“To be walking down The Royal Mile and see fellow artists hand out fliers…in a banana costume. Or stumbling upon a site-specific opera in a giant tea cup.”
WHO: Jeremy Rafal
WHAT: “From his childhood in the Philippines – a technicolour blur of cartoons and classical music – Jeremy always knew he wanted to be a concert pianist. The Boy from Bantay takes us on his heartwarming journey of growth and self-discovery. This appearance is produced by Bantay Productions and Leviathan Lab with support from Pace University and the Sands College of Performing Arts.”
WHERE: Stephenson Theatre at theSpace @ Surgeons’ Hall (Venue 53)
WHEN: 12:35 (60 min)
MORE: Click Here!
Is this your first time to Edinburgh?
Yes! This is my first time in Edinburgh and I couldn’t be more excited–but also slightly terrified, in the best way possible. Performing at the biggest arts festival in the world has always been on my bucket list. There is nothing quite like being surrounded by artists and audiences who are just as passionate about live performance as you are, especially for someone like me who thrives on the energy of the people around me. I’ve done the fringe festival in New York City, so I’ve had a taste of this energy before. But for EdFringe, this is the Mecca of live performance! To be walking down The Royal Mile and see fellow artists hand out fliers…in a banana costume. Or stumbling upon a site-specific opera in a giant tea cup. I’ve produced my own work in the past and it can get very lonely. So I’m really looking forward to connecting with artists and learning from people who’ve been doing this crazy ride. But most of all, I am thrilled to share The Boy from Bantay. It’s about a kid from a rural town in the Philippines–a place so small that most Filipinos would have to Google it. And yet, I truly believe that no matter where we come from, there’s always something in our stories that we can connect to. Something that brings us closer together.
What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?
These past couple of years have actually been somewhat productive for me, artistically. I’ve written and directed a short film, composed music for a new stage play, wrote an opera inspired by the 1930 Watsonville riots, and premiered a one-act play that I’m planning to expand into a full-length. If there’s one big thing I’ve learned through all of this: KEEP GOING. There are so many moments where I catch myself thinking, “What the hell am I doing? Why am I putting myself through this?” And when that happens, I’ve found it helps to just step away for a bit—shift gears, work on something else, and then come back with a clearer head. But the real lesson? Learning how to take actual breaks. Like, real ones. I’m still working on that, to be honest. But I’ve picked up a few tricks to force myself to rest when I need to. So yeah—I get the concept of taking breaks…now I’m just trying to actually live it.
Tell us about your show.
The Boy from Bantay is semi-autobiographical and it pulls from what I know best–my own experiences. It all started with my first two loves: cartoons and music. Growing up, I was totally obsessed with cartoons. Well, okay—confession—I still am. I’m basically just a cartoon-loving kid in an adult body. I’ll stay up way too late, binge-watching episode after episode of whatever the latest anime craze is. And the music? One of my earliest childhood memories is of my mom dancing with me to “The Blue Danube Waltz” playing on her record player. I was so mesmerized by the sounds coming out of those vinyls that I ended up ruining half her collection. Sorry mom! This show brings those early loves together with my more recent passion: theatre and storytelling. When I first produced the show at FringeNYC years ago, I was part of a resident acting company in New York. That’s where I first teamed up with Josh, my director, and Anne, my stage manager. We’ve been developing the piece ever since, finding ways to shape it for a wider audience. For EdFringe, I’m thrilled to be working with a small but mighty team. My co-producer Kate is actually one of my former students, who’s diving into the world of theatre producing. I trust every person on this crew—they care deeply about the work, and they show up. The dream? To take this little story on tours and share it with audiences around the world.
What should your audience see at the festivals after they’ve seen your show?
There are so many wonderful shows at EdFringe that I would just say: Just go out there and see as many as you can! But if I have to pick some shows, particularly ones where I’ve seen earlier versions, there are a few in mind. First, “The Other Mozart” by Silvia Milo at Studio Two, Assembly George Square Studios. It’s an established solo piece that’s gotten some fantastic reviews—and for good reason. I’ve always wanted to see it and I finally got the chance earlier this year. It’s about Nannerl Mozart, the sister of WA Mozart, who was just as musically gifted but overlooked simply because she was born a woman. It’s haunting, elegant, and powerful—especially if you have any love for classical music. Another one I’m excited about is by my fellow Ilocano (yes, someone else who speaks my regional language!), Joyce Lao. Her show, #40andsingle, is a funny, cabaret-style piece that’s part memoir, part anthem for late bloomers. She’s hilarious and honest, and watching her fully embrace her creativity and freedom is such a joy. For something totally out of left field: “The Waiting Room.” It’s an AI-generated theatre piece I caught here in New York. I’ll admit—I was skeptical. But it completely challenged how I think about storytelling and connection. It somehow made me feel seen… by a machine! Weird, I know. But that’s what’s cool about Fringe—it has a way of catching you off guard.
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