John-Luke Roberts returns with his first new stand-up show in four years, tackling the human condition, near-death experiences, and the sheer absurdity of having an endoscopy at 11am on Remembrance Sunday. Ahead of the run, we sat down with JLR to discuss balancing his alternative comedy roots with big, accessible laughs, writing a few poems, and aiming for a solid 300 laughs an hour.

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

My show is a stand-up comedy show called “What I Talk About When I Run About, Talking.” I run about talking for an hour, basically – it’s similar to a conversation, except you don’t have to say anything. In fact it’s best if you don’t – it’s best if you just sit there and laugh. 

Tell us about the creative team and the process involved?

The creative team is basically me, and various people who have been good enough to give me notes along the way. When I started working on this show (about two years ago) I made a decision I wanted to make a conversational stand-up show, which is something I haven’t made before – my shows have been various strange mixtures of stand-up, clowning and one-man sketch comedy. It’s been two years of learning how to do it – taking ideas out of notebooks, and trying them in front of audiences, shifting how I write slightly to make it gel in a pure stand-up environment. Then for the last few months I’ve been taking what I’ve got and shifting it into a show shape.

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

I love the Fringe, I’ve spent more than a year of my life at the Edinburgh Fringe. It’s a really exciting place, and it’s wonderful to be among so much creativity. It’s also a stressful place, and I’m bracing myself for a very full on three and a half weeks.

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

Well, I’m sure all those are very good, but this is my show, and it’s all I’ve got! You’ll laugh a lot and maybe think a little, and for sure feel some things.

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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?

I couldn’t speak until I was five, so I talk a lot now to make up for it.

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

That would be telling.

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

I have decided with this show to open the door to everyone. I want to entertain as many people as possible, so everyone’s in there. The show’s sort of about communication, and I’m interested to see how many people one can actually communicate with.

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 try to find a swimming pool with a sauna and make time to relax properly in there. The main trick is to find yourself time to feel like you’re not in the festival. And, in contrast to that, find time to make sure to see other people’s shows to remind yourself that there are a whole bunch of artists just making stuff, and you’re not just in some bloodthirsty trade fair. There’s loads I’d recommend or am excited to see – Piotr, Lil Wenker, Kate Cheka, Jonathan Oldfield (but I’m directing that so that’s cheating), Phil O’Shea (but I’m directing that so that’s cheating too).

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