An intimate declaration of love from son to father, and a defiant call for social justice.
Who Killed My Father (Qui a tué mon père) returns to the Scottish stage, following a critically acclaimed, sell out debut at the Tron Theatre in 2022, and a successful tour of Scotland in Sprint 2023. Who Killed My Father is based on the third autofiction book by Édouard Louis, translated by Lorin Stein, and adapted for the stage by director Nora Wardell. Established stage and screen actor Michael Marcus returns to the role of Édouard.
Growing up gay in a small town in France, Édouard endured the violence and homophobia of his alcoholic, right-wing father, a factory worker. Now, barely fifty years old, his father can hardly walk or breathe following an accident in the workplace. Confronting this bed-bound figure, anger is transformed into compassion, as Édouard learns that his father’s capacity for violence, and his now broken body, are products of years of social brutality.
Read our four-star review of the show, which was recently performed at the Traverse Theatre.
Would you mind giving us a brief insight into what your show is?
Michael: Hi, I’m Michael and I’m playing Édouard in Who Killed My Father. Our show is based on the book by Édouard Louis. It’s a work of autobiographical storytelling and explores Édouard’s relationship with his father, a factory worker, and the impact of political-decision making on the body.
Nora: Hi, I’m Nora and I adapted and directed Who Killed My Father. The show is produced by surrogate productions – we’re an Edinburgh-based theatre company. We’ve just toured the work across Scotland in Spring, so we’re very happy to be at Summerhall this Fringe!
Tell us about the creative team and process involved?
Nora: We have a brilliant team of collaborators involved, including Michael! Set and costume is from Hazel Low & Blythe Brett, lighting design from Joshua Gadsby, sound design and composition from XANA and dramaturgy from Matthew Evans. The process involved finding a form for our adaptation that we felt could communicate Édouard’s writing as clearly and directly as possible – and really get into contact with our audience.
Michael: Yeah, we gave a lot of time in rehearsals to think about the relationship with the audience.
How does it feel coming to the Fringe?
Michael: I feel very excited to be returning to the Fringe. It’s been 14 years since I was last here as a performer. It’s a real privilege to be sharing this important material.
Nora: Yes, it feels incredible … Michael and I were actually here together 14 years ago – when we were drama school students! I’m very happy to be back here again – it’s beautiful to share work with theatre-makers and artists from around the world.
There are over 3,000 shows at the Fringe. So, what sets your show apart?
Michael: There are so many interesting and engaging pieces of work on offer throughout the festival. If revenge, family, and social justice interest you then I think our show will give you a lot to think about.
Nora: Édouard Louis’ extraordinary writing, which is both confrontational and also deeply compassionate.
Is there anything specific you’re hoping the audience will take away?
Michael: A deeper understanding of the implications of so-called ‘reforms’ made by those in positions of political power.
Nora: I’d love for audiences to experience how Édouard’s journey in this play connects with their own lives, especially around questions of class and sexuality, and I would hope for those for whom the work resonates to know that we’re in solidarity.
Your ideal audience is in attendance, who’s watching? Or more importantly – who isn’t there…
Michael: Everyone and anyone. All are welcome.
Nora: Yeah, I don’t think we have one audience in mind … my hope would be that the work can bring different audiences together.
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?
Michael: I intend to lose myself in all that the Summerhall programme has to offer, as well the occasional stroll up Arthur’s seat for a different perspective.
Nora: Well, we’re only doing 6 performances of the show for one! Yes – there are quite a few at Summerhall that sound intriguing – An Alternative Helpline for the End of the World by Katrine Turner, Eclipse: OommoO by Lula Mebrahtu, and The Talent by Action Hero and Deborah Pearson … and looking forward to some walks on the Meadows too.
In your ideal world, how can we improve the world of the Fringe, of performance, and the industry?
Michael: We need to address the rising cost of accommodation and venue hire to make things more affordable for artists and audiences.
Nora: Agreed. More widely, we need to find more sustainable ways to make work and live … and to keep the spirit of experimentation and creativity alive on our stages!
