New South Wales, 1790. The penal colony is on the brink of starvation. Three convicts escape with murderous intentions in hope of a reward. But as they become lost and dragged deeper into the forest, it’s clear they are trapped in a nightmare of their own making… Told in the demotic slang of the era, writer and actor Paul Case’s visceral new solo show breaks new ground in horror whilst taking you on a bloody journey into the dark depths of Australia’s history.
Would you mind giving us a brief insight into what your show is?
Rogues So Banished is a solo storytelling theatre show, written and performed by myself. It is a horror story set in the early years of Britain’s penal colony of New South Wales (in what was to become Australia). Written in the slang and vernacular of the late 18th century, it’s visceral theatre that breaks new ground in horror whilst taking the audience on a bloody journey into the darkest depths of history. I hope you can come along for the appalling nightmare.
There is also a relaxed version of the show on August 8th which is aimed at those who may wish for a quieter, less intense experience.
Tell us about the creative team and the process involved?
It’s been entirely written, performed and produced by myself. I have been performing my own poems, stories and monologues since 2008, all over the UK and internationally. Between 2018 – 2021 (with a lengthy pandemic-shaped break), I toured my debut solo theatre show Dead White Anarchists (dir. Emily Ingram). I’m also a published writer of fiction and poetry.
Rogues So Banished was inspired by the time I spent in Australia between 2012 – 2014. I was involved in supporting Aboriginal land rights activism, which got me interested in the country’s brutal history – the impacts of which are still sadly felt today. I wanted to write something that reflected the sheer violent chaos of that period. I decided to research the early British convict experience and go from there.
While the show is certainly anti-colonial politically, I didn’t wish for the show to have a clear political ‘point’ as such. I want it to leave the impression of a nightmare: an uneasy feeling that’s indelible, nameless but definitely there which is, I think, how the often obscured legacy of colonialism lives within many British people today.
Horror seemed the natural genre for this story. I am a huge of the genre fan myself, and Australia produces some great examples of it. All kinds of horror went into the Rogues So Banished mix: everything from the cosmic and supernatural to grim physical violence. This seemed like the ideal way to portray the madness of the time.
A fascinating and fun part of writing Rogues So Banished was researching and incorporating the slang used at the time. There’s tons of great words and phrases that need to be brought back! I love the word ‘smoky’ for being suspicious, for example.
How does it feel coming to the Fringe?
I haven’t performed here since a nascent version of my first show Dead White Anarchists in 2019 at the PBH Free Fringe, so I’m really excited to delve back in! Looking forward to checking out any other folk doing horror shows too.
There are over 3,000 shows at the Fringe. So, what sets your show apart?
This is a confrontational piece of work, and will be one of the few serious horrors at the Fringe. It discusses challenging themes such colonialism, racism, sexuality and power but is more interested in exploring these than providing easy solutions. Rogues So Banished sets itself apart by being a striking and powerful work, told in a unique way by a highly experienced actor and writer.
Is there anything specific you’re hoping the audience will take away?
That school history lessons didn’t prepare them for this!
Your ideal audience is in attendance, who’s watching? Or more importantly – who isn’t there…
Rogues So Banished is perfect for the dedicated horror fan, but also for those who want to dip their toes into something a bit more challenging, intense and experimental.
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 only doing ten days, and live in Edinburgh so will be able to indulge in the Fringe afterwards. I haven’t had the chance to look at what’s on yet but will definitely get involved.
In your ideal world, how can we improve the Fringe, of performance, and the industry?
As ever, much of it comes down to money and access. There needs to be more funding and more routes for people to be able to put on their art in a financially sustainable way generally, not just at the Fringe. The resources are monopolised by those with the cash, and those resources need to be shared more equally.
While I am not doing my show with them this year, we can look to the model of PBH Free Fringe, who do excellent work every year helping artists access venues for free.
I would say to artists that you shouldn’t ever feel discouraged from creating and producing your work. Think about what you can do independently, with the resources you do have. Never wait for anyone’s permission or say so. Just get out there and do it.
Interested in being featured on our Have a Gander page? With many previews and Q&As lined up, we’re always happy to chat about including your show in future articles. Please do get in touch through the contact page to feature in an upcoming ‘Have A Gander’