As part of our Edinburgh Fringe 2024 coverage, we are running a series of interviews with artists and creatives that are taking part in the festival.
In this interview, we speak to Daisy Hall about her show Bellringers.
Where did your arts career begin?
I always wanted to be a writer, but I didn’t always know I wanted to write for theatre. It was only over lockdown that I started to write for performance, perhaps because the collaborative nature of it, at that time, seemed so appealing. I managed to get onto the Royal Court’s Introductory Writers’ Programme, and there I was introduced to the work of so many incredible playwrights. It was at the end of that programme that I wrote an early draft of Bellringers. It’s so exciting to see my first play being brought to life by such a talented creative team.
I always wanted to be a writer, but I didn’t always know I wanted to write for theatre. It was only over lockdown that I started to write for performance, perhaps because the collaborative nature of it, at that time, seemed so appealing. I managed to get onto the Royal Court’s Introductory Writers’ Programme, and there I was introduced to the work of so many incredible playwrights. It was at the end of that programme that I wrote an early draft of Bellringers. It’s so exciting to see my first play being brought to life by such a talented creative team.
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What can you tell me about your show?
Bellringers is set in a bell-tower, as two bell-ringers wait for a storm to reach them. There used to be a belief that ringing church bells could break up thunder, and bell-ringers used to get struck by lightning in quite high numbers. The play is set in a world in which storms are becoming more and more frequent, along with a load of other omens and disasters. These two bell-ringers, Clement and Aspinall, are taking their turn to ring the bells, and we listen to their conversation as they wait to do this very dangerous, potentially fatal thing.
Bellringers is set in a bell-tower, as two bell-ringers wait for a storm to reach them. There used to be a belief that ringing church bells could break up thunder, and bell-ringers used to get struck by lightning in quite high numbers. The play is set in a world in which storms are becoming more and more frequent, along with a load of other omens and disasters. These two bell-ringers, Clement and Aspinall, are taking their turn to ring the bells, and we listen to their conversation as they wait to do this very dangerous, potentially fatal thing.
How would you describe the style of the show?
It’s dark and funny and full of weirdnesses. At the same time, it’s a play which lets us listen in on a conversation between two people have a conversation in real time, which is maybe my favourite kind of play.
It’s dark and funny and full of weirdnesses. At the same time, it’s a play which lets us listen in on a conversation between two people have a conversation in real time, which is maybe my favourite kind of play.
How have you approached developing the piece?
I wrote the first draft of this play nearly three years ago, and it’s hard to remember now how that went. I have my notebook from that time, and it goes quite quickly from ‘Bellringers’ to ‘lightning?’ to ‘Clement and Aspinall.’ Since then I’ve redrafted it many times, with support from the then-Literary Department at the Royal Court, and more recently with our wonderful director Jessica Lazar. It felt like such a personal thing to write, and it’s been so exciting to see that it resonates with other people.
I wrote the first draft of this play nearly three years ago, and it’s hard to remember now how that went. I have my notebook from that time, and it goes quite quickly from ‘Bellringers’ to ‘lightning?’ to ‘Clement and Aspinall.’ Since then I’ve redrafted it many times, with support from the then-Literary Department at the Royal Court, and more recently with our wonderful director Jessica Lazar. It felt like such a personal thing to write, and it’s been so exciting to see that it resonates with other people.
Other than the show, what’s something you’re looking forward to doing in Edinburgh this year?
I’ve never been to Edinburgh, so I’m going to try and fit in all the touristy things – Arthur’s seat, for sure. And I’m going to see some shows! My parents and sister are coming up to see the play and I’m planning to drag them to some experimental comedy.
I’ve never been to Edinburgh, so I’m going to try and fit in all the touristy things – Arthur’s seat, for sure. And I’m going to see some shows! My parents and sister are coming up to see the play and I’m planning to drag them to some experimental comedy.
What keeps you inspired?
When I’m feeling stuck on a piece of writing I try to take time to read, watch, and listen to other peoples’ work and remember how good stuff can be. Sometimes I can get stuck in a tunnel of trying to fix problems with a play or a story, and being able to stick your head back up and see what wonderful work is possible is what you need.
When I’m feeling stuck on a piece of writing I try to take time to read, watch, and listen to other peoples’ work and remember how good stuff can be. Sometimes I can get stuck in a tunnel of trying to fix problems with a play or a story, and being able to stick your head back up and see what wonderful work is possible is what you need.
What do you hope an audience takes away from seeing the show?
I hope they feel like they were taken to another place for an hour. I hope they laughed at some of the jokes! And I hope they were moved – ultimately I think it’s a hopeful play.
I hope they feel like they were taken to another place for an hour. I hope they laughed at some of the jokes! And I hope they were moved – ultimately I think it’s a hopeful play.
Where can audiences see the show?
It’s on at the Roundabout at Summerhall at 13:15 every day of the Fringe except Tuesdays.
Tickets are available from https://tickets.edfringe.com/whats-on/bellringers
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