In a series of interviews, we'll reflect on this year's Edinburgh Fringe with artists and creatives who performed at the festival, learning how it went and hearing more about their work.
In this interview, we speak with Tasmin Sarkany about the run of Now That's What I Call Bach!
With the run in Edinburgh now complete, how do you reflect on the time at the Fringe?
My overwhelming feeling about it is that I had a great time! I'd never stayed in Edinburgh for the full month before and even without considering my own show, it was great to have time to see other incredible shows and see how everyone's show evolved over the run. A month is a long time! I think there are a lot of positives to take away from my own run as well, the main one being that I was able to appreciate doing the show every day even though it can be easy to put too much pressure on yourself. I'm just really happy that I didn't have to pull any shows and frankly amazed that there were enough people interested in the show to come and watch it every day!
What is the biggest lesson you learned during the run in Edinburgh?
This year, I think I really learnt how to have fun doing the show to smaller audiences. I usually do spots at compilation shows and it's easy to get used to performing in relatively full rooms where everyone's already warmed up. As a result, when I did a WIP last year I found it tough to keep up the momentum of the show in front of a smaller room. This year, I felt like I turned a corner with it and a lot of my favourite shows were actually the smaller ones - it felt like performing to a small group of friends, and I realised I could make inside jokes in a different way than with a bigger crowd.
How did the reality of your run compare to what you envisioned during rehearsals?
Honestly, I never really know what to expect and for me that's part of the fun of it! I guess before I started the run I was imagining the ideal situation: that the show would be absolutely perfect on day one and not need any changes. Obviously that wasn't the case, and especially during the first week I feel like the material shifted around a bit until I was happier with the flow.
What was the biggest surprise—positive or negative—once you actually got in front of Fringe audiences?
How different the audiences were from day to day! Doing the show every day really made me realise how variable the atmosphere in a room is even if you do exactly the same show. I'm always very lucky in that everyone who comes to my show is extremely lovely, kind and respectful, but every day it was different - sometimes they had different ways of reacting to things, or there were some sections that didn't really resonate one day and then would be the high point of the show the next day. Often I think it depends on things that are nothing to do with you, like the weather or day of the week, and I really enjoyed the challenge of it. It made it more exciting as well - I was worried it might get quite repetitive doing the same show every day, but I soon realised that even if the script is the same it's a completely different experience from one day to the next!
Was there a specific moment on or off stage that defined the Edinburgh experience for you this year?
I went to see Lara Ricote's show 'Inkling', and I think the end moment of that show would probably have to be my Fringe highlight. I found it so beautiful and really inspiring in a way I can't really put into words. I would really recommend seeing it if you can!
How did you manage the physical and mental stamina required to perform daily in that high-density environment?
For me the most important thing was sleep! My show was quite early (at 12:35) so I tried to go to bed at midnight every night, and not stay up past 2am. For the most part that actually happened, and I think it made a huge difference in the way that I felt generally. It was much easier to focus on doing my own run in a way I was happy with when I was well rested and had some time to chill by myself in the evening.
How did you handle reviews and word-of-mouth chatter while still having to go out and perform every night?
This is a great question, because actually I'd never had a review for the show before and I was really nervous about how I would take it. I think what helped a lot was having a specific achievable aim in mind with regards to press, which didn't depend on the star rating of the review. My aim was simply 'I'd like to get a review that isn't a pan'. The first review I got was very nice, from Edinburgh Reviews, and I was really happy because I'd managed to achieve my aim! Everything from then on just felt like a bonus.
Did any audience reactions or feedback lead to real-time tweaks in the script or performance?
Always! I don't like to ad lib too much but if there's an obvious opportunity I usually tend to take it. There are a couple of key parts in the show where I talk to the audience, and it always affects what I say to some extent. One audience member in Edinburgh told us that his parents are such avid Bach fans that he was actually named to have the same initials as him (J.S.B.)! We had a lot of fun with that and it became part of the show for the day.
What is one piece of advice you would give to anyone who would want to take a show to the 2027 Ed Fringe?
Enjoy yourself! Going to the Fringe is really an amazing experience, and getting to put on a show is even better. Look after yourself and never forget that it is a privilege to have an audience coming to see you. Look after them and always try and make sure they have the best possible experience!
Where can people follow your future work?
I'm on Instagram @tasminsarkany and my website is tasminsarkany.co.uk. For the most up to date links to my shows and live events you can also go to my Linktree at https://linktr.ee/tasminsarkany
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