Tag Archives: EdFringe

EdFringe Talk: Guy Masterson: Love and Canine Integration

Posted in *Written Interviews, EdFestivals 2023 by

“I’ve learned from stepping into live theatre again and from performing at NZ Fringe how important it is to allow yourself an authentic connection, to let flow ‘off script’ so that the reaction and response is for you as much as for audience sharing with you.”

WHO: Milly Moon

WHAT: “Once upon a time, she walked the length of Aotearoa New Zealand. To scream at the ocean, to sing at the trees, to curse the effing supplejack vine. She walked to process grief, to know alone, to remember home. While she walked, she sang. In an intimate performance of story and songs for wandering feet, Moon’s retelling of walking Te Araroa hiking trail, celebrates the power of voice, body, and being shit scared but doing it anyway. Moon’s unique and raw performance style engages audiences to embrace story, in sometimes uncomfortably intimate, sometimes darkly explosive performances.”

WHERE: Greenside @ Nicolson Square – Fern Studio (Venue 209) 

WHEN: 14:00 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It certainly is! This is my first time producing and performing my own show which I presented in Feb at NZ Fringe and had sooo much fun I decided to add Edinburgh Fringe into my UK trip! I think what I’m finding particularly special and inspiring about this festival is how incredibly diverse the works on offer are. I come form a music background and diving into the Fringe world is already opening a sense of possibility and creative expansion, it’s very exciting!.

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

ooo ee! Huge lessons learned in 2022 as an artist and a human navigating the world! I feel the last couple of years I’ve been in constant ‘absorption’ from lessons born from the experience that inspired Walking Songs, and in continuing to develop in different directions, I’m solidifying, breaking down and re-learning these lessons again and again. The most poignant developments have been in discussion of the themes of this body of work with audience and those willing to share story in return with me, connecting in their own way with things like the idea of home as a sense, that everything falls apart and that it’s never too late to start again.

I’ve learned from stepping into live theatre again and from performing at NZ Fringe how important it is to allow yourself an authentic connection, to let flow ‘off script’ so that the reaction and response is for you as much as for audience sharing with you. It is vital to find honestly in the art I’m offering and that magic that happens when I’m telling story with my own voice, is why I’m doing this.

Tell us about your show.

Walking Songs is written, produced, marketed, performed and all the rest of it, by little old me! I make the props, write the music, tell the stories and am taking it through 3 Fringe Festivals by my sweet self.

I spent almost 5months walking the length of my homeland – Aotearoa New Zealand – to heal from trauma, loss and attempt to re-find a sense of home. While doing do, along with screaming at ocean and bush, I wrote. On the other side of the walk, I put these writings together, wanting to tell the story, share the music and connect with those on their own healing journeys.

Walking Songs premiered at NZ Fringe in Feb this year and will go to Melbourne Fringe in October. With my background in Music, I have already started recording the songs and stories and will be releasing these as an album in the near future along with other developments of the work. I’m excited to move this in many creative and connected directions!

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

There are soooo many incredible acts at the Fringe – I’m almost overwhelmed exploring what I’M going to see!!

If you enjoy elements of what Walking Songs has to offer – music, solo, adventure and nature connection, I think the ‘intimate sound experience’ 1000 Miniature Meadows is offering might be of interest – I sure can’t wait to immerse in this thoughtful exploration!

Bronwyn Claire Asha is performing a new show called ‘As I Roved Out’ and if her previous work is anything to go by – this will be extraordinary! An enchanting storyteller and talented multi-instrumentalist, As I Roved Out is certainly for those looking for story and song for wandering feet and heart.

My fellow Greenside performers have a huge variety of music, solo acts, and female representing pieces – I love the sound of Charlotte Grimmer’s ‘Initial Consult’, a comedian from my part of the world, I imagine comedy from Australia with a musical twist can only be HEAPS of fun!

Also set in Australia but digging into a much darker story, Shaddows Of Angels would be my pick for something to challenge and provoke as a female lead theatre piece. I’m also very excited to see Alison’s Skilbeck’s Uncommon Ground, Queen Mary Theatre Company’s ‘All the Glorious Moments In Between’, Oor Theatre’s ‘Singing Sands and By the Moon’s ‘Be Home Soon’ which look at themes I have been exploring with Walking Songs, of home, loss, grief and a transience that can deepen an understanding of ourselves and our world.

There are just so many incredible offerings – go Fill Yer Boots!

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EdFringe Talk: Get Blessed!

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“I play funeral celebrant Áine Reilly. She’s at Fringe to teach the audience the art of the perfect send off.”

WHO: Niamh Denyer

WHAT: “Put the fun back into funeral! Award-winning writer-performer Niamh Denyer is funeral celebrant Áine Reilly, here to teach you the art of the perfect send off. Refusing to conform to one philosophy or traditional religion, Áine balances the modern and the spiritual to create the perfect last ritual. Just an hour in her presence and you’ll be ready to turn death into a living. Become her student, learn to connect with the people, and turn human ash into cash! Are you up to the task? ‘Most natural comedic actress I have seen on the Irish stage’ (Dublin Gazette).”

WHERE: Gilded Balloon Patter Hoose – Coorie (Venue 24) 

WHEN: 13:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I’ve been as an audience member but I’ve never brought a show before. Honestly, I was just quite scared to! My husband went up last year with a show and I saw first hand how stressful it was. Of course it’s very fun too but it’s a massive undertaking. When I started working on this show though, I just felt it would fit really well there. I felt I had to give it a go, at least once. Do the things that scare you right?!

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

I can’t speak to learning from pervious lessons at Edinburgh as I mentioned I’ve not been before. But with the pandemic I think the big lesson there for me was seize the day. For months and months we couldn’t be out and about. I would have given anything to put a show on and spend the rest of the day going to see other shows and having pints in Bristo Square. Now we can, we just have to go for it!

Tell us about your show.

It’s a character comedy solo show. I play funeral celebrant Áine Reilly. She’s at Fringe to teach the audience the art of the perfect send off. Learn how to turn death into a living! It’s interactive, fun and there may or may not be a powerpoint presentation.

It started with the character, I got bored during the pandemic so I began filming these little sketches of Áine, a busy body Irish woman who thinks she always knows best, they went down well amongst my friends (the only people who saw them!) so I thought maybe there’s more out there for her, and now she’s off to Edinburgh Fringe.

It’s largely a solo venture for me, I wrote it and am the performer and have been doing all the heavy lifting with regards to producing it. I am fortunate to have an excellent director Marcia Davies as well, We knew each other at drama school but hadn’t seen each other for a couple of years. I put a shout out on social media that I was looking to work with a director on the show and she replied. It’s been essential to have an outside eye. I’ve done some work in progress versions of the show but it’s true debut will be at Edinburgh. There’s no plans to take anywhere after just yet, but watch this space!

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

Catherine Cohen because she’s hilarious and talented, Alison Spittle an Irish comedy legend. Goes without saying my husbands Mike Kunze’s new show Infinity Mirror. I also want to see Patti Harrison’s show and Sofie Hagen and Rosie Holt. I’ve also just booked to see Megan Stalter. So much talent in one city!

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EdFringe Talk: Not Our Crime, Still Our Sentence

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“As an artist (in my case for this year, a writer), it can be difficult to dedicate time to your craft, especially as a working-class person. With inflation, rising costs, rent increases, loss in business’ resulting in loss of jobs etc., finding time to focus on the work you love can be incredibly difficult, and at some points, impossible.”

WHO: Mikael Philippos

WHAT: “A vital new comedy play by Glaswegian playwright Mikael Philippos about the real struggles, judgement and most importantly, laughs, a family affected by the incarceration of a loved one experience. Four years into her husband’s 16-year prison sentence, Dawn struggles to navigate her family through their new “normal”. With two teenage kids, a comical best friend, puberty, washings, sex, Universal Credit and the price of fabric softener going through the roof – who’s really serving time? Inspired by Mikael’s life, this is a story about family, friendship, compassion, and finding joy in difficult situations.”

WHERE: Gilded Balloon Patter Hoose – Dram (Venue 24) 

WHEN: 19:40 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes, this is my first time taking part in the Edinburgh Fringe Festival as an artist. For years, I have been coming to the Fringe and seeing as much variety as possible, so it’s exciting to peak behind the curtain and see just how this amazing festival comes together.

I grew up in Glasgow, so Edinburgh Fringe has always been a dream of mine to take part in and I am still taking-in the fact that it is finally happening!

The Edinburgh Fringe is such a magical part of Scotlands culture. Without it, there would be hundreds, thousands even, of Scottish born artists that may not have had their creative spark ignited if not for this festival. I know it definitely ignited mine.

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

The big things I’ve learned are balance and trust. As an artist (in my case for this year, a writer), it can be difficult to dedicate time to your craft, especially as a working-class person. With inflation, rising costs, rent increases, loss in business’ resulting in loss of jobs etc., finding time to focus on the work you love can be incredibly difficult, and at some points, impossible.

For me, I had to learn how to balance the scales and use my time to keep creating and keep creative. It has been difficult, but with that, I wouldn’t have been able to balance my own time and passions with working to survive if I didn’t also learn how to trust people around me with my creative projects. I had to learn how to let go a little bit and ask for collaborators, support, advice, and trust in my support network and peers.

Tell us about your show.

NOCSOS was written by myself and is being produced by Under the Rug Theatre (UtRT) company, presented by Gilded Balloon. UtRT is a new theatre company based in Glasgow, which seeks to support and collaborate with emerging writers & artists based in Scotland. The company was formed in response to a lack of representation & opportunities for emerging artists in Scotland, but also to show the UK (and hopefully the world) what Scottish artists have to offer.

A snippet of NOCSOS has previosuly been staged at UtRT’s first scratch night, Cuttin’ a Rug, and at the University of Glasgow Playwrighting & Dramaturgy showcase event.

In the future, myself and UtRT hope to expand on NOCSOS and eventually create a touring production of the full-length show (for fringe, we have condensed the show into 60 minutes), as the topic and themes at the heart of the piece are highly important and unbelievably relevant to thousands of families across the UK.

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

At Fringe this year, there are THOUSANDS of great shows to see. However, my personal top picks as MUST SEE nuggets are:

Sex Diaries of an Ex-Catholic – theSpace @ Surgeons Hall. This is a show which is sure to have its audience laughing. Sex, God, Vulva’s and a 25 year old abandoning her life-long chastity pledge, what more could a Fringe audience need!?

Scott Murphy: About a Buoy – Gilded Balloon, Patter Hoose. Scott is one of the funniest performers I’ve ever seen, and I don’t doubt this show will promise some right sore belly laughs. With one of the most creative minds in theatre/comedy, I can’t wait to see what About a Buoy has in store!

Crash and Burn – theSpace @ Niddry St. Getting political now, Crash and Burn is a new piece of writing which has an important message about climate terrorism and the Scottish oil industry. A well written & directed piece of theatre, this is sure to have its audiences engaged and thinking.

Diana: The Untold and Untrue Story – PleasanceDome @ Kingdome. I mean, this one, I’ve only seen the online reviews and marketing campaign and I’m genuinely not more excited about anything else this Fringe. Looking into Diana’s stance on social & queer issues, drag, puppetry, a knife? I’m buzzed for this.

Almost Adult – Gilded Balloon Patter, Hoose. The tragicomedy of the north-west comes to Scotland and I. AM. GAGGED! Charlotte Anne-Tilly has already received some amazing praise for her work, and it’s clear why! This is 2023’s Fleabag without a doubt!

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EdFringe Talk: Dominique Salerno: The Box Show

Posted in *Written Interviews, EdFestivals 2023 by

“Decades ago, my high school acting troupe wrote and performed a play called “California Stories,” and I delivered a heartfelt monologue about how I felt personally traumatized by bikinis. (Ah, the angst of my youth!)”

WHO: Dominique Salerno

WHAT: “In this award-winning solo show, Dominique performs 25+ characters while inside a tiny box. (Think SNL performed in a cupboard!) Each time the doors swing open, Dominique transports you to a hilarious new reality including: a lonely giantess, a drunken couple mid-fight, the entire Greek Army inside the Trojan Horse, and more! With sketch-style characters and musical numbers, The Box Show is an adrenaline-filled roller coaster ride that plunges its audience into different worlds without ever leaving The Box. ‘Purely delicious…a paragon of Fringe form’ (New York Times). ‘Intensely creative’ (Time Out).”

WHERE: Pleasance Courtyard – The Cellar (Venue 117) 

WHEN: 15:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Decades ago, I wandered the streets of the Edinburgh Fringe Festival as an impressionable adolescent! My high school acting troupe wrote and performed a play called “California Stories,” and I delivered a heartfelt monologue about how I felt personally traumatized by bikinis. (Ah, the angst of my youth!) Our little show had a four day run at the festival, and I remember those four days being a whirlwind of excitement, fatigue, and artistic exploration. This will be my first time coming to the festival as an adult, now with an hour-long solo show, which I will be performing for 25 days… not 4 days! Pray for me and my aged bones! This time around, I hope to survive my run, see a bunch of shows, be inspired by other creatives from around the world, and dive fully into the Fringe experience!

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

Something that I learned very recently is that you can avoid Covid-19 for the entire pandemic only to catch it a month before the Edinburgh Fringe Festival run of your solo show. What’s that old adage? “If you want to make the gods laugh, make plans?” Well, the gods must be having a good chuckle at little ol’ me. Getting sick and remaining bedridden during the two week period that I planned to be in the throes of rehearsal was a firm reminder that we mere mortals can’t control everything. No plan will ever be perfect, and, as they say, the show must go on! Now, I’m grateful to have recovered, and I have been reminded that life is too short not to make art! I’m entering into the festival with a feeling of gratitude for my health and my community, and with a sense of exploration and adventure. Let’s see what unfolds!

Tell us about your show.

The Box Show is a solo comedy show where I play 25 characters while inside of a small box. I initially created the show by playing around with some characters inside an actual cupboard in a wall. Don’t ask me why- it’s just how my brain works, okay? I see a cupboard and start to think: let me get in there! After I wrote the first draft of the show in that cupboard, I built my own box and toured The Box Show around the U.S. at places like The New York Fringe Festival, Soho Playhouse, iO Chicago, and La Jolla Playhouse. This will be the first time that I’m performing a shorter version of the piece internationally, and I’m thrilled! This Edinburgh run is being produced by the amazing company Alchemation, who has produced incredible projects including “SIX,” “The Play That Goes Wrong,” “RENT,” “Avenue Q” and many others. I’m so grateful to be counted among their productions and to be working with their fantastic team to make this show happen!

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

I’m super excited to see “Hello Kitty Must Die” (a dark new musical about smashing stereotypes and taking control of how the world sees you even if your hands get a little bloody along the way!), and Cat Cohen and Zach Zimmerman’s new shows!

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EdFringe Talk: Alexis Dubus: 3-Star Show

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“A great festival is one that genuinely gives independent producers and upcoming talent a chance to shine.”

WHO: Alexis Dubus

WHAT: “After 20 years on the circuit, Alexis Dubus, easily one of the comedians of his generation, is ready to deliver the greatest 3-star comedy experience ever staged. Don’t miss this explosively average show from a multi award-nominated performer truly at the middle of his game. As seen as a waiter in Derek (Channel 4), an idiot in Nathan Barley (Channel 4) and 3 of 63 in Red Dwarf XI (Dave). ‘Can write some strong lines… sometimes excellent… amusing’ *** (Chortle.co.uk). ‘Too clever’ *** (List). ‘Puts the audience almost too much at ease… begins well’ *** (BroadwayBaby.com).”

WHERE: Just the Tonic at La Belle Angele – La Belle Angele (Venue 117) 

WHEN: 18:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Nooooooo. I’ve been coming here for many a year. My first Edinburgh Fringe experience was 1998 as a student, performing at 00:20 at Bedlam Theatre in a drum & bass-soundtracked version of The Tempest. That year I saw The Mighty Boosh, Simon Munnery’s League Against Tedium, Spymonkey, Adam Bloom and many other shows that blew my mind a bit. That’s where my Edinburgh Fringe addiction began. I’ve since performed at festivals all over the world, but none of them compare in terms of scale or awe.

A great festival is one that genuinely gives independent producers and upcoming talent a chance to shine. Many fringe festivals become a victim of their own success, thinking that bigger means better, but sadly that often means it’s only large companies with money who can succeed there.

Edinburgh may be colossal but it has its own ecosystem which allows for acts to thrive on a low budget, thanks largely to the Free Fringe. That said, the extortionate accommodation costs really need to be addressed for that ecosystem to remain intact.

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

I’m not as young as I used to be. I used to fit in as many extra gigs as I could, ensuring I had a holiday booked in afterwards. Now I’ve got two young kids, my days of recuperation are over. I need to be a little more lean and discerning with those extra shows.

But I’ve learned to say yes to things outside my comfort zone – at past Fringes I’ve performed in a lift to 6 people, in a public toilet, in the nude (audience likewise), in the dark, in a swimming pool and with a live band and all of those experiences have made me a better performer.

I’ve learned that sometimes reclining in the shade of a tree is every bit as valuable as taking in some culture.

Tell us about your show.

The show started off as 8 years’ worth of jumbled notes and a stupid concept. A few years back someone brought a show to the Fringe called “5-Star Show.” I admired the cockiness, but immediately the idea of seeing “3-Star Show” in the programme really made me chuckle. I’ve put off putting it on until now, but felt it paired well time-wise with my afternoon kids show (Marcel Lucont: Les Enfants Terribles), so here we are.

It’s me attempting to put on the greatest 3-star show at the Fringe. There are jokes, songs and poems and if it’s going too well or too badly I’ve got a reserve of good and bad bits to bring it right back on track. I feel like this might be a Fringe-only production – the idea of attempting to sell a 3-star show to the nation just feels like hard work.

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

Mad Ron at Assembly George Square is my tip for some sharp and hilarious late-night character comedy. And if you want go full-Fringe, High Steaks by Eloina at Summerhall is confronting, sweet and hilarious, often all at once. For mixed-bill craziness you can’t beat the vibe of Stamptown – I’ll be appearing in some guise or other. And for spoken word you can’t get much better than Luke Wright, who’s at his imperial phase right now. Go and see his Silver Jubilee.

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EdFringe Talk: Truly Madly Baldy

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“A big thing I took away from last year’s fringe was to not be afraid to speak to strangers or fellow creatives.”

WHO: Sam Macgregor

WHAT: “Truly, Madly, Baldy is a hilarious two-hander comedy based on the brutally honest stories of people who suffer from the hair-loss condition Alopecia. Told through a surreal and whacky lens, our characters Baldy 1 and Baldy 2 encounter doctors, dates and deluded opinions on beauty standards as they come to terms with their hair loss. Strap yourself in as things are about to get hairy!”

WHERE: Pleasance Courtyard – Pleasance Below (Venue 33) 

WHEN: 12:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my first time performing in my own show at the fringe. I was up in Edinburgh last year flyering for some other brilliant shows as well as having a very small cameo in an amazing play called Block’d Off in Pleasance Courtyard, so I’m already familiar with the vibe of the fringe. I guess I was more of a punter last year, so I didn’t really have the stress that comes with being there in a performer capacity. That was pretty relaxing and enjoyable since the fringe can get very hectic at times. I guess this year I will see the difference in experience since I will be performing nearly every day for an entire month.

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

I suppose one of them will be that, at any given time, something can go wrong. How do you react to this and help the situation? I had a few of those moments last year in terms of script issues and rejected arts council applications. Ultimately you’ve just got to get back ok the horse and keep going to be honest. It’s important to have strong and supportive friends/network, as they can help you when things aren’t going as planned. I think a big thing I took away from last year’s fringe was to not be afraid to speak to strangers or fellow creatives. We are all nervous and shy sometimes and it’s nice to speak to new people and realize that we are pretty similar in that regard. Not being cautious when it comes to flyering. People love it when you speak about your play with passion, but remember to keep it concise! Word of mouth is huge at the fringe and the more people you speak to the better.

Tell us about your show.

So this show is sort of all based on when I (the writer, performer and producer) lost my hair in late 2019 due to developing Alopecia. It was always something I knew about since my mother has had this for about 15 years. Essentially it’s real life scenarios and anecdotes played out before the audience through eulogies told at a metaphorical cremation of hair. Myself, the director and actor all have pretty busy schedules so we have not managed to preview this yet. However come Wednesday 2nd of August, you best believe we are going to give you a show, regardless of how many people come. I potentially see this being transferred to a London venue, however, as a Geordie, I really want to bring this play to a venue in Newcastle.

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

I fortunately work for the Pleasance theatre in London as a front of house duty manager, I’ve had this job since late 2019. I get to see loads of brilliant fringe shows and this year so far I’ve seen a few cracking shows that are at this summers fringe. Firstly we have 30 and Out by Kit Sinclair, I can see this doing very well and rightfully so. Secondly, Pitch, by November Theatre. Now I have not had the pleasure of seeing this show, nor has anyone as it is a brilliant new piece of theatre. Their last play, How To Build A Wax Figure was great though so I’m confident I’ll enjoy this play about queerness in football. Lastly, Public, a musical set in gender neutral toilet cubicles is going to be one to watch. This show, as well as Pitch, were both recipients of the Charlie Harthill Award (awarded by Pleasance). I managed to catch their slot during the decision process when I was at work and loved what I saw. Expect banging vocals and catchy tunes about important issues! Actually, one last one before I go, The Life Sporadic Of Jessica Wildgoose, by Voloz Theatre Collective. I caught a preview of this and its a very fun piece with slick choreography and witty dialogue.

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EdFringe Talk: All is Pink in West Berkshire County

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“We are all Fringe virgins, me, the prod team, and the cast.”

WHO: Eliza Christy

WHAT: “‘What would it take for you to eat a real-life human being?’ It’s dinner time in the Abbey stately home. The fire is crackling, champagne is fizzing – not to mention Eve Abbey has brought her new boyfriend home for the festivities. Set in the early years of a national meat ban, it is announced that meat will be back on the menu this evening and just in time for the arrival of new boyfriend, Rory… From award-winning playwright, Harry Daisley, comes a new, deliciously twisted comedy showcasing Berkshire’s finest family.”

WHERE: theSpace @ Symposium Hall – Annexe (Venue 43) 

WHEN: 17:05 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

We are all Fringe virgins, me, the prod team, and the cast. Which makes it all the more exciting we really are all in it together. This is actually my first time producing full stop, so a steep learning curve for me, but fringe is full of absolute professionals so I really have learned from the best.

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

In 2022 it hadn’t even crossed my mind I might go to Fringe. And now I’m in full swing of taking a show there so safe to say I’ve learned a lot. The Big things though… the things that make the most impact (on my life anyway- admittedly this is a self-indulgent answer) are always things that have been created through the medium of theatre, film, or music. So that is where I want to be. So Fringe is definitely the place to lap up all that creative gold.

Tell us about your show.

Harry Daisley wrote and directed our show. An amazing writer, but also such an all-rounder I have never met someone who fits so much into their life! A Medic Student, an athlete, a writer and a performer, constantly pushing himself into new spaces and trying new things. This is part of why his writing is the way it is, he is not afraid, and that definitely shows in his writing. A key point of inspiration for the script was the phrase ‘eat the rich’, which Harry flipped on its head to ‘eat the poor’ (the original working title of our show). From this grew a sadistic tale that showcases the worst parts of humanity.

Myself and Ellery Turgoose make up the producing team, we were connected with Harry through Aireborne Theatre who thought we would make a good team and they were right! Our production is premiering in Leeds before Edinburgh, this is where we are based so will be a friendly local audience nice and supportive for our first few shows.

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

People should definitely go see 60 Minutes of Mood Swings by OnTheNose Productions. 5 Strong female cast, brilliant humor, I think the title paints the picture pretty well of what you’re in for. Exploration of female anger, rants, joy, and expectations. A twist on the classic ugly duckling trope. I will definitely be there and so should you!

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EdFringe Talk: Lachlan Werner – Voices Of Evil

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“You have to buy the right kind of fake blood or it will get all over everything.”

WHO: Lachlan Werner

WHAT: “The horrifying debut from the award-winning poof prince of puppets. Lachy is a poof, and apparently a virgin. Brew is a small, squishy witch, and she has decided to sacrifice him. To help with his self-esteem. In this ‘must-see’ (TheReviewsHub.com) sell-out hit, ventriloquist/clown, Lachlan Werner, presents ‘the definitive queer puppet show’ (LostInTheatreland.co.uk). An occult ritual, where demonic voices come from every corner and anyone could get puppeteered by evil. Reviews Hub Brighton Fringe Best Show Award Winner; VAULT Comedy Breakthrough nominee 2023; LGBTQ+ New Comedian of the Year 2022 runner up.”

WHERE: Pleasance Courtyard – The Cellar (Venue 117) 

WHEN: 22:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This isn’t my first time at Edinburgh Fringe, but it IS my first time spending a month and my debut with a solo show. Last year I came with an ensemble show called ‘Movements In Motion’ with Laurie Luxe (Director of Voices Of Evil) and Paulina Lenoir (creator of Fool’s Moon Cabaret). That was an extremely ambitious full scale, three clown contemporary dance show staged on the upper floor of a bus. The best thing about it was the actual community still totally pulsing (albeit slightly underground, like a fringe of the fringe) through the whole thing. It’s become very commercial and reward focussed for sure but the sense of supporting artists and seeing incredibly exciting stuff is still alive if you look in the right places.

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

Definitely massively: listen to your creative gut, work with people who make you laugh and stay focussed on your own work and audience. Comparison really is the killer of creative joy and especially in SUCH a competitive environment such as the Fringe it can be so easy to forget why YOU are there. I try to keep reminding myself of what brought me to playing with puppets and making all this silly noise in the first place and how ridiculously lucky I am to get to do it at all. I’m so inspired by artists who do things on their own terms and keep playing.

Also I’ve learned that you have to buy the right kind of fake blood or it will get all over everything.

Tell us about your show.

The show is called Voices Of Evil and it is a ventriloquist horror comedy show in the style of a (very vague and stupid) sinister demonic ritual. I wrote it/devised it with co-creator Laurie Luxe (and earlier with Sara Segovia), both of them are clowns and theatre-makers. I play three characters simultaneously (using ventriloquism, puppetry, clowning and physical comedy) to tell a story of queer coming of age and self-empowerment. It’s been described as ‘the muppets meets the exorcist’ and also as ‘the definitive queer puppet show’. It’s a totally self-produced piece but kind of got discovered by it’s audience in London and Brighton last year and really took off. We won a couple of awards at last years Brighton Fringe and had two sell-out Soho Theatre runs (which was crazy).

After Edinburgh I’d love to tour it to more places outside London and spread this evil even more! I would also love to film it somewhere really spooky (some kind of super immersive location – an actual dungeon or crypt or haunted house).

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

There are SO many incredible acts bringing work this year, I’m inspired by so many of them and just cannot wait to see their shows. Julia Masli’s Ha Ha Ha Ha Ha Ha Ha is one of my faves already, as is Gush by Abby Vicky-Russell. I cannot wait to finally see Liv Ello and Frankie Thompson’s BODY SHOW, and Lorna Rose Treen’s Skin Pigeon (I’ve seen a few WIP versions and its set to be a total smash hit). Also Kathy Maniura, TROLL, Simon David, Untrue Diana, Paulina Lenoir. It’s honestly an endless list! But see them ALL.

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EdFringe Talk: Louise Atkinson: Mates

Posted in *Written Interviews, EdFestivals 2023 by

“I learnt that you can get mould out of grouting using just paper towels and bleach, but sadly I’ve not found a potential use for that knowledge at the Edinburgh Fringe festival yet.”

WHO: Louise Atkinson

WHAT: “You can’t complete a night out with your friends unless someone has cried over their ex, you’ve made a new best friend in the toilets that you’ll never see again, and you’ve done three laps of the bar looking for Lisa. Seriously though, where is she? Our friends are our chosen family. From the happiest times to breaking up with friends, grab a pint (of wine) and Louise will recount some of her funniest memories. Hopefully we find Lisa.”

WHERE: Gilded Balloon Teviot – Wee Room (Venue 14) 

WHEN: 15:20 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, I’ve been a few times now. I wouldn’t say I’m a veteran but I know my way through the trenches to the mess house. It’s weird, as you almost have some sort of Edinburgh fringe muscle memory; once you get there every bit of knowledge of each secret passage to avoid the most tourists comes flooding back to you.

I’ve been as a punter and a performer and I think the best way to describe the difference is one is a marathon and one is a sprint. So going as a punter you’ll be there for a short while, like a sprint, so you can fuel up on rubbish and rely on adrenalin to just carry you through, whereas performing for the whole thing is much more like a marathon in that you’ll be wanting to be careful to not use all your energy at the start, you are going to hit a wall that you’ll need to push through and if someone could just be handing me snacks at certain stages, it’s very much appreciated.

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

I learnt that you can get mould out of grouting using just paper towels and bleach, but sadly I’ve not found a potential use for that knowledge at the Edinburgh Fringe festival yet.

I think the main thing I’ve learnt from doing previous fringes is that you really need to strike a balance of work vs play. Some years I’ve just gone out on the piss too much and it’s made doing the job harder, some years I only concentrated on the job side of it and forgot I needed to have fun to let off steam, so this year I’m hoping I should be able to get things just right – a skill I learnt from a blonde woman and three bears I came across once.

Tell us about your show.

It’s a stand up comedy show all about friendships; the types of friends we have, that we should regard friendships in the same way we regard other relationships, why none of us talk about friendship break ups, there is also a bit about fried chicken – I feel I’ve covered all bases.

In terms of who wrote it, produced it and made the tea during it: It’s me, hi, I’m all the above, it’s me. I would also sadly never describe myself as having ‘come together’, think my 2 brain cells crash into each other occasionally, but other than that I’m very much the stereotype of a comedian being all over the place.

I’ve done some previews of the show at other arts festivals and my hope is to take it on a little tour after the fringe, but I haven’t quite figured out all the logistics yet. My main focus come September is very much sitting in my Star Wars pyjamas, eating cheese and not having to perform for at least a week, so, after I’ve enjoyed that, future Louise can crack on with some admin for future performances of the show. I like future me, she’s so much better then past me who continues to just plonk stuff to do on me all the time.

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

I honestly could write so many recommendations here as so many great acts are going up but I’ll try and give some highlights

Josh Baulf – It’s impossible for him to not be funny. Honestly, he could stand on stage and adjust his hair for an hour and still be hilarious. Fortunately, I know he works really hard to make sure every joke he delivers is the funniest it can be. You’re in for a real treat with Josh’s show.

Kathryn Mather – Kathryn has some of the best timing and delivery I’ve seen. She has this exceptional deadpan persona and uses it to just deliver belter after belter of a joke. She’s absolutely great.

Fiona Ridgewell – I refuse to believe you could watch this woman perform and not laugh and enjoy yourself. She’s so lovely and hilarious and has managed to put together the most delightfully fun and silly show.

Kuan wen Huang – Kuan just has to smile and I already feel like I’m enjoying myself, he’s just so naturally affable. Nevertheless, he can write and craft some absolutely superb jokes that are clever and delightfully silly at the same time.

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EdFringe Talk: Aionos

Posted in Bedfringe 2023, EdFestivals 2023 by

“As a producer/designer/technician/administrator/activist it’s a big investment, but as an arts-goer and punter it’s extremely cost effective way to keep up with global live performance.”

WHO: Ian Garrett

WHAT: “Aionos – An African-Futurist mixed-reality production where Ancient Egypt meets Star Wars as you travel virtual worlds to help an Egyptian queen heal a broken love and navigate spacetime to recover an ancient technology. This unique hybrid theatrical experience in VR, streaming, and in-person will take you across time, space, and the metaverse in a collaboration between Toasterlab, Debbie Deer Productions, and Immersive actor/director/designer Ari Tarr. Aionos brings live and remote actors and audiences together for an unforgettable adventure in a companion piece to Debbie Deer’s Nefertiti: The One Who Comes.”

WHERE: ZOO Playground – Playground 2 (Venue 117) 

WHEN: 13:05 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my 12th time to the Fringe! My first was in 2008 and then I was over consistently in different capacities until the 2020 festival was cancelled,. This is a return in that way. It’s addictive… I’ve been involved in hit shows like Counting Sheep in 2016, ambitious but okay shows like Transmission in 2017, and any number which struggled regardless of quality. I also co-ran the Fringe Sustainable Practice award from 2010 – 2017, and have been involved in the festival form that side. While a lot of my current interest is around questions about who gets to take part in the festival given how expensive and time consuming is, it’s still an important launching pad for so many things where you can really try anything and then get to see so much. As a producer/designer/technician/administrator/activist it’s a big investment, but as an arts-goer and punter it’s extremely cost effective way to keep up with global live performance.

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

We took 2022 just to see what the return to the fringe would look like and didn’t try to bring work again. It was too risky as an international company to do that. But it gave us time to reflect on some of the core questions we had about how we work. We had started developing a concept around presenting a show with remote performers in 2019 after years of thinking about all the challenges of producing at the festival: it’s expensive sure, but it’s hard for folks with families and caring responsibilities to relocated for a month regardless of money. So many folks have other work obligations that this is difficult too, and it seemed like every festival some company canceled last minute due to visa issues and we were really starting to rethink our involvement with the carbon footprint of our work. So seeing the festival pick up on 2022 and noting even incremental change where digital remote work wasn’t a novelty but a necessity, and the Fringe being stronger with its position on values and commitment to carbon neutrality, and the work with council on housing, etc. We really wanted to bring something which started to think about those things from within a creative process through this Meta-show idea of hybrid performance.

Tell us about your show.

In addition the hybrid presentation, the show itself is a coming together of goals. One is just seeing if we are able to build the infrastructure to support having half our cast/crew back in Toronto. But we’ve also partnered with York University in Toronto to do rigorous research on this way of working.

The show is devised insofar as it’s inspired by work of XR performance maker Debbie Deer, and guided by performance training by XR actor Ari Tarr. Our company Toasterlab focuses on shows that blend XR technology with live performance, so we co-developed the concept and then started working with a diverse set of artists and partners this year. So in addition to these core artists and our professional contributors like Aisha Bentham and David Jansen (maybe only familiar to Canadians) there is credit to the IBPOC fellowship with Single Thread Theatre and their leading Performance XR work in Canada, lots of work with FlipsideXR which is a Canadian company building a VR performance platform, and with researchers and a handful of research assistants at York University. So, where I say devising is the process of developing the form and content in collaboration, that’s how this all came together. It’s sort of Toasterlab’s core approach, working iteratively to develop projects that balance narrative, technology, and performance design.

This will be the premiere of both this show and this way of working. It’s nothing if not ambitious and we know that can be a challenge.

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

What Can Indian Look Like at Greenside! On of our leads Shaharah Gaznabbi is also one of the two performers in that alternating anthology solo show. It’s also literally shortly after Aionos so they can make it over. It may not be technically ambitious, but previous iterations when it was just Gaz’s counterpart Natasha, have been great and it’s something that I think it really well suited for the fringe. Y

Also, Liz Toonkel’s Magic for Animals, also at Greenside. I’ve known and been a fan of Liz’s for years and haven’t had a chance to see this show yet. So I’m making a point of it while we’re over.

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