“It’s probably the biggest platform for the show in the world but the financial and mental health pressures are intense.”
WHO: Eleanor Hill
WHAT: “An irreverent, ‘brilliantly original one-person show’ (WestEndBestFriend.co.uk) that makes Fleabag look like CBeebies. This tech-heavy tragicomedy uses livestreaming, projections and music to explore the hilarious and heartbreaking realities of mental health, heartbreak and trauma in the age of social media. Somewhere between Euphoria, Instagram Live and a Bo Burnham special, ‘audience members are encouraged to use their phones throughout, transforming this show into a zoo-like experience’ (TheUnderstudy.co.uk). Together we’ll scroll through reels to find what’s “real” and maybe stumble across the answer to the ultimate question: do we consume social media or does it consume us?”
WHERE: Underbelly, Bristo Square – Jersey (Venue 302)
WHEN: 14:30 (60 min)
MORE: Click Here!
Is this your first time to Edinburgh?
This is the first show I’ve taken to the Fringe and I really see it as a test of mental and physical stamina as I’ll be there for a month. I’ve never done a show for 24 days in a row so I’ll see if i can survive. I’d imagine that’s more of an intense challenge than my bronze silver and gold swimming awards which were very hard thank you very much.
It was my first time as a punter last year at Ed Fringe and the buzz is amazing, jumping from show to show – everything is alive and open. It feels like you can see anything and anything goes.
As a punter you think constantly about how many shows you’ll see and if you’ll get fomo but as a producer / performer you’re constantly thinking about selling your show.
It’s probably the biggest platform for the show in the world but the financial and mental health pressures are intense. There’s a lot more to it than doing the show itself – flyering, networking and trying to keep you life as routine as possible – intense but exciting. In my mind if I can get through this with some of my sanity intact then Sad-Vents will go on!
What are the big things you’ve learned since 2022 and have you absorbed any of the lessons yet?
Since 2022 I’ve learnt a lot about who to hire and have around me – this is a big thing. Putting in place people, places and things that are going to support and understand what I need as a human during the process. Whether that’s making sure I have an hour a day off my phone or go to a pole class or people who are on the same page as me with the marketing we need for the show.
I’ve learnt a lot about trying to actively put on and take off hats when needed – so that I can make space for each role (me as a writer or actor or producer or just a person). I’ve grown as a writer and performer – not a conscious learning but something that happens as you continue to practice and create.
There’s also a more deep and coherent plan for the show itself – making the work we do more focused and less abstract and much more exciting. Final word advice to myself – never do a show that relies on tech so heavily ever again – next show is just me on a stage nothing else.
Tell us about your show.
I wrote it and am performing it. We don’t have a company which is worth noting as it can make it a little harder to obtain funding and support. But we have had a lot of people working on it from the top, Annie McKenzie (directing), Velenzia Spearpoint (producing and marketing), Matt Powell (video design) and Constance Villemot (set design). Nearly everyone who was involved in the original R&D is still involved in some capacity in the fringe version of the show over a year later.
After two weeks of R&D we opened the show at the White Bear in Kennington and after some reworking earlier this year took it to The Vaults Festival. Next we are going to the Soho theatre whether they like it or not and then the National I’m sure that’s how it works?
SAD-VENTS is an irreverent, tragicomedy about mental health, heartbreak and trauma the age of social media. It’s sort of what would happen if you took a sad girl’s instagram and out it on stage (reminder here it is still a comedy 😂) Basically the whole show is done live streamed to my phone which is projected onto a screen behind me and onto Instagram live. So audience members (who are encouraged to use their phones) are able to watch me in real life on stage, the projection and or their phone. There’s also quite a lot of direct messaging to the audience and extra content (can I get a ohhhhh) on social media through the show. It really is a show where tech was built in from the beginning so it should feel really like you’re walking into instagram or tiktok on stage!
What should your audience see at the festivals after they’ve seen your show?
Sikisa for a bit of comedy who was my stand up tutor at the Soho Theatre, who did some stand-up at our Sad-E-Vents Fundraiser at The Bread & Roses Theatre – https://tickets.edfringe.com/whats-on/sikisa-hear-me-out
I’ve not seen it but I will be going to see Fabulett by Michael Trauffer https://tickets.edfringe.com/whats-on/fabulett-1933 – who broke his foot last year so I hope he doesn’t do that again! We interviewed him for our SOLO SO HIGH networking events which will be taking place online and at Edinburgh Fringe – you can find out more @solosohigh on instagram if you’re a solo show and want to get involved!
Charlotte Antley with Almost Adult who also gave us a taster of one of her new pieces at our Ed Fringe fundraiser – https://tickets.edfringe.com/whats-on/almost-adult
I’m giving the solo shows a lot of love because I know how hard it is!
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