Nye and Duncan live in their dream house. They sing songs and play together all day with their BFFs Radio, Bread Loaf and Mr and Mrs Chair.
Would you mind giving us a brief insight into what your show is?
I’m Nerida Bradley, director of CHOO CHOO! I’m a Cardiff based artist but originally from Edinburgh. CHOO CHOO follows two BFFs who live in their dream house singing songs and playing games all day, until one day Nye’s imagination starts to get out of control. The show is about OCD and intrusive thoughts but through the lens of a kids TV show. Think Don’t Hug Me I’m Scared.
Tell us about the creative team and process involved?
The piece is by Stammermouth Theatre Company and is co-written by the core team: me, Nye Russell-Thompson, Duncan Hallis and Tafsila Khan. It’s been a long time in development: multiple R&Ds over a few years and a pandemic in the middle for good measure. Our process has consisted of lots of scripting from improvisation and then lots more editing. We have a rule in the room that if something makes us laugh or is a typo, it stays in the script. It’s been an exciting process editing the original version of the showdown for an Edinburgh slot – I think it’s forced us to be more brutal about what needs to stay in and what we just like. There’s probably about 24 hours worth of content lying on the cutting room floor.
How does it feel coming to the Fringe?
We’re all very excited! This is Nye’s (Stammermouth’s) second Fringe – his first show Just A Few Words was shortlisted for the Total Theatre Emerging Artist Award in 2015 so I guess this show is maybe the tricky second album? But the one where it turns out we’ve really found our sound. It’s my first time bringing a professional show up so I’m very excited, especially to be back in my hometown, I’m normally working behind box office during the Fringe.
There are over 3,000 shows at the Fringe. So, what sets your show apart?
I think one thing that sets our show apart is definitely the integrated access – every show is BSL interpreted, features integrated audio description, and will have a touch tour available beforehand. I think we also have a show that has something really important to say but chooses to say it in the stupidest way possible.
Is there anything specific you’re hoping the audience will take away?
We’re hoping people who have experience of intrusive thoughts come away feeling represented authentically and that those who don’t come away understanding it a little better. We also hope they come away having the song stuck in their head for all time.
Your ideal audience is in attendance, who’s watching? Or more importantly – who isn’t there…
I know Duncan is extremely keen for Patti Harrison to see the show and then subsequently fall in love with him… My choice of audience would be ANYONE READING THIS, WE LOVE AND MISS YOU, PLEASE COME ALONG. Joking aside, I think one of the best things someone said to me about the show was “I don’t normally like theatre but I loved that”. So if theatre isn’t normally your thing maybe give us a go. In terms of people I would hate to see in the audience, I’m not too sure, maybe all the boys I went to high school with who didn’t fancy me back?! But also whatever I’m totally over it.
It’s an intense month, so where you’re able, how do you plan to relax, and are there any other shows you intend to see or want to recommend?
I’m really excited to go back to my favourite places in Edinburgh – like Lighthouse Books and Paradise Palms. I really want to see Godot is A Woman – I saw Silent Faces’ A Clown Show About Rain last time I was at the Fringe and it blew me away.
In your ideal world, how can we improve the world of the Fringe, of performance, and the industry?
I think the Fringe suffers from the same issue that the entire art industry does – namely that there are more artists than there are opportunities for artists. The sheer amount of competition for audience and income is really unsustainable and means that those with socio-economic privilege are more able to succeed within the system. I also know how much poorly paid labour holds up the entirety of the Fringe. But I’m not sure how to change any of that without dismantling capitalism/the way we have commodified art into a product… So what I’d love to see is more accessible shows and more support for shows to provide access so that D/deaf and disabled audiences aren’t excluded so heavily from the Fringe.
