Tag Archives: EdFringe

EdFringe Talk: Always Aphrodite

Posted in *Written Interviews, EdFestivals 2024 by

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“When I got the email that said, “Welcome to Edinburgh Fringe Festival,” I couldn’t sleep. I knew my life was about to change in some way forever.”

WHO: Lauren Maxwell

WHAT: “That’s enough! Goddess Aphrodite is soooo done with love. So, where does that leave the rest of us? With her own tales of lust, loss and spectacular incompetence, Aphrodite invites you to explore the very real, and completely unquestionable, existence of love. It’s time to rethink the stories we’re told.”

WHERE: PBH’s Free Fringe @ Whistlebinkies – Arch Room (Venue 158) 

WHEN: 16:15 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

“Edinburgh Fringe Festival…” The name echoed in my ears when I was a Friday Afternoon 30-minute Talk Show Host at an NPR affiliate radio station in Orlando. I was only 19.

It was the first I ever heard of it, and the Orlando Fringe Festival was its offshoot. I was promoting both Fringes, and as I was telling people to come celebrate arts and culture, a secret seed planted itself in my soul. I wanted to debut a work of art at Edinburgh Fringe Festival one day. I didn’t know how I’d get there or with what, but I wanted it bad, and that passion scared me.

I spent the next 15 years denying that seed only for it to blossom at age 35.

When I got the email that said, “Welcome to Edinburgh Fringe Festival,” I couldn’t sleep. I knew my life was about to change in some way forever. It’s been the most exciting and terrifying journey I could ever embark on. I don’t know how it’s going to go and whether this will be my lucky break, or just the beginning of a whirlwind journey? The latter being most likely, but I have no idea what to expect. That’s the risk I’m taking as an artist, and I’m ready to jump in and find out.

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

In 2023, my whole life changed. I had worked in corporate for 15 years and the company I worked for was liquidated. I lost my job – my security. At the same time, my marriage fell apart and I divorced my husband. Consequently, I was homeless, living (gratefully) from couch to couch for two months.

It was in my darkest time that I had this conversation (more or less) with myself:
“If there’s no such thing as certainty, why not pursue what I’ve always wanted? What do I have to lose?”

This moment continues to be my guiding light, and it offers me lessons as I navigate the uncertainty of being a writer/performer/producer. During these moments, I remind myself that certainty is a construct, and it helps me to let go in order to create and produce.

However, my brain is neurodiverse, and my depression and anxiety often get the best of me. It makes it difficult for me to see this light, therefore, this lesson on the path to self-trust (and a bit of faith) often comes with two steps backward and one step forward, but I’m navigating.

Tell us about your show.

That’s enough! The Goddess of Love, Aphrodite, is done with love. Where does that leave the rest of us?

The story, Always Aphrodite, was inspired by my recent divorce and a rollercoaster of a 20-year dating history. I interweave my own overly-romanticized version of love through personal stories mixed with Aphrodite’s own tales of tragedy and struggles. The story encourages us to rethink the romantic fairytales we’re told.

Always Aphrodite will be premiering at Edinburgh Fringe Festival. This is my first Fringe festival ever. I’ve created this story, produced it and am performing in it. I’ve co-written and co-directed it with Phillip Melchers. We’re both storytellers in Amsterdam and tour around the country telling both personal and mythological stories.

We met at the Netherlands Film Festival where we premiered a storytelling performance at the festival. We’ve been inspired to smash traditional narratives ever since and help people embrace their truer selves.

After Edfringe, we’ll be producing it in Amsterdam and let’s see what happens after!

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

I would love it if audiences saw Little Tiny Wet Show (Baptism) by Lara Ricote. She’s a fellow storyteller from Amsterdam and a brilliant woman who explores relationships and what makes them successful. Additionally, Serious Theatre from Serious People by Charlotte Anne Tilley and team, a comedy led by women and for women. And lastly, I would recommend Horses by Elf Lyons. She’s unapologetically herself and her show blends absurdism with what really makes her tick. She’s paving the way for other women to be unconventional and free of expectations.

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EdFringe Talk: Gabey Lucas: A Berkshire Boar Walks Into a Bar (and Gets Shot in the Face)

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“I think in North America, due to multiple factors – among them a different comedy infrastructure and different comedy historical “origins” and culture – we tend to box ourselves in to certain forms more rigidly.”

WHO: Gabey Lucas

WHAT: “‘Witty yet strangely informative’ Gabey Lucas (Rip City Comedy Festival, Martin Foundation Full Artist 2020 finalist) wants to talk to you about hard-hitting subjects like unicorn propaganda, snake abs, and kidnapping Abe Lincoln – who could totally beat the crap out of Alexander The Great, by the way. Unfortunately, to do so she first has to stop getting sidetracked by the silliest pig-based almost-war in human history. She’s not great at that. ‘A f*cking great writer’ (Patrick Borelli, The Tonight Show).”

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

WHEN: 14:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I was there for a hot minute last Fringe just to sus it out, but this is my first Edinburgh show, yeah. It’s so unlike anything else – the atmosphere reminded me of being at the Olympics back in 2010, I’ve just never been anywhere else where everyone is seemingly all there to celebrate the same thing.

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

Just as a punter last year (minus the panel show or two I hopped on), I think my main takeaway or reminder was how limitless human creativity in comedy can be. I think in North America, due to multiple factors – among them a different comedy infrastructure and different comedy historical “origins” and culture – we tend to box ourselves in to certain forms more rigidly. Stand-up there doesn’t tend to overlap with sketch, improv, clowning, hell even puppetry all at once in the same way these overlap here. The media of live comedy can be so much more fluid than we tend to consider in North America, and Edinburgh was such a reinvigorating reminder of that.

Tell us about your show.

Berkshire Boar is a stand-up show that is definitely, DEFINITELY not about the stupidest pig-based near-war of all time. It is simply a joke show with jokes. About things like unicorns being a propaganda conspiracy, giving the Mona Lisa a gun, my favorite Bible verse, and a lot of accidentally exploring our species’ oddest quirks.

I didn’t actually realize how unified my material was there until putting it all together. Previously, if you’d asked me to describe my comedy, I didn’t have a good answer because I felt it was just dumb smart comedy or smart dumb comedy. Then I realized that’s because I accidentally talk about humans and human-adjacent shenanigans a lot, and we’re the stupidest smart thing or smartest stupid thing out there. Except for snakes. You will also learn about why big snakes can suck it.

But again, crucially, you will definitely not learn, in in-depth detail, about the UK and US and Canada’s most ridiculous episode and all the farm animals and national grudges and logistics involved. (Hint: The Welsh and Irish were… petty. Which rules.)

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

Timmy Booth’s Manhole, as well as Andrew Frank’s two shows: Pastor! and Monkey Sermon are both so great. The two of them are so creative and funny, plus lovely people, I’m so so excited for people to discover them. Also, Ashley Gutermuth! We did shows together all the time until she had to move to the East Coast, and I just found out this week she’s doing Edinburgh too!

Otherwise, looking forward to some of the people I met the first time I did stand-up in the UK back in 2019: Alex Kitson, Louise Leigh, Helen Bauer (whose profile has deservedly skyrocketed since we met – she’s stupidly funny), and some of those I saw last year. That includes Burt Williamson and Alfie Packham, who both crushed when I saw them in well-lit rooms in the middle of the afternoon, which any comedian can tell you is almost impossible.

Lastly, of the higher profile acts, there’s a lot of New Zealanders I’m stoked as crap for. Guy Montgomery, Rose Matafeo, the Williamses (how do you pluralize “Williams”?), Alice Snedden, Two Hearts, Ray O’Leary… I feel like that country just produces a disproportionate amount of weirdly funny people. I love it.

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EdFringe Talk: Vlad Ilich: Vladislav, Baby Don’t Hurt Me

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“For an aspiring professional, the Fringe is also a challenging experience. It’s not necessarily always easy, and it pushes you out of your comfort zone. The more you put in when you’re up there, the more returns and momentum you generate for the rest of the year.”

WHO: Vlad Ilich

WHAT: “In the summer of ’99, six-year-old Vlad played a game of chess that changed his life forever. In Vladislav, Baby Don’t Hurt Me, the multi award-winning stand-up explores his obsession with the game and how it lead him to leave North Macedonia for the bright lights of the UK comedy scene, via Maltese celebrities, performing for the prince of Oman and a desire to rebuild the Ottoman empire.”

WHERE: Pleasance Courtyard – Attic (Venue 33) 

WHEN: 20:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my first time bringing an hour long show at the Fringe. I’ve visited a couple of times before performing short sets. The Fringe is great for many reasons: Reaching new creative heights, expanding your network and even finding love! (I met my girlfriend there).

For an aspiring professional, the Fringe is also a challenging experience. It’s not necessarily always easy, and it pushes you out of your comfort zone. The more you put in when you’re up there, the more returns and momentum you generate for the rest of the year.

It puts things into perspective and zooms in on that “Make it or break it” moment but in a subtle way. Not that the Fringe will ever be a decider whether you have a career in comedy or not, but it certainly makes you question your life choices after a show with only two people in.

For me, personally, what I always wanted to get out of the Fringe is to find my angle in comedy, and then improve on ways in which I can market that to the Fringe audience. It’s not an overnight thing, it’s a step-by-step process that takes years.

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

Plenty. I was very lucky to be selected for the Pleasance Comedy Reserve last year, I put a lot of work in my set, and it paid off. I watched a lot of debuts and spoke to performers about the dynamics of their show, and the changes one performer must undertake in taking a show from fifteen, to thirty and then sixty minutes. I learned a lot about many aspects of storytelling including how to be disciplined, how to tell a story with conviction, how to deliver a joke the right way and many others. I’d write more, but I’m still absorbing the discipline lesson.

Tell us about your show.

This show is about my journey in learning about the beautiful game of chess and how a game I played as a child with my dad made us closer as a family.

I’ve written and produced the show myself and have had the wonderful pleasure of collaborating with Dom Stephens who’s been in charge of directing. We have a great working chemistry and a different set of skills that match up well together.

I am in talks with a production company to get the show filmed as a stand-up special after the Fringe and we are exploring alleyways with the director to adapt the show on the West End later this year.

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

I’m glad you asked. Go and see Joshua Bethania’s “Coming Home” at the Gilded Balloon. Not only is he a good friend and very funny off-stage too, but he’s also won a good number of awards and for good reason. He’s naturally funny.

“Abby Wambaugh’s: The first 3 minutes of 17 shows” is another show I’d highly recommend. Abby is such a goofy, charismatic performer that you can’t help but fall in love with her warmth and kindness. Her appearance alone is funny.

I’m really excited to see a couple of up and coming shows on the Free Fringe too, one that stands out is “2 Muslim 2 Furious: Mecca Drift” at Dragonfly, a split hour by Hasan al Habib and Aisha Amanduri. Such a refreshing duo, and one that will win awards in the future.

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EdFringe Talk: Do This One Thing for Me

Posted in *Written Interviews, EdFestivals 2024 by

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

WHO: Jane Elias

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

WHERE: Bedlam Theatre – Bedlam Theatre (Venue 49) 

WHEN: 15:30 (70 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

Tell us about your show.

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

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

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

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EdFringe Talk: Pippin

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

WHO: Kyri Antholis

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

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

WHEN: 14:55 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

Tell us about your show.

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

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

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

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

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

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EdFringe Talk: REVENGE: After the Levoyah

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

WHO: Nick Cassenbaum

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

WHERE: Summerhall – Anatomy Lecture Theatre (Venue 26) 

WHEN: 15:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

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

Tell us about your show.

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

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

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

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

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EdFringe Talk: F**king Legend

Posted in *Written Interviews, EdFestivals 2024 by

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

WHO: Olly HAWES

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

WHERE: Pleasance Courtyard – Bunker Two (Venue 33) 

WHEN: 12:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

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

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

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

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

Tell us about your show.

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

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

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

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

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

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

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

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

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

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

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EdFringe Talk: We Forgive You, Patina Pataznik

Posted in *Written Interviews, EdFestivals 2024 by

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

WHO: Olivia McLeod

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

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

WHEN: 18:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

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

… This is something I hope to absorb by 2028.

Tell us about your show.

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

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

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

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

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

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

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EdFringe Talk: BANNED the Musical

Posted in *Written Interviews, EdFestivals 2024 by

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

WHO: April Alsup

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

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

WHEN: 18:35 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

Tell us about your show.

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

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

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

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EdFringe Talk: The Jive Aces

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

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

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

WHERE: Pleasance at EICC – Lomond (Venue 150) 

WHEN: 20:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

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

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

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

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

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

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

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

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

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

Tell us about your show.

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

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

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

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

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

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

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

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

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

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

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

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

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

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