Category Archives: EdFestivals

‘The Madwoman’ (Venue 29, until AUG 27th)

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

“One of the most visually exciting shows this EdFringe.”

Editorial Rating: 5 Stars (Outstanding)

We enter to be pleasantly surprised by the drapes. Oscar Wilde famously (and accurately quipped) that violence was endemic in America because the curtains were so ugly. These hand-painted, floor-to-ceiling, mini-mega masterpieces are a delight, exactly the kind of thing you would imagine a company funded by a mural painting day job would have on tap. I especially like how the statues shown seem to be stepping off their pedestals and at least one has (appropriately) been decapitated.

Centre stage, imprisoned in a world of her own is Théroigne de Méricourt. She has been held captive for twenty years, stepping out of the French Revolution and into an asylum. Thousands of other wide-eyed revolutionaries have lost their heads, she’s lost her mind. She ekes out an existence, meditating on the wheel of fortune which has taken her from the life of a provincial orphan to grand places in the company of grand people.

Born in Belgium, Théroigne de Méricourt became an opera star and orator. She was among the women who marched on Versailles in October 1789. Dressed in a man’s riding habit she attended key National Assembly meetings in the run up to the passing of the ‘Declaration of the Rights of Man and of the Citizen’. She organised. She agitated. She was too pro-Girondin to survive the emptying of Marat’s bathwater. She became a problem. She became an inmate.

This is a production of supple strength and subtly. A family affair in which two Texan mural-painting sisters (with costumes by their mom, who also sewed the drapes) have brought together one of the most visually exciting shows this EdFringe. As Théroigne de Méricourt, Cara Johnston is intense like being stuck in an elevator with an angry swan is intense. A reference to the Hot Crazy Matrix would not go down well these days, so I won’t make it. But if I did, Johnston’s performance would be off the charts. The details of her performance are exquisite, from her browned-up teeth to her pitch-perfect vocal work. Nothing is out of place. Every stitch of canvas is set to keep this hell for leather script on course. Johnson turns our favourite bijou space in Edinburgh into a tardis – infinitely, impossibly bigger on the inside than on the out.

Come for the history lesson about a woman who must not be forgotten. Stay for one of the most interstellar, and yet movingly down-to-Earth, performances you’ll see. Get your tailcoats on and go see this!

Read the company’s #EdFringeTalk with us here!

 

‘The Brief Life & Mysterious Death of Boris III, King of Bulgaria’ (Venue 23, until AUG 28th)

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

“Quite simply the best historical writing to appear at the Fringe in years.”

Editorial Rating: 5 Stars (Outstanding)

Vox Populi vox dei. The best thing about EdFringe is how each year one or two shows mysteriously break away from the hurly-burly and have a super successful run ft. packed houses and glowing reviews. The wisdom of crowds is rarely celebrated by the curators of our culture and politics. But democracy works. People power rights more wrongs, fights more injustices, and slays more dragons than the whole banal host of 2D cartoon superheroes. So it’s pleasing to me (and the high horse I ride around town) that the breakout success of EdFringe ‘23 is a play about how individuals working together can make good things happen, or rather make bad things slow to a stop.

Out of the Forest Theatre is the company that wide-eyed creative children should dream of running away to join. They blend live production elements like master champagne makers blend vintages. The results are sparkling.

Joseph Cullen & Sasha Wilson’s script is quite simply the best historical writing to appear at the Fringe in years. Eastern and Central Europe – past, present, and future – have been visited often by us Brits, but the full discovery is still someway off. Vikings yes. Columbus no. Ostentatiously reading the Daily Mail in Brooke’s Bar before the show, because I love the sound of tutting, I read that Albania is finally being recognised as the destination tourist hotspot such wonderful people and such a spectacular place deserve. The British horizon is widening beyond the channel and the Rhein, waltzing towards the Blue Danube. Similarly, Cullen & Wilson’s chronicle of Bulgarian 20th-century history plants a flag for many of us (oh how British) marking territory deserving of being less incognito. It’s witty. It’s intricate. It’s monumental. In the year Georgi Gospodinov became the first Bulgarian to win the Booker Prize, this drama is a landmark achievement.

And it’s upstaged by Hannah Hauer-King’s direction which is brisk without being busy, fun but never fussy. The staging is in turn upstaged by the performances which are as sharp and to the point as the original penmanship of the Pernik sword. As Boris, Cullen seduces the audience, portraying the monarch in a grayscale rainbow of loveable contradictions. There’s more than a little of Terry Jones’ in Cullen as he Chapmanesequly plays the one main character while the rest of the company twist and turn like a twisty turny thing, morphing into a host of supporting roles bold and subtle.

There’s much that is bold, little that is subtle, and nothing that is not tremendous about Lawrence Boothman’s performance as the king’s first minister. Neither is there anything banal about his evil, he is the iron-hearted fist in a bloodsoaked velvet glove on Ernst Röhm’s bedside table the morning after the night before. David Leopold is solid and unsparing kicking at the fourth wall like Luca Brasi told him to do some damage but not go too far. Leopold keeps the production pacy, like how a waterfall makes a river move faster. Sasha Wilson didn’t write herself a part as fun as Boris, but she delivers much of the piece’s range, nuance, and no-nonsense edge-of-your-seat delivery, the hallmark stamps that confirm the solid gold content. As the curtain falls it is Clare Fraenkel who wears the crown. She is the lynchpin, the beating moral compass which makes this production tick so, so many boxes.

Come for the faintly Marina Lewycka obscurity of the subject matter. Stay for the best writing, staging, and performances you will see at this (and many other) EdFringe vintages. Get your Bulgarian sheepskin coats on and go see this!

Read the company’s #EdFringeTalk with us here!

 

EdFringe Talk: Paul Connell: Ace in the Whole

Posted in *Written Interviews, EdFestivals 2023 by

“Festivals are such a rollercoaster! One day you are performing for a full room of people, the next you are performing to an old man and his dog, who is only there because it was the only way he could sit down uninterrupted for an hour!”

WHO: Paul Connell

WHAT: “Ace in the Whole is a hilarious show by comedian Paul Connell. The show is filled with weird and wonderful stories with a heartfelt message. Audience reviews: ‘Must see, what a laugh’; ‘Hilarious and heartwarming’; ‘Fantastic, with an ending you’ll never see coming’; ‘Lovingly crafted show. Fully realised and hilarious observations are interspersed with loving memories that are funny as they are heartfelt. Highly recommended!’; ‘In Ace in the Whole, Paul Connell walks the line between sadness and joy splendidly, crafting a moment of real sentiment in amongst some truly hilarious stories and gags’.”

WHERE: Boteco do Brasil – Boteco do Brasil (Seated) (Venue 516) 

WHEN: 19:00 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is indeed my first time at the Edinburgh fringe and I am loving it! I have toured this show around other fringes including Brighton, Glasgow and Reykjavik and it has been a journey! The reason I have loved Edinburgh so far is all my friends are here which is awesome! I meet comedians all around the country and then get to see them all together here! Festivals are such a rollercoaster! One day you are performing for a full room of people, the next you are performing to an old man and his dog, who is only there because it was the only way he could sit down uninterrupted for an hour!

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

I’ve learned a lot this year! I’ve learned to relax and enjoy it! And not to put too much pressure on yourself! I have learned that it is about watching as much as performing and hanging out with your mates! I also learned that Edinburgh can get away with charging a ridiculous price for beer and call it ‘craft’ beer. There is no such thing as craft beer, all beer is crafted, get over yourselves!

Tell us about your show.

My show is something I am incredibly proud of and one that I am so emotionally connected to. It is stand up comedy with a heartfelt message. It is about grief and moving on from tragedy by telling funny stories as a way of healing and remembering people who are no longer in your lives, the way they were! I recently received a 5 star review (just saying) and I think this is because my show connects with people both in a funny way and on a deeper emotional level. A guy came out of my gig the other day and said “that is the first show I have laughed, cried and sang at the same time”. And to me that is life! We don’t feel one emotion at a time, we are feeling many all at once and that’s ok!

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

My favourite comedians performing at the fringe are as follows:

Liam Withnail – this guys is an me of the best people I have ever seen work a crowd! His show is fun/rude and has a nice message to it!

Amy Matthews – Amy is one of the comedians that I think everyone should see! She is so likeable on stage and her recent show is getting phenomenal reviews.

Christopher MacArthur-Boyd – CMB is a Scottish legend! He is the person I tell EVERYONE to go and see. He is hilarious and makes me insanely jealous at his ability to make anything funny!

Chris Thorburn – the show cinema is nerdy and beautiful and I love it. I saw a 30 minute preview of this show in Glasgow and it was one of the best 30minute a of comedy I’ve seen! I cannot wait to see the rest of the show!

Krystal Evans – her show ‘hottest girl in burn camp’ is an inspiration! It toes the line between tragedy and comedy beautifully!

Sully O’ Sullivan – an idiots guide to New Zealand is a brilliant show! So so funny and it is something a bit different as it is in the form of a presentation rather than just straight stand up.

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EdFringe Talk: Dirty Words

Posted in *Written Interviews, EdFestivals 2023 by

“I’m here with my husband and toddler, makes for a unique fringe run.”

WHO: Grace Murdoch

WHAT: “Cheap Date bring a crash landing of music, dance, theatre, film and comedy without holding back, in this visual duologue. A debate of self-expression, communication, humour, action and reaction through open and honest storytelling. Exploring the filth, fun and aftertaste of our everyday interactions. There’s plenty of #!@*&% thrown in with a side of politics and social commentary. Cheap Date remind us it’s not always the words we choose but sometimes the way in which we talk.”

WHERE: Pleasance Dome – 10Dome (Venue 23) 

WHEN: 12:15 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It isn’t our first time at Fringe. We came in 2016 with our first full length show – How We Lost it, for a partial run at Paradise Augustines. We had a blast, the show looked at losing your virginity and intimate relationships. One of my favourite quotes from a review is actually from our first time at fringe, its from a blog called memegirls, ““Hilarious and energetic and didn’t require you to lie afterwards pretending you understood the concept.” This review stayed with me and is still one of my fav’s. The company was a different cast in 2016, I am the only member of the team to be lucky enough to come both times. This time is also a wholly different experience, for instance this time I’m here with my husband and toddler, makes for a unique fringe run. Dirty Words our show in 2023, always felt like a show that was meant to be at Fringe, it’s a mix genre show, it’s cheeky but its more than just surface.

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

The old cliche of work/life balance. I for sure haven’t absorbed it yet but I think I’m striving for it more deliberately and purposefully. I think professionally I keep asking myself what’s the next challenge, and the answers to that have become more nuanced. Revisiting work, collaborating with a wider range of artists, who are more experienced in their fields is always so exciting. I worked on Opera for the second time in 2022 which was a surprise and a delight, maybe I need to work on more Opera, we shall see. The biggest professional takeaway from 2022 for me was movement is always key in any genre, and it always has importance and a place.

Tell us about your show.

Dirty Words was initially devised in 2018/19 with collaborators Seamas Carey and Kyla Goodey, but in 2023 has been re devised in collaboration with Josh Penrose, a wonderful Actor and performer. It’s a look at our relationship to ‘Dirty Words’ what makes one, what doesn’t. Our work always centres around people and their stories, so in this instance we interviewed people all over Cornwall what is your favourite Dirty Word? What is the dirtiest word you can think of? Their answers are in the show in film form and implicated the road the show took. The two performers each have a monologue where they look at a dirty word in their own lives and tell stories of that word cropping up for them. We also look at Politics, Lies, Cliches. It’s an exploration of who we are and how we communicate, physically, verbally, facially, tonally – It’s more than just what we say.

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

I would for sure recommend Chloe Radcliffe, Pleasance Courtyard Bunker 3 19.15. It was personable, honest, warm, endearing and funny. She took stories with a theme from her life and held us through the narrative in a stand up set with ease. I saw Monet X Change at Underbelly, Bristol Square 9.15pm and it was all the sass, all the drama but also clever, fun, great storytelling and skilful. Lastly as I’m here with my little one we’ve been doing some kids shows and we had a ball at Monski Mouses baby disco dance hall , if you happen to have tiny people needing some fringe fun too.

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EdFringe Talk: Perrin Pang – Here Lies

Posted in *Written Interviews, EdFestivals 2023 by

“I love writing comedy and I suck at writing.”

WHO: Perrin Pang

WHAT: “2023 sees the debut of wannabe comedian Perrin Pang, as he performs his first written stand-up comedy musical bullshit that is nowhere as good as the top comedians in the field. Still, if you would like to see his struggle in this stand-up performance about the importance of lying down please come, it’s your funeral. Reviews: ‘What is stand-up’ (Mom). ‘This is a show where you simply have to sit through’ (My best friend Daniel). ‘Woof’ (Greg the dog while rolling on the floor).”

WHERE: theSpaceTriplex – Studio (Venue 38) 

WHEN: 20:35 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes it is my first time at the fringe.

As a wannabe comedian, my first experience at the fringe taught me a lot about how to make myself into an organised bitch. Organisation is key to making your show stand out. Finding the correct venue and time is hard because we have no experience in the fringe . After like 2 weeks here, we finally are able to pick up what we should have done but it’s too late. Oh well, it’s an experience. Marketing is also an element We are trying to learn, like what kind of flyers are you putting out, what kind of people are putting out (there’s literally a naked guy handing out flyers) etc.

Edinburgh is a fantastic architectural city, with amazing sunset and shitty rain. I do prefer this weather more than slimy hot humid Hong Kong however, as the cool breeze doesn’t make me sweat. The food is better than I thought, the shops are amazing, you can find icecream and cheese at the reasonable prize everywhere, that’s the dream.

I met a lot of people these past weeks maybe will turn into life long friends depending on how long I live. They are all nice people and not only they help with my production by directing people to my show, they also asked me to collaborate and make videos with them. I am blessed with meeting so many people from around the world and I hope the coming days I will continue to stalk them through my social media.

The fringe has gave me a chance to throw my life savings in the dumpster for a shot for fame within the theatre community. Or if no one comes, me and my backstage team.

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

I’ve learnt mainly two things: I love writing comedy and I suck at writing.

Watching comedy had been my passion for a while now, but I just realised that I want to do this for life. I love writing it, I love sharing it, the only problem with it, is I believe my comedy need to be performed in a theatrical space with lighting and music, so it’s difficult to just bring a short set to a bar. ( also there are zero to none bars in Hong Kong that does English stand up comedy)

So, I began writing. And I suck. Which is fine. You gotta start somewhere. And I wrote and wrote draft after draft keep editing and editing and finally came up with a product I’m happy with. The performance I wish to perform is not only comedic, but also filled with stories and themes. I personally don’t prefer observational stand up comedy and prefer and storytelling approach. ( I do still have bits that seem like observational comedy in my performance but they are highly exaggerated situations that is surreal)

I’ve been a failure all my life according to my parents, but who’s to say I can’t be a good comedian. (They did say that)

Tell us about your show.

I, Perrin Pang, wrote, perform, and directed the performance, whilst I left the theatrical side to my expert friends: Timothy Tsang on Lighting design, Heyson Tsang on arranging music and Carrot Chan on Marketing designs. I also have a co director Sam Mak and a DSM Jasmine Tom. ( and my wife Phoebe Wong occasionally helps(yes I’m 25 and I’m married, sue me))

Every word on the script, every lyric and every note of the song is written by me in 2 years. After finishing it I asked them if they want to come along and assist me in this performance with minimum pay because I’m broke, and they said yes.

So what is the show about? Plot wise, it’s about an Asian stand up comedian who doesn’t want to tell jokes anymore. Theme wised it’s about the importance of lying down your emotional baggage. There are 7 original songs (Holy shit 7?!) all written and performed by me. My favourite song is called “I wanna be white” , the dream.

This performance premiered at Ed Fringe and I wish to be able to take it around UK afterwards if I have the chance, the only thing stopping me is my schedule and my wallet. Holy shit putting a show and travelling is expensive with a crew of 6. Even with some funding from the Hong Kong Government it’s hella expensive.

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

There’s a lot of Hong Kong and Asian shows this year which I recommend: 4/4/4 about 4 Asians pretending to be white people, pretending to be fake Asians. I also recommend fall and flow, a movement piece from Hong Kong. Please check them out!

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‘Olaf Falafel’s Super Stupid Show (20% More Stupider)’ (Venue 33, until AUG 27th)

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

“This show has pace like you’d feel on the inside of a barrel at the edge of a waterfall.”

Editorial Rating: 5 Stars (Outstanding)

Olaf Falafel is an EdFringe favourite on course to become an EdFringe legend. Hugely admired for his adult stand-up, it’s the material tailored to kids which will win him immortality. We enter to find him on stage and filling the room with energy levels that put Krakatoa to shame. Many a true word is spoken in jest and his opening remark that “fun needs structure” hits the nail on the proverbial. “How does a laser cut?” I’m forever asking my girls. “With focus!” they (are supposed) to reply. Olaf’s genius is his structure and, like William Henry Barlow did with the roof of St Pancras station, he leaves his engineering in plain sight to the wonder and amazement of all. Without structure, there would be no pace and this show has pace like you’d feel on the inside of a barrel racing towards the top of a waterfall.

Daughter 1.0 (8yrs) wrote in her notebook (the one with a picture of William Henry Barlow bungee jumping off the Clifton Suspension bridge on the cover): “I went to Olaf fluffel’s Supa Stupid Show! when I walked in I saw lots of chairs and a big screen. In the Show We Sang Songs went fishing for insults, Played don’t look at the horse and we played can you get your sausage in my funny bag. He also told lots of jokes. I liked the bit were we drew bum-faced snails and when at the end I got a new book I had lots of fun.”

I’m not a super huge fan of the Sponge Bob Square Pants section, but maybe I’m more of a prude when my girls are in the room than when I’m flying solo at a late-night Adults Only Magic Show. The show was such a joy because the laughs were directly shared with Daughter 1.0. Oftentimes, producers put in two levels of comedy with some jokes and references saved for the grownups. By contrast, Olaf’s is a sprawling bungalow of blissful belly laughs delivered fast and furious. Come for the legend, stay for the perfection, get your bum-faced snail coats on and go see this.

 

EdFringe Talk: Machine Man Spectacle

Posted in *Written Interviews, EdFestivals 2023 by

“I’m (frantically) travelling between excitement and terror!”

WHO: Shahar Marom

WHAT: “Join us in a sensational visual performance from an object-theatre master. Courageous spectators will be asked to participate in seven of the universe’s most spectacular machines, invented specifically to observe the human spiritual spectrum! Shahar Marom specialises in interdisciplinary art, searching for a new stage language combining design and performative act. The Machine Man Spectacle is a personal journey of a lonely machine inventor trying to understand the world through his machines. You will be asked to join him on his quest, participate in his machines and become, for a moment, his entire world.”

WHERE: Hill Street Theatre – Alba Theatre (Venue 41) 

WHEN: VARIES (70 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yup, and I’m (frantically) travelling between excitement and terror!

As a creator bringing my show to the Fringe is a really big deal, it’s a dream come true. I’ve been in this business for as long as I can remember – as a performer, artistic director, creator, theater owner… and yet I’ve never been as nervous as I am now.

My show is all about connecting with the audience – I look for answers to seven questions and it’s the audience who help me find them. During the show I invite seven volunteers to share a moment of truth with me on stage, and the crowd back home has a great time participating. It’ll be interesting to see how an international crowd will react.

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

That there is a huge gap between what you imagine and the outcome, and it’s all about trying to remove this gap. I chose to deal with seven questions through seven machines – each with a secret of its own and each created for and with unique purpose.

We have a hard time expressing ourselves in regular conversations, and conveying ideas in the theater is even harder – especially if you use machines and not only words to express ideas. A lot can get lost here.

I knew my amateur engineering skills wouldn’t be enough so I used the help of a friend who actually knew what he was doing (thanks again Sharon Gabay!), and we worked very hard to bring as much of what I had in mind to life.

Though there’s still a gap, the machines came out great – even if I have about four chances of dying or getting seriously injured during the show while operating them.

Tell us about your show.

My show focuses on seven questions: Why do we look for fame? Can we live with our mistakes? Why can’t we laugh about death? What gives us pleasure? Are we substance or spirit? Can we confront our biggest fear? Will we ever return after dying or transforming?

These issues probably bugged me for a while, because I dreamt the whole script one night. I woke up the next morning with the whole thing in my mind: concept, character – everything. I started sketching the machines immediately.

It’s been running for a while now – enough times for me to be able to enjoy the show more than be concerned with technicalities, and it’s a great feeling.

The show doesn’t require too many hands, so we’re a small team. luckily enough my (amazing) sister is in the theater business as well and she’s producing our Fringe adventure. my son is helping out too so we’re literally going to be one big happy family here.

I don’t know what our next stop will be. Hopefully this will be the beginning of a very long and interesting world tour. I’d really love to know how different audiences from around the world affect the show, since they’re such a huge part of it. No scene is ever the same as it was thanks to the volunteers who bring their beautiful selves into them. They create the show with me, so no one ever gets to see the same show twice – even those who saw it more than once.

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

There are two shows I’d like to recommend: ‘Bill’s 44th’ and ‘The Court’.

‘The Court’ was created by Derek Douglas who is also hosting us in his venue – Hill Street Theater. Meeting him felt like finding a fellow theater-entrepreneur. He also gets the audience involved in the show, giving them a chance to see things in a different perspective. I think that for an audience this is one of the most interesting ways of experiencing theater.

‘Bill’s 44th’ is a show I want to bring to the annual festival my theater back home hosts. It makes unexpected use of objects and creates a perfect harmony between them on stage to the point of extracting the purest emotions from the audience.

In general, I recommend seeing theater that you haven’t seen before. Explore theater frontiers, look for a theater experience that will change your life through reflecting at art or just go to the most hilarious show there is running next to you, because laughing is the best thing you can wish for.

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EdFringe Talk: A Bit Too Much Hair

Posted in *Written Interviews, EdFestivals 2023 by

“Normally I’m a book tickets in advance, send calendar invites, spreadsheet sorta gay, so it’s fun to be wildly spontaneous for a change.”

WHO: Jess Ducey

WHAT: “This gender euphoric cabaret is a musical paradise for thems, mens, femmes, and everyone in between. ‘It’s a big, silly party where transness is centred and everyone is welcome’ (Theatreview.org.nz) by artists from NZ and NYC! ‘It feels like hanging out with your friends at a house party. With a band. And rainbow glitter. Everyone’s wearing sequins. You’re inside but you can pretty much guarantee unicorns and bunnies are frolicking around in the garden.’ (Regional News). Nominated for Excellence Awards for Theatre for Social Change and Best Ensemble, Wellington Theatre Awards 2022.”

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

WHEN: 17:00 (45min)

MORE: Click Here!

Is this your first time to Edinburgh?

I was a postgrad student at St Andrews [redacted] years ago, and spent a couple of days as a Fringe punter when I first arrived. Then I was here last year flyering for and supporting my partner Ania (the co-creator of both our shows this year) doing a short run of their solo clown show Transhumance – I made matching sandwich boards for their dad and I to wear while flyering.

But this is my first time properly here as a producer for the whole festival! We’ve got two queer musical shows running in rep with a company of seven on the ground (plus Milo Robinson and Sarah Bell, our two designers back in NYC and New Zealand), and it’s such a massive shift to have a big team.

The all-consuming nature of Fringe is incredible. So many artists in one place! I love the serendipitous meetings of other artists, randomly going to a show because someone made you laugh while flyering and discovering something you might never have found otherwise. Normally I’m a book tickets in advance, send calendar invites, spreadsheet sorta gay, so it’s fun to be wildly spontaneous for a change. When I’m not producing, I’m also working on my own practice as a writer, and so I love getting to see the sheer variety of work out there. It’s a great inspiration to actually make something of the ideas note in my phone!

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

Last year I was surprised and delighted by how much fun I had flyering, and how effective it was. There’s such a rush when you see someone you chatted to on the street turn up at the show!

Most of the company this year is here for the first time, and I’ve really loved watching them see the magic of Fringe. Seeing everyone discover and hone their personal flyering strategies (look out for Andy and Felix improv-ing musical sonnets with a banjolele!) fills my cold gay producer heart with joy.

As for lessons I haven’t quite learned – Fringe is about having fun, meeting cool artists, seeing amazing work, developing your own practice. It’s not about money or awards! I’m still working towards my goal of checking box office reports less than three times a day. It’s a journey.

Tell us about your show.

We describe A Bit Too Much Hair as ‘gender euphoric musical chaos.’ It’s a bunch of songs and stories about gender euphoria – that feeling when you’re perfectly at home in your gender identity and presentation. Our other show, Antonio! is a queer punk musical that reimagines all of Shakespeare’s characters named Antonio as one real life pirate (who was also Shakespeare’s lover). It’s fun and joyous and full of nerdy Shakespeare jokes.

Butch Mermaid Productions in its current form came together in Aotearoa New Zealand. It all started when Ania Upstill, William Duignan, and Andy Manning performed in a production of Once at the Court Theatre in Christchurch. A month or two later, Ania directed me, Georgia Kellett, and Felix Crossley-Pritchard in a queer comic ballet called Sapphic Lake in Wellington. Then Will and Ania made Too Much Hair, with Felix as part of that cast and me producing. Jthan Morgan, the fourth original cast member, couldn’t make the Edinburgh trip, but then the universe gifted us with the incredible Evan Michael Smith, who we met in NYC earlier this year and who has slotted right into our queer chaos.

Ania and Will co-wrote A Bit Too Much Hair, and they’re joined by Andy (now based in Glasgow) on the writing team for Antonio! The first season was at BATS Theatre in Wellington in June 2022, just before Ania and I moved to New York. Last year, Ania had the idea that all Shakespeare’s Antonios were the same guy, and now, after a lot of google docs and wrangling time zones on three continents, here we are! The whole crew came to NYC in mid-July to rehearse, and we premiered Antonio! at The Tank in New York just before we left for Scotland.

As for what’s next – who knows! Definitely recording an album. Personally, I’m dreaming of a longer version of Antonio! (maybe even one day on Broadway) so we can spend more time really delving into Antonio’s love stories and add some truly extravagant choreography! For A Bit Too Much Hair, I think we’d love to tour the show to intimate venues all over and build community with new trans, nonbinary, and gender diverse friends.

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

Obviously, we have to shoutout our Kiwi mates. Laser Kiwi makes brilliant circus and Double Goer looks like some incredible dance. Hysterical is an award-winning feminist poetry show (that, in classic New Zealand form, was on at BATS at the same time as Too Much Hair last year, so of course we’d have to travel all the way to Scotland to see it). A Mulled Wine’s The Shit Kid comes highly recommended and James Nokise is a great Kiwi comic. I want to see A Shark Ate My Penis based solely on the brilliant title and Tutu for the great

Beyond New Zealand, Niall Moorjani is just the loveliest human as well as a brilliant storyteller (Mohan last year was a highlight of my Fringe) and I can’t wait to see all three of their shows this year. T1J’s Reclaim is mind-blowing circus and acrobatics that also involves cellists and opera singers (‽‽). I saw Cirque Kalabanté in NYC earlier this year and would see them again here just to watch that incredible contortionist again.

I kept running into the team from And Then The Rodeo Burned Down while flyering last year and they were just delightful, so I’m glad they’re back this year and I’ll finally get to see their show too.

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EdFringe Talk: Shortlist

Posted in *Written Interviews, EdFestivals 2023 by

“The festival has been a terrific place to stage our work, with the added bonus of some of the shows finding new productions or being published because of their reception here.”

WHO: Brian Parks

WHAT: “Two enemy novelists duel for the ultimate prize in a fast-paced, war-of-the-words comedy. Multiple Fringe First-winning playwright Brian Parks plunges into the writing world with a Withnail-esque joust between literature’s two sharpest pens. Year after year, Higgins and Houghton find themselves pitched against each other on the shortlist for literature’s number-one title, never winning. But this year is different, each primed to strike and finally grab it. All that stands in their way is each other. A world premiere directed by Fringe First winner Margarett Perry, starring Matthew Boston and Daniel Llewelyn-Williams. ‘A refreshingly mischievous, inventive author’ (Times).”

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

WHEN: 13:15 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

“Shortlist” is my ninth show at the Fringe. It’s a fast-paced, war-of-the-words comedy about two enemy novelists dueling for the ultimate book prize. The audiences so far have really been digging it, and we just got a 5-star review from a reviewing site (one4review.co.uk). My first play here was in 2000, my dark comedy “Americana Absurdum,” which we brought over from New York. We had a great time with it and also won a Fringe First — a terrific way to make an Edinburgh debut. Among my other past Edinburgh productions, “Enterprise” — a business comedy — also won a Fringe First. The festival has been a terrific place to stage our work, with the added bonus of some of the shows finding new productions or being published because of their reception here. It’s an expensive way to do a play, especially coming from abroad, but it has always been worth it.

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

Last year’s Fringe was the first full one since Covid, and overall Fringe ticket sales were down about 28% since the previous full festival in 2019. So this year, not knowing how full the overall rebound will be, we’ve made some extra efforts with marketing, flyer-ing, and other promotion.

Tell us about your show.

The Edinburgh production of “Shortlist” is the play’s world premiere. We did some workshop previews of it in New York last month, in the great “East to Edinburgh” program they have at 59E59 Theaters there. Our production here is being staged at Assembly’s George Square venue the Crate, which is an ideal stage for the piece. The show is an international co-production between New York-based Twilight Theatre Company and the UK company Flying Bridge Theatre, which is based in Newport, South Wales. It’s performed by the Welsh actor Daniel Llewelyn-Williams and the American actor Matthew Boston, directed by Twilight Theatre’s Margarett Perry. The US and the UK sides met last year at the Fringe, when we were in back-to-back shows at Assembly’s Studio 2. We all got on great, and now here we are teamed up on the same show. As for after the Fringe – we shall see!

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

“The Rosenberg/Strange Fruit Project” is another Twilight Theatre project, so we offer a big recommendation there. I’m also very eager to see Scott Organ’s play “17 Minutes” at Gilded Balloon Teviot – it’s another show in from New York. Others on my list include Edwin Flay’s “The Quality of Mercy” at the Space/Surgeons Hall and Tim Marriott’s “Watson,” among many others. But eager to get out and see more shows — it’s a fest rich with possibilities.

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EdFringe Talk: Donna and Kebab are Martha and Eve – A Celebration!

Posted in *Written Interviews, EdFestivals 2023 by

“We’re so excited to be back after all this time!”

WHO: Martha D Lewis and Eve Polycarpou

WHAT: “Martha D Lewis and Eve Polycarpou made their first television appearance in 1987. After three decades of national and international accolades, these trailblazing British-born Cypriot legends, described as ‘witty, wicked, Mediterranean madams’ (Evening Standard ) – also award winners within their individual music and acting careers – join forces once again to celebrate their distinguished careers in this brand-new show. They are buzzed up to be back together in bonnie Scotland’s Acropolis of the North. Expect ‘soaring vocals, exhilarating rhythms and a satisfying stew of melody and mirth’ (Guardian).”

WHERE: Gilded Balloon Teviot – Wine Bar (Venue 117) 

WHEN: 20:45 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This will be our seventh time performing at Edinburgh Fringe Festival. Our first show here was in 1987 and the last time we were here was over 20 years ago! We love performing at The Gilded Balloon, which is the venue that hosted our last three shows here.

Our first Donna and Kebab show was spotted by the TV show ‘0-1 for London’, which was really the catalyst that launched our careers. Edinburgh Fringe feels really special to us for that reason – and that’s why we’re so excited to be back after all this time! There’s really nowhere like it – the Fringe has so much variety and so much upcoming talent. It’s a really inspiring place to be as an artist, whatever stage you’re at in your career. We loved it in the 80s, and we love it just as much now.

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

Eve: I’ve learnt that you have to take each day as it comes, especially with so many people around us who have been ill and also the risk of getting Covid myself. You just have to go with the flow and have a good time as much as you possibly can – things like exploring lovely walks which I’ve been able to do and taking time with myself.

Martha: I think what I’ve learnt is how fragile life is. From one day to another, life can change completely. The reality of going into that Covid lockdown was quite shocking. I don’t think any of us could’ve imagined that something like that could happen.

Tell us about your show.

Our show is a combination of music and comedy that looks at the British-born Greek-Cypriot (BBCs) community today and talks about current issues and topics through the eyes of our mums, grandmothers and ourselves. We use our voices as female performers with a unique bi-cultural experience and part of the LGBTQI+ community. Sharing this unique insight as BBCs is really important to us.

We wrote and produced the show with the help of our wonderful co-writer/co-director Joanna Foster. Our joint view of the world and shared sense of humour is really how we first came together – we met at Eve’s Uncles’ Greek nightclub, where we both had performance residencies. We bonded over the music of our parent culture and also had very similar experiences growing up, particularly struggling with the cultural expectations and pressures we felt from our community – how we were just expected to transition from good Greek girls to good Greek women, and then good Greek wives.

We finally created Donna and Kebab after a friend suggested we put our stories into a show – these gradually evolved into comedy sketches – that was 35 years ago! Since our first Edinburgh Fringe, we’ve performed internationally and played at some incredible places. Some of our favourites include Glastonbury and playing in Syria in the 1990’s, plus festivals all over Europe.

Our Edinburgh show is part of a much bigger story involving a UK tour next year. Music is a primary factor of our creative partnership and we’ve released a number of albums of self-penned songs, plus Martha and Eve versions of some of our favourite covers in Greek, English and even Spanish and French. This show is kicking off our campaign and getting us used to working together again. After the Fringe, we’re going to be fully focused on our national tour, but we’re also working with an award-winning filmmaker called Athena Mandis who is making a documentary about our journey as Donna and Kebab and beyond – that’s something we’re really looking forward to as well.

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

There are so many shows we’re excited to see – we have tickets to see Bridget Christie, who we love. We also like the look of ‘Liz Guterbock: Geriatric Millennial’ and ‘George Zacharopoulos: Wonderland’ and we’re fans of Steve Richards who is at the Fringe with his ‘Rock N Roll Politics’ podcast. We always try and cram as much in as possible whenever we’re here!

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