A One‑woman whirlwind at its best, charting Kelly’s fierce compassion, chaotic humour and the messy pride of a woman holding everyone else together while her own life quietly tilts off its axis. Powered by a magnetic central performance and sharp, character‑rich writing, this is a warm, funny and unexpectedly moving portrait of a carer fighting to keep her world intact.

Ahead of their first solo performance at the Fringe, Kimberly Hart-Simpson spoke with the team about their exciting piece; Amnesia

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Would you mind giving us an insight into what your show/event/performance is?

Kelly, a dementia carer in Rhyl (and daughter of two Tom Jones tribute acts), is brilliant at her job. Whether it’s Edna, the serial biter, or Astrid, who thinks her Nana is a bin, Kelly knows exactly what she’s doing.

Proudly raised on Clubland, waltzers, and summers spent snogging Scousers, she’s furious when she discovers her best friend is leaving for a city with a Pret. Concealing her own life-altering news, she spirals out of control and risks losing everything.

Tell us about the creative team and the process involved?

Written and performed by myself, Kimberly Hart-Simpson, directed by Kate Wasserberg in association with Theatr Clwyd. Produced by Queenie Miller for Hat Trick Productions in association with Pleasance and Sherman Theatre.

Amnesia is this year’s recipient of the Edinburgh National Partnership Award and has what I believe is an Avengers-level line-up of renowned experts in their own fields, all with plenty of Fringe experience under their belts.

This will be my first time bringing my own show to the Fringe, so having excellent people around me has given me a sense of calm (if I ever possessed one). We have all worked so seamlessly together and are equally excited to share our work.

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How does it feel coming to (back to) the Fringe?

I first came during drama school in 2008. We performed Road by Jim Cartwright for about three days. Full disclosure: I kind of treated it like a stag do and was pretty drunk for most of it.

I’ve since been back as an audience member, but this is my first time as a solo performer with my own work. I’m absolutely chuffed to bits, to be honest.

When I came last year, I said to my partner that I wanted to bring a show, despite having absolutely no idea how to go about it. I genuinely think this is going to be the best summer of my life… and I’ve lived in Ibiza.

With shows from all over the world at the Fringe, what sets yours apart?

I’m not sure if any other show contains quite as much Clubland as Amnesia, alongside references to both Jane Fonda and Wayne Lineker within the same hour.

I think there are a million ways to tell a similar story, but this one is my version… and there’s only one of you in the world.

I’d also like to add that the show has a dance mat, and if that doesn’t get you excited, nothing will.

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On that, is there anything in the production or production team’s backgrounds which influences the way the show is performed or told?

Kate Wasserberg is an undeniable great in the directing world – a phenomenal storyteller who is helping me tell mine.

It’s been fascinating working on the character of Kelly and trying to put her on paper. Her rhythm and humour are almost impossible to format. It’s one of those “you’ll understand when you meet her” situations. I remember heading into the table read with Kate, and at the end she simply said, “I get her.” We understand why she is like she is. 

We are both so excited.

Comedy is so hard on A4. The music also acts as a score to the dialogue, using lyrics as lines, which again looks completely wild when written down.

Having someone like Queenie Miller, who works at Hat Trick as a producer, is gold dust. She breathes comedy and character. Mix that with Theatr Clwyd’s dramaturg Suzanne Bell, and renowned venues such as Pleasance and Sherman Theatre, and it feels like we’re making something really delicious.

You know when people say, “Too many cooks spoil the broth”? Well, they don’t if they’re all Michelin-starred.

Is there anything specific you’re hoping the audience will take away?

Dementia is still the UK’s leading cause of death, so there is every chance audience members have either been affected by this illness or know someone who has. The consequences can be devastating; however, this show is a celebration of each person who walks through Bryn Moore Care Home’s doors – every version of who they are.

Despite Kelly’s very obvious flaws, I reckon most people would like someone like her looking after their loved ones. She is the beating heart of the community and is belting at her job.

I would also like the audience to walk out and book a UK seaside holiday… preferably Rhyl.

Your Ideal audience is in attendance, who’s watching? Or more importantly – who isn’t…?

This is a hard question because it feels like I’m acting as a bouncer for theatre – “Sorry lads, not tonight.”

There is no ideal audience.

With that said, if you don’t like tunes such as Pretty Green Eyes and references to Katie Price, you might be in for a long hour.

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 don’t relax in my current life, so I can’t imagine I’ll be any different there.

I’m Tigger’s more hyperactive sister.

Sewing is the only thing that tends to calm me, so if you see a girl making a jumper in the Pleasance Courtyard, pay no attention.

Shameless plug here – please go and watch everything Queenie Miller is producing.

Also, Kate Wasserberg is directing The Dark I Swim by Rebecca Jade Hammond at Shedinburgh for one show only.

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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’