet, and believe me we have played at a lot of different festivals all over the world!

The streets are paved with clowns and Shakespearian characters and the air is rife with tourists of all nationalities – an equalizer where the a novice juggler rubs shoulders with international celebs and all to entertain! This is what we it is all about!

We also promote the Fringe in any country/city we go – it is a unique experience! We also encourage other fellow artist to bring their show to the Fringe and experience it for themselves. And we are talking about Edinburgh, what a fascinating and beautiful town!

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

Wow! So much! I’ve learned that as life goes on there is nothing I enjoy more than entertaining a crowd of people, anywhere, and playing good upbeat music! It sounds so obvious but nothing replaces it.

I’ve learned that it is as a team that we really create a show and that the team chemistry and getting on together is one of the most important aspects.

I’ve learned not to take things too seriously and that love really does make the world go round.

I have learnt that it is also important to support fellow artists, going to see their shows, encourage them with their creativity, with their careers. The artist has a major role in society, as we bring art into people’s lives which would be very dull otherwise, so it is important to me to really make sure that art thrives.

Tell us about your show.

The show is called “Keeping the Show on the Road” and it comes from a song I wrote about getting back out on tour after the pando (during which we kept going with a daily live stream for 500 consecutive nights/shows) and this is also the title of our new album which we are releasing on July 19th which ties in with the show as this features all the tracks featured in the show.

This is the first we bring the show to the Fringe and the first time we have had an accompanying album for our show! So, a big celebration!

The show features a mixture of swing, boogie, jazz and Rock n Roll, yellow suits and cheeky grins plus our secret weapon from Italy, Grazia on the accordion!

After the Fringe, this show will also be hitting the road as we take it to local and regional theatres around the UK later in the year and hope to bring it to the Adlwych Theatre in the West End, so fingers crossed! (Send us your prayers!)

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

After seeing our show – of course! – we recommend people also go and see other shows that do music from the same era (from 1920’s to 1950’s) like and also a short comment on why we recommend them:

– Swingology (Venue 67) – because It Don’t Mean a Thing If You Ain’t Got That Swing!

– Sundown Swing (Venue 111) – because the title says it all

– Django at the Fringe (Venue 293) – love a good gypsy jazz!

– In the Mood (Venue 111) – because it is a tribute to Glenn Miller and the music of the 40s, who doesn’t like the big bands era?

– 1954: Ella, Etta, Eartha (Venue 152) – because those ladies knew how to make your heat sing.

– Mervyn Stutter’s Pick of the Finge (Venue 33) – because he really picks great shows of the Fringe and if you don’t know what to pick, his show will help you decide.

But do explore MORE! The more the merrier! Recharge your batteries for the rest of the year! These are only a fraction of what you could see at the Fringe. Splurge on it! Go and explore, there is something for everyone!

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EdFringe Talk: Tom Greaves: FUDGEY

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“I remember sleeping on the floor crammed into a room somewhere near the Meadows and feeling this magical Edinburgh Fringe feeling that I’ll never forget.”

WHO: Tom Greaves

WHAT: “A brutally funny dark comedy about boarding school. Through the character of Fudgey: your quintessential, tone-deaf man in a suit (you know, the “harmless” type… until you find them running the country), award-winning, Gaulier-trained Tom Greaves explores the complexities of his own privilege in this mind-bending, tour-de-force debut. As Fudgey’s reality hits breaking point, Greaves embodies a carousel of personalities and puppets in an anarchic and virtuosic performance, ultimately facing Fudgey’s past to find his own (Tom’s) future. Strap in for a thrilling ride of laughter, tears and transformation. ‘Funny, clever, and disturbing’ **** (TheatreAndArtReviews.com). **** (MervsPOTFringe.com).”

WHERE: Assembly Roxy – Downstairs (Venue 139) 

WHEN: 17:55 (60 min)

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Is this your first time to Edinburgh?

No, and my first Fringe experience goes way back to 2002 when I came to visit a young company doing a Greek tragedy made up of people from my school. I remember sleeping on the floor crammed into a room somewhere near the Meadows and feeling this magical Edinburgh Fringe feeling that I’ll never forget. I saw a surreal sketch comedy duo called ‘Nice Mum’ which was my first flavour of weird comedy. Now I’m making weird comedy myself. It took 20 years but I feel lucky to be doing it.

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

The amount of f%&ing admin you have to do to make work. F%&k me! I did not sign up for this, can’t I just perform?! Getting things done on time, like writing the answers to this interview, I find difficult though necessary and inevitably rewarding! It’s part of the job and it does get easier/you get better at it. The fact I can say that is nothing short of GROWTH!

Tell us about your show.

FUDGEY is about boarding school and how it messes you up because it’s traumatic and everyone tells you it isn’t, in fact, they tell you it’s the best! It’s a dark, silly satire of the world of privilege I’m from that flips it on its head and rubs its face in its own shit. I wrote it coming out of a therapy group for lost, institutionalised men like myself looking for answers. Having just graduated from Gaulier I’d learned all this life-changing, funky new stagecraft and FUDGEY naturally (and painfully) emerged. My beautiful, talented partner and director Lara Ciulli has directed/supported me through it all and I’ve also had amazing input from physical comedian Trygve Wakenshaw. Building on last year’s work in progress ‘Goodbye Uncle Fudgey’, which was a word of mouth success and won a Mervyn Stutter Spirit Of The Fringe Award, this year we’re hoping to transcend 🙂

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

If you like your comedy absurd and a little crude, go see THE SISTERS FIG. Lara Ciulli and Blaise Wopperer are two of the best individual performers I’ve ever seen on stage. They’ve come together and created pure character comedy magic. Just go, it’s unlike anything else you’ll see at the Fringe. Also, Trygve Wakenshaw’s back and I can’t wait to see his new show… He’s just exceptional.

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EdFringe Talk: Four More Short Plays Loosely Linked by the Theme of Crime

Posted in *Written Interviews, EdFestivals 2024 by

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“This year I’ve been trying to be more organised and structured in my approach (checklists, spreadsheets, to-do lists, etc), and to remember to take time off for myself in order to avoid burnout.”

WHO: Charles Edward Pipe

WHAT: “Charles Edward Pipe and Co return to the Fringe following last year’s five-star (TheEdinburghReporter.co.uk) show – Five Short Plays Loosely Linked by the Theme of Crime – with Four More Short Plays Loosely Linked by the Theme of Crime! This show has something for everyone; expect cowboys, forgery, suburban Macbeth, and the return of beloved gangster duo Ronnie and Johnny. Charles is ‘a brilliantly funny comic writer and an astute director’ (TheBubble.org.uk) known for his comic style which ‘masterfully walks the tightrope between light and dark’ (TheatreWeekly.com).”

WHERE: theSpace on the Mile – Space 1 (Venue 39) 

WHEN: Varies (50 min)

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Is this your first time to Edinburgh?

This is our second time coming to Edinburgh Fringe as a company, and my second time bringing my own work to the Fringe (although I’ve been to the Fringe as a punter almost every year since 2013). Our show in 2023 – Five Short Plays Loosely Linked by the Theme of Crime – was so well received and so fun that I decided to make a follow-up, and I’m very happy that 4 out of 5 of the company members were able to return. I can’t wait to once again immerse myself in the amazing atmosphere of the festival, see some great shows, and meet some fabulous people.

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

Prior to 2023, I knew NOTHING, so 2023’s Edinburgh Fringe was full of countless lessons for me. This year I’ve been trying to be more organised and structured in my approach (checklists, spreadsheets, to-do lists, etc), and to remember to take time off for myself in order to avoid burnout. That’s been working out well so far; we’ll see if I feel the same when I arrive in Edinburgh.

This year I have also been fortunate enough to take part in Soho Theatre’s Edinburgh Lab, which has been extraordinarily helpful. The workshops have covered all sorts of topics in detail: poster design, marketing, insurance, risk assessment, tech rehearsals, and so on. I’ve learnt so much, which I’m excited to apply to this year’s show and other projects going forward.

Tell us about your show.

The show is – as the title suggests – an anthology of short plays about crime. Each of the short plays is comedic, with the style ranging from dry dark comedy to out-and-out ridiculous farce. During the writing process, I drew inspiration from many of my favourite crime movies, from the likes of the Coen Brothers, Quentin Tarantino, Guy Ritchie, Martin McDonagh, and Danny Boyle, while adding in elements of my own niche interests (for example, my OBSESSION with cowboys and Westerns).

The company consists of myself, three extremely talented actors, and a fab technician. All but one of us worked on our 2023 Edinburgh Fringe show together, and I’d worked with the fifth member of the company in 2022 and been dying to work with her again since, so invited her on board. The team are all so wonderful and talented, and working with them is such a joy. Our run in Edinburgh will be the show’s premiere, and I cannot wait to share our hard work with the public.

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

One member of our fabulous cast is performing in another show – Apricot – so of course everyone should go and see that.

Other shows I’d like to shout out include, ‘Karen’, ‘Fix Your Mind’, ‘Yes, We’re Related’, and ‘please DON’T see our show’ – I know some of the wonderful people involved in these shows and they definitely deserve your support.

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EdFringe Talk: Sisters Three

Posted in *Written Interviews, EdFestivals 2024 by

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“The famous trio – Olga, Masha, and Irina – are plucked from Chekhov’s play ‘Three Sisters’ and thrown into an existential odyssey spanning Greek mythology to the Sugababes to discover how, throughout history, men have shaped women into a trope that contains them.”

WHO: Emma Howlett

WHAT: “Inside Chekhov’s masterpiece, Olga, Masha, and Irina are trapped in a cycle of disappointed hopes, heartbreak, and inertia. But this time, it’s going to be different. Looking for answers, this trio investigate the trope they have been written into, from Greek mythology to the Sugarbabes. Harnessing the raucous energy of girlhood and the wildness of three women on the brink, Sisters Three sets ablaze a construction of femininity drawn by men, to find hope in its ashes. TheatreGoose return to Summerhall following their OFFIE-nominated and BBC Popcorn Award-longlisted debut Her Green Hell.”

WHERE: Summerhall – Anatomy Lecture Theatre (Venue 26) 

WHEN: 21:10 (60 min)

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Is this your first time to Edinburgh?

‘Sisters Three’ is TheatreGoose’s second time bringing a show to the Fringe, and in back-to-back years, following our debut show ‘Her Green Hell’ which transferred from VAULT Festival to Summerhall for a full month in 2023 — and we are so thrilled to be back!

A number of our company first came to the Fringe during our student days, as part of Gruffdog Theatre’s ‘Peer Gynt’ at ZOO venues in 2017, and we completely fell in love. The Fringe is, without competition, the most exciting place to see new work in the UK, and every year is alive with inspiration. The breadth of work, from the debut shows of emerging companies, to the most established international work, makes the Fringe such a dynamic place to visit as a punter, and as an artist. We had no doubt we wanted to bring our early work as a company to Fringe and it’s wonderful audiences, and we always feel very lucky to be part of the club.

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

One of the biggest challenges at Fringe is the daily get-in and get-out that every show sharing a venue must do in record time. Last year, we brought an enormous set and complex lighting design scheme which we had to painstakingly build and dismantle every day, but instead of learning to do less at Fringe this year, we have decided to take a different lesson: work smarter!

‘Sisters Three’ takes just as many creative risks as our debut Her Green Hell, but I wrote the show specifically with the Fringe context in mind – so I have worked in some time-saving hacks to the text itself. You’ll have to see the show to see what I mean!

The core lesson we took from Fringe last year, when we arrived with relatively little expertise, was that if you concentrate on making a great show, the rest should take care of itself, so that’s what we’re hoping to do again this year.

Tell us about your show.

‘Sisters Three’ is a brand new show from TheatreGoose, written and directed by Artistic Director Emma Howlett, premiering at Fringe 2024. It is about a trio of sisters (surprise) who are determined to escape the play they have been written into. The famous trio – Olga, Masha, and Irina – are plucked from Chekhov’s play ‘Three Sisters’ and thrown into an existential odyssey spanning Greek mythology to the Sugababes to discover how, throughout history, men have shaped women into a trope that contains them.

‘Sisters Three’ is TheatreGoose’s second show, following our debut Her Green Hell last year, also at Summerhall. TheatreGoose is creative collective, established by Howlett whilst at university in 2018, now producing ambitious new work with Associate Artists Ellie Wintour as Set Designer, Edward Saunders as Lighting Designer, Sarah Spencer as Composer and Sound Designer, and Sophie Kean as Dramaturg. ‘Sisters Three’ is performed by three rising stars, Sophie Kean as Irina, Abby McCann as Masha, and Angela Sant’Albano as Olga.

We hope that Sisters Three will have a long life after Fringe!

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

‘Sisters Three’ is on at 9:10pm from 1-26th (not 12th, 19th) but beforehand, audiences should take advantage of the most exciting new work the world has to offer — we are particularly excited to watch everything else on at our venue Summerhall, like Buzzcut’s ‘Bark Bark’ also in Anatomy Lecture Theatre, Darkfield’s new show ‘Arcade’, ‘Blubber’ by Katie Grenall, ‘Surrender’ by Sophie Swithinbank, Somebody Jones’ ‘How I Learned to Swim’, and ‘Instructions’ from SUBJECT OBJECT, amongst many many more.

We also always look out for international work across the Festival, and in the International Festival, such as Eline Arbo’s Penthesilea from the ITA.

The best advice when it comes to deciding what to see is always trust word of mouth above all else!

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