Tag Archives: EdFringe

EdFringe Talk: Brotipo

Posted in *Written Interviews, EdFestivals 2023 by

“So while I’m at the office writing these lines, I’m looking forward to live a full month of new connections in August!”

WHO: Jean-Felix Belanger

WHAT: “Welcome to the world of Quebec’s circus clowns! Presented in 18 countries, winner of multiple awards, Brotipo is back this year! Before your eyes, a friendship will be put to the test to make you laugh, dance and even sing! In the colourful atmosphere of traditional big tops, the acrobatic duo creates a story with handstands, diabolo and hand-to-hand acts. An amazing chance to see the ‘masters of slapstick’ (Scotsman) again and again with the whole family!”

WHERE: Assembly George Square Gardens – Piccolo (Venue 3) 

WHEN: 13:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Third time in my life, second time with the show Brotipo! Beside the crazy pace of the festival, I could say it’s now a comforting tradition. It’s the time to see again longtime artist friends, find back our favorite coffee truck, absorb the energy of the city and of course discover so many shows and hidden spots!

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

2022 was a big touring year for our company and it was a reminder of how much the stage is a place of exchange, interaction, connection. Especially because we are doing clown, there’s a unique conversation with the public. It feels good for both sides. So while I’m at the office writing these lines, I’m looking forward to live a full month of new connections in August!

Tell us about your show.

Brotipo was created by me and Remi in 2015 and we are still the two artists performing in it. Even after 250 shows all around the world, we love to jump back in these costumes and create such a festive moment with the audience. We are doing acrobatic clown, a precise balance between circus, acrobatics, clown and physical comedy. Our company, les Foutoukours has the mission to actualize the clown arts but we are also so fascinated by the traditions. This is why we created Brotipo from our interest in traditional circuses, the atmosphere of the Big Top, the high energy entertainment… how can we bring that in a small place? How can we concentrate all this joy in a tent with 150 people?

The initial challenge seems to have been achieved as we are coming back to the Fringe for a second year in a row and that tours are planned until 2025 in Singapore, Canada, Italy and New-Zealand. Everybody likes to party with the clowns!

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

I’ll first cheer up for our friends from Montreal, Agathe and Adrien with N.Ormes. A circus duo who is at the opposite of our style, in a more contemporary process, but that’s why we love the diversity of circus arts!

If you are looking for another children show, go see our venue partner The Bubble Show at the Piccolo. We spent last August with him backstage, great man, great show!

The most touching story at the Fringe this year will be told by André and Dorine. You laugh, you cry, you’re surprised.

Finally come with us to see Chevalier – Hobbyhorse Circus, I love this company and I’m thrilled to see this new show!!

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EdFringe Talk: Take The Bins Out

Posted in *Written Interviews, EdFestivals 2023 by

“I was commissioned to write “Take The Bins Out” by a British businessman (who has asked, for personal reasons, to remain anonymous).”

WHO: Mark Janicello

WHAT: “Take The Bins Out is a dark comedy, telling the story of Finley Whitmore, whose congenital eye disorder wreaks havoc on his professional and personal life. It’s a touching, funny, one-man show with music. Bins stars TikTok Sensation Milo Mooney (@milomooner), a visually impaired actor in the title role. The play was written and directed by the award-winning author/playwright, Mark Janicello. ‘I’ve learned that there are all kinds of blindness, and true to form, I’m guilty of most of them. You must never lose sight of what’s important’ (Finley Whitmore).”

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

WHEN: 18:25 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I attended the Fringe in 2019 and again in 2022, both times as an audience member. This is my first time attending the Fringe with a production. Back in 2019, I promised myself that I would be performing at the Fringe as I had so much fun there. I thought I would be here as an actor or a singer, and didn’t imagine that my first time would be as playwright/director.
In any case, it’s a thrill to be working in Edinburgh.

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

I would hope that I continue to learn and grow on a daily basis, and not just from 2022 onwards. 🙂 I’ve been onstage or in front of a microphone or camera since I was 4 years old. I’m now 60. That’s 56 years of my life in the arts in one form or the other. The one truth that has never changed during these many years is that: “If you don’t grow, you shrink.” I moved to London two years ago from Berlin, Germany. I had spent 28 years in Europe (I also speak German and Dutch fluently), because I felt that I was no longer growing. I no longer felt challenged personally, professionally or artistically. I moved to London to be in a market where I was an absolute unknown and would have to really hustle and work very, very hard to make a name for myself — basically to “start over” at 58 years old. My friends in Europe thought I was crazy! However, in the UK you are competing for roles and jobs with Oscar-, Tony-, Brit-, Olivier-, Emmy- and Grammy Winners. It’s a HUGE challenge. It’s both difficult and at the same time a thrill, to be the “worst one in the room” and to continually have to “up my game” to compete.

Tell us about your show.

I was commissioned to write “Take The Bins Out” by a British businessman (who has asked, for personal reasons, to remain anonymous). In 2022, I answered an ad on StarNow or Mandy (I don’t recall which) looking for a playwright. This gentleman had an idea for a story and wanted someone to dramatize it. I sent some of my other stage works (I have written 7 other productions for the stage) as well as some of my screenplays and a few of my articles as a journalist and critic. He liked my writing a lot. After meeting in person a few times, hearing his concept for this project, and spending some time together, I accepted the commission. Over the period of a few months last Spring, I wrote the play.

The play, as it now stands, is quite different than what this gentleman originally envisioned. However, through our talks I felt that the core of the story was not in what he was communicating to me, but rather what he left unsaid. It was that “unsaid” storyline that I felt needed to be told. That was what interested me in doing this project, what he WASN’T saying. After quite a bit of back and forth and with some gentle arm-twisting, I convinced him, that what ended up as “Take The Bins Out” was the story he wanted to tell all along.

This same gentleman is providing the financing for the Edinburgh Production. I am producing and directing it. The Edinburgh Fringe is the World Premiere Production for “Take The Bins Out.” We plan on doing a regional production of the play sometime next season and eventually bring the show to London in an “Off” theatre.

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

There are two “Opera for Kids/Young People” productions playing at the Fringe this year that look like a LOT of fun. I was an operatic tenor for many years. Opera and classical music as art forms are slowly dying out because we are not reaching younger audiences. These two shows (neither of which I have seen myself) are trying to introduce classical music in a lighthearted way to a new and younger audience. The Fringe, because the tickets are so inexpensive, is a perfect place to do that. It’s “low risk” in this setting. It’s not like you’re paying West End prices for something you’re not sure you’ll like. This way, people can experiment and see if that music and those stories speak to them. Both Brian Bannatyne Scott and “Madame Chandelier” look like they are having a blast. That joy with classical music is contagious and might encourage a new audience to seek out opera or classical music outside of the fringe. I’m all for it!

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EdFringe Talk: Living with Skeletons

Posted in *Written Interviews, EdFestivals 2023 by

“I’m starting my bachelors in Edinburgh this September, purely because after this one visit, I knew this was the right city to spend the next 3-4 years in.”

WHO: Daniel Fischer

WHAT: “No one knows what happens after we die. Oscar can’t stop worrying about death. Ella can’t stop worrying about Oscar. While the young writer catalogues his snowballing existential crises, his half-sister ricochets through a kaleidoscopic wonderland filled with witches, pirates and strange, hungry creatures called Fuzzies. Time unravels. Space turns over. A deeper mystery simmers beneath the surface, with Oscar at its centre, if Ella could just find her way back to him. Living With Skeletons is a mind-bending, folk-musical rabbit hole that takes a curious dive into living beings’ intrinsic fear of the end.”

WHERE: Gilded Balloon Patter Hoose – Big Yin (Venue 24) 

WHEN: 21:45 (90 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I was a punter last year for about two weeks, and that was my first ever taste of the Fringe. Not to schmooze, but I completely fell in love with the city. I was obviously seeing about 4-5 shows each day, which was transformative, coming out of a pretty rigid New York conservatory program, and then seeing the insane amount of artists that are mounting shows pretty separate from the industry. I really felt at home, and it became so easy to make friends, with performers after their shows, or with fellow audience members. I met my friend Charlie in the audience while watching Lizard Boy at Gilded Balloon Patter Hoose, and now I’ll be performing there and he’s gonna be technical manager for all GB shows. There’s an infectious uplifting, welcoming vibe all around the city, and it’s extra special because I don’t think that vibe could develop anywhere else other than in Edinburgh. Of course, artists and punters were very easy to befriend, but locals were somehow even more delightful. I’m starting my bachelors in Edinburgh this September, purely because after this one visit, I knew this was the right city to spend the next 3-4 years in. There’s such rich architectural history all around, and it’s so seamlessly intertwined with the pubs and nightclubs and student areas. Similarly to Budapest, it balances perfectly between metropolitan and digestible.

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

2022-23 for me, was dedicated to writing this show. Obviously there’s a lot of comedy and uplifting theatre at the Fringe, but there’s also so much heart, which is why I felt comfortable in divulging so much of myself into this show. I guess honesty is my biggest takeaway from 2022. Or rather vulnerability. I come from a Hungarian-Jewish family, which comes with a habit of using comedy or whit or intellect to glaze over certain serious things. It’s not all bad; I did develop an insufferable level of charisma and optimism. But I think I always had a natural inclination toward sincerity that wasn’t embraced too much in my father’s side of the family, which are all classical musicians or biologists. I spent most of 2022 in Dublin, living alone, working at the Westbury Hotel, and writing this show. It drove me slightly insane, but it forced me not to perform or crack jokes. And once I showed my finished script to a couple people, they were really moved, even my dad who I have never seen cry to this day. That really reaffirmed that there’s strength, humanity, and intelligence in being uncomplicated and honest.

Tell us about your show.

Living With Skeletons is a musical about death (kind of), written by me, the wickedly talented Daniel Fischer. I founded Fishhook Theatre Company for the purpose of putting on this show and pretending we’re official and established. Now it’s got a website and, thanks to this form, a twitter account, so I guess it’s taking on a life of its own. This show is our company’s debut, and our global AND Fringe premier.

I started writing the show not long my eldest sister Paula died of suicide, in spring 2019, right before global shutdown. Initially I needed an outlet for the existential crises I was constantly suffering from, at inopportune times, like during lectures and stuff. I’d get proper freaked out about death, and about the end of all things, or the idea of eternity, or the idea of being inexistent, all questions no one knows the answer to. It started out as just musings on that, and through writing it, and discovering all these characters, I think I produced not only the best thing I’ve ever written, but the medicine I needed to embrace growth and LIFE (ugh so sincere).

I don’t know what’s next for the show, after Fringe. I’d love to get it filmed and put it out on the internet for people to see. I’d also love to publish a cast recording so I can listen to the songs forever, and probably hate them in five years when I’m a better writer and a better singer.

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

You absolutely positively without a doubt HAVE to see Coffee Kid. This is Síomha McQuinn’s absurdist show about a girl whose mom and dad are an espresso machine and George Clooney (respectively). It’s brilliant. I saw it at the Dublin Fringe Festival last autumn, and I’ve never met or spoken to Síomha, (nor am I sure about how I’d approach pronouncing her name), but I still HAVE to plug this show because it changed my life (for better or worse? You decide).

Also go watch Austentatious, objectively the best improv show at the Fringe. Also go watch Laura Ramoso’s Frances, she’s a comedic genius. There’s probably thousands more, but honestly you probably won’t go wrong with anything, even the truly awful shows are a delight to suffer through.
Also watch mine again OH HO HO I said it anyway!! They told me not to say it but I don’t take orders from THE MAN!!

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EdFringe Talk: Coconut

Posted in *Written Interviews, EdFestivals 2023 by

” After everything that’s happened we strongly believe in ‘leaving it all on the stage’ in both the shows but also just generally in life.”

WHO: Ellora Kamineni

WHAT: “Written as a love letter to brown girls, Coconut is a one-act, one-actor play that tells the story of a slightly lost, slightly confused, incredibly chaotic brown girl doing things (and people) that none of the aunties would approve of. Through talking about fit white boys, the perils of day drinking, and how not every brown girl dreams of being a doctor, Coconut is funny, heart-wrenching, and relatable for everyone… except maybe our parents.”

WHERE: theSpace @ Niddry St – Studio (Venue 9) 

WHEN: 12:05 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes, and we’re equal parts thrilled and terrified!. Edinburgh Fringe is kind of the mother of all fringe theatre and it’s such a challenge to take it on, especially as new theatre company debuting new work! None of us have even stepped foot in Scotland before, so, aside from our extensive research (read: obsessively watching Ed Fringe vlogs on YouTube), we’re not quite sure what to expect!

We cannot wait for people to see Coconut and fall in love with (or heavily despise – we’ve had mixed reactions) the titular character, but I think the thing that we’re MOST excited about, aside from sharing our baby with the world, of course, is connecting with other creatives and getting inspired from all the weird and wonderful work out there!

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

The entire Coconut team is quite new to theatre outside of a university setting and since 2022, we’re still trying to find our feet post-pandemic. After everything that’s happened we strongly believe in ‘leaving it all on the stage’ in both the shows but also just generally in life – if we don’t try our absolute hardest to put on the best show possible and fully go for it in every sense of the word, what’s the point!?

Tell us about your show.

Okay, so Coconut is about a brown girl who struggles to accept her culture and is a bit of a disappointment to her family. She’s also incredibly chaotic, slightly selfish, makes only bad choices, only dates average white men, and doesn’t really know what she’s doing in life (mum if you’re reading this, it’s NOT autobiographical). Think ‘Never Have I Ever’ meets ‘Fleabag’.

At Fringe we’re running almost every day from August 4th-26th (excluding 6th, 13th, and 20th) at various venues with theSpaceUK!

The creation of the show is a bit embarrassing, but I’ll be honest – I wrote it, I’m producing it, and the theatre company came together because at that time I had absolutely no network in the theatre industry so I PESTERED my non-theatre friends until they accepted roles (they’re doing wonderfully in them though!). I’m currently a student and this time next year I’ll likely be about to start a real adult job full-time (exciting! scary!) This Fringe is the first and probably last time I’ll ever have the entire month of August free, so it’s kind of now or never!

The production has had a short staged reading in London in preparation for Edinburgh but that’s it – we’re debuting at Edinburgh Fringe! We also have no idea where we’re taking her afterwards but we’re currently looking for opportunities to bring her back with us to London or take her on tour!

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

Oh I love plugging my friends (and a few people that I don’t know who’s work looks incredible), right here’s a list!

‘Jingle Street’ and ‘On Your Bike’, by Chordstruck Theatre Co and both co-written by the wonderful Joe Venable, who is quite possibly the wittiest lyricist in the country (I’m not joking)!

‘Paper Walls’, ‘All The Glorious Moments Inbetween’, ‘Dead End Job’, and ‘Park Bench’ by QMTC – they’re an absolutely lovely bunch of people and what I’ve seen of the shows they’re bringing so far is incredible and I can’t wait to watch!

‘Clementine’ by Rosalie Minnitt, an absolute comedy QUEEN who has created this absolutely absurdly hilarious regency-era character who really just wants the regency equivalent of a boyfriend (I feel you sis)

‘Dusk: A Bite-Size Love Story’: a twilight parody musical? sign me up. #TeamEdward (I’m NOT sorry)

‘Come Die With Me’: a musical + a murder mystery + a reality show (the three best things on the planet all rolled into one show)

‘Showstopper!’: it’s an improvised musical – saw them at West End Live and I’m immediately obsessed!

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Bedfringe 2023 Interview: Abbi Jinks: On The Write Path

Posted in *Written Interviews, Bedfringe 2023 by

“After several years working as a transformational coach and doing a lot of my own inner healing, my show is a selection of poems and insights into a life filled with more positivity, more meaning, and more JOY!”

WHO: Abbi Jinks

WHAT: “Abbi Jinks is a transformational poet and performer. She writes and speaks from the heart, with passion and with truth.

Abbi writes about things that might change your life! She speaks about self-love, about fear, about resistance, choice and power! She articulates her poems so beautifully and in perfect rhyme. Her work will leave you feeling inspired, elevated and motivated. Through her positivity and joyful vibes, Abbi will remind you that life is for feeling good! Her words may make you think, question and ultimately transform. She is a gifted wordsmith and is both empowering and uplifting.”

WHERE: Quarry Theatre

WHEN: 23 July 2023 @ 15:00 (40mins)

MORE: Click Here!

Is this your first time to Bedfringe?

Yes and I’m so excited! It’s been less than a year since I first started performing my poetry and it has been a whirlwind year! I love the diversity and inspiration of a festival, it really feeds my soul to be surrounded with all the creativity and magic of performers and artists. And I love the buzz of every moment on stage. There’s something about live performance that really feels like home to me.

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

I’ve been writing and sharing my poems all over the place! I’ve been trying out new things, challenging myself and I launched my first ever book!!!! It all began in the summer of 2022 after I wrote a poem for a friend’s wedding. I then felt the call to perform it completely spontaneously at a festival and then set myself a challenge to write and perform a poem a day and eventually I had enough for a book, and more!

Biggest lessons for me have been to BELIEVE IN MYSELF! It counts for everything. Even when those doubts come up, just keep going. I’m doing it!!

Tell us about your show.

My show is an adventure into transformation! My poems are inspiring, encouraging and empowering. After several years working as a transformational coach and doing a lot of my own inner healing, my show is a selection of poems and insights into a life filled with more positivity, more meaning, and more JOY! There are also a few that might make you splutter on your coffee! I talk about what I’ve given up to get where I am today and it may hit a nerve. Come and see…

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

Sparky! Another poet who shares boldly from his perspective whom I had the pleasure of hosting alongside others on the GuRoots Den stage at the recent Bedford Kite festival.

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EdFringe Talk: Wasteman

Posted in *Written Interviews, EdFestivals 2023 by

“It’s inspired by my time working as a refuse loader over lockdown, while moonlighting as a drag queen on Zoom for my friends and loved ones.”

WHO: Joe Leather

WHAT: “A bin man swaps steel-toed boots for stilettos to chase his dream of becoming a drag queen. This raucous one-person comedy play combines monologue, song and (of course) drag in a love letter to hard-working Northerners and gender euphoria, based on writer Joe Leather’s real-life experiences working as a Refuse Loader through lockdown. ‘An irresistible, uplifting, Northern drag odyssey’ ***** (ToDoList.org.uk). ‘A show that you cannot help but fall in love with’ **** (BroadwayWorld.com). OffFest Finalist 2023.”

WHERE: Assembly George Square Studios – Underground (Venue 17) 

WHEN: 18:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I brought a musical back in 2019 (The Lost Musical Works of Willy Shakes), but this is my first time taking a solo show. I’ve had to become a one-person poster designer, promoter, stage manager, make-up artist and wheelie bin enthusiast… But in Edinburgh, you’re never really alone. You’re part of a huge family of artists, creatives and audience members from all over the world and I’m so excited to experience it again.

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

Big lesson from 2022: I should have struck while the iron was hot because the refuse worker strikes would have been amazing promo for a show about a bin-man drag queen… I think what I really learned from 2022 was that simply being able to create art and share your story is an incredible privilege that was taken away from us by the pandemic. I’ve learned it’s so easy to get caught up in the logistics of it all, but it’s just as important to find the joy in creativity and remember why you’re doing what you do in the first place.

Tell us about your show.

Wasteman is the story of a bin-man who dreams of being a drag queen, written and performed by me, Joe Leather. It’s inspired by my time working as a refuse loader over lockdown, while moonlighting as a drag queen on Zoom for my friends and loved ones. It’s an hour-long comedy/drama with original songs, fusing my love of Northern stories, musical theatre and (obviously) drag. The show has run at the Camden Fringe and VAULTs in London, at the Dublin Gay Theatre Festival and Brighton Fringe, and is performing in Manchester and Nottingham before Edinburgh. The reception has been stellar: It’s sold out numerous venues and been nominated for six awards so far, including two Offies, so I can’t wait to showcase it to an Edinburgh Fringe audience.

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

Diana: The Untold and Untrue Story (@awkwardprods) because its irreverent zaniness is exactly what the Fringe is about. 16:30 at Pleasance Dome.

Butchered by Expialatrocious (@ExpiAtro) was a real highlight at the VAULTs for me, fusing horror and physical theatre. 17:10 at Underbelly Cowage.

Grown Up Orphan Annie (@KBourneTaylor) is my pick of Twitter this year, an amazing concept and great reviews in the US so far. 18:20 at Gilded Balloon Patterhoose.

Drag and Draw (@Draganddraw) was a team I met in Dublin. They’re bringing such a fresh and brilliant concept, fusing drag performance with life drawing. It’s also their first time at the Fringe., so send them love and support. 17:20 at Underbelly Bristo Square.

Lachlan Werner- Voices of Evil (@LachyWerner) is a fellow KeepItFringe recipient, and an amazing drag artist. 22:30 at Pleasance Courtyard.

Alan Turing- A Musical Biography (@EarlyMornings19) looks amazing. I’m always keen to support new musical theatre, especially when it’s queer and educational. 10:50 at Paradise in Augustines.

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EdFringe Talk: Confessions of a Teletubby

Posted in *Written Interviews, EdFestivals 2023 by

“In the 1980’s (yes I’m that old!) I used to bring my dance/theatre company “Geographical Duvet” to Edinburgh to perform a show on a double decker bus.”

WHO: Nikky Smedley

WHAT: “Three shows only! You remember Teletubbies, don’t you? Maybe you grew up with the programme… Did you ever wonder why it was so successful and who was bringing those well-loved characters to life? Find out with the original LaaLaa as she spills the beans on what went on behind the scenes and what it took to become one of the world’s most famous giant yellow puppets.”

WHERE: theSpace @ Surgeons Hall – Theatre 1 (Venue 53) 

WHEN: 10:20 (65 min)

MORE: Click Here!

Is this your first time to Edinburgh?

In the 1980’s (yes I’m that old!) I used to bring my dance/theatre company “Geographical Duvet” to Edinburgh to perform a show on a double decker bus. We picked the audience up from Waverley Station – which you could do in those days – and took them on a tour of oft-neglected corners of the city (Leith Docks, Fettes College, Pilton and the like) making stops along the way for outdoor performances and also entertaining on the bus. It was a lot of fun. This will be my first show since then, so it nevertheless feels very new. A lot has changed but the creative spirit of Edfringe remains uniquely thrilling.

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

I came up to Fringe last year for the first time in 35 years! It’s a very different beast nowadays, of course, but I was swept along with the energy of the thing and it inspired me to want to revisit Edinburgh this year. I learned that venue and audience expectations tend towards shows that are an hour’s worth of tip-top material, then on to the next thing – no mucking about with intervals or unusual set-ups – just get in, be great, and finish on time.
I have created my show according to these expectations, which has been a very gratifying challenge, I just hope people enjoy it.

Tell us about your show.

My show was specially created for Edfringe and aside from one open rehearsal, this will be the first time anyone has seen it. It’s loosely based on my memoir about playing LaaLaa the yellow Teletubby – “Over The Hills And Far Away” – and is a startlingly honest set of behind-the-scenes confessions from those six years in Tubbyland. I’m mindful that the generation who grew up with Teletubbies (who are now, unbelievably, in their twenties and thirties) may not want their illusions shattered, but I’m hoping they may be intrigued to discover the reality behind those illusions. Others might be more interested in the down and dirty, so I’m treading a fine line!

Happily there is interest from other venues, and I’m kicking off at “Upstairs at the Western” in Leicester on September 21st.

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

Going back to my Edfringe roots, I’m looking forward to seeing ‘Ageless’ performed by PRIME – a company of dancers all over 60.

Also on the physical side, ‘The Art of Falling’ is a collaboration between young Scottish and Estonian dancers. Having spent time working in both countries I’m intrigued to see how the cultures combine in dance.

For describing her comedy as ‘absurdist’ and an excellent poster image and title – Ruth Hunter’s ‘The Ruth is on Fire’ is on my list.

The one’s I’m upset to be missing (can’t afford to stay for the whole Fringe!) are ‘Memento Mori Bitches’ by Leoni Amandin – again a great title and I’m fascinated by how she will combine comedy, death and puppetry – and ‘A Show About More Me(n) by Grace Campbell because her humour really appeals to my naughty side!

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EdFringe Talk: 30 and Out

Posted in *Written Interviews, EdFestivals 2023 by

“It centres lesbian identity, community and experience in a way I’ve never seen before as well as weaving verbatim interview recordings with other lesbians between scenes to represent the wider community.”

WHO: Kit Sinclair

WHAT: “‘Mum, I’m a lesbian. Sorry it’s late but grab a rainbow flag… I’m 30 and I’m coming out.’ Kit just left her boyfriend and the closet. While her friends marry and get mortgages, she is starting again in a whirlwind of drugs, clubs and heartbreak. Is it too late to be a lesbian? Join Kit in this hilarious, sexy and painful portrayal of drawing your own blueprint. Does she need a cat and an undercut? Using interviews, projection and powerful storytelling, Sinclair takes us on a memorable journey about discovering identity and losing yourself along the way.”

WHERE: Pleasance Courtyard – Baby Grand (Venue 33) 

WHEN: 12:45 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It’s not my first time in Edinburgh, I had a show up a few years back which did very well, was a Lyn Gardner top pick and was a real rollercoaster. The festival is a fantastic opportunity to be part of a creative hub but the reality is that it’s a lonely and brutal thing to do alone. I’m not doing it alone this year – 30 and Out has incredible creatives around it, including my partner who is the producer and we make an excellent team.

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

Hahah, what a question! One thing I’ve really learned in terms of theatremaking, I’m really harnessing the idea that when I make work for stage, it has to be utterly unable to be in any other medium. I’ve been pushing the limits of what that means and how something has to absolutely belong in theatre for it to merit an hour of someone’s time to watch live performance.

I’m also exploring the importance of access in a world where it’s often viewed as a restriction. Creative captioning which is embedded into the design of shows is an opportunity to use a whole new creative language and 30 and Out does that really well.

Whether any of these have absorbed is a big question but let’s see what people think when they see the show!

Tell us about your show.

I wrote it and it’s based off of my own experience of coming out aged 30 and the hilarious, sexy and painful chaos that ensued. It centres lesbian identity, community and experience in a way I’ve never seen before as well as weaving verbatim interview recordings with other lesbians between scenes to represent the wider community. It also speaks to universal themes of feeling like you want to start life again, finding yourself and everyone else having their shit together while you’re falling apart. It merges poetry, performance art, multi-roling, dance, projection and song – it’s like nothing you’ve ever seen.

We’ve already previewed it successfully in Brighton, London and Manchester to sold out audiences and five-star reviews and we have a London transfer in the works too so watch this space!

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

We have our eyes on Pitch by November Theatre which looks like a fantastic queer exploration of football. Likewise Salty Irina by Broccoli Arts is another queer story we want to see. Benjamin Salmon’s Blowhole is great and we’ll be watching that again even though we’ve seen it before! There’s so much out there but we’ll be seeking out LGBTQ-led work which challenges the usually queer stories.

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EdFringe Talk: Hello, The Hell: Othello

Posted in Bedfringe 2023 by

“Does hell exist? What is the punishment in hell? If given a second chance, what choice would humans make? Regret or repeat the same mistake?”

WHO: Eungyo Kang

WHAT: “Millions of years after Othello killed Desdemona, Othello and Iago are living an endless, repetitive life in Hell. Punished for the sin of the past with recurring, relentless nightmares whenever they close their eyes, their bodies fade a little more each day. Until one day, Iago realises how to escape their terrible predicament. Hello the Hell: Othello by Jakhwa Creations, is inspired by Shakespeare’s tragedy and newly interpreted to focus on the afterlife of the characters, recreated with a fresh narrative and creative physical theatre.”

WHERE: Assembly Rooms – Ballroom (Venue 20) 

WHEN: 13:40 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

We are a performance team called ‘Creative Jakhwa’ from Korea, and this is our first visit to Edinburgh. Edfringe has always been our dream stage. Thanks to the Korean season presented by A to Biz and Assembly, it is a great honour to participate in the world’s best festival and communicate with audiences and the best artists from all over the world.

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

In March of this year, we participated in the Adelaide Fringe Festival in Australia. It was our first overseas performance. In the meantime, we have performed several large and small performances only in Korea, and we have been very recognized and we have a strong pride in our work. And fortunately, we were able to perform on the stage called the Adelaide Fringe Festival. It was a valuable experience and a new stimulus. Now we have a desire to meet more audiences and artists from all over the world and we want to fly to Edinburgh as soon as possible.

Tell us about your show.

Does hell exist? What is the punishment in hell? If given a second chance, what choice would humans make? Regret or repeat the same mistake?

Our performance is a physical theatre called ‘Hello, The Hell: Othello’. ‘Hello, The Hell: Othello’ is an interpretation of Shakespeare’s tragedy ‘Othello’ and written by Korean writer and director Bonggun Kim. It deals with the afterlife of the protagonists with our fresh interpretation and creative movements. Our performance will be at the Assembly Rooms Ballroom from the Thu 3 – Sun 27 AUG (Not 14, 21). For this run, our show is performed in Korean with English subtitles.

Millions of years after Othello killed Desdemona, Othello and Iago are living an endless, repetitive life in Hell. Punished for the sins of their past with recurring, relentless nightmares whenever they close their eyes, their bodies fade a little more each day. Until one day, Iago realizes how to escape their terrible predicament.

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

There’s a team I’d like to strongly recommend to you. It’s a team called ‘KOCOON’ from Korea. KOCOON presents a new type of show that combines comedy and K-pop as a team with the concept of a gag idol. Recently, Korean idols such as BTS and BLACKPINK have gained a lot of popularity, and many people have become interested in K-pop, and it will be a great experience to see KOCOON perform. Not only them, but also the ambient-house music team ‘IL WOL DANG’, Moo Soo Theatre group’s ‘The Maids’, and Creative Group Geo-gi-ga-myon’s non-verbal mask theatre ‘The Messenger’, which are all excellent, so I would appreciate your interest.

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EdFringe Talk: Klanghaus: InHaus

Posted in EdFestivals 2023 by

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

WHO: Mark Howe

WHAT: “From the makers of KlangHaus, InHaus is another extraordinary leap in the journey of destroying the rule book of gig-going. The audience is immersed in the sound, the lights, integral to the show. ‘One show that truly delivers the shock of the new, the most innovative presentation of live music I’ve ever seen, a total game-changer’ (Alex Needham, Guardian). InHaus is a true crossover experience, equally attractive to music, theatre and art audiences. ‘A joy-inducing original’ ***** (Donald Hutera, Times). ‘The walls of the space and music are genuinely in dialogue with each other’ **** (Lyn Gardner, Guardian).”

WHERE: Summerhall – Lower Church Basement (Venue 26) 

WHEN: VARIES (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

We came to Edinburgh in 2014 with our show KlangHaus. We had a great venue (The Small Animal hospital at Summerhall) but we didn’t particularly expect to get any audiences. We thought that, oh well, we can use the time to record our songs in the space. Our first review was pretty luke-warm but gradually, the reviews trickled in and then flooded in and they were overwhelmingly positive and, unexpectedly, we had a hit on our hands “the best presentation of live music I’ve ever seen” said the Guardian. The buzz and atmosphere was always so good in the Summerhall courtyard.

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

We knew that we would return to Edinburgh to test new shows, it’s about the very best place there is to do that. We also established that running multiple shows in a day is incredibly powerful on all sorts of levels! This year we will be running up to 8 shows a day for the majority of the run. Needless to say lots of planning and effort is going into preparing us for this element alone!

More generally, emerging from the pandemic has only strengthened our resolve to play and to find fresh ways of presenting music and art to audiences in a way that magnifies the positive and ineffable aspects of the live music experience.

Tell us about your show.

Essentially, we operate as a “Band”, a group of musicians working with an artist, (Sal Pittman,) who have collectively cultivated a wide range of disciplines/skill sets and approaches along with a willingness to implement them in a live music setting.

These shows grew out of our experiments with the gig going format, such as; limiting audience sizes, researching the building’s past, and working with the natural curiosity that people have when they enter an unknown space.

InHaus is a domestic show, an installation meets “can you hold my guitar for me”. It is both immersive and unnervingly ordinary, theatrical and “sort of real”. We’ve tested and trialled in Norwich, Summerhall’s rarely-used Lower Church will be its first proper outing.

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

England & Co with Mark Thomas looks really compelling. Looking forward to this very much

La Clique look like a pretty amazing circus show if we can get near this.

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