Edinburgh Fringe - The beginning and now the end: An Interview with The Noise Next Door

At the start of the Edinburgh Fringe 2013, I previewed "The Sound house" by the Noise Next Door.  This show was a musical, improvised comedy with some audience participation.  It was funny, witty and amazing to see the guys perform and react to the suggestions from the audience; although doing foreign accents was probably not one of their fortes.  

I caught up with Charles (White tie), Matt (Green tie) and Sam (Red tie) from the group as they were about to go into their last show.

So, how was your Fringe?

This was our sixth year here at Edinburgh and as sad as it may be, It is time for us to go home.  We did two shows this year and for Sound House, we had a number of families come to each show.  One family in particular, came to see us three times.  

It is always good to see our fans come back each year and bring their friends to our shows - onwards 2014!

What is next for you and Sound House?

Well, on tuesday afternoon we get on a train at noon and say good bye to Edinburgh, only to have three days rest before doing our next gig in Birmingham.  

As for Sound House, we enjoyed this year but it is time for something new, something bigger and better!  We've got to keep our parents proud of us.  

If you could give any words of wisdom to would be performers, what would they be?

That is a difficult question.  Hmm [head scratching all around]. 

Well, it is important to display yourself in anyway you can.  Get up there on the Royal Mile, flyer and talk to people about your show and why they should come along.  It is also important to get into any extra spots, such as "The Best of the Fest" and the "Picks of the Fringe".  

You also have to "know your product" [pointing to their ties] and effectively market yourself - branding is important.  

Most importantly, believe in yourself.  You can do it, there are many ways to do it and it can also be affordable for example through the "Free Fringe". 

Edinburgh Fringe - The backstory behind Missing, performed and written by Engineer

Missing is performed and written by Engineer, a new theatre company to come out of The Royal Central School of Speech and Drama in London.  

The show tackles some of the issues connected with missing people and their families, which until now I had not considered as a human rights issue.  

I took the opportunity to speak to Simon Lyshon, one of Engineer's founding members to get the back story behind the show.  

Why the issue of Missing people?

We were living with Greg Walton from the Independent and he had written a piece about how there are an estimated 275,000 missing people in Britain every year. That is around 1 person going missing every 2 minutes - to give you an idea of scale, that's a City the size of Plymouth.  

Jesse, a co-founder along with myself, Beatrice and George, started the project after that.  

How you you go about researching the issues involved?

We were lucky to have had a good contact in Greg Walton.  He had already built up a network of people who were interested in the issue and we asked him to approach his network to see if we could talk to them.  

A lot of the work from then on involved arranging interviews.  We were a new theatre company, we lacked any previous record of tackling such big issues and the only thing we had was our former connection with Royal Central. 

We had to build up trust.  Following the initial introduction, we built that trust.  We began to record interviews.  We had to make sure we kept it real; each subtle intonation in speech and nuance was particularly important to us.  The issue remained live for many of the people interviewed and we had to keep it personal for that reason.  

Why did you decide to use Verbatim, as opposed to a more traditional form of documentary storytelling or theatre?

Verbatim is a different form of theatre.  It lives and breathes from the stories of real people. As it is based on real-life conversation, it can have a tendency to become static and dry in terms of presentation. Verbatim is known as 'documentary theatre' by many people and this brings it's own set of prejudices. We were keen to break away from this and did this by exploring ways of physicalising and presenting the text in a more active way. 

How does the set relate to the issue of missing people?

When people go missing, usually all that is left behind are the objects that belonged to them.  So, to put it into context, when we talk about the case of Luke Durbin, his sister speaks about the old caravan at the back of the house, which belonged to Luke.  In the case of Moira Anderson also covered in the show, we place a present - a box in itself - inside a cupboard, representing all of the unopened presents that Moira's mother bought for her.  

Also, some of the boxes allow us to represent the passage of time - demonstrating the passing of seasons.  Each box being labelled, Spring, Summer or Autumn and when opened sound illustrates the season, such as chirping birds in Spring.  

They represent the idea of archives, the passage of time and that all that is left of a person are their possessions.  

The show also covers the Police response, how did you research this aspect?

The character in the show is actually an amalgam of several different sources.  To be fair, it's not just about saying that the Police need to do more, or that there needs to be some sort of national database or investigating agency created.  We found out, that it is actually more complex than that. 

In one interview, we were told, and this is also in the show, that if a strong enough case could be made for a particular investigation, then the resources would be made available for that investigation.  In this respect, its not just a question about a lack of resources from the Police point of view.  

In reality, the Police have limited ways of investigating the disappearance of people.  There is only so much that can be gained from CCTV, talking to witnesses and tracking the person before they go missing.  

We also used various academic reports concerning missing people.  These reports were mainly written with a criminal justice / Police audience in mind and unfortunately don't always translate into dramatic/theatrical material very easily.  However, one useful report was entitled "Geographies of Missing People" co-authored by the University of Glasgow.  

The show is quite powerful.  It opened my eyes.  Is there any message that you are seeking to get across?

Naturally, this question did occur to us in the process of making the show.  We asked ourselves, what is Missing?  Is this about the experience of missing people, the Police, Society or the whole of the media?  

We did not consider this an equalities or human rights issue as such.  We did not want to relay a political message.  

Missing, is probably best considered as a "Human Experience"; a window into the experiences of the people left behind. 

Edinburgh Fringe - League of St. George: My Dad used to be a Skinhead and the Strong Women in my life, an interview with the Cast

Sitting in the client services lounge of C-venues, C-Nova, the cast of The League of St. George could not be more relaxed; they were keeping a low profile though, being a skinhead on today (Saturday 17th August) would not have made them too popular in town. 

After all, it was the same day of the SDL (Scottish Defence League) march on the Scottish Parliament but the cast did not seemed phased by the potential attention. 

I asked each member of the Bricks and Mortar Theatre Company about how they got into the show. 

The writer - Georgia Bliss

Geogia describes herself as a warm person and having met her, it is easy to understand why.   

She had been watching shows such as "This is England" and reading "Children of the Sun" which features as skinhead, when she came up with the idea for the show.  As she looked into the issue more, it became "engrossing" for her so much so that she wanted to find out more as the topic really held her interest.

She explains to me that East London, where the Bricks and Mortar Theatre Company are based is literally the epicentre of all things BNP (British National Party).

"Its a strange area, half of the town is very multicultural and the other half are completely against multiculturalism."

She has even witnessed groups of white thugs beating up non-white people at bus stops.

Even in work - Georgia used to work in a call centre - there was racism too.  It was just so blatant, she explains, racial profiling was rife.

"If someone had an Asian sounding name, we were told not to contact them as the managers had already decided that they would not buy..."

 It is somewhat ironic, that the money earned from that call centre job, then went into finding "League of St. George." she explained.

I actually thought that justice.

The Dad - Dan Walker

Dan is only 21, but to look at him, you can see that father figure gleaming in his eyes.

His first overt experience of racism was in High School.  It was the language used, the jokes and the slurs.  He does explain that it wasn't a racist school, but that that kids just didn't' really understand what they were saying; it was like an ideology picked up and spoken without knowing its true meaning.

Dan explains that he liked the writing of the show - not that Georgia is staring at him from across the room.

"I really wanted to be a part of the production" he said.

"My dad used to be a skinhead".  He quickly clarifies.  His dad was an original, working class, skin head, before the image was coined and type cast as racist.  In those days, you got white and black skin heads together.  That is the difference I was told.

Dan talks about the amount of research he did for the show.  His knowledge of social history is absolutely astounding, detailing the complete social stratification of each subculture of the time.

The wisdom of his character also comes through in him when I ask him about standing up to racism.

"It only takes one person to do it" he explains.  Once you do it, others soon follow.

Is he the "batman" of the group I wonder?

Matt Pearson and Nathan Parkinson - The Skinheads   

Both boys seem quiet, relaxed, soft and gentle.  The complete dichotomy of the characters portrayed.

Matt's main interest is that he "wanted to convey and a new story to a new audience".

Nathan also finds the "story the show tells engaging" together with the music.

He also lives in Camden and has been around a lot of prejudice.  He can relate to his character of "mark" played in the show, who can't get a job and the product of bad parenting.  He is clear though, that he he does not relate to the "Anger" or the "Hate".

"Just because you are bored or dont have opportunities, is not excuse for going around mugging and beating people up!" he said.

Matt had a liberal upbringing.  His relationship to his character "Jimmy" is a deeply personal one.

His character, tries to find acceptance and probably lacked any support in school.  This is why Jimmy probably compromises a lot - the need join the League comes from that need for acceptance.    

Matt explains that he is Dyslexic and like Jimmy he did not have that extra support in School.  This is why the relationship is personal.

Holly Mallett - The Strong Lady from the shoe shop

Holly comes across as someone you would want to keep on side.

She explains that there are a lot of strong women in her life.  It was her dad who gave up his job to be a house husband and her mum who went to work.  She describes her house growing up as very intellectual - featuring regular debates around the dinner table.

"My Dad is the biggest feminist in the world" she explains and my family is very matriarchal. 

In terms of the show, she gets a real buzz from it.  "I wanted to be in it as opposed to just Drum in it" she says.

Her character is easy to relate to.  The "shoe shop lady" plays a devils advocate and challenges "Adam" about his role as a skin head; "She really gets the politics of it".

Samantha Lund - The Mum

Sam comes across as the supportive type; it is easy to see the mother in her.

Sam explains that her Mum is very supportive, she is lovely.  She wanted to play a Mum like her own mum.

What attracted her to the show was that she "loved the character" and that it is not preachy theatre.

Is there a message in "The League of St. George"?

The show is not preachy, its the story that is important and makes you want to go an watch it.

Dan says that at the end of the show, "you have an empty glass and should be ready to go get another."  Or, "Just don't be a racist homophobe!"

All the cast agree that Racism seems to be getting worse.  Holly highlights that "life is not so simple and people are just people and that is fine".

Nathan talks about the problem of parenting, "the outdated attitudes are being handed down by parents.  The problem is shrinking and shrinking, but until those attitudes die away, there will always be a problem with racism and homophobia"

The League of Saint George is on at C Venues C- NOVA at 21.55 until Monday August 26th.  To buy tickets, or to find out more visit the Fringe booking site by clicking here.

To find out more about the show and the Bricks and Mortar Theatre Company, visit their site by clicking here.   

    







 

     

Edinburgh Fringe - What I want to say, but never will

Don't speak your mind, there may be consequences.  Keep your opinions to yourself, they are not valid anyway.  I am scared to say it, what if they reject me?  

Sex, pregnancy, coming out as Gay, child abuse, family, divorce, anger, hatred, love, self harm, depression, drugs and alcohol, anorexia, religion, cancer and death.  All Emotions and experiences building barriers between us.   

These are also some of the subjects sometimes found to be taboo.  To put it simply, we find it difficult to talk about them - finding tape put over our mouths. 

What I want to say, but never will, performed by the St. Ives Youth Theatre, is a collection of thoughts, emotions and experience compiled by Alan, an English teacher, of the things that young people in America really want to say and why they feel that they can't.

The thought that our young people feel unable to talk about what is on their mind, or that perhaps we as a Society are not prepared to listen is truly disturbing.  However, this show opens a window into their world and the constraining influences preventing - whether directly or not - the burst for self expression.  

Alan acts as the adult narrator, seeking to encourage each of the young people to come forward and tell their story.  He makes it clear that the show is not about him; which is why his character is taken on by a beautiful teenage girl - contrasted by the middle-aged, balding fat man - that we may expect.

One by one, the cast - all young people - dressed in theatrical black - reveal themselves.  However,  anyone can tell a story, what makes their tales unique is the controlling - even constraining - tape over their mouth.  The tape bears individual words and each word has meaning - bearing that back story - of the tale never told.

When the tape is peeled away, the young people speak; shout; cry and move all in dialogue with their fears.  We never see the reality.  We never know whether the cries are heard; real tears shed, gay children embraced or expelled; the pregnancy reaching child birth or the friendships continuing or ending.

This is the mystery of the performance.  It always leaves you wanting to ask a question and perhaps, you should.   

Of course, Alan admits that some of the stories, or things that young people want to say, lack context.  Some if it is just venting, frustration, hitting out or a need to release that built up angst.  The other stories are more important; abusive parents, self harming, not knowing what to do about an unexpected pregnancy or shouting, seeking and pleas for help.

Are we listening?  That is what Alan keeps reminding us.  Perhaps, more importantly, do we even want to listen?

Adults, whether a parent, guardian, priest or a friend are meant to be there to protect our children.  Who can our young people turn to if there is no one there to listen.

There are two sides to every story.  This is the subtle sometimes that Alan conveys too.  The adult figure may be willing to listen, but has the young person shut themselves off.  Perhaps, they do not understand their parents as much as they think?

This is what Alan advised me;

"What do you want to say but you know you never will?

To whom do you wish you could say it to?

Why won't you say it

This message is important.

Listen to me..."    

 Advice that you too, can take away.

A poignant performance, not best expressed in words alone.  See it and believe.

No five stars could do this show justice - it worth far more than that.

What I want to say, but never will is on at Sweet Venues, Grassmarket at 14.55.  The last performance is on Sunday 18th of August.  Tickets are available on-line from the Edinburgh Fringe box office, alternatively they can be purchased directly from the venue.    

For more information on the St. Ives Youth Theatre and the show itself, visit their website:
http://www.siyt.co.uk/wiwtsbnwe.html

Facebook: https://www.facebook.com/siytsayit
Twitter: @sity_sayit    
 

Edinburgh Fringe - Exclusive Interview with Cast and Crew of "BENT"

On the eve of the Scottish Defence League (SDL) march on the Scottish Parliament and the Unite Against Fascism Scotland (UAF Scotland) counter demonstration, Bent, by Table9 Productions could not be more relevant.  

It is even more poignant that the show's last night in Edinburgh is Saturday 17 August - the day of both events.  

In this exclusive interview with Chris Bassett, the Director and Producer of the show and Peter Calver, who plays "Max" the lead character I ask about the show and whether it remains relevant to the current day.

Why bring "Bent" to the Fringe 2013?

Chris reminds me that this is the biggest Fringe ever put on.

From a Production Company's point of view, it is a chance to get noticed, to gain exposure but more importantly the openness of the Fringe is something which Chris is extremely passionate about.

Chris also reminds me that "Bent" is also a well known play, its not new and has been around since 1974.  There is also a film, based on the play, of the same name.  From his point of view, "you can really buy into the story..."

Peter also talks about the Cast's passion and commitment to the show.

He explains that his colleague, Anthony Eglington, who plays the character of "Horst" - Max's rock moving, co-worker come lover, who wears the Pink Triangle with Pride - read the script overnight and came back and was adamant that "he had to do it".

Peter explains that everyone has such a powerful attachment to the show.  You are hooked.      

 Is the show really that powerful?

The first thing that both Chris and Peter emphasize is the sheer emotion attached to the production.

I asked them to expand on this and Peter explains that it is not easy playing a character who comes across as arrogant, kills his partner in an act of survival, has to have sex with a dead 13 Jewish girl in order to prove that he is not Queer to his Nazi overlords, denies his own identity by wearing a Yellow Star instead of the Pink Triangle, before taking his own life in an act of self reclamation.

I asked Peter how he managed to cope with the role and what was expected of him as an actor.  He explained, that although it is "heavy" he manages to get through.  However, at the same time, does not leave any rehearsal or performance without feeling severely physically and psychologically drained.

This is also a point that Chris picks up on.  He explains that everyone associated with the show has had the same feeling.  It is difficult to explain, but sometimes words are not necessary to convey the message he reveals.  This is why, when leading up to the climax, the final scenes are directed in silence, "...the sheer emotion of the moment is relayed through music and the lighting.  At every performance, the audience leaves their seats and they do so in almost complete silence.  The silence speaks for itself in terms of the emotion conveyed through the performance on stage." 

Its 2013, is there still a need for a show about Nazis?

Both Peter and Chris answer with a resounding "Yes"

Chris highlights that when they flyer on the Royal Mile, dressed in character, they get a reaction and it is not always positive.  "People react to the uniforms at first and may take a photograph, but then you get people making comments and asking questions"  he says, "there is definitely still interest".

Peter talks about the current news and that the themes of the play, such as persecution based on ethnic, religious or sexual identity stay new because they are always at the forefront of the news.  He says, "it is important not to ignore the past and to recognise that we as Humans are capable of these things."

Chris reminded me of the main reason that Martin Sherman wrote the Play in the first place.  It was because there was no mention of that subsection of society that suffered horrendously even more than other groups - Queers.

What do you want people to take away with them?

Everyone will be touched with the feeling of loss.  It does not matter if you are Gay or Straight, you will be moved by the performance.  In the end there is only silence.

This is perhaps summed up best by a memorable line; as the Nazi overlords stand gleefully about the body of Horst, having shot him in the back, one of them them turns to Max and and says "I hope the medicine helped".

Bent is on at C venues C Too and has its last show on Saturday 17th August.  
You can book tickets online.

To read my review, click here.        







 

Edinburgh Fringe - Positive

HIV and AIDS is never far from the front as fundamental issues go in terms of either Equality and Human Rights.  

The need for education around potential sources of transmission, the needs to support people who are HIV positive and perhaps most importantly the need for both societal and self acceptable are also very important.  

Positive, by the West Avenue Theatre Company, takes on the lot.

Here we meet Benji, diagnosed with HIV a year ago and still unable to develop self acceptance.  He is depressed, doesn't sleep well and has little by way of a social life.  He is young, single, gay man but scared of rejection in love.   

We also meet Benji's flatmate.  She is straight and unlike Benji, has a loving partner who fully embraces her and her HIV positive status.  She later tries to push him away; not wishing to burden him with her HIV "problem".   

The show uses the contrast between the two to great effect.

At first glance, it would be easy to conclude that the subject matter would make the show heavy.

However, this could not be further from the truth.  The show uses humour and situation comedy to really develop the issues involved.  Witty and wicked one liners never fail to make you laugh out loud; even when exploring the topic of sex with someone who is HIV positive as Benji is told by someone who lacked understanding:

"...you want to dip my perfectly healthy carrot into your houmous of death..." 

It's not always directly about the HIV though, Benji's complex relationship with his mother and her preconceptions are also explored.  She is genuinely trying to reach out into a world that she knows little about and dearly loves her son.

Can HIV be transmitted from sharing a glass of wine?  What about touching, kissing or the passionate embrace?  This creates some awkward moments, highlighting the struggle that HIV positive people face when telling people - particularly potential lovers - about their HIV positive status.

It is not until the end, that the show covers the most difficult aspect of living with HIV - the diagnosis.  The humour works here as well as not everyone could get away with calling the clinic information as a "bit too primary school" handing out " the leaflets of death..." 

If anyone did not know anything about HIV, about the transmission of the virus, or how it affects the day to day lives of people living as HIV positive you would have learned something from the content.

Positive, is first class; an excellent, educational comedy.

To book tickets to see the show, or to find out more information, please visit the Edinburgh Fringe Online Booking site.  

To find out more about the show directly from West Avenue Theatre, you can visit there site:
http://westavenuetheatre.com/2013/05/17/positive-heading-to-edinburgh-festival-fringe-2013-cast-crew-confirmed/ 

***Stop Press***

You can now listen to an exclusive interview with Rob Ellis, the Director, Will Marsh, who plays "Benji" and Nathalie Barclay who plays "Nikki" in the show.   

Edinburgh Fringe - Bent

Has the world really changed since Nazi Germany and World War Two?  How does society treat people from different backgrounds, if they are LGBT, disabled, not white or a Jew?

The cultural parallels relayed in Bent could not be more relevant to the modern day.  LGBT people facing persecution in Russia, Traveling People evicted by the law, Religious and National conflict based on who you are or where you are from.  As a Human Race, will be ever learn the lessons of the past?

At first glance, it is hard to see how this show could possibly be about the Nazis.

Starting off in a small cosmopolitan Berlin flat, one camp queen - a dancer nonetheless - and a more hetero centric and stoic gay man.  They are living together, drinking coffee following another outrageous night out.  The stereotypical chat about who did who and in what position, does not allude to the more sinister aspects to come.

The first indication that this show has a dark side comes when the couple discuss their landlord - "that dirty Jew" - indicating that the social segregation of German society has in fact begun.  You could have missed the reference, but the Gestapo storming the flat and slitting the throat of last night's sexual conquest gave the reality check that this was no joke!

The couple's struggle begins at this point, returning to what they believe to be their safe place - only to discover that their "friend" had taken money in an act of vitriolic betrayal.  Who can you trust is no one will take you in?

They are vagrant, lacking money, food and a place to stay.  Deprived of their identities by the Nazi State, no where to go.

Capture

Dragged through the woods like dead animals in the night.

This marked the transition; whatever was left of humanity died as they are transported to the Camp.  Death follows; the twisted Nazi psyche is at its best.  The protagonist, humiliated; forced to punch and kill his lover.

Survivial

Left alone, he deals in with the devil and adopts the Yellow Star of the Jew.  This, through is eyes is better than being the Pink Triangle of Queer.  He is no longer a "Fluff" but has become a montage of was formerly his dirty Jew.

Camp

Here an unexpected new relationship develops.  Can the dirty Jew develop a friendship and then something else with a Pink Triangle piece of Fluff?  This new relationship is built on rocks, routine and regrets.    

Silence

Nazi Nihilist entertainment kills in the final scenes of the show.  However, not before the unexpected reclamation of identity, a monologue of memories and a conscious decision not to let the Nazi's control our protagonist's life. 

The drama is powerful and emotive.

The show is deceptive and dark.

It deserves more than five stars.

Bent is on at C Venues, C too.  The Show is on at 22.10 and ends late.  To book tickets or to read more, visit the Edinburgh Fringe Online.  

To find out more about the show directly, visit Table9 Productions http://www.table9productions.com/index.php/edinburgh-fringe-festival/bent

 

 

Edinburgh Fringe - If These Spasms Could Speak

What do you think of when you meet a disabled person? Do you stare or look away? What questions would you like to ask, but are too afraid to voice?

Challenging your perceptions from the outset, Robert Softley crawls, climbs and jumps up onto the stage - no wheelchair in sight. You may double take. Surely such behaviour, for someone with Cerebral Palsy, isn't safe?

Softley describes his disability and how it has affected him. His personal account of experiences growing up and entering adult life are illuminating. His accounts explain and educate, laced with his high heeled humour, enabling you to laugh along the way.

In addition to his own personal experiences, Softley has used the stories of other disabled people of how they feel about their bodies to provide further insight. The openness of each account impresses, holding your attention as questions you didn't know you had are answered with completely unexpected transparency.

No subject is taboo. Family, friendships, eating, drinking, going for a run, disciplining wayward adolescents and even sex are all covered as part of this intimate presentation of how disabled people experience life and their interaction with our disabling society around them.

The show is not a training programme concerning the lives of disabled people, nor is it a lecture about disability, equality or the law. Each story told is personal, intimate and, although serious in subject matter, has the power to make you laugh.

Go along, and bring those questions you were too afraid to ask.

If These Spasms Could Speak is on at the Pleasance Courtyard at 17.45.  

For more information or to book tickets click here.  

***STOP PRESS***

Softley has just announced via facebook that the show will be touring Scotland and then moving to Brazil (all following the fringe of course)

For more info visit http://www.ifthesespasmscouldspeak.com/