Based on a little-known Grimms’ fairytale, Godfather Death is an award-winning and gleefully macabre new musical exploring mortality, healthcare and class. When, in desperation, a mother seeks a godfather for her 13th child, Death takes her boy under their wing and offers him a gift – the power to tell whether someone will live or die. Eager to keep those he loves alive but tempted by the accompanying fortune, we follow the boy’s encounters with the ill, the dying and death itself.
Would you mind giving us a brief insight into what your show is?
Based on a little-known Grimm’s fairy tale, this new musical tells the story of one poor boy’s journey through life with Death as his Godfather. When Death gives the boy the power to anticipate whether someone is going to live or die, he jumps at the opportunity to keep those he loves alive.
Through his family’s encounters with Death, God and Satan, he is forced to come to terms with the consequences of “saving” lives. After all, if life goes on forever what does it really mean?
Typical of Grimm’s fairytales, Godfather Death is as brutal as it is poignant, posing difficult questions while being unflinching and even gleeful in its dark themes.
Tell us about the creative team and the process involved?
The show was written and created by Dundee brothers Finlay and Jack (myself) Avison. Fin had recently graduated from York University with a degree in Theatre/Playwriting and had the idea to adapt the Grimm’s fairy tale ‘Godfather Death’ into a musical. Remembering that I was a musician, he called me and asked if I would be interested in writing the music for the show. I had never considered writing for a musical, but as soon as I heard Fin’s pitch I knew it was a fantastic idea and I had to get involved.
Our creative process normally involves discussing the overall story and plot together, before going off and working on our parts separately. Fin will work on the script and I will work on the music and lyrics. Then we will send over what we have worked on and get feedback, make edits, see if we are moving in the right direction, and then basically repeat that process many times over! Over the next 2 years, we worked on the project sporadically, until finally committing to perform at the Edinburgh Fringe in 2023.
We have a wonderful team of talented Scottish actors, musicians and producers who are involved in the project and have helped to make the show a success. Aila Swan, Jack Mailer, Andrew Lodge, Iona Wood, Jon Wallace, and Annabel Lunney have all brought their own experience and creative input to the project and have all helped the show to go from strength to strength.
How does it feel coming to the Fringe?
The Fringe has been an incredibly important part of our development, as it was where we debuted the show, so it is very exciting to be coming back. The atmosphere and opportunity the Fringe provides is truly unique so we cannot wait to perform our bigger and better show this year! It is also so much fun to meet so many other wonderful creatives from all over the world, see amazing shows and generally enjoy the wonderful city of Edinburgh during Fringe time.
We are also an all Scottish cast and crew, we have grown up around the Fringe and to be able to now be involved as performers is such an honour and we have had many ‘pinch yourself’ moments in the past year, with hopefully more to come!
There are over 3,000 shows at the Fringe. So, what sets your show apart?
We truly believe that our show has something for everyone, whether you like musical theatre or not! It is a dark comedy that will make you laugh, cry, and tap your feet all with sixty minutes. You will never believe that a show about death can be so enjoyable, it is a fairy tale with no Disney–ending!
Is there anything specific you’re hoping the audience will take away?
We want the audience to enjoy the show primarily! The show has been described as ‘delightfully macabre’ and we want people to be in that sweet spot, alternating between laughing and crying.
Your ideal audience is in attendance, who’s watching? Or more importantly – who isn’t there…
Anyone who is interested in the show! We love a receptive audience that our cast can feed off and that shows that they are having a good time!
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?
One of the best things about the Fringe is seeing other people’s shows! Personally, two that I will be checking out are Showstopper!, which I saw last year and was fantastic, and also Every Brilliant Thing, which is one of Fin’s favourite plays and I will definitely have to check out this year!
In your ideal world, how can we improve the Fringe, of performance, and the industry?
I believe a lot can be done to make the Fringe more economically accessible. The costs included are incredibly high, for venue hire, promotion, accommodation, living costs etc. and it becomes virtually impossible for young creatives to take part. Even being a team that is entirely based in Scotland it has been a struggle, and we can see so many people in a similar situation as us being priced out of the festival. The Fringe has been built on new, exciting acts being able to take risks and establish themselves on an international stage, and that will disappear if no one can afford to go.
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’