“You have to really believe in a story to devote yourself to something like that, and that is what I think connects all Fringe performers in this very tangible way.”
WHO: Claire Houghton Renoe
WHAT: “Back by popular demand! The C Word is a radical awakening to the extreme objectification, competition, and overall nonsense women face today. This play explores the hypothesis: All women Hate themselves with a capital H. Trapped in a museum while waiting to interview for an Associate Curator position, five young women must select a tribute to fight a terrifying C-word monster. In a reality where women are constantly pitted against each other, what must we learn about ourselves to truly know and love one another?”
WHERE: Upper Theatre at theSpace @ Niddry St (Venue 9)
WHEN: 18:15 (60 min)
MORE: Click Here!
Is this your first time to Edinburgh?
This is my second time at Fringe and my second time directing The C Word, which made its international debut last August. I absolutely jumped at the opportunity to return to the festival. The community of such uniquely passionate, devoted, determined artists and storytellers is unlike any other arts event I’ve experienced. Being in a city teeming with creativity, bursting at the seams with performances in alleyways, classrooms, and storage closets, proves that fantastic theatre can be made by anyone, anywhere, with any budget.
I am incredibly grateful that our company gets to further develop this show, and that I, as an individual artist and lover of theater, have the opportunity to return with some understanding of the scope of opportunity here. I hope to take advantage of every second this year, and to soak in the vibrant, glorious community that surrounds me. Just SEEING the shows here! So many make me think– ‘Yes! This is why I do this!’
There would, of course, be more time to see things if I weren’t working on a show of my own, but that is the other half of the rich experience at Fringe. Coming together with a group of people you respect and admire to ship yourselves and your set overseas, to rehearse in the park, tech in two hours, and open to an international audience. It’s thrilling like nothing else. You have to really believe in a story to devote yourself to something like that, and that is what I think connects all Fringe performers in this very tangible way.
What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?
I feel I’m returning to Fringe this year with a greater sense of camaraderie and community. It has been amazing how many people, artistic friends and collaborators, have descended on Edinburgh from a multitude of places and from so many chapters of my life. I trust that the people I meet this summer will become the familiar faces of future years.
I’m learning the importance of this network– of finding the people whose work ethic and collaboration style feeds your own. You never know when the opportunity might arise to work with them, maybe in six months, maybe in five years. Maybe here, or in New York or LA. This feels like the origin point for so many opportunities and relationships, and how exciting that it is the same for thousands of artists all around me.
Tell us about your show.
The C Word asks: “Is it possible to be a ‘girl’s girl’ in a world determined to make us hate ourselves and each other?” A feeling of never enough-ness has been ingrained so deep within us that we don’t notice it anymore. Sarah Lina Sparks began developing this play at UCLA, before it was picked up by Los Angeles Theatre Initiative for its run at Fringe last year. I think Sarah Lina’s writing is brilliant because it uses magic and laughter to uncover tensions, the ones that are supposedly “fixed,” that rest just beneath the surface.
We’ve been lucky enough to perform the show to sold out audiences at Hollywood Fringe since our run last year, and witnessing people connect intimately to these characters has been incredibly rewarding. The show unearths the complexity and ugliness that can exist in female relationships, and in doing so can also discover their beauty. Sarah Lina’s writing investigates what women must overcome to really love one another. To selflessly root for another woman’s success. Is it even possible? The C Word argues that it is.
What should your audience see at the festivals after they’ve seen your show?
One of my favorite shows I’ve seen at Fringe is Xhloe and Natasha’s A Letter to Lyndon B Johnson or God: Whoever Reads This First. The story is nuanced and beautifully written, the choreography and design stunning to witness, and the audience left the theater incredibly connected to the characters while discussing their interpretations of the gripping final moments. I recommend anyone go see this show.
I also highly recommend Liv and Ken Productions’ The Family Copoli: A Post-Apocalyptic Burlesque Musical. Incredibly music, amazing performances, and a blast to watch while leaving the audience real themes and questions to consider. So well produced and performed, an exciting new piece of theatre.
I very much enjoyed Kate Barry’s intimate storytelling performance, Kate, Allie and the ‘86 Mets. I felt invited into the story and was absolutely touched. I was completely absorbed and loved the design and the personal touches from Kate’s childhood.
I also loved the one person comedy show, Why I Stuck A Flare Up My Arse For England. It uses humor to explore toxic masculinity in such an effective way. I’ve heard so many people rave about this show. Highly recommend it!
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