In our ongoing Edinburgh Fringe 2026 interview series, we are speaking to artists and creatives who are bringing their shows to the Scottish capital this summer.
In this interview, we speak with Tasmin Sarkany about Now That's What I Call Bach!
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| Photo by Andy Hollingworth |
What can you tell me about your show?
My show is a spoof classical concert performed by my character, Amelia Crotchet. She wants to play Bach’s Chaconne in D minor, one of the most famous (and difficult) pieces in the violin repertoire, but she’s hindered in her attempts by the fact that her violin is sentient and talks back to her.
How would you describe the style of your show to someone who’s never seen it before?
My show is probably best described as vintage and quirky (and in some places quite absurd). I like to describe Amelia as an woman who’s quite old fashioned, very well meaning and quite odd but doesn’t realise it - like an eccentric aunt who wears silly hats, buys tea towels with slogans she’s misunderstood because she thinks they’re charming and sings for no reason while washing the dishes.
What was the lightbulb moment that led to the creation of this piece?
I’d been watching a lot of Bill Bailey’s comedy and Nina Conti’s ventriloquism, and had been thinking that since I play the violin maybe I should try and incorporate it into my stand up. I suddenly had this strange idea that maybe I could talk to my violin and it could talk back, like a ventriloquist’s doll but with music instead of words. Then the ideas all kind of grew from there.
Amelia Crotchet is trying to pull off a career comeback by playing Bach’s legendary Chaconne—a piece notorious for being technically exhausting. How does she handle her instrument interrupting her solo with marital drama mid-arpeggio?
Ah - well you’ve hit on the fundamental question of the show there! She doesn’t really handle it very well. Although, because of the Chaconne’s difficulty, she’s sometimes quite pleased to get a break from playing it.
In-law dynamics are always tough, but how bad are cello in-laws specifically? Is there a string hierarchy snobbery we non-musicians don't know about?
In real life, all string players think their instrument is far superior to all the others. Violinists are by no means an exception - although obviously I do think the violin is objectively the best (it’s definitely the easiest to carry). This translates a bit into the family dynamics in the show - the cello-in-law thinks they’re the best, and with a violinist that’s a recipe for disaster…
Your violin communicates through music. As a performer, how do you map out a dialogue where one speaker is talking in English and the other is responding in pitch, timbre, and motifs?
That’s such a good question! When I’m writing, I tend to write out my character’s dialogue and then whenever there’s any music, I just put in square brackets and write the piece that Violin’s going to play. Then when I’m rehearsing, I say the words and then practise the transition in and out of the piece I’m about to play. It actually feels quite similar to normal music practise, which is nice because that’s very familiar to me!
You’ve earned accolades across the UK scene—shortlisted for the BBC New Comedy Awards, finalist in the Musical Comedy Awards, and performing at venues like Up The Creek and Monkey Barrel. How does playing a comedy club crowd compare to the pressure of a BBC Proms audience?
They’re definitely different! I love a comedy crowd because you immediately know where you are with them. If they like you they laugh, and if they don’t then you know you need to work a bit to win them over. Classical crowds are much more respectful, and the focus is much more on you as a performer. That’s also great because you know that they really want to hear what you’re going to play to them, and they’re incredibly focused. I would say the classical audiences make me feel the pressure a bit more, because I know they know what they’re looking for - great music, which is easier said than done!
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| Photo by Andy Hollingworth. |
How have you mentally and physically prepared for a run at the Fringe?
I’ve tried as hard as possible to focus on my own Fringe goals, rather than anyone else’s. It’s a huge privilege to get to perform at this festival and it’s been a long build up towards making this show. It feels a bit overwhelming at times but I just want to soak it in and enjoy it as much as possible!
If you couldn’t use a flyer to attract audiences, what object would you hand out to people to get them into your show?
I’ve actually made a programme for the show, with bios of Amelia Crotchet, Violin (and Violin’s best friend Kazoo), as well as a crossword, some fake programme notes about Bach and an advert for the upcoming ‘Muppet Godfather’ film. I think it gives a good taste of the sense of humour of the show, so I would give people that!
What is the one item in your Fringe Survival Kit that you can’t live without at the Fringe?
It’s not really an item because I’m not playing it on a DVD, but I love to watch the sitcom ‘Frasier’ to relax. I think it’s the best show ever and it’s so cosy, it’s the perfect thing to put on at the end of a tiring day.
What would you deem as success at the end of the Fringe?
Being able to say that you had fun!
Other than your own show, are there any other shows you would recommend at the Fringe this year?
So many! Caitriona Dowden has an amazing show called ‘Sesh Head’ about Irish folk music where she plays the harp on stage and does incredibly funny stand up (5pm at the Carbon Rooms). Christian Dart’s Gumshoe! is a guaranteed whale of a time (3pm at Gilded Balloon Teviot), and I am so looking forward to seeing Davina Bentley and Chelsea Birkby’s shows, they’re both absolutely phenomenal stand ups.
What is one Edinburgh spot that you would recommend people to visit when they're not watching performances?
I love Topping and Company, the bookshop on Leith Walk. It’s so beautiful and a great place to get away from the manic energy of the Fringe.
Can you describe the show in 5 words?
Spoof classical ventriloquist violin concert.
What keeps you inspired?
My friends! They’re all awesome and always doing cool stuff. I also get a lot of inspiration from inside jokes I have with my friends - you know the ones where no one else gets it but it gives you the biggest belly laugh every time.
What would you hope someone takes away from seeing the show?
That classical music is for everyone and that there’s no right or wrong way to listen to it. Music is a special and mysterious language that can carry deep feelings across time and space. Listen to the music that speaks to you. It just so happens that classical is the music that speaks to me!
When and where can people see the show?
12:35 in the afternoon at Wee Container 1 in Hoots @ Potterrow!
Tickets are available by visiting https://www.edfringe.com/tickets/whats-on/tasmin-sarkany-now-that-s-what-i-call-bach
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| Photo by Andy Hollingworth. |
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