Milla Jackson is an experienced producer, director and freelance PR. She has been representing shows at Edinburgh for three years – mostly comedy but in 2015 took on her first solo theatre show. She explores why you should consider employing a professional PR for your show, how they can help you and your show and how to choose. Above all she emphasises getting your PR in place EARLY!
Kate Saffin talks to Milla Jackson about why you should consider employing professional PR for your fringe showOctober 10, 2015
Phil Aughey discusses his experiences of bringing a solo show to Edinburgh from Australia. His show ‘Chopin’s Last Tour’ ran for the full month at Zoo Southside.
It is 1848. Chopin is in Scotland. There’s a revolution in France. His father has died. His relationship with George Sand is over. His health is failing rapidly. A show about Chopin’s feelings, lifeand music, with live piano.
Daniel shares some of his thoughts and experiences (and suggestions) of bringing solo shows to a number of different venues over ten years. Lots of useful tips for anyone thinking of following in his footsteps.
Kate Saffin talks to Hannah Ellis about creating a show about her grandfather Dylan Thomas with Guy MastersonAugust 30, 2015
Hannah discusses how she came to create the show Dylan Thomas – the Man, the Myth with Fringe legend, Guy Masterson. The show celebrates the life and work of Wales’ most revered writer. Hannah journeys to the heart of her genius grandfather’s story with performances of his poems, stories and letters by Guy.
Kate Saffin talks to Shelley Mitchell about her first experience of Edinburgh with her solo show ‘Talking with Angels: Budapest 1943’August 29, 2015
Shelley Mitchell shares her experiences of bringing a solo show to Edinburgh for the first time.
Her show, ‘Talking with Angels Budapest 1943’ is a true story about four close-knit artists who, notwithstanding the upheaval of war, made detailed notes of their conversations with other worldly entities. Gitta Mallasz, the sole survivor of the group, saved the transcripts they made and in 1976 published them as ‘Dialogues avec l’ange’
Solo performer Gemskii discusses not only the contribution that Joan Littlewood made to British theatre but the challenge of reworking a show intended for a cast of six to being a solo piece.
“Joan Littlewood contributed as much to British theatre as Shakespeare! Why is she not remembered? Is it because she was a communist, or a woman, or because she was downright rude? Joan, Babs & Shelagh too is a complete history of this fantastic woman and her collision with Barbara Windsor and Shelagh Delaney.”
Emma Bentley discusses her decision to write a ‘solo Shakespeare feminist play’ and some of the issues that newly trained young women actors face in 2015.
“’Frailty thy name is woman?! Oh get stuffed Will!’ Armed with her record player, a fake moustache, some rudimentary feminism and a lot of questions, Emma sets out to find out exactly why she can’t play Hamlet. Or Macbeth. Or Iago. Or even just a downright Fool. And not just on stage but in real life! Emma Bentley dons the trousers in her debut solo show tackling the trials and tribulations of playing Shakespeare’s men … without a codpiece.”
Matt Woodhead and Helen Monks of FYSA Theatre, co-creators of the verbatim piece E15, talk about the process of creating the show which examines the Focus E15 movement (started when 29 young mothers united to confront Newham Council’s gentrification of their hometown), Britain’s housing crisis and how one group of women refused to be marginalised. As well as sharing their passion for creating theatre with a political agenda they also look at some of the challenges in creating verbatim work such as developing an ethical framework to underpin the work, involving all sides of the story, and making good theatre as well as good documentary.
The name Stellar Quines is a combination of two old Scots words: ‘stellar’ meaning ‘starry’ and ‘quines’ meaning ‘women’. Stellar Quines celebrates the energy, experience and perspective of women. They provide a platform for women’s stories and create live theatre driven by women and where female practitioners are at the forefront of all creative roles – the only professional theatre company in Scotland working in this way. Work that is defined by high quality, diverse work which reflects an eclectic range of theatrical styles and is underpinned by a commitment to pushing boundaries and challenging stereotypes. We discussed the current production at the fringe – the Jennifer Tremblay Triology, especially The List, as well as the ways that Stellar Quines encourages and champions new writing.
Kate Saffin talks to Canadian playwright, Ciaran Myers about his new one woman play, Touch. He talks about the background to developing the idea and his choices in the form of the play.
Jacky tells her story while struggling with her addictive need to harm herself, both inspired by and comforted by the audience. Through the zenith of her struggles, she comforts the audience in return.
Kate Saffin talks to Kate Lennon, producer, with Funny Women about her background as a stand up comic and the ways that Funny Women support women to ‘Write, perform and do business with humour’. Funny Women was founded by Lynne Parker in 2002 to help women find their voice through performing, writing and using humour in business and everyday life. They run comedy workshops, weekend events and conferences in London, Manchester, Brighton and Edinburgh on stand up, comedy writing, improvisation, sketch and character, and ‘Time of the Month’ a scratch night to try out new comedy ideas.