Category Archives: EdFestivals

‘Tom Greaves: FUDGEY’ (Venue 139, Aug 7-13, 15-18, 20-26)

Posted in 5*, EdFestivals 2024, Rated: Outstanding by

“A show bursting at the seams with drama, sturm, und drang.”

Editorial Rating:5 Stars (Outstanding)

Effortless takes effort. If art is anything it is the ability to make a thing look natural that isn’t. Perhaps the most annoying thing about Olympians is their total lack of puffed outness at the end of the race. I want them to look how I feel after encountering any sort of gradient after months spent trotting around the falter-than-flat Cambridgeshire fens. Instead, they have all this… what’s the word… composure. Learning to go through life composed is one of the hardest things to achieve and, like so many things in the age of viral rage, composure is in short supply.

For centuries, those with the means taught their offspring the art of ‘composed’ by shipping them off to boarding school where the routines and regime could (not so gently) bash them into a composed shape. James Bond’s sang-froid is the intentional product of this system. Problem. It turns out that most little human beings don’t like being separated from their parents and that placing very young children into institutions can do more harm than good.

We enter to find little Tom Greaves prepping for his first day at boarding school. It’s a big deal that he’s going. It’s a massive point of self-identity and pride for Pater Greaves that his progeny can take the toll road less travelled and start off several runs up the social ladder from the kids little Tom is currently spending his carefree days with. But there is trouble in paradise. Little Tom can see, even if he cannot yet fully understand, that his parents are deeply, irreconcilably unhappy with each other. As will become painfully clear during the subsequent stage traffic, adult Tom’s world is as unstable as a top-heavy very unstable thing and no amount of front, bluster, laddish banter, and emotional disconnection can compensate. As becomes painfully clear, the early death of innocence does not have a happy afterlife. The very things that were obtained at so great a cost are anchoring poor Tom to the storm where he must now suffer for our amusement.

Effortless takes effort and it would take a lot of effort to unpack all the stagecraft, all the tricks of the trade, all the raw energy that has gone into this super powerful and super memorable production. This is a show bursting at the seams with drama, sturm, und drang. This is storytelling at its most profound. This is a dark comedy for people who like to see society’s imagined social betters falling apart and failing, flailing at life. This is a production for people who like their theatre chaotic and spontaneous yet also techie and on-target.

Come for the comedy-drama. Stay for the mayhem. Leave with a revitalised sense of what real living theatre can make happen. Get your smart new uniform coats on and go see this!

ALL our recent coverage? Click here!

‘Ted Hill: 110 Percent Normal’ (Venue 17, Aug 7-12, 14-26)

Posted in 5*, EdFestivals 2024, Rated: Outstanding by

“Saying that Hill’s material is surreal is like saying that the ocean is deep or that lava is red.”

Editorial Rating: 5 Stars (Outstanding)

Being asked to review Ted Hill is rather like being asked to write a review Edinburgh’s Mosque Kitchen or Kebab Mahal. There is so much to say and yet there are not sufficient quantity or quality of words to encompass the experience. Ted Hill has to be seen to be believed. This is an experience as much as it is an act, routine, or set. Ignore the listing, there will definitely be multimedia mayhem, plenty of computer chaos and absolutely mind-altering amounts of silliness.

Saying that Hill’s material is surreal is like saying that the ocean is deep or that lava is red. Noting that his delivery is unique is like noting that London buses are red or that UK elections always happen on a Thursday – Hill’s quirky, tech-heavy delivery is unlike anything else out there. His theme is himself. This is a show about self-awareness and the possibility that all this surreal uniqueness has a medical label.

Here is a standout set from a comedy legend in the making. Here is a pacey, bizarre, weird, joyous exploration of one human being’s attempt to comprehend his existence on planet Earth. If you stumble over one act that surprises, delights, and entertains in the most unexpected of ways, make it this one. Come for the line graphs. Stay despite the creepy AF robotic mannequin. Leave knowing you’re now a member of that most exclusive of clubs, people who saw Ted Hill reaching for the stars and just about getting there. Get your normalist of normal coats on and go see this!

 

ALL our recent coverage? Click here!

‘The Last Laugh’ (Venue 17, Aug 7-11, 13-25)

Posted in 5*, EdFestivals 2024, Rated: Outstanding by

“Damian Williams as Cooper delivers a masterclass in pathos done proper.”

Editorial Rating: 5 Stars (Outstanding)

We enter to find ourselves backstage in a somewhat very shabby dressing room. The decor may have faded but the stars of yesteryear are shining bright as Tommy Cooper enters. Thomas Frederick Cooper (1921-84) was a giant in every sense of the word To fully appreciate his stature we must stand on the shoulders of other giants. The towering titans of comedy selected to join Cooper wherever it is that he is, by writer and director Paul Hendy, are Eric Morecambe and Bob Monkhouse.

In the hour of stage traffic that follows we get singing, we get gags, we get musings on the meaning of life, we get an insight into the sheer chuffing effort that effortless laughter demands. Hendy’s script is a vehicle for three finely honed impersonations of three instantly recognisable and immensely loved and respected icons of British popular culture. ‘Impersonations’ is a clumsy word which entirely fails to describe the acting talent, insight, and ability on offer. This is a triptych of heavy-lifting portraiture which captures not only the individuals but also their relationships with one another in this super-select creative group.

Damian Williams as Cooper delivers a masterclass in pathos done proper. There is an edge and edginess to his performance, the ideal counterweight to Cooper’s larger-than-life utter daftness which Williams delivers by the leaky bucket full. Simon Cartwright as Bob Monkhouse is pitch perfect as he perfectly pitches every familiar gesture and on-screen mannerism. Bob Golding, reprising his take on Eric Morecambe, completes the picture with that characterful character study which has been celebrated as a Fringe favourite.

This is a show with big personalities requiring big performances and yet it is perfectly balanced. Even when the discord and tension are heating up, the drama stays steady and the laughs come fast and furious. Here is a play that does exactly what it says on the tin and does it really, really, really well. Get your dinner coats and fezes on and go see this!

 

ALL our recent coverage? Click here!

‘Aude Lener – Love Reboot’ Venue 53 until 24th AUG (not 11th)

Posted in 4*, Comedy, EdFestivals 2024, Rated: Nae Bad, Theatre by

“Wanna feel loved? I’m no magician; I’m just French.”

Editorial Rating: 4  Stars (Nae Bad )

As a regular visitor to the Fringe for some years now, I’ve always had a soft spot for single-handed shows. So often the preferred vehicle for solo female performers, they can frequently take you by surprise, drawing from the almost infinite well of personal imagination and experience, unhindered by the theatrical presumptions inherent in a full-cast play. This slick, energetic, and well-staged production is written and performed in English (with occasional forays into Française) by the French film and TV actress Aude Lener.

Part stand-up comedy, part pop-philosophical treatise, part scatological cabaret, Lener delivers a wryly amusing exploration of a single woman’s life as she realises that the pursuit of love is slipping through her ageing fingers. As she wearily notes with a particularly gallic take on her situation: “Wanna feel loved? I’m no magician; I’m just French.” There is physical action a-plenty as Lener presents us with a rapid-fire series of vignettes enacting her somewhat crazy social and family life. These include a rather clever whiteboard presentation; much skilful use of a banana as a visual metaphor (oh, how the ladies in the front row giggled); the funniest rendition of Amazing Grace I’ve ever heard; and the recurring ghostly presence of her Aunt Madeline, who is dead but won’t lie down and keeps intruding into Aude’s life like an escapee from some grand guignol show at a seedy theatre in 1950s Pigalle.

Lener herself is something of a dramatic phenomenon. Her demure movie star face is elastic enough to quickly contort into a thousand visual caricatures to suit as many different voices, some her own internal monologue, others those of relatives, friends, and a succession of would-be lovers. With her pacy and emphatic delivery, she packs much observational humour, wit, and physicality into this 50-minute whirlwind of a show. Maybe it’s a cliché of national stereotyping for me to say that Lener’s French accent imbues her comedic insights with a philosophical authority that just wouldn’t be there if it came from a British actress? But it does.

So if, like me, you’re looking for something a little different to seek out in a small black-box studio theatre and won’t lose sleep if you never again see yet another angst-ridden portrayal of Emily Brontë or Mary Shelley, get yourself to TheSpace @ Surgeon’s Hall (Theatre 3) to laugh along with this quirky little gem.

ALL our recent coverage? Click here!

‘Victor’s Victoria’ Venue 20, until 25th AUG (not 7th or 20th)

Posted in 5*, Cabaret, EdFestivals 2024, Rated: Outstanding, Theatre by

“You may know him as Doc Holliday or Samson or Demetrius… I knew him as Dad.”

Editorial Rating: 5 Stars (Outstanding)

Spoiled for choice as we are at the Fringe for drama and stand-up comedy, it’s always good to side-step every now and again into that much-loved genre Cabaret & Variety. One of the standout shows in that category this year is this very engaging and entertaining show in the Drawing Room: one of the more cosy medium-sized theatres at the Assembly Rooms on George Street.

In this slick one-woman show, Victoria Mature – the daughter of Hollywood golden age legend Victor Mature (1913-1999) – tells the story of her life with a famous father. Though his star may have faded a little in recent years, even Generation Z must surely be familiar with that craggily handsome, lantern-jawed face from all of those sword-and-sandal biblical epics that show up on TV every Christmas and Easter? He was equally at home as a hard-boiled noir detective or in a Western. As his daughter notes early in this show: “You may know him as Doc Holliday or Samson or Demetrius…I knew him as Dad.”

As Victoria takes us through her own life and her father’s glittering career, her lively monologue is interspersed with projected movie clips inspired by his career. There are also musical interludes from several shows with which both she and her father were involved. As an opera singer with an international career, Ms. Mature certainly knows how to put a song over. We were treated to her warm, dramatic soprano voice, accompanied by a live pianist, giving powerfully emotional renditions of excerpts from Broadway shows and classical opera, as well as movie soundtrack favourites. The range of material is fascinating, ranging from Dvorak to Kurt Weil, via the Gershwins. No prima donna (in the pejorative sense, at least), Victoria cheerfully invited the audience to sing along with the best-known numbers.

Victoria has inherited a great deal of her late father’s showbiz sparkle. Her raven black hair reflects his Italian ancestry, accentuated by the off-the-shoulder black cocktail dress she wears throughout the show. Indeed, there were moments during the songs when, pouting in concentration between lines, there were striking glimpses of her father shining through in her facial expression.

In telling his and her life stories, there are anecdotes aplenty from the golden age of Hollywood. As a precocious child star herself, she met and worked with what sounds like a Who’s Who of studio-era Tinseltown. But this is no mere name-dropping exercise; her reminiscences of this bygone era are told with panache and all of the theatricality one would expect from a woman who had an insider’s view of the movie business.

The show runs at the Fringe until 25th August, so get along to see this, its UK premiere, while it’s still in a relatively small venue where the encounter is close-up and personal. I suspect we’ll be seeing and hearing more of it in the future.

EdFringe Talk: The Funny Thing About A Panic Attack

Posted in *Written Interviews, EdFestivals 2024 by

image of event

“The real victory — the daily victory! — is the opportunity to show up to rehearsal every day, and to feel my show, and myself, grow, evolve, and become something I never thought possible.”

WHO: Ben Kassoy

WHAT: “Author and dancer Ben Kassoy brings poems from his spectacularly original book to life in The Funny Thing About A Panic Attack, a genre-defying solo show celebrated as ‘inspired, powerful and thoroughly entertaining’ (LA Hidden Gems) and ‘intimate, affecting and revelatory’ (StageAndCinema.com) at sold-out shows in New York and LA. Directed by award winner Joanna Simmons (Mark Pleases You, Best Man Show), The Funny Thing About A Panic Attack is bursting with humour, heart and wonder, using spoken word, dance and physical theatre to reveal the connections between panic, poetry… and pancakes.”

WHERE: ZOO Playground – Playground 3 (Venue 186) 

WHEN: 17:10 (45 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes! First time to Fringe, first time to Scotland (I’m from the US), first time writing & performing a solo show! My friends have instilled enough FOMO over the last few years that I just HAD to be here this year. Yup, I decided I wanted to do EdFringe loooong before I even had a show. Kinda backward, sure, but hey — here we are! The journey has been amazing thus far: stellar reviews, sold-out shows in New York and LA, folks coming to see it from all over the US — I am truly ~thrilled~ to share my work in Edinburgh.

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

When it comes to art (and, honestly, maybe even anything?) the joy is in the work. Regardless of outcome, the process is the gift that keeps on giving. The labor of love in making this show has been gratifying and challenging in equal measure, and the “success” of the show can’t be measured in ticket sales or reviews or awards. The real victory — the daily victory! — is the opportunity to show up to rehearsal every day, and to feel my show, and myself, grow, evolve, and become something I never thought possible.

Tell us about your show.

Based on the poetry collection I published last year, The Funny Thing About A Panic Attack is a solo show that uses spoken word, dance, and physical theatre to reveal the connections between panic, poetry…and pancakes. (By the way, silly question: are pancakes a thing in Scotland? For the uninitiated, pancakes are hot round pieces of bread that we Americans drench in syrup and feed to children for breakfast.)

ANYWAY, I wrote the poems in the collection about living with — and overcoming! — panic attacks, and I’ve adapted them from the page to the stage (#POETRY) into a genre-defying show that’s been celebrated as “inspired…powerful and thoroughly entertaining” (LA Hidden Gems) and “intimate, affecting…revelatory” (StageAndCinema.com). We have an incredible team, including director Joanna Simmons, musician Matt Lipkins, and choreographer Julio Medina.

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

Y’ALL. I’m totally biased, but the comedy scene in Los Angeles is truly BLOWING UP, thanks to some of the funniest, most brilliant performers in the world. And….so many of them are bringing their shows halfway around the world (a 10-hour flight!) to Edinburgh. LUCKY YOU. Do yourself a favor and check out as many of these shows as possible!

-“2lian Stern Keeps 2trying”: Come for the jokes, stay for the music — smart and hysterical, you’ll want to see this show over and over to pick up on every brilliant lyric and jam out to your new favorite earworms. Julian Stern is a singular talent.

-“The Dolphin I Loved”: This show is peak clown: slightly unhinged, totally brilliant, and belly-achingly funny. Kelly Reilly is an absolute star!

-“My Mother Doesn’t Know I’m Kinky”: Spicy, funny, and timely — this is for anyone who’s had sex or a mother. Jean will delight and move you in equal measure!

-“The Best Man Show”: Perfectly calibrated chaos, there’s a reason this won Best Comedy 2024 at Hollywood Fringe in LA!

-“My Little Phobia”: One review said, “Imagine if Lucille Ball did a bunch of acid, had a psychiatric break, and lived at Grey Gardens.” I couldn’t have said it any better.

-“Medicine Woman”: You’ll be spellbound and wildly entertained; see why Medicine woman has already won 3 international awards!

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: NoVa

Posted in *Written Interviews, EdFestivals 2024 by

image of event

“Every year, we discover a bit more about all the ramifications of the festival.”

WHO: Remi Jacques

WHAT: “With gravity-defying acrobatics and dazzling juggling, this family show is full of warmth and side-splitting humour. Nova is proudly presented by Canadian ‘masters of slapstick’ (Scotsman) Les Foutoukours who previously brought you the five-star clown show Brotipo. Nova rediscovers the magic of circus, where dreams take flight and anything is possible. It marries clowning with a celebration of childhood creativity, set in an enchanting attic with towers of books and lit by flickering candles. The audience is left with a sense of wonder and reminded that even in dark times there is light to be found.”

WHERE: Assembly Roxy – Upstairs (Venue 139) 

WHEN: 15:45 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, this is our fourth time at the Fringe! Each time is an incredibly fantastic but demanding adventure for the entire team. Every year, we discover a bit more about all the ramifications of the festival. Each of our visits has brought us new knowledge but also friends and collaborators that we meet again all over the world. The festival is also one of the most interesting places in the world, I would say, because of its quantity but also because of its diversity in artistic offerings. There is no judgment here, there is something for everyone: dance, theater, puppetry, circus, burlesque, cabaret…

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

Many discoveries have been made from years to yers. One of the great finds of 2023 is the Meet the Media event! Having the chance to take 5 minutes with different newspapers and critics is a highlight of the month. We also have discovered plenty of small hidden spaces that can accommodate different forms of art. We have learned that having a strong presence throughout the festival is more coherent than coming with a small team that takes turns. This year we will have 7 people working full time during our stay, compared to 4 last year. We have also set up systems for appointments with professionals for meetings and sessions following the presentations. We are now also part of the companies that participate in the Best of the Fest and also give pitches in different networking events. Handing out flyers is good, but creating a parading team that represents the show works better and is more interesting for everyone, both the audience and the artists.

Tell us about your show.

We are a non-profit organization celebrating its 27th year of existence. The show we are presenting this year was designed and conceptualized to make its debut here! We wanted to offer a signature Foutoukours show. It is a high-level acrobatic clown performance for the whole family, with poetry, performance, and also dramaturgy. Following its appearance at the Fringe, the show will hit the road again in October for tours in Canada, and presentations in Brazil, Chile, and Colombia are in discussion! Rémi Jacques, the founder of the company, has ensured the dramaturgical writing of the show, the clown research, as well as the costume, set, and makeup designs. Jean-Félix Bélanger worked in collaboration with Jasmin Boivin to create the magical universe of the music. He also worked for over a year on the magic of the candles!

This show is above all about gentleness, hope, and perseverance. A show that draws its origins and influences from various tales. The universe is magical but also sometimes harsh. We wanted to present a show that touches both through laughter and dram. A show where poetry, movement, clowns, and hope are intertwined!

Both young and old will find their place attending this show. The youngest will find pleasure and wonder for completely different reasons than the adults, who will experience the same emotions. At the end of the show, young and old will leave with a sense of gentleness and beauty, and especially with a spark of hope in their eyes for everyone.

In these darker times, this show speaks of the quest for light within us and around us.

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

Bill’s 44th Because it is an intelligent, disturbing work that is so representative of life today. A must-see for its puppeteering dexterity! It was in our top 3 shows of 2023.

OH OH by Baccalà Because clowns who do their job well are extraordinary to see, and there are so few of them! A simple and joyful show to savor!

Yuck Circus Feminist as desired, offbeat, funny, and technically strong, Yuck is a must-see.

N.Ormes by Agathe and Adrien A show of poetry in body and movement. An important message for our times is conveyed in this show without moralizing. Circus at its best, raw and true, without artifice.

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: The Weight of Shadow

Posted in *Written Interviews, EdFestivals 2024 by

image of event

“Flabbergast Theatre have the perfect mix of serious meets funny, which magnifies both sides due to their contrast. This inspired me massively to bring in humour into my show, and not be so ‘constipatingly’ serious the entire time.”

WHO: Sasha Krohn

WHAT: “Symbolically based on true events, The Weight of Shadow depicts mental health deterioration. Inspired by Sasha’s partner, Ciana Fitzgerald, it blends dance, mime and aerial acrobatics, reflecting the enigmatic language of the psyche. The show immerses viewers in the 24-hour struggle of a psychiatric patient to grasp reality, echoing Sasha’s artistic vision. Fitzgerald’s influence infuses the performance with emotional depth, portraying the complexities of mental illness through Sasha’s lens. The production serves as a poignant exploration of the human mind’s resilience amidst turmoil, resonating with audiences through its portrayal of inner struggles and external manifestations.”

WHERE: Assembly Checkpoint – Assembly Checkpoint (Venue 322) 

WHEN: 12:15 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is the first time showing my own work at Edinburgh Fringe Festival, which is equally exciting and nerve-wrecking. The Edinburgh Fringe has a high quality performance program that’s incomparable to any other performance event that I have experienced so far. The variety of shows and genres, the networking possibilities, the atmosphere throughout the month, are all something very beautifully unique. The large variety of shows, also attracts a very versatile audience, which is brilliant for performers and audiences alike.

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

(As I wasn’t part of the Fringe in 2023, I’ll answer more generally.)

2023 was a very inspiring year for me. Towards the end of 2023 I had the honour to work with Flabbergast Theatre. As my work is mainly of darker-aesthetics and rarely uses humour as a tool of expression, it was eye-opening working with them. Flabbergast Theatre have the perfect mix of serious meets funny, which magnifies both sides due to their contrast. This inspired me massively to bring in humour into my show, and not be so ‘constipatingly’ serious the entire time.

Tell us about your show.

‘The Weight of Shadow’ was written and directed by myself, and only possible through the help of my fiancée Cíana Fitzgerald . She is the subject , the inspiration behind this show, as she was the one experiencing what I depict. Cíana helped me find the right physical language by explaining exactly what situations or surroundings feel like to her whilst navigating mental health issues. The physical languages that I used to facilitate these emotions and explanations, are composed of aerial acrobatics, dance/movement with different influences (locking, krump, contemporary) , mime elements and somehow a lot of rolling, getting stuck and collapsing …somehow.

As an aerial acrobat it was a challenge to use previously ‘clean presentable tricks’ and make them useful, expressive, dirty, without losing myself in the ‘need to show off’ , but also equally fulfilling to allow myself to perform movements for the sake of expression and emotion, rather than for claps & craic.

Finally, using the same emotions and elements that Cíana described, I then started writing and recording the soundtrack for the show over the course of 2 months.

The show started as a smaller project of 30 minutes and played in Donegal, Ireland in 2023 and was only possible through the incredible help by FidgetFeet Aerial Dance Theatre & Irish Aerial Creation Center, in Ireland. They gave me the finances, space and time to be able to start researching and developing. But it hasn’t been staged in the current format of 55 mins yet. Edinburgh will be the first time I’m staging it in its now final format, and hopefully will be followed by plenty of opportunities across Europe and beyond.

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

‘Paperswans’ is a visually beautiful, absurd theatre piece that draws its inspiration directly from Vyte Garrigas experience as a woman from a post-soviet country and shows and explores themes of oppression, self-discovery, the price of freedom and more. Absolutely stunning and must-watch in my opinion

Another show to watch will be Skedaddle Theatres’ ‘ A Brief Case of Crazy’ . A hilarious, heartwarming and deeply moving story about one persons quest for romance encounters a boisterous boss, a rather troublesome briefcase. Brilliant physical comedy !

‘Rebels and Patriots’ is another must-watch. It is an Israeli-Palestinian co-creation about the consequences of conscription to the IDF and call to end the bloodshed in the region. Floating Shed talk about their experience as young people in Tel-Aviv and their mandatory conscription into the IDF and the connected toxic masculinity and trauma that came with it. It’s a very very poignant piece that couldn’t be more relevant and needs to be experienced.

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: The Gospel of Joan (Crawford)

Posted in *Written Interviews, EdFestivals 2024 by

image of event

“I’ve never gotten the opportunity to attend theatre festivals or even arts festivals in a deep capacity so I’m extremely excited.”

WHO: Amanda Whyte

WHAT: “Five would-be somebodies find themselves united in Hell, part of a trial run to solve Hell’s oncoming population problem. Faced with a poker match with the devil’s right-turned dealer – the one and only Joan Crawford – these women must vie against each other for a spot in Heaven, all while contending sins, histories, sexual identity, and their own dispensability… because in this game, winning is more than eternity – it is fame.”

WHERE: theSpace @ Venue45 – theSpace @ Venue 45 (Venue 45) 

WHEN: 21:40 (75 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is indeed my first time at Edinburgh Fringe! In my lifetime, I’ve never gotten the opportunity to attend theatre festivals or even arts festivals in a deep capacity so I’m extremely excited because my team has been like “This is THE festival to be in and THE festival to experience.” Already, without even being in the country, I’ve received so much love from other shows as well as positive feedback from past performers and creatives.

I can’t even fathom there being so many creatives in one space all performing outside of a place like New York, so that’s what makes this special to me. I want to be able to walk down the street and run into as many creatives as possible. (Maybe I’ll even make a bingo card and knock certain titles off when I meet them!)

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

So much has happened since last year that I’m so grateful for! Off the top of my head, I got to lead in an action film, a psychological thriller, a drama, a horror film, and a period piece—some of which are in the festival circuit as we speak and some that are just wrapping up on post-production. I also very recently made my off-broadway debut at 59E59 with the show I get to perform in at Fringe! (We sold out for opening and closing which was crazy!) I was also trusted with some really amazing beauty campaigns that are actually coming out very soon…so stay tuned!

I’m so thankful that I’m busy in this industry but one thing that all of these projects continue to teach me is that kindness and professionalism go a long way. I was able to get many of my auditions solely through word of mouth and to those directors and CDs, I’m so honoured they thought of me for the role.

Tell us about your show.

Our show is a crazy, wacky, campy, queer show about these five women from different time periods (who, in my opinion, all have ego issues) who end up in hell after death. All is fine and dandy and HOT in hell until they realize hell is very much overpopulated. The solution? A game of poker of course. The winner gets to go back to earth and redo life. (You can imagine five women who all think they’re the poop all want that ticket back.)

But why is the show camp you ask? Oh, because the poker game is led by Joan Crawford. And who is Joan Crawford??? Some old washed-up Hollywood star that is somehow worse than the rest of them. (When you meet the five, you think, “There’s no way Joan is worse”…and then somehow…she is…TRUST ME.) There’s love, there’s laughs, there’s melodrama, there’s bad dancing and bad accents…what more could you want? After watching this show, you can then die happy.

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

After you see The Gospel of Joan (Crawford)—which you MUST see—you absolutely 100% have to, have to, have to, see Company Della Luna’s, Love’s Concordia Bar. It’s a pop musical/play style of theatre and I saw it in New York when it first opened under Eduardo’s direction (the director/playwright and fellow actor of the theatre company). I fell in love with it and I think everyone should see it. It’s so fantastical and they do a great job of building the world around the music. The costumes are great, Bridget, the choreographer is great (the numbers are fantastic), and Olivia, the composer and songwriter is amazing at what she does—expect to have these songs stuck in your head for the coming years. That whole company is so talented and I have so much love for them so please do find a seat in their theatre…and then blow them a kiss for me.

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!

EdFringe Talk: All These Pretty Things

Posted in *Written Interviews, EdFestivals 2024 by

image of event

“Collaborating with another artist who truly understands the content and shares the same love, drive and enthusiasm for a project, can take it to new heights that would not be possible with a single vision.”

WHO: Tracey Yarad

WHAT: “An emotionally raw blend of memoir and song, Tracey Yarad’s All These Pretty Things is a phoenix rising from the ashes story, taking the audience from Australia and the fallout of a devastating divorce following her husband’s affair with their teenage goddaughter, to New York City and an inspiring new life. An evocative portrayal of one woman’s capacity to come back stronger than ever, it is an inspirational testament to the human spirit. ‘Beautiful alchemy: breathtakingly honest, gorgeously sung songs on the themes of loss and abandonment, and the restorative power of music and love’ (BroadwayWorld.com).”

WHERE: C ARTS | C venues | C aquila – studio (Venue 21) 

WHEN: 17:10 (65 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes, this is my first time to the Edinburgh Fringe, and my first time to the city. Performing at the Fringe is a lofty goal, so to be invited to perform by C Arts Venues is terribly exciting. I have performed at various festivals in Australia, and the atmosphere created by a captive audience whose main goal is to discover new original music is utterly thrilling. Their curiosity and energy is inspiring, especially when they are lining up backstage to talk to you. Looking at the footage, I know that the Edinburgh Fringe Festival’s eclectic mix of creative performing arts bundled into a full month is going to be electrifying.

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

2023 was a great year for my project, ‘All These Pretty Things.’ It was the year my book was finished and printed. I also previewed the show twice in New York City, and played to packed houses in Sydney and nearby Taree. I learned so much about my show through these performances, and developed it further through the critical feedback from those audiences on how the show worked and flowed. I then came back to NYC where I worked briefly with a Broadway coach, then a theatrical director, which ultimately led me back full circle to my editor and co-writer, acclaimed jazz vocalist and former international journalist Tessa Souter, who agreed to work closely with me in her debut as a director. I think we have both learned that collaborating with another artist who truly understands the content and shares the same love, drive and enthusiasm for a project, can take it to new heights that would not be possible with a single vision. We are really looking forward to bringing it to Edinburgh.

Tell us about your show.

The show is about my devastating midlife divorce, answering the question: “What do you do when your husband of 23 years runs off with your teenage goddaughter?” “Neck him!” a young woman said to me today, miming a slit throat. I should have thought of that before. Instead, I dyed my wedding dress black, wrote some songs and made a show. I also moved from a tiny mountain village in Australia to New York City, where I now live in Brooklyn with my border collie, Billie Rae and where I developed the show. I wrote the music, collaborating on some songs with Aussie and Nashville writers, and then wrote a book, collaborating and co-writing additions with the show’s director, Tessa Souter. This latest edition contains brand new songs and monologues and, aside from the three previews at 59E59th theatre in New York, will have its official premier in Edinburgh at the festival. The plan is to take this show to fringe festivals and theatres all over the world.

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

I am in awe at the number of incredible shows offered at the Fringe, I cannot wait to get around and see what other artists are presenting. Here’s who I have on my list already, if you want to join me after my show: Two Guys, Three Drams: The Ultimate Live Blues and Whisky Experience. Why see this after mine? Because you will need a good whiskey and this kind of raw energy. I’m definitely checking out the show After the Rainbow: A Mystical Music-full Midlife Journey Through Oz, for more inspiration on being here now and following the rainbow. Gorgeous songwriting. And I can’t wait for this one: One in a Chameleon. The Bloody Ballad of Bette Davis. I plan to see Pretty Delusional in New York before I get to Edinburgh. Something about ‘staying sexy in the face of rejection” grabs my attention.

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

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!