Behind the Scenes at the Edinburgh Fringe Festival 2019

Tag: 2019

We’re Moving! Putting on A Mobile Performance at The Edinburgh Fringe

It’s pretty fun when the nice young woman, whom you are sitting next to and chatting with, suddenly gets up and begins performing in the show.  I was particularly curious to experience Back of the Bus by Java Dance Theater as I have a “thing” for mobile shows. What do I mean by mobile?  I mean Back of the Bus is a musical dance performance that takes place both on and off an old-school double-decker bus as it travels throughout Edinburgh.  We wandered into various non-traditional settings at least three times.

I spoke to Sacha Copland, Artistic Director, after the show and asked about some of the challenges and problems she’s had with presenting on a bus.  She offered that to begin, there is the challenge of securing a bus!  It is peak season in Edinburgh after all.  Java Dance Theater company is based in New Zealand, but Back of the Bus has been produced around the world including Tokyo so that’s just a small hurdle.  

Another challenge I saw firsthand was trying to gather your flock of audience members in the midst of Fringe chaos.  It’s certainly more difficult than having people meet up in a theater, eh?  Sacha emphasized that for anyone thinking to try a mobile show, the number one priority should be on safety — especially among the cast.  The bus is moving, taking corners, and stopping while the performers are dancing about.  From time to time they run into logistical problems too.  She mentioned that last night they hit rush hour traffic and so the show ran about 20 minutes long.  They have back up material for such happenings. Other times, a bus has taken a wrong turn or broken down.  The key Sacha says is trying to anticipate all the possible things that could go wrong and have backup plans.  Our show seemed to go off without a hitch. 

I know what I got out of the show, but I was curious about Sacha’s vision for her audience experience.  She sees Back of the Bus as an opportunity to break down boundaries and bring people together, which she notes is pretty much opposite of what normally happens on a bus.  The show does do just that.  Audience members find themselves on an hour-long romp around Edinburgh and ultimately become part of the show.  I found myself laughing and singing alongside new friends by the end.  The gal I locked arms with exclaimed, “Oh I just love not knowing what’s going to come next!”  Thanks for the fun Java Dance Theater.   

How to Create a Pleasurable Show about Grief

Can a show about grief be pleasurable?  The answer is yes! As a first time producer at the Fringe (but a long time actor), Liz Richardson collaborates with fellow performers Josie Dale-Jones and Sam Ward, and musician Carmel Smickersgill to create a very interesting, engaging, and entertaining work called Swim.

Left to rightL Liz Richardson, Sam Ward, and Josie Dale-Jones

At the show’s onset, it is explained that this work is not about grief, but rather a show for the person who was grieving – a friend of Liz’s. This becomes a thought-provoking aspect of the show. By the end, the audience begins questioning their original assumptions about who is grieving.  The show offers a very clever concoction of mixed media, interesting “real” characters, original live music, dance, quality storytelling, and the opportunity to learn about wild swimming.  As a bonus, you get a behind the scenes look at making the show while enjoying the show – how perfect for me and my blogging.

Swim at the Edinburg Fringe 2019

In speaking with Liz after the show, I was most interested in understanding what the experience is like to produce and continue performing in a show that’s so personal and a continued reminder of a very sad time.  She explained that she is is no stranger to creating and presenting work of an intimate nature. However, she added that it’s been quite a different experience producing at the Fringe versus in Manchester, England where the show debuted. Back in Manchester, the show is connected into a grief organization, Cruse, which supports her work and vice versa.  Creating work that is helpful to others appears to be an important, recurring theme for Liz.  She shared that after shows in Manchester, audience members often approached her to share their grief.  She confessed that after about 3 days of shows and lots of crying, the theater realized the emotional toll it was taking on her and brought in support for her.  I asked her if she had any coping strategies with the prospect of the show being picked up for more runs elsewhere.  She smiled and shared her mother’s advice which was that she, Liz, needs to distance herself and attempt to “act” more.  It sounds like she is working out how to navigate that moving forward.  With the quick set up and breakdown of a show at the Fringe, who has time to grieve?  The show must go on…and out!  Next!

Swim plays at the Fringe through August 26 at 15:30.

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