Category Archives: *Written Interviews

From time to time we encounter an artist or producer toiling away at something pretty special. Here’s what they have to say, in their own words, about their work.

EdFringe Talk: Songs for a (Brave) New World – Free

Posted in *Written Interviews, EdFestivals 2024 by

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“My show is a satirical cabaret.”

WHO: Richard Lewis

WHAT: “Songs for a (Brave) New World. Richard Lewis follows up last year’s hit show A Cabaret called Hamlet by looking at the state of the world in 2024. Whether it’s politics, digital dating, Trump, green issues or political correctness, Richard finds a musical reason to spotlight the natural absurdity of the human race – and if that’s not your cup of tea, just sit back and enjoy the piano playing! ‘Not only is Lewis’ patter quick-fire and knowledgeable, but his piano playing is sublime’ **** (JonathonBaz.com, 2023).”

WHERE: PBH’s Free Fringe @ Fingers Piano Bar – Fingers Piano Bar (Venue 221) 

WHEN: 16:20 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I’m from Edinburgh and did my first show here when I was 10 for the Edinburgh International Festival. Since then I’ve done numerous shows here both at the fringe and the Edinburgh International festival.

The fringe is great, but always a challenge. With the EIF, you just get a fee which makes your life a lot easier!

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

The biggest thing is, I’m very grateful to be an Edinburgh resident. God knows how anyone else is able to afford it…

Tell us about your show.

My show is a satirical cabaret looking at contemporary themes such as digital dating, politics, environmental issues and anything else I could think of.

I try to mix as many musical styles as possible as my background is in classical as well as pop and musical theatre.

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

I confess, I haven’t seen anything else as yet! I’m doing two shows a day and rehearsing a third one.

I am musical director on Wallis at The Space and very very happy to plug my excellent colleagues on that show.

From the 19th to the 25th, I do Liberace in his own words.

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EdFringe Talk: The Techtonics: 44 Days of Liz Truss (A Cappella)

Posted in *Written Interviews, EdFestivals 2024 by

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“I went into the 2023 festival as a tourist with zero information on it other than that Fleabag originated there.”

WHO: Alex Christopherson

WHAT: “It’s been a bumpy few years in UK politics, and one story is particularly comical: Liz Truss’s stint as prime minister. In 44 days, Trussonomics tanked the economy, her cabinet made more U-turns than Mr Bean on a roundabout and, after one meeting, the Queen passed away. Who could be more fitting to tell this story than an all-male a cappella group of nerds from Imperial College London? Not just any group though: the only UK group to have won the ICCAs! Yes, that’s the competition in Pitch Perfect.”

WHERE: Gilded Balloon Patter House – Doonstairs (Venue 24) 

WHEN: 11:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Even though I actually put Edinburgh as my insurance university, the first time I ever visited was for the Fringe last year and I fell in love with both the city and the festival. I had never seen such an amazing and diverse display of the arts which, as a performer my whole life, was really special. It’s not the first time the group has been to the Fringe though – back in 2016 The Techtonics had a sell-out show, though none of the current members were there. Once the trauma of those stressful few months had been forgotten, talk of going back resurfaced, and that’s when I had this idea…. the alumni still think we are crazy.

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

What haven’t I learned? I went into the 2023 festival as a tourist with zero information on it other than that Fleabag originated there. Now we’re about to start our run at the 2024 festival with a show I’ve written, directed, and am starring in! Safe to say there has been a lot to learn, and I’ve gained a real appreciation for just how much work goes into putting on a stage show. It seems endless, but it’s worth it!

Tell us about your show.

Weirdly, the group was formed as part of the Imperial College Croquet Society in 2008 when a group of guys realised they had a mutual love of A Cappella. Over many generations of “techtoddlers” we’ve released three albums, been on international tours and won and hosted competitions, but this show is something very new for us.

I came up with the idea myself just after Liz’s chaotic premiership back in Autumn 2022 as the group were planning what to do the following Summer. Eventually we decided not to go to Fringe and instead head on tour to the USA, but the idea stuck with me. When the same conversations happened ahead of the next academic year, I teamed up with Alex Li (together we are called Alex Squared) to pitch the show again. Our president, Robert Brickle, joined to produce the show and friend of the group Mari Dickenson came on to choreograph. Its been a roller-coaster ride putting this together, especially alongside Summer term at university! We did manage to preview the show back in June though, so are very excited to be coming to Fringe next week!

What have we got planned for after the Fringe? Well, that’s up to the returning and new members of the group! Sadly, this is my last project with the group, but it won’t be over right after our last show because we are making a film of the show too!

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

Where to begin? Of course I have to recommend our A Cappella partners in crime from the University of Bath, Aquapella. Unlike our show, theirs is just an hour of music (no politics!), but boy is their music good. If you see two A Cappella shows this year, make it them and us, and, better still, we’re in the same venue, one after the other!

My other university group recommendation is Musical Theatre Warwick: The Improv Musical. Every show is different and based on audience prompts, but somehow the singers and jazz band come up with a full soundtrack right in front of you!? I really don’t know how they do it, but its incredible and hilarious every time.

Moving away from student groups, I am super excited to see Newscast and No Such Thing as a Fish live at the Fringe! These two podcasts are where a lot of my random/topical facts come from for our own show!

Of course, my inpiration isn’t just podcasts… I am an absolute sucker for stand up comedy and topical panel shows, so I can’t wait to go see Hannah Gadsby and Tiff Stevenson.

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EdFringe Talk: The Chairs Revisited

Posted in *Written Interviews, EdFestivals 2024 by

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“We’re not only actors but also producers, marketeers, writers, translators, designers, proof readers, costume designers, pencilpushers (a term from the play) and roadies.”

WHO: Louise

WHAT: “Following five-star success with Miss Julie (*****, ThreeWeeks) and The Nine Lives of Antoine de Saint-Exupéry (*****, CafeBabel.com), the veterans are back with a perfect lockdown party. Picture an ancient couple, beached in life and marooned in some isolated spot, inviting many imaginary guests. Sometimes life is more absurd than fiction. ‘Brilliant new version of Eugene Ionesco’s surreal, funny and moving mini-masterpiece with rhyming rhythms and sizzling dialogue’ (Scotsman). ‘A pot-pourri of word-plays, slapstick and physical comedy. Well-paced theatre and highly entertaining. A wee bit like Waiting for Godot meets The Marx Brothers’ ***** (Herald).”

WHERE: Gilded Balloon Patter House – Other Yin (Venue 24) 

WHEN: 10:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This will be our 15th time at the the Edinburgh Fringe Festival. Over the years this Festival has grown and grown and grown and grown and exploded all over town to as far as Leith in the north and the Meadows in the south. In 1996 we were invited by Ricky Demarco and the Demarco European Art Foundation to perform the Chairs in his St. Mary’s School building in Albany Street in Edinburgh’s NewTown. There were other theatre groups from Eastern Europe and in the front of the building was an art exhibition with new work by Jimmy Boyle. We probably fitted into his
Eastern Europe programme because Eugene Ionesco is from Romania. The next year our Director
Andrew Dallmeyer got us into The Assembly Rooms on George Street in a long and narrow room
with crystal chandeliers on a tiny high stage where you could easily fall off. Of course we haven’t
been every year but pretty regularly though. Producing and writing takes a lot of time and research especially if you wear all the hats. We’re a small company but we have performed in all the big venues. New and existing plays, we’ve brought it all to the Edinburgh Fringe Festival. We’re not only actors but also producers, marketeers, writers, translators, designers, proof readers, costume designers, pencilpushers (a term from the play) and roadies. It is great to see how much people can enjoy the imagination that is inherent to theatre. It is an event of communication in which the experience of imagery is shared with others. The Festival is great to discover new talent, to see such a variety of performers and the city is buzzing with creative energy.

But to get them to your show…. You have to work hard get an audience in. They don’t come flying
in like that, especially when there is so much choice, so you REALLY have to work for it. It’s
always nice to run into people who say their friend urged them to come and see us. Word of mouth is the best publicity. We can’t complain, we’ve always had very decent audience numbers and even some groupies that check us out whenever we’re back.

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

Since 2023 we learned that Absurd theatre is appreciated and recognized much more in this day and age than in the past. And we see a much wider range of people – young, old, comedians, and people who would never go to a theatre play – all craving to have an absurd experience that touches on the essence of life. Before the Covid pandemic absurdity in Western Europe was a term only used by dramaturgs or high brow theatre critics to describe incomprehensible niche plays. In Eastern Europe absurdity and black humour was part and parcel of daily life. A way to cope with the stark reality of daily life. A way to express yourself and talk about things that mattered. Since the pandemic however we have all been experiencing absurdity in our daily lives: rigorous rules that had to be obeyed turned out to be rules that changed every day. Experts on virus infections had more unanswered questions every day. Nothing was certain, everything was real and not real at the same time. Theatres were closed, technical operators found new work installing solar panels. People changed careers because of Covid, divorced or fell in love, lost friends and neighbours, bought dogs for company and suddenly realized what really mattered in life. Ionesco was a close friend of Samuel Beckett. They lived in Paris and were part of a group of European writer friends who, after the horrors of World War II, had a different look on life. They concentrated on the emptiness and absurdity we encounter in our lives. Now we recognize their take on the world.

Another thing learned since 2023 is that the importance of social media is nothing to be sniffed at. I never cared much for social media, but now really have to force myself to contribute to all the different platforms on behalf of the company. It’s a steep learning curve. This way to advertise and keep people informed, to me feels as an easy, lazy and ephemeral way to communicate and work yourself into the picture. Apparently it’s the thing to do so we have to adapt to that phenomenon and go with the flow. I still prefer language over emojis and the old-fashioned contact between real people over all that digital froth. Funnily enough on my rounds I meet a lot of people who re-appreciate the old legwork and real contact with someone who is involved in a show over the virtual deluge of information they are forced to swallow every day.

Tell us about your show.

Eugene Ionesco wrote The Chairs in 1952. He wrote many other plays like Rhinocéros. That play deals with the temptations of Fascism. A very bizarre play, probably because it is not realistic but at the same time a very striking a comparison with our own society. That is his strength and that is what we liked about The Chairs. A very old couple, living on a remote lighthouse island. One day the old man decides it is time to reveal his message to the world and invites all the great and the good to come and listen to his message to mankind. We hear the boat arriving, the doorbells – they have many front doors -we see the chairs they pull out from every nook and cranny but we don’t see any real guests. However we can imagine very well what they all look like and how they (mis)- behave.

After the pandemic we decided to take up this play again because it made so much sense all of a sudden. We call our new translation The Chairs Revisited because the same actors are coming back with the same play, after 28 years, to the same festival. During the Covid pandemic we all had to adapt to living in small bubbles. Just like that old couple in the play. Those restrictions led to apathy and depression for some of us and to revolt, protests and inventive actions for others. What can you do when all entertainment and all sportclubs shut down? You go for a walk in the woods. There we stumbled on secret meetings: friends gathering in the middle of nowhere far out on the moors, looking over their shoulders while carefully nipping at glasses, passing around a bottle of Gin. We passed grandparents and grandchildren sitting on a fallen tree the midst of the woods. With all the restaurants and theatres shut where else to go for fun and entertainment? Experts and politicians, that we looked up to, had to bring hope and clarity but in the end proved to be inexperienced weak humans like the rest of us. They did not know the answers to all our questions and misbehaved as much as the rest of us. All this and more (Greta Thunberg) you can find back in our new translation/adaptation of the play from 1952. We plan to bring it to other theatres after the Fringe and are working on a Dutch translation to be able to show it in Belgium and the Netherlands.

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

Please go an see other theatre productions during this Festival. It is a small section in the Fringe guide but worth exploring. What about Myra’s Story. I keep running into people who were deeply moved by this play, a one woman show and I plan to see it this year now my schedule will not clash. Grandma ‘s shop sounds really interesting, a granddaughters investigation in the life of her own grandmother, new work and multi characters. Also in Gilded Balloon Patter House: The Steamie. It is a fantastic play done by a great team with music, funny and heart warming. And don’t forget the comedians: Jason Byrne, I saw him a couple of years ago, he never fails to surprise you with anarchy and fun. Michelle Brasier, saw her last year, she’s a powerhouse very inspiring, good connection with her audience and quick witted. And of course: the magician Caspar Thomas who combines self-deprecating humor with really clever tricks and a very good with his audience. Check out Anu Vaidyanathan. I met her last year, we were both flyering for our shows and found her already very funny off stage, this year our shows are not at the same time and I plan to go to her show at Gilded Balloon.

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EdFringe Talk: Shaolin Clown

Posted in *Written Interviews, EdFestivals 2024 by

“I’m not here with any expectations rather than hone this new physical comedy show to perfection.”

WHO: Tom Corradini

WHAT: “Physical and visual comedy. A Shaolin monk relives his childish and clownish soul in his Zen practice, discovering a world always full of surprises and which finds its meaning in seemingly insignificant little things. Suitable for all ages and nationalities.”

WHERE: Banshee Labyrinth – Chamber Room (Venue 156) 

WHEN: 19:20 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It’s my second time at the Edfringe. Previously, I was here in 2012 with another solo show (titled ‘Superheroes’). Then, sotospeak, a lot of water passed under the bridge. I produced and written several shows (you can find some of the scripts on Amazon), set up my theatre company, created a physical theatre festival, became a full time YouTuber and also set up a talent agency for film and TV during covid which has taken a life of its own. I did A LOT of festivals around the world (Brighton, Prague, Tallinn, Adelaide) and attended for 6 years AVIGNON OFF (I’ have written the only guide available in English for non-French speaking companies interested in attending Avignon off, titled “The Avignon Off Rough Guide”). Now I’m back to Edinburgh as the final step of a summer tour that took me to Prague Fringe, Athens, Avignon Off and now here.

I’m not here with any expectations rather than hone this new physical comedy show to perfection. As a matter of fact I’m not even listed on the official guide of the festival (I’m part of PBH Free Fringe and I’m listed there).

I just wanted to do as many performances as I could with my show and also go back to Edinburgh to feel its vibe. When you are a full time performer like me and travelling like I do (this season China, India, Germany, France, Italy, etc.) it’s easy to isolate yourself in your own bubble. I like watching shows and see what’s around.

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

The most important lesson I learned in 2023 is to care less about what other people think of me and to follow my way. I’m very much into alternative comedy. In 2023 I decided to go full time on YouTube impersonating MUSSOLINI. I have a live feed every Wednesday where I take questions as Mussolini and my channel made over 1 million 200 thousand views in 2023.

I’d like to take this show I have in Edinburgh to countries I have never touched: Iraq, Iran, Algeria and other countries in Asia. The New World… as the old one is crumbling to pieces. I’m not trying to follow mainstream. I don’t want to be ‘discovered’ – I want to create my own destiny.

Tell us about your show.

The idea of the show was born in 2014 after I read a book titled “Shaolin – Du musst nicht kämpfen, um zu siegen!” (Shaolin you don’t have to fight in order to win) by Bernhard Moestl. At the time I was living in Berlin and going through a major transformational period. I started to develop the clown character of a Shaolin monk in Berlin, doing lots of open mic nights there. Then I carried on with my other shows (in 2018 I performed 169 days out of the year) and kind of forgot about it.

In 2022 I performed in Vietnam and South Korea with another show I produced and I had to retrain an actor to perform with me (I usually play this show, titled “The Lehman Brothers” with another actor, you can find the photo catalogue of that experience on Amazon if you search for “The Lehman Brothers Asia Tour”). The whole experience was tyring for me so I finally decided to go solo with a silent comedy show. This is the 3rd silent comedy show I’ve produced (and I written tons of others)

In 2023 I partecipated in the Tallinn Fringe festival and used that opportunity to premiere the show there. Then after a winter/spring pause I’m now touring with it all over the summer.

As I said I’d like to take the show to the Middle East and Asia.

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

It’s a funny question. Edfringe is soooooooooooo DIVERSE, so much to see. I’d say watch another show of the PBH Fringe. Discover tomorrow’s new artists. Stay away from the mainstream.

I’d also say go watch Tim Licata A MAGIC MORNING! (for kids) and James UNBEFLEAVABLE! A FLEA CIRCUS MAGIC SHOW – they are before and after my show. Incredible guys.

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EdFringe Talk: Showtime!

Posted in *Written Interviews, EdFestivals 2024 by

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“I truly feel Edinburgh Fringe is the most magical place on Earth; it is one of my happiest places in the world.”

WHO: Em Hoggett aka EM The Master

WHAT: “If Tim Burton met Stephen Sondheim in the KitKat Club… and they were a woman… This twisted one-woman musical is an electric exploration of the life of the artist. As Amelia’s prime source of inspiration, her charismatic alter-ego, The Master, gradually becomes her sadistic captor, we travel through the depths of workaholism and the lengths one will go in pursuit of “the dream”. A frantic Dad, dodgy agent, oh… and that 65-year-old boyfriend, all come to life through The Master’s larger-than-life ‘Show Dahling!’, while Amelia believes one thing is more important than entertaining an audience: the truth.”

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

WHEN: 19:45 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes! I’ve been as a punter many times, but this is my first time performing at the Fringe. It has been a lifelong dream of mine and I am so thrilled and excited to finally be realising it! I truly feel Edinburgh Fringe is the most magical place on Earth; it is one of my happiest places in the world. It is so unusual to have an entire city dedicate itself to the arts for a full month. Being surrounded by the energy, the creativity, the plethora of shows – it’s such a gift to be here. I know that being a performer will be a very different experience, but I can’t wait to jump in!

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

In January 2023 I was hit with a sudden, shocking vocal injury followed by general illness which saw me bed-ridden for months. At that point I was performing 1-3 times per week, and I suddenly had to cease all performances. I have not performed since, so this will be my return to the stage after 18 months. It was extremely challenging and led me into an identity crisis and feelings of low self-worth, as I came to terms with the fact I had associated my whole sense of being with my work.

This led me to write and complete a show which had been living in my brain for years. A one-woman-musical, about workaholism. My over-drive led me to collapse last year, and I’ve now written a show which explores to two sides of my mind – my day-to-day self, the artist, and my wild and charismatic alter-ego, The Master, who wants to fight for the dream at all costs. I realised that this side of me was killing me and leading me down a road of more and more destruction.

The major things I have learnt from this experience is that wellbeing MUST come first, that balance is essential, that there is more to life than my work, and that there is more to ME than reviews, applause and success. The experience massively opened up my life as I allowed myself to experience joys which I’d deprived myself of, due to being so obsessed with my work. I think that other artists may relate to this battle and I am putting on this show to confront the grind-culture we live in.

I have absorbed this lesson wholeheartedly, but it is still a daily struggle for me, especially in such a full on environment as the Fringe! One day at a time, I hope to value myself more and more and spread a message of ease and calm. We’ll get there! (I hope!).

Tell us about your show.

SHOWTIME! is a twisted one-woman-musical. It is autobiographical and tells the story of a young upcoming female artist and her wild escapades along the way. Told by Amelia, and her enigmatic alter-ego, The Master, we enter a world in which The Master intends to put on the greatest show you’ve ever seen, while Amelia is more interested in uncovering the truth. Hilarious and laugh-out-loud funny to begin with, we soon discover darker truths lying under the surface which cause us to ask… how far will one really go in pursuit of ‘the dream’? Is self-abandonment too far, or expected?

I wrote, produced and composed all of the songs for SHOWTIME! I am absolutely thrilled that Anessa Marie, a fantastic orchestrator/arranger (currently on Broadway in Cabaret at The Kit Kat Club), orchestrated all of the songs and brought them to life in such a magical way. Kris Engelstad choreographed the piece, and I am thrilled to have worked with an all-female team on this production.

This is the world premiere and I see a large life for SHOWTIME! beyond the Fringe. I ultimately hope for it to become a longer ensemble musical. But for purposes of the Fringe and finances… I thought ‘well, I guess I’ll just play all the roles myself!’

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

SHOWSTOPPER! the improvised musical – because it’s hilarious and we all love spontaneity! I go every single year!

The Bloody Ballad of Bette Davis – my pals with a brand new original musical!

My Son’s A Queer (But What Can You Do?) – years ago I went to school with Rob and it has been a joy to watch their success over the past years. This will be my first opportunity to see the show and I am so excited to see it!

David O’Doherty – hilarious hilarious at The Fringe every year! A must.

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‘Fountain of You’ (Venue 20, Aug 9, 13, 15, 18, 21, 24)

Posted in *Written Interviews, 4*, EdFestivals 2024, Rated: Nae Bad by

“Wróbel plays to the unambiguous ambiguity of the role in perfect contrast to Lucy McClure’s sweetness and light fairy Godmother archetype.”

Editorial Rating: 4 Stars (Nae Bad)

Bob Dylan once sang a song about how the tables can turn. How one minute you’re on top of the world and the next you’re on your own, with no direction home, a complete unknown, like a rolling stone. The Patriarchy is like that, always on the scrounge for a new Renfield, a new familiar to be standing by day and night to unquestioningly serve the needs of the bloodsucking sociopath lying in the coffin. So when a 30-something actress is suddenly aged-out of show business, she undergoes a wildly unconventional spa treatment to get her old life back. But it sets her on a whole new path to pursue true power and equality… at a cost.

As the 30-something actress, Martyna Wróbel is a flawless depiction of flawed humanity ready to get red in tooth and claw when the chips are down. The role demands sufficient sympathy to draw us in even as the horrible price to be paid gets reckoned. It’s Dorian Grey without the picture. It’s Sweeny Todd and Frankenstein but with less self-loathing. Wróbel plays to the unambiguous ambiguity of the role in perfect contrast to Lucy McClure’s sweetness and light fairy Godmother archetype, who dabbles in the dark arts by necessity, not choice.  

Selina Savijoki, Jadon Simone Trelour, Kaiyi Xu, and Bernice Jiaxin Zheng are billed as the ‘Esthettes’ and certainly, they deliver sensitivity and beautiful touches by the wheelbarrow full. These were four precision performances which instinctively demonstrated that they knew when to be seen and when to blend into the unfolding drama. Like a Persian rug possessed of a single tiny flaw to remind the viewer that total perfection is totally preserved to divinity, the single slip I spotted – a lighting mirror held the wrong way round during a dance number – served to amplify the meticulous striving for excellence we should expect from an RCS production.

There are plenty of good reasons to see this production, but the most compelling is David Joseph Healy who plays all the good guys as well as all the bad guys. Healy’s character work is funny, studied, striking, hugely impactful and… so my companion – a kittenish cougar – tells me both during and after… it’s sexy. Healy is clearly one to watch which raises the first of several question marks hanging by a horsehair over the banquet.

First, this is a show about how tough women have it, so why give the only male actor half the roles? It’s a glaring flaw in the script which should have sounded some alarm bells. This is a story about the impossible standards women face in the impossibly vain and shallow world of mass light entertainment as they age. And yet it is performed by horribly young and horribly attractive people who are horribly wonderful at everything they do.

Playing to a home crowd at Edinburgh is an incredible privilege, just ask a New Zealander. There’s nothing inherently wrong with privilege but, as Lord Acton did not say, absolute privilege corrupts absolutely. The single worst decision any EdFringe producer can make is to waste time. This was a one-hour story which was allowed to stretch on and on and on. The mantra, show me don’t tell me, works so long as someone is brave enough to make a cut or six where the ‘show me’ is killing the pace and packing. If this script were luggage it would be liable for an excess weight fee.

Still, as a showcase of what the RCS community can make happen, as a showcase of Olympian-level talent on stage and off this show is a triumph worthy of the great legacy and bright future of one of the nation’s most important centres for arts education. Get your Napoleon in rags coats on and go see this!

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EdFringe Talk: The Funny Thing About A Panic Attack

Posted in *Written Interviews, EdFestivals 2024 by

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“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!

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EdFringe Talk: NoVa

Posted in *Written Interviews, EdFestivals 2024 by

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“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.

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EdFringe Talk: The Weight of Shadow

Posted in *Written Interviews, EdFestivals 2024 by

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“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.

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