12th August 2024
Edinburgh
THE
PRESS
Kara Wilson
61 years ago I brought a play to the Edinburgh Fringe as an undergraduate with GUDS, the Glasgow University Dramatic Society. To this day, I still have the Fringe programme, listing all 38 shows. Now, at 80 years old, I am returning to a Fringe that has expanded almost a hundredfold. Why now and where have I been in the meantime are the questions hanging in the air. There is something about reaching 80 in good health that needs celebrating I feel and the timing of having a new onewoman show warm and ready to go, happily previewed and well received in London, seems to make the moment right to return. But, I haven’t been absent from the Fringe in recent years. I’ve lived for the last
twenty Augusts in Edinburgh breathing in every Fringe minute as a grandmother supporting a Fringe artiste through thick and thin. I’ve watched my daughter Nina Conti flourish and find fame and played my part babysitting her sons. That ranged from lurking with a buggy at all hours outside venues for the necessary breast feed to being on hand for the early rising of small members of the family who had not performed late night gigs and were very well slept by 6am. We’ve sampled flats all over Edinburgh with the obligatory Edinburgh mouse welcoming us at most. Later the job was for the evenings only with pizza on Portobello Beach, cycling at Cramond and sunset climbs on Arthur’s Seat.
NY reviewer described me as ‘the veteran Scottish actress’. What will they call me now, I wonder? And I haven’t made it easy for myself. My show involves completing an oil painting every day onstage in one hour with all the mess that wet paint entails. It’s the fifth in a genre of ‘painter plays’ I invented for myself so that I could embody an artist and tell her life story while painting in her style. This year’s creation about Beryl Cook just arrived at the right time. I have enjoyed the utter privilege of working with Beryl’s son John on the script. That was a first – my other artists were long dead with no surviving family. I love Beryl and always have and there is no greater happiness for me than to hear from her family that I have ‘captured’ her.
I have often been heard to say that the last twenty years of my life have been the happiest and grandparenthood the reason. Edinburgh communal living has played a large part in that.
So now this year finds both mother and daughter performing at the Pleasance Courtyard, Nina at the Grand and me in the Attic. The two good-looking young men outside, thrusting flyers in your hand, are the grandsons, quietly delighted that it is time that Granny gets a go.
But now, the grandsons are grown and I am out of a job. So here I boldly go onto the Fringe as an octogenarian. 25 years ago a
Beryl Cook: A Private View Pleasance Courtyard - Attic
George Rennie As a Fringe first-timer, there’s so much to figure out. Notwithstanding making a show, finding a venue and securing funds, reaching the right audience is one of the biggest challenges Fringe artists face in the most intensely competitive arts festival in the UK. So how do we do it? Theatre marketing may seem like an arcane craft, but for some it’s a full-time job, drawing on visual arts, behavioural sciences, and good old-fashioned charm. In preparing for this year’s Fringe, I chatted to a number of seasoned Fringers, including drag impresario and self-made Biblical King, Riss Obolensky, creator of cult-hit Healing King Herod. How did they command authority and draw people to them in a show very much about building a following? This may sound deranged, but for such a wildly emotion-driven festival, we might find some secrets on how to make our own success by looking to the masters (and monsters) of history’s most notorious cults. I’m not advocating mind control and psychological abuse, but amidst all of the toxicity, there must be something positive we can learn? In the vein of Netflix’s How to Build a Cult, here are some of the tricks and tactics used by these insidious spiritual demagogues to convince people they are worthy of their time. Embrace Your Calling Charles Manson, Jim Jones and Jaime Gomez all had one thing in common. They weren’t just people, but personas. Standup comedians craft their identities in much the same way, building a heightened, performative version of themselves with a strong perspective, offering a way to see the world that is full of humour and forbidden truths. As a creative, producer or company, it can be incredibly helpful to provide a consistent brand to your audience. Create rules and parameters — a tone of voice, attitude and style. Make this clear to yourself, and try out how to share this with the world. Your brand needs to have an identity, as does your audience. Identify Your Targets The profile of cult initiates is not that of naive, uncritical sheep. They are
often highly idealistic, dissatisfied with the status quo and looking for a source of deeper connection. Cult leaders tap into these values, drawing on spiritual, artistic and purpose-driven values to provide meaning and shape to people’s over-complicated lives. They promise to make the world a better place through alternative ways of living, tapping into the curiosity, desires (and vulnerabilities) of their followers to convince them that they have the solution. Messed up, but also, creepily, a lot like marketing. Personalise Your Pitch Effective sales comes from the bringing together of your own objectives and the value you can provide to an audience. Dale Carnegie’s seminal How to Win Friends and Influence People — a favourite of Manson — is a veritable treasure trove of charm tactics, many of which boil down to being nice to people and making them feel special. Find out what makes them tick by asking questions and letting them speak, then figure out how you can answer to this. Make Some Noise Once you’ve got these key vectors figured out and your artwork, network and channels aligned, you have to simply get out there and shout it from the rooftops. Use whatever you have, be it a rock n’ roll persona (a la Manson), a performative healing ritual (comme Jones) or a focus on deep, one-toone connection (vis Gomez), and use your followers to find even more. Marketing obviously doesn’t need to indoctrinate people, but it does revolve strongly around a belief system — in the people, product and processes we have on our side. Ritual and symbolism play heavily into the process, and boldness and vision are often strongly rewarded. Above all, it’s about the things we can give to others. The more we can see things from their point of view, the more we can find our niche. Soon we won’t have to push the brand, because people will do that for us. We want not just followers but advocates. And the way we do that is by treating people right.
Hamstrung Pleasance Courtyard - Baby Grand
The Legend of Jim Hall Sean Wareing The following is a true story. Connection. That is why we traipse up the hills that converge on the Royal Mile. That is why we wake up at 8am and throw on a toga that barely covers the knees. Connection is why we flyer. In 2019, I received a genuine bit of connection - a conversation that would last for ten minutes but would stay with me for four years. This is the legend of the legend that is Jim Hall. 2019 - an older gentleman - Scottish - strikes up a lively conversation regarding the musical I was up with. He was a big theatre fan, full of vigour and had a mischievously impish gleam in his eye. Jim Hall was the personification of the Fringe - Jim Hall was undoubtedly going to come to the show. As often happens at Fringe, things changed quickly. “Now,” his lilting Scottish accent decaled, “I’m not going to come and see your show…” I don’t think I have learnt to trust since. I don’t think I ever will. “...but what I will do is come and see your show next year.” “Okay.” I said, not quite sure of how to react. “If, and only if, you see me next year and remember my name.” I paused. “Alright,” I said, daring to accept the challenge this Fringe imp had presented to me, “what’s your name?” It is important that I write this next section as I heard it. “My name is Jim Hall, as in - Jim. Hall.” A puzzled look clearly crossed my face. “You know - Jim Hall. Like a Jim Hall.” He nodded, winked and left my life. It took me a few days to realise he meant “gym hall”. I’ve been back to the Edinburgh Fringe in 2022 and 2023 with my theatre company Fishing 4 Chips, returning this year with Burning Down the Horse. Everyday, on the mile, I keep one eye open for Jim. Did it border on obsessive at points? To that I say - it’s the Edinburgh Fringe so I think we should all cut each other some slack. Towards the end of last year, I arrived on the mile to see my castmate, Ali, conversing with an older gentleman. I daren’t get my hopes up - I had been hurt before. I edged closer. “...and next year, if you remember my name…” I broke into a full sprint. This is it. This is it. “JIM HALL!” He turned, a wide smile enveloped his face. Oh my, how I had longed to see that mischievous glint again! “Jim Hall!” “You know my name!” “I do! This is my show…” He turns to Ali. “Well, I will definitely come and see it now!” Oh how we laughed! My quest was over - Burning Down the Horse had gained an audience member - all audience members are special but this one? This was the one that got away. Finally, I had completed The Legend of Jim Hall. He never came to the show.
Burning Down the Horse Pleasance Dome - Queen Dome
When we consider Fringe theatre the first things that come to mind could be: personal stories, direct address, shock-factor, hilarious anecdotes and more. Less considered is theatrical underscoring. Why? A company may not have funds to pay a composer, they may be on too tight a schedule, or the company hasn’t considered bringing original music into the show. This is often a missed opportunity! This year I composed for an integrated puppet performance. Now the puppets don’t just tell a story, they’re creating a whole world! ‘The Room Upstairs’ is a play interspersed with dream-like puppetry sequences. Each puppetry scene in the show is telling a different diary entry from Lani’s (the writer’s) upbringing. The segments have their own energy musically but there is a through-line created through motifs and recurring identifiable dissonant chords. Lani says: ‘the music is such a core component of the atmosphere of the show. We are inviting you into a personal space and the music helps get you there.’ The puppets not only demonstrate the diary entry, they are fully immersed in the world of Lani’s mind. If you took the music away, would the puppets have as much life? More generally, budget is allimportant; I’m aware of that. I’ve produced four Fringe shows, and this is the first year we received funding. In the past, I have only ever had funds to pay my actors and then do a huge amount of unpaid work myself, so I really do understand the grind. But I think one of the key differences between big and small budget productions is the use or lack of
original-incidental music. If you strip a National Theatre production of its transition music, would it always feel like a National Theatre production? When scenes are being changed, what does silence or fumbling with set sounds do other than remind us that we are in the theatre and take us out of the story? Throw some curated music into the show and our attention is held. Incidental music has more impact on the show’s atmosphere than we sometimes realise. Much of its power is in how it affects us subconsciously. Friedlind Riedal states that atmospheres ‘can even render potential futures or repressed memories abundantly present’. One can explore how compositions can elicit multi-sensory atmospheres. To illustrate this, if you were to hear a production’s music again, it might transport the listener right back to your show! That’s pretty powerful. Please don’t misunderstand me, using backing tracks or pre- existing work can be a valid choice and can work extremely well. My focus here is on plays that don’t lend themselves to the use of pre-existing material. To wrap this up, I don’t encourage trying to find a composer for free. We all deserve to earn for what we do; however, if you can find space in your budget, consider investing this on a composer. That extra money may not be an advert in a magazine but could lift your show from great to unforgettable! The Room Upstairs Pleasance Courtyard - Cellar
Lil Wenker and Cecily Nash May 31, 2024 Taylor Swift is spotted wearing a boot with a chunky heel. The timing is uncanny, it’s clear September 19, 2023 she’s Howdy-ing back. Cecily and I meet at the Glitch in Waterloo to discuss my pitch for a brand-new show June 12, 2024 (and collaboration, and friendship?!). It’s Keith Urban and Billy Ray Cyrus both wear our first 1:1 time after meeting a month graphic tees with the words “bad boys,” earlier at fringe. We order a Malbec, obviously a reference to the Baddest Man in maybe two or three—we’re not counting. Texas. The hype is contagious! And after a bit of gabbing, I reveal my great idea: a show about my father told June 20, 2024 through the tropes of … get this … cowboys! The clique is mounting: Beyoncé, Malala, YEE-freaking-HAW, we’re gonna take the Bella, Taylor, Keith, Billy Ray. Further DMs to world by storm. Miley, Selena, Willie Nelson, Kelly Clarkson and The Chicka are sent. All appear to have December 17-18, 2023 one thing in common: a refusal to respond BANGTAIL premieres at Bread and Roses, to said DMs. We realized the problem right Clapham to a raging audience of 30 just away (3 months after the first message as Beyoncé is potentially rumored to was sent): mildly successful alternative maybe be in London. We cannot say for comedians can be extremely intimidating sure that she did not hear about a certain to the mainstream, extremely successful clown cowboy western. artist. Thus! An ethically, tricky to navigate, very real and complex power dynamic is March 8-19, 2024 created. We immediately cease all comms, BANGTAIL tours New York City, Chicago, no longer reaching out to those we’ve and Minneapolis, this time to sold-out influenced as a means of safeguarding. crowds. Beyoncé happens to be rumored to be seen in New York City, Chicago, June 25, 2024 Minneapolis, North America at this same Every girly at Glastonbury wears a cowboy moment. There is absolutely no way for us hat. My mother buys a pair of cowboy to know if she was there or not, boots. A vintage shop opens on Brick Lane making both options equally possible and, dedicated only to cowboy wear. Another in frankly, likely. There were tens of people at Texas. Stores everywhere are seen selling every show, some wearing cowboy hats. cactuses? MEN HAVE MUSTACHES! A man The frenzy had begun. drinks a whiskey on the rocks and has sex with a woman. Horses exist! March 23, 2024 We DM Beyoncé — “Wanna ride this July 29th-August 25th, 2024 cowboy train to fame with us?” We eagerly await the royalty check(s) from all this cowboy content, inquiring daily with March 29, 2024 Pleasance Headquarters. Most likely: it’ll The answer is yes - not so much in words pay for our fringe run. but in action: Beyoncé releases Cowboy Carter. Emphasis on cowboy. Next we DM Come and see the cowboy craze catalyst for Malala and Bella Hadid: “Girls, you wanna yourself! saddle up?” May 30, 2024 Malala and Bella Hadid wear cowboy hats. We DM Taylor Swift— “Howdy.” Emphasis on howdy.
Bangtail Pleasance Courtyard - Cellar