Aug 5, 8, 10, 12, 14, 16, 18 (21.15)
In a recent interview with the Mumble, the creative genius behind Junkbox Theatre, Georgia Taylforth, described the play as being, ‘Modern day pregnancy under the microscope, with Nutella,’ a perfect summary of this fine play. Friendship, sex, love and pregnancy are examined via three very different relationships. The first is a couple who meet on a dating app just for a sexual fling, but find it is hard to separate sex and love. How common a motif is that? The second couple are newly engaged and accidentally become pregnant. More gritty reality! The third relationship is played out by a gay man desiring to be a father, but denied the adoption option, and his best friend, a straight woman. As character evolves steadily through the drama, & moods & relationships change, watching ‘Mine’ is like watching a rubix cube being put together, each color shifting through the puzzle. However, this are not neat and mathematical problems, these are human emotions on stage and the puzzle is unsolvable.
‘Mine’ allows the audience a chance to understand & experience the rigorous trials & vigorous emotions of the modern pregnancy. All the characters are easy to connect with, even when they are acting badly (& is in behaviour, not dramaturgically) & it is educational to see how bad behavior affects the other characters. We feel upset for the one being treated badly, but we can also see ourselves in the person making the mistake. For myself, I learnt that the next time I feel myself having a negative reaction to a friend or partner, I can remember what I saw on that stage, remember how these characters hurt each other, and change my behaviour for the better.
Reviewer : Michael Beeson
Script: Stagecraft: Performance:
‘Fix’ is a play by ‘Worklight’ production company that started out life as a vehicle for highlighting the darker problems of addiction and drug abuse. When the doors open at its Underbelly venue, wone is guided into a room, an unexpectedly charming space with a very prominent stage already set for capturing us in our suspensions of disbelief. The three performing artists were positioned triangularly on boxes; the kind that you could tap on for a drum beat. They were playing chords on the guitar over and over, slow and melodic. We took our places on seats arranged around three sides of the stage, creating an aura of intimacy which took hold even before the action began. The darkened room was lit with blue and green spotlights that illuminated the back wall. The lights dimmed to darkness as the play began.
I found a great resonant sincerity in the way the actors shunned extravagant costumes in favour of casual clothing. The simplicity of this meant that the focus was on the performance rather than any gimmick or other extraneous irrelevance. From the trio, a focussed emotional dialogue began to expand in many ways; from heart-warming and loving wisdom, to telling a story about the active pains of addiction and its part in the world. A great many themes were explored throughout, aligning with the play’s subject, & circling around the contrast of bonds within brains and the bonds between brains. A smart example was given in one of the play’s first songs, dedicated to the natural stimulant dopamine that depicted the chemical sense of elation within the mind under its influence. Another early scene was a guide to issues of separation caused by addiction and neatly highlighted the chemical processes of the side-effects of drug use. Moments such as these elegantly illustrated and explained the life of the addict.
Worklight’s creation offers us examples of the feeling of love which comes from the heart, and yet in the end all this is in reality is a chemical response forged in the brain. The story was told with much accomplishment by three, very hard working actors; Fiona Whitelaw, Rianna Dearden and Finlay Cormack – both together and separately – in well-paced dialogue. The hard-hitting adult material gripped in a number of ways and was especially effective in the confines of the small stage, where softly spoken words created an incredible sense of intimacy. Among the impressive assemblage of scenarios, all cleverly knitted together, one very poignant scene stands out. This was a conversation held between the actor looking out to face the audience but sitting with an imaginary counter-part in front of her. The spotlight held her face as she engaged in a compelling conversation which held the audience enthralled.
Fix offers excellent and extremely thought provoking entertainment, though one needs an open heart to enjoy its fineries, & is delivered through a myriad of light, sound and dialogue. In the process, we are encouraged to peer deep into the soul and join in the debate on what it is to be human.
Reviewer: Daniel Donnelly
Greenside @ Infirmary
Aug 4-26 (20.50)
Script: Stagecraft: Performance:
Joy Donze has brought a relentlessly energized piece of one-woman, or rather one-teenage-girl, theatre across the Atlantic which transcends genres. I have seen my fair share of comedians this & Fringes past, few of which could match 13: And Not Pregnant for laughs – Joy Donze is absolutely hysterical. Her faces, her voices, & the sheer accuracy of the teenage love-angst contained in her diary if, ever published, would form part of a new self-confessional trinity alongside Adrian Mole & Bridget Jones. The son, the mother, & the holy ‘who-do-I-love-the-most?‘ In a recent interview with The Mumble, Joy describes her show as featuring;
Verbatim journal entries from my 6th grade diary. I always knew I wanted to turn my diary into a theatrical piece, and began working on it in a solo performance class in 2015
So this is real life, & that’s what makes it beautiful. Joy Donze grew up in Perryville, she describes as being ‘located an hour and a half outside St. Louis. In other words, I’m from the heartland of America. The corn and the cows and the caves,’ & whether she has stuck to the same names or not (hello Stacey & Justin R if you exist) like a Homeric story-teller she brings them all to life in her arcane bedroom, from her antics down at ‘Wall-Fart’ to being kicked out of the Community Pool. Along the way, as she clutches her diary – or flings it to the floor in a screaming tantrum – we follow her love-gains & heart-losses from crush to crush. ‘I want a boy, an older boy?’ she sighs, then changes tack by praying ‘God, please let me be good at volleyball’
Watching Joy is like driving down an empty motorway on a summer’s night, in the fast lane, with your full beam on, listening to some bangin’ tunes. For the whole show! When I came to mark Joy, performance & script were easy touches – both were amazingly hilarious & animated with the reality of teenagerdom being eked out on the spot, rather than a nostalgic & hazy retrospective. As for stagecraft, we are offered a plain, not even so authentic a representation of a teenage girl’s bedroom, but stagecraft is not all about aesthetic, there is blocking & movement too & it is the way Joy commands her set, leaping on chairs, boogieing to rock tunes, staring the audience in their eyes, that beefs up the score, & I am happy to give the girl five stars. Here we see two time-divided Joys – the teenage archivist & the accomplished adult performer – segued together into theatre of unadulterated & contraputal perfection… as all those giving her a standing ovation at the show I witnessed would surely agree.
Reviewer : Damo
Greenside @ Nicholson Square
Aug 8-10 (12.45)
Script: Stagecraft: Performance:
As I type these words, a certain young theatre company from Lancashire is making a Hermes-like foray into the Fringe. Burnley Youth Theater affiliated ‘Byteback Theatre‘ consist of seven 17-year-olds who came to together round a blank page as recently as May. They were given the challenge of creating theatre – to both entertain us & to teach us – & their hard-hitting result should be heartily praised. It not only matches most of the adult theatre in Edinburgh right now, & surpasses many, it is also filled with the liquid energy of youthful philosophizing which is starkly honest & simplified, & perfect for the theatre. In a recent interview with The Mumble, Byteback’s artistic director, Karen Metcalfe, describes the play;
Dead People Don’t Have Secrets follows the lives of four young people as they go into adulthood carrying a dark secret. Rumours, dares, and lies get out of hand and friendships turn sour. The lives of people around them are affected, and they must work through their guilt and shame to find justice, peace, or truth once their secrets come to a head. The show explores death, consequences, and lies through physical theatre, spoken word and new writing. The show was originally inspired by the title of a Death, Sex and Money podcast of the same name and we were fascinated about the secrets that people carry with them through their lives that may only come to light once they are dead.
From such a cauldron-like creative process, Dead People… contains a number of different but highly defined elements; a futuristic set design, in which a noose forms the oratorial centre-stage; Shakespearean soliloquies in hip-hoppy couplets; physical theatre & its most animated & synchronised best; & of course that wonderful lingua franca of East Lancashire, which after the Tuscan dialect is the most beautiful assemblage & elocution of words on the European continent. Together, they tell with a delicate flow the story of ‘Pervy Peterson’, a school-ground dare & the devastating consequences for all. Byteback presented a powerful topic which could have fallen flat on its face, overdosing on the sickly pathos, but no, once the clever little time-shifts had been properly understood, Dead People… wove & maintained a tense & hypnotic spell over the audience until the powerful, again Shakespearean, finale. Excellent theatre on many levels, packed full of emotions & visceral harsheties, Dead People… is an amazing feat for such a young group, & offers much promise for the future, wherever their feet may tread.
Reviewer : Damo
Script: Stagecraft: Performance:
As an Edinburgh resident, watching Stiff Dicky last night is what I love this festival for, that injection of ‘foreign’ funkiness into our traditional dreich, weather-smitten conventionalities. No, the Scottish Theatre world would not produce anything near as raunchy – & realistic – as that which Junkbox Theatre has just done. Led by Georgia Taylforth – writer, producer, actress, & all-round matriarch of the company – in a recent interview with Mumble she spoke about Stiff Dicky, & another of the company’s plays – Mine – & their arrival in Edinburgh;
I’m very lucky with the company that the actors have helped me workshop both plays and create pieces that we feel very proud of. Because of that, I think there’s a bit of me in both plays, but there’s a bit of everyone in both. If a scene or section of dialogue didn’t necessarily work, we’d go back and work together to make it fit. With Emma (Mine) and Alice (Stiff Dicky), I think they’re exaggerated versions of me and my friends at different points of our lives. Both plays aren’t necessarily everyday life, but I think he reason that they have worked with audiences is because, the characters are. I hope that as soon as each character starts talking, you can relate to them in one way or another. I love playing both characters, but Alice has a very special place in my heart.
Stiff Dicky is a short, sexy piece full of cockney chit-chat, urban pezzazz & quality acting from a group of players who you know just get on together. You can feel it in the room. As a unit they define & frame for our entertainment a world of viagras, ‘good old-fashioned fucks‘ & their fatal repercussions. ‘O my god are you French?‘ pipes Georgia’s character as she chases a guy through a nightclub, whose ‘chat-up’ scenes are clearly carved from real memories, which make them all the more brutally brilliant to watch. ‘Were you gonna suck off a dead guy?’ ‘That might have been a distinct possibility,‘ &, well, I don’t really need to say any more, do I?
Stiff Dicky is a case of Millennial metro-sexuals finally putting down the ketamine bottles they bought down Brixton one night & turning towards an ascent of Parnassus. As the slick, chit-chatty script hurtles through the story, there are some really nice, well-thought-out touches of stagecraft, the transition between scenes for example, & a remarkably sitcommy finale, which does work but jars a little against the cooler earlier parts of the play. Stiff Dicky is also a little too fast-paced (perhaps on purpose) – like going too swift at a corner at the Monte Carlo Grand Prix – but that’s fine, for going to watch the classy Junkbox Theatre strut their stuff is a smart move, & its also good to experience the Cockney joie de vivre north of the Wall.
Reviewer : Damo
The Cuckoo’s Nest (venue 106)
Aug 3-27 (20.00)
Script: Stagecraft: Performance:
Dick Spacey, private investigator, needs to solve a psychedelic, murder mystery packed in a labyrinth of puns, and he is taking us along for the case. We travel through time and space within a futuristic, film noir set, interrogating suspects and even suspecting ourselves of the murder. Dick uses an array of wacky props to bring the show to life and involves his audience in a fun, fun way. In a recent interview with The Mumble, the man behind the mask, Steve Attridge, described the play in his own words as being a;
Seriously bonkers piece of comic theatre about an intergalactic film noir detective hunting a murderer through space. Dick Spacey, the main character, has multiple selves and cannot always distinguish between himself and others and has bizarre and powerful relationships with inanimate objects and invisible presences. It’s psychologically a bit surreal and bizarrely physical in terms of language and action. Someone said the character is like Tom Waits on amphetamines.
The most impressive part of the show is the language used by Mr Attridge; there is a pun in nearly every sentence and I was in awe of the linguistic gymnastics. The poetry of the script was ever apparent and delightful to listen to. I felt like I was running along a track with Dick, and each time he slipped in a homonym I would slide into a new universe and laugh and continue on with the show. Dick’s one man universe invites you to exercise your imagination and you feel a new appreciation for the elasticity of the English language. For the potential punters out there, Dick in Space is a silly and entertaining journey to a delightfully mysterious world, & one which you will take with abundant cheerfulness!
Reviewer : Michael Beeson
Greenside @ Infirmary Street
Aug 6-26 (16.15)
Script: Stagecraft: Performance:
Today’s Mumble Mission was a challenging & unexpected delight, a modern day tragedy that would give Theresa May and her coalition homophobes an education into the complex nature of love between men. Written by Charles Gershman and directed by Nathan Wright, this is a UK debut from a critically acclaimed, New York based theatre company called Snowy Owl. The Waiting Game has been brought to life through a very intimate performance by four talented actors, delivered with minimum props and setting, yet skilfuly drawing the audience into the personal world of the main protagonists. The ‘stage’ is set only with masking tape to outline the border, four chairs and a few items scattered around the edges to let us know we are in someone’s house. I loved the simplicity of that.
The story is woven around the relationship between four men as this play expertly delves into the complexities of human relationships, intimacy, sex, drugs, betrayal and jealousy. The acting is superb, honest, raw and emotional. The characters are literally up close and personal with the audience. You really feel like a fly on the wall in their living room, watching these four man interact with each other, slowly revealing deeper and deeper layers of intimacy and insight into how human beings live, feel and love. In a recent interview with the Mumble, one of this startling cats, Marc Sinoway, described the essence at the heart of the play;
The Waiting Game is a psychological drama. It’s a love triangle if we only consider the players who aren’t in comas. The Waiting Game is a love square if we consider all the players who’s hearts still beat. It is a love pentagon if we consider technology as a 5th character.
This incredibly handsome cast of actors embodied precisely the intensity, sexual frustration and emotional process of waiting for Sam to recover from his comatose state; or indeed leave the mortal coil complete. This is a tale of limbo that holds Paolo, Tyler and Geoff in the confusion of uncertainty. Three grief-stricken young men in their sexual prime shaken by the fragility of life and the coping mechanisms that they adopt… from smoking crack to unsafe sex… all graphically displayed in this intimate theatre. The sensual love making scenes and the beauty of the kisses, the aroma of sex and wet gussets was a tell tale sign that love displayed as sensually and convincingly as this, removed the taboo of gay love and grief. A brilliant example of theatre that demonstrates love and passion in equal measure. 5 stars, Amazing stuff!
Reviewer : Mark ‘Divine’ Calvert
Scottish Storytelling Centre
August 13-17, 21-24 (13:30)
Script: Stagecraft: Performance:
The omission of West African spirituality in either religious or New Age debates leaves such a huge gap in general European consciousness, that it’s a particular joy to partake in such deep mythical stories from long and influential African traditions. The Illusion of Truth is the first production made in Scotland that features stories inspired by the Orishas, the deities of Western Nigeria that have had such a deep impact wherever African people have gone in the ‘New World’.
In Mara Menzies, we have a hugely accomplished and experienced storyteller; I would imagine likely Scotland’s finest, to spin us a yarn about Ochosi, the hunter Orisha’s journey, throwing up some weighty questions along the way. Menzies has performed and led workshops around the world including Kenya, Singapore, Jamaica, Sri Lanka, United Arab Emirates, the USA and across the UK. The Illusion of Truth is produced and directed by award-wining Brazilian Flava D’Avila and made possible by a Megaphone grant from the Workers Theatre. But the word ‘storytelling’ can’t quite portray the fullness of the experience that you have when witnessing her magical one-woman show.
Ochosi is the hunter Orisha, who traverses the forest so a pathway can be opened by Elegba, the divine trickster messenger of Oludumare. He helps us focus on our desired goals and reults and shows us the fastest way to our destiny. This is the story of his desperation to make his way to Oludumare the Creator, and become an Orisha himself. Mara made our heart race with the drama of the story, amazed us with her dancing, and made us smile as she played with a shy man and his wife in the audience. She teased them goodnaturedly as she shook her hips while channeling Oshun, the goddess of love, the sensual and lively African equivalent of Aphrodite, recently made more widely known by Beyonce. The audience laughed as she swiftly became the bossy, dramatic Nigerian mother that we can all easily recognise.
A simple drop of a hat or an extra skirt brings with it a change in everything; accent, tone, expression, feeling. Mara’s spellbinding presence reels in the audience a little closer as each fabulous character emerges. Braids fly and chants begin. Mara stops as she moves around the intimate circle and stares or perhaps asks us a question. She managed to hold us together as one in the experience, involving us all by handing us a prop, or guiding us in call and response, or throwing out a deep philosophical question.
‘The Illusion of Truth’, of course is keenly relevant to our current situation, as it explores our relationship with truth and ‘alternative facts’.This is a kind of story startlingly new to most of Scotland, yet contains universal warnings for all of us humans; warnings against stubbornly pursuing the things that we want so badly, yet will not bring us the fortune we want.
For the hour, we were transported and uplifted to another realm, as if the ancestors and the Orishas themselves have been called to witness the event along with us. Just don’t make the mistake of nibbling on the popcorn thinking it’s just a nice little touch to keep us sated for the next hour. It’s a traditional offering to Ochosi in the New World.
Reviewed by Lisa Williams
Assembly George Square Studios
Aug 3-28 (16.15)
Script: Stagecraft: Performance:
Welcome to the early stages of the 21st century. For the past decade or so, the internet has fuelled the rise of social media, which has in turn taken over most of our lives. Not in a weird way, but in a cool accessorizing kind of way. The arts, then, are all-of-a-sudden beginning to draw inspirations from this new well of living matter, & thus I have just witnessed what would be, for me, my first Social Media Play. Its name is Shame, written by & starring, in the solo-fashion, Belle Jones. She is not quite alone however, for as we march through the story, her ‘daughter’ & the world she inhabits pops up with regularity on the screen behind her. While these video interludes (v-ludes?) are happening, Belle sits solemn & stony-faced, a half-light illuming her worried face, the classic-mother-with-errant-daughter, & a nice dramaturgical touch.
‘Do you ever think about your life in facebook update & Twitter… its like I update my life all the time,’ pipes her daughter Keira in a v-log, & Shame is something of an exploration of the social media platforms of 2017 & how if it is used without foresight, young lives may be destroyed by the unholdbackable tsu-na-mi of viral posts & their subsequent scroll-reams of vile gossipmonging. An event such as this forms the backbone of Shame, which bounces between Keira’s onscreen tale & the live responses from her mother. In the latter, Belle plays her role confidently – perhaps a little dry at times, but this is more of a psychic side-effect evolving from leaping between loud multi-media images full of characters, to Belle’s smoother-toned monologues. The films really were excellent, portraits of speaking hyperealism drawn from the darker recesses of these our modern times. Behind all this has been Tidy Carnage, whose artistic director, Allie Butler, described to the Mumble how the multi-media platforms work in support of Shame.
Working with extensive video content has been really interesting and allowed us to tell a story from multiple angles, despite it being a solo show. It has also pressed us to think about the narrative in various timelines and to give the effect of ‘pausing’ the live action while we delve into the digital. We’ve had lots of really interesting conversations about our online personas and how we present something that is truly representative of the presence of a young person online – a ‘digital native’. The other unique thing we’ve discovered is that #Unshamed was initially a fictional concept that Belle created as part of the show, but it’s now spread its wings and become a real life project. Find out more at www.unshamedproject.com and @Unshamed.
Shame expertly highlights the familar British attitude to sex; which still maintains its semi-demonized place alongside the dust under the carpet, when women are branded sluts for simply doing humanity’s most primal act. We British have always lived in a judgemental society, but Shame shows how social media allows such judgements to be spread far & wide with almost immediate alacrity. In the process, the script is full of honest lines, as when Belle explains the backstory to becoming a teenage mother as being, ‘I just liked having sex, there was nothing else to do.‘ On occasions Shame is too honest in its phraseology, best exemplified in the recrimations & trolling which shook the twittersphere after Keira, or rather @keirachisholmisaslut, goes missing in a moment of mortified madness. This, however, leads to the calmer waters of the play’s finale, & to the realisation that Shame is not just a piece of entertainment, but a warning to us all. ‘Just because you made a mistake,‘ says one of the ladies onscreen as if she was reciting an epithet from the Dhamma-Padda, ‘it doesn’t mean you’re a bad person, it means you’re a person,’ a mantra we should all learn off by heart.
Reviewer : Damo
Hello Marc, so where ya from & where ya at, geographically speaking?
Hiya! I hail from New York City. Currently I am in Edinburgh, Scotland in a flat that’s in a building with a blue door.
When did you first find yourself getting into the dramatic arts?
Well, I was obsessed with the film versions of Grease & Mary Poppins by the time I was 5. I went to my first Broadway Show at 10 (Les Miserables). I was convinced I wanted to be an MTV veejay by 12. I did my first play in High School at 16. By 18 I was selecting universities based on their proximity to NYC so I’d be able to audition for MTV if they required me in person. By 22 I was living in NYC and pursuing my veejaying career. Someone at MTV recommended me for commercials. Someone in the commercial world recommended me for a soap opera. By 24 I had my first lines on a soap opera and I realized I didn’t really know what the fuck I was doing. By 26 I was in a 2-year acting program in NYC. By 36 I was in Edinburgh with a wonderful play living in a flat in a building with a blue door. I suppose I was always attracted to the dramatic arts.
What for you makes a good piece of theatre?
For me, a good piece of theatre is anything that grabs you. Anything that makes you forget what is happening outside of the theatre for the time you are in the theatre, but that will stay with you once you have left the space. Anything that can make you think, make you laugh, make you cry, make you uncomfortable, visually stun you is a good piece of theatre. Theatre is so powerful. I can still be moved just thinking about work I’ve seen weeks, even years ago. I am particularly interested in theatre that can ONLY be done on a stage. A lighting shift that indicates a jump in space or time… a 25 year old actor playing a 70 year old man… a costume that is removed to reveal another costume… cast doubling… a projection that makes you feel like someone is flying… I love all of that. If your piece is just going to be be hyer-realism on stage, make a film. 🙂
What does Marc Sinoway like to do when he’s not being theatrical?
Ha. Am I ever not being theatrical? Well I’m not sure if I like it, but I spend a fair amount of time in the gym… you know, gotta watch my girlish figure since people seem to want me to take my clothes off on stage. :)I love exploring new cities. I love cocktail culture & food. Love seeing what people are doing around the world with their spirits & eats. I love sitting at a bar and talking to the bartender and the strangers on either side of me. I love t-shirts. One of my favorite activities is searching for t-shirts in thrift shops. I like design. I particularly like design of hotels. I like taking photos of mundane but beautiful things with my iPhone & posting them to Instagram. I love to tweet clever musings. I love the beach. I like to lounge in the sun. Get so tan that my teeth sparkle in comparison. I like the feeling of sand in my hair. I love massages & naps. 🙂
You’ve been washed up on a desert island with three good books. Which would they be?
1) Eckhart Tolle’s “A New Earth.” That book is like my bible. It always centers me and reminds me how small my “problems” are.
2) Bret Easton Ellis’ “Glamorama” I can read the the part that takes place on the cruise ship over and over. Also that hot 3-way scene might be useful on a desert island. 🙂
3) Did Shaw or Shakespeare write anything canonical that comes with photographs of chiseled men in Speedos?
As an actor/actress, what are the secrets to a good performance?
I think the secret to a good performance is first working your ass off. Then trusting that the work is there. Being in the moment. Simplicity. Knowing that you are enough. Often you don’t need to DO anything extra. Just you being present and delivering the material is enough. By virtue of being human, the uniqueness that is you will be interesting. Take whatever you are feeling (nerves, anxiety, etc), and know that that is the perfect point from which to begin the creative process. Also. Breathe.
How have you found working with director, Nathan Wright?
Ha! Working with Nathan Wright is amazing. Nathan is an artistic genius. He really understands theatre and is not scared to explore. He works very collaboratively with actors and always wants to see what we bring before ever telling us what to do. It is clear that Nathan understands not only the actors, but the playwright, the structure of the play, the relationship of the actor the the space, etc. It is very exciting to unlock a play with Nathan. I trust him implicitly when it comes to anything theatrical. Working with Nathan is also a challenge. Nathan is my partner of 7 years. Sometimes our relationship enters the room, and our boundaries need to be navigated. “Don’t fucking call me ‘babe’ when we are in the rehearsal room.’” 🙂 Nathan also knows all of my “tricks.” So I can’t bullshit him. It can be really exhausting to work with someone you can’t fool even for a moment. Also, when the director is your partner, sometimes performance notes come home with you. I can get a note at any moment. 🙂 But overall it’s wonderful. I find working with Nathan very artistically exciting and satisfying.
You will be bringing The Waiting Game to Edinburgh this August, can you tell us about the play?
The Waiting Game is a psychological drama. It’s a love triangle if we only consider the players who aren’t in comas. The Waiting Game is a love square if we consider all the players who’s hearts still beat. It is a love pentagon if we consider technology as a 5th character. 🙂 Basic setup: I play Paolo. Paolo is married to Sam for 10 years. In year 8 or 9, Sam is seriously involved with another man, Geoff. Sam is now in a coma. Paolo is passing the time with a younger boyfriend(ish) named Tyler. Geoff comes to Paolo and asks Paolo for conservatorship over Sam. While all this is happening Paolo is finding connection online via G-chat. Who is Paolo talking to?
What are we to expect from your character, Paulo?
Paolo is just trying his best. Paolo is struggling. He is confused and sad and has a lot of unresolved “stuff” with his partner of 10 years. It’s day to day for Paolo. He is pretty reckless… perhaps unconsciously reckless. I feel for the poor guy. 🙂
What emotive responses do you expect from your audience?
A recent viewer described the play as “emotion porn.” The play is really intense. You can feel the audience inch nearer as the drama increases. I am not sure that I expect anything from the audience, as every person has a different experience, but we are excited about how moved the audience is when the lights come up. There are tears and sniffles. The Waiting Game also inspires robust post-show conversation surrounding the mystery of who Paolo is chatting with online. Bring tissues. Just in case.
In one sentence can you describe the experience of performing in Edinburgh in August?
Only been here a week, but from what I have seen, I can’t imagine a better place, a better environment in which to share our work. 🙂
What does the rest of 2017 hold in store for Marc Sinoway?
Well if all goes as planned, this interview will get me a role on Game of Thrones. That’s what the kids are watching these days, right? 🙂
Aug 4-26 : Greenside @ Infirmary (16.15)