Nathan wants to live in the moment but the past has a way of finding him. This hotly anticipated return to the Fringe, from an exciting new voice with a unique perspective, takes on the vital contemporary issues: modern masculinity, racial identity and bizarre song choices in McDonald’s.
Would you mind giving us a brief insight into what your show is?
My show’s called PRESENT/TENSE. It’s about trying to be in the moment and trying to free yourself from the past only to find that, although you might think you’re through with the past, the past isn’t through with you. At the centre of the show is the story of my father, who I haven’t spoken to in over a decade, who I came to learn was in prison secondhand via an internationally famous comedian. If you like personal shows that are rooted in storytelling and observation comedy then it’s perfect for you. Also, there’s a nice juicy twist halfway through.
Tell us about the creative team and process involved?
I’ve been working on the show over the past 2 years. It’s been in a constant state of evolution. When you write about your life you constantly have to edit and adapt because life keeps happening. I performed a work-in-progress at the free fringe last year and have been performing it up and down the country, as much as possible, ever since.
My show’s been directed by Will Rowland (½ of the brilliant double act Crizards) and produced by Strip Light Productions
How does it feel coming to the Fringe?
From a creative perspective, I can’t wait. It’s always the highlight of my year. From a financial perspective, I’m bricking it.
There are over 3,000 shows at the Fringe. So, what sets your show apart?
You might be pitched a lot of shows where comedians talk about having terrible fathers. In my show, I talk about having two terrible fathers. That’s double your money’s worth right there.
Is there anything specific you’re hoping the audience will take away?
There’s a lot I want the audience to take away from the show, but i can’t give that away for anything less than the price of admission.
Your ideal audience is in attendance, who’s watching? Or more importantly – who isn’t there…
Who don’t I want to see the show? Anyone i mention by name…
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’ve got an extensive list of TV shows to binge. Once my show’s done I’m escaping the chaos of the city and going back to my flat to watch Top Boy and eat Pringles in bed.
In your ideal world, how can we improve the world of the Fringe, of performance, and the industry?
The answer’s easy: it needs to be affordable. When the stakes are this high, artists are less likely to take big risks, and the work will become less interesting. The fact that it’s unaffordable for performers is bad enough but making the festival so inaccessible to audiences is obscene.
