In our ongoing Edinburgh Fringe interview series, we are speaking to artists and creatives who are bringing their shows to the Scottish capital this summer.
In this interview, George Berry discusses their show Miss Brexit.
What can you tell me in your words about your show?
The show is a multifaceted, multilingual, multicultural, satirical extravaganza that addresses topics like migration, assimilation, and what it is that you’re willing to sacrifice to fit in. It does this all through the medium of audience interaction, personal stories and embracing the truth within the myth of stereotypes.
Where did the inspiration for this piece come from?
Our two directors, Amaia Mugica and Alejandro Postigo, originally had the idea of creating a show about a beauty pageant with migrant artists in the cast surrounding the topic of Brexit. An audition call was sent out in our university to any migrant students who wanted to develop a devised piece. The audition material was that you had to bring a song in your own language that means something to you, and an improvisational audition to see how your chemistry was with the other actors. The cast was then formed, and through two weeks of vulnerability and developing the structure of a piece, we began to see the unity in our migrant experiences and decided to make a show about the challenges we face in our journey to the UK. The challenges that eventually manifested into a grotesque British pageant, where 4 European contestants go through absurd challenges to get the chance to remain in the UK. This absurdity is truly a reflection of our view on our own integration into UK society and the absurdity of Brexit itself.
How have you approached developing the show?
Within the three years of our show's development, it has gone through four major iterations, with each one being implemented due to a tour or festival on the horizon. We always invite people for private performances to receive feedback, as well as offering a feedback QR code at the end of our performances for people to send any opinions. After any show, we also love to talk to our audience members to see what parts really resonated with them, and if it’s the case, ask them about their migrant experience. We’ve had the pleasure of going on many European tours to let us, in turn, tweak the show bit by bit and improve the finer details on the go. Our biggest R&D took place this year as we were awarded the Arts Council England grant, which allowed us to hire dramaturges to hear a professional and unbiased perspective on the show. We also hired Tom Cagnoni to collaborate with our Composer to create an incredible upgrade to our original score, done by Harvey Cartlidge. Our wardrobe was significantly improved with our costume designer, Olga Ntenta, and finally, we used the funds to hire out a rehearsal space for two weeks of intense redevelopment, to then prepare our Fringe iteration, which went on to perform at Contact theatre, Manchester in June of this year.
How would you describe the style of the show?
It is an absurd satirical dark comedy that has multiple languages used throughout. The elements of musical theatre bring a definite electric drive to the otherwise sombre topic of integration, and the audience interaction serves as a hilarious opportunity to make people really question their views and to make them laugh until they realise what they’re laughing at.
Can you describe the show in 3 words?
Extravagant, hysterical and poignant.
How do you mentally and physically prepare for a run like the Fringe?
I’ve been going over my lines every night to know that after twenty-five runs of the show, I’m still going to find that meaning in the words while also being confident enough to play around with the emphasis. I’ve been hitting the gym consistently up to the run in Edinburgh while also, and this is important, having adequate rest. Meditation to help cultivate my peace, proper nutrition to fuel my body and a good night's rest are essential. I’m not affiliated with any company (besides Maria Who? of course), but shilajit is an incredible supplement in terms of focus, drive and recovery.
Away from your show, what are you most looking forward to about being in Edinburgh?
I can’t wait to meet all the other artists and see the sheer level of creativity that people will bring to the festival. I am expecting to be inspired around every corner I go. A simpler pleasure would be to view Edinburgh’s renowned gothic architecture, and I can’t wait to so under the stumbling guise of a slightly frazzled state as I witness its beauty with other like-minded people.
Are there any other shows at the Fringe you’d like to recommend?
Our co-director, Alejandro Postigo, will be bringing his beautiful show Copla: A Spanish Cabaret, and our friend Amy Clare Tasker will be bringing a fascinating piece called The Queen is Mad.
What was the first piece of theatre you saw which had a big impact on you?
This is going to be very basic, but seeing Wicked on the West End blew me away. As a young man coming from the western suburbs of Sydney, my views were, let’s say, a bit more conservative at the time, and my mum even said to my brother and me that “if we don’t like it, we can leave in the interval.” But when that interval came, all I wanted was for the show to continue. I had never felt something that alive and immersive with such vigour that in that moment I knew that this is what I wanted to do. The sheer act of community that is needed to bring such a devotion to art and story inspired me, and this is genuinely what I still feel that theatre is all about today, and it is an honour to be a part of it in any way I can.
What do you hope an audience member takes away from seeing the show?
Through the three years of doing this show with these amazing people, I have learnt so much not only about the migrant experience and seeing the unity in our differences, but also I have learnt much about myself. It’s like every time I perform the show, I unravel this sad but ultimately empowering history of my experience, one that we all share in one way or another. Moving away from home, moving away from family, from one school to another, to the next village. It makes you question the things that you hold dear and the other aspects of you that you think aren’t worth holding onto. I hope that through the show they can laugh, smile and enjoy it, but mainly to look back at how far you’ve come and maybe there's that thing about you that you miss. Maybe it was that you used to paint as a kid, or you played an instrument or even a language you used to speak, and after watching Miss Brexit you want to incorporate that part of you back into yourself, no matter what your friends, family, or all be it society thought at the time. I hope they take a generous look at themselves and wish the best for others.
Where and when can people see your show?
Ah, yes, the most important question of all. We will be in Ermintrude, Underbelly, Bristo Square at 1:25 pm from the 30th of July till the 10th of August, we don’t perform on the 11th, and then we run again from the 12th till the 24th of August. We hope to see you there, much love.
The show is a multifaceted, multilingual, multicultural, satirical extravaganza that addresses topics like migration, assimilation, and what it is that you’re willing to sacrifice to fit in. It does this all through the medium of audience interaction, personal stories and embracing the truth within the myth of stereotypes.
Where did the inspiration for this piece come from?
Our two directors, Amaia Mugica and Alejandro Postigo, originally had the idea of creating a show about a beauty pageant with migrant artists in the cast surrounding the topic of Brexit. An audition call was sent out in our university to any migrant students who wanted to develop a devised piece. The audition material was that you had to bring a song in your own language that means something to you, and an improvisational audition to see how your chemistry was with the other actors. The cast was then formed, and through two weeks of vulnerability and developing the structure of a piece, we began to see the unity in our migrant experiences and decided to make a show about the challenges we face in our journey to the UK. The challenges that eventually manifested into a grotesque British pageant, where 4 European contestants go through absurd challenges to get the chance to remain in the UK. This absurdity is truly a reflection of our view on our own integration into UK society and the absurdity of Brexit itself.
How have you approached developing the show?
Within the three years of our show's development, it has gone through four major iterations, with each one being implemented due to a tour or festival on the horizon. We always invite people for private performances to receive feedback, as well as offering a feedback QR code at the end of our performances for people to send any opinions. After any show, we also love to talk to our audience members to see what parts really resonated with them, and if it’s the case, ask them about their migrant experience. We’ve had the pleasure of going on many European tours to let us, in turn, tweak the show bit by bit and improve the finer details on the go. Our biggest R&D took place this year as we were awarded the Arts Council England grant, which allowed us to hire dramaturges to hear a professional and unbiased perspective on the show. We also hired Tom Cagnoni to collaborate with our Composer to create an incredible upgrade to our original score, done by Harvey Cartlidge. Our wardrobe was significantly improved with our costume designer, Olga Ntenta, and finally, we used the funds to hire out a rehearsal space for two weeks of intense redevelopment, to then prepare our Fringe iteration, which went on to perform at Contact theatre, Manchester in June of this year.
How would you describe the style of the show?
It is an absurd satirical dark comedy that has multiple languages used throughout. The elements of musical theatre bring a definite electric drive to the otherwise sombre topic of integration, and the audience interaction serves as a hilarious opportunity to make people really question their views and to make them laugh until they realise what they’re laughing at.
Can you describe the show in 3 words?
Extravagant, hysterical and poignant.
How do you mentally and physically prepare for a run like the Fringe?
I’ve been going over my lines every night to know that after twenty-five runs of the show, I’m still going to find that meaning in the words while also being confident enough to play around with the emphasis. I’ve been hitting the gym consistently up to the run in Edinburgh while also, and this is important, having adequate rest. Meditation to help cultivate my peace, proper nutrition to fuel my body and a good night's rest are essential. I’m not affiliated with any company (besides Maria Who? of course), but shilajit is an incredible supplement in terms of focus, drive and recovery.
Away from your show, what are you most looking forward to about being in Edinburgh?
I can’t wait to meet all the other artists and see the sheer level of creativity that people will bring to the festival. I am expecting to be inspired around every corner I go. A simpler pleasure would be to view Edinburgh’s renowned gothic architecture, and I can’t wait to so under the stumbling guise of a slightly frazzled state as I witness its beauty with other like-minded people.
Are there any other shows at the Fringe you’d like to recommend?
Our co-director, Alejandro Postigo, will be bringing his beautiful show Copla: A Spanish Cabaret, and our friend Amy Clare Tasker will be bringing a fascinating piece called The Queen is Mad.
What was the first piece of theatre you saw which had a big impact on you?
This is going to be very basic, but seeing Wicked on the West End blew me away. As a young man coming from the western suburbs of Sydney, my views were, let’s say, a bit more conservative at the time, and my mum even said to my brother and me that “if we don’t like it, we can leave in the interval.” But when that interval came, all I wanted was for the show to continue. I had never felt something that alive and immersive with such vigour that in that moment I knew that this is what I wanted to do. The sheer act of community that is needed to bring such a devotion to art and story inspired me, and this is genuinely what I still feel that theatre is all about today, and it is an honour to be a part of it in any way I can.
What do you hope an audience member takes away from seeing the show?
Through the three years of doing this show with these amazing people, I have learnt so much not only about the migrant experience and seeing the unity in our differences, but also I have learnt much about myself. It’s like every time I perform the show, I unravel this sad but ultimately empowering history of my experience, one that we all share in one way or another. Moving away from home, moving away from family, from one school to another, to the next village. It makes you question the things that you hold dear and the other aspects of you that you think aren’t worth holding onto. I hope that through the show they can laugh, smile and enjoy it, but mainly to look back at how far you’ve come and maybe there's that thing about you that you miss. Maybe it was that you used to paint as a kid, or you played an instrument or even a language you used to speak, and after watching Miss Brexit you want to incorporate that part of you back into yourself, no matter what your friends, family, or all be it society thought at the time. I hope they take a generous look at themselves and wish the best for others.
Where and when can people see your show?
Ah, yes, the most important question of all. We will be in Ermintrude, Underbelly, Bristo Square at 1:25 pm from the 30th of July till the 10th of August, we don’t perform on the 11th, and then we run again from the 12th till the 24th of August. We hope to see you there, much love.
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