If you reviewed your own show, how would you describe it?
I’d say it’s a gag-heavy, rollicking, confessional hour of stand-up with some surprisingly theatrical sensibilities, as well as some sexy little poems delivered with a twinkle in the eye. I’d say that for a first hour it’s impressive, and it’s clear Nixon will grow into an even more astute and skilful comedian as she gains more and more traction.
What is the best or most inspiring show you’ve seen at the Festivals?
Ooh this is so tough! I remember feeling extremely alive after seeing Is It A bird? by Jordan Gray (and also falling in love with Assembly’s intimate venues). I also saw Helen Bauer’s glittering hurricane of a debut show and predictably adored it.
What do you do to relax in August?
One word. Cinema. It’s the perfect place to be alone in the dark away from the chaos. Preferably a horror movie so you can expend all your adrenaline in the day.
What show are you most looking forward to seeing in August, and why?
It’s almost always ACMS [The Alternative Comedy Memorial Society] for me. It’s different every night, it’s three hours long, it’s completely wild. I never used to feel like I was an alternative enough act to take part, but these days I have definitely got some weird enough material up my sleeve so I’m so excited to actually do the gig instead of just watching it!
What’s the one piece of advice you’d give a performer coming to Edinburgh for the first time?
Say yes to almost everything! And remember that it’s just a festival and nothing is the end of the world.
Tell me a little more about your show and what audiences can expect?
Yes! So it’s mainly about being a woman and being perceived, being in a larger body, sex and dating, female friendships and storytelling. I’m a club comic, so you can expect actual good jokes, but I’m SO excited to show that I’m more than just that. This hour is colourful, and nuanced, emotive and clever.
Can you talk about some of the creative team involved?
So, my director is the wonderful twice nominated Lauren Pattison. I wanted to work with her mainly because she’s very clever and kind, but also she has the same background of club comedy as me but used the festival to showcase her talent for storytelling and showmanship in a way that I seek to emulate! Valued collaborators include the wonderful Sean Morley, Charlotte Evans and my excellent producer and dramaturg, Robbie Nestor who have been integral in both show notes and morale.
Where do you draw inspiration from for your work, both in terms of creation and performance?
So there’s a couple of comics who I watched a lot growing up which have been inspirational. I watched a lot of Irish comedy (Dara Ó Briain’s Craic Dealer was the first DVD I ever bought). Also Jimeoin as a master of observation and whimsy. In terms of performance, I’ve watched a lot of circus (YUCK circus have my heart forever) and a lot of sort of punky contemporary theatre and those are both infused with both mischief and rage which I try to slip into my performance too.
Looking at this production, how would you say it links to previous work personally and thematically?
It’s tricky, because as a debutant I don’t have a huge amount to look back on, I have done a few split bills and WIPs and things and I’d say it’s definitely informed by them. Doing Dumbelles, my three hander, taught me the value of being cheeky and good branding. Doing Damsel, the WIP I did a few years ago, taught me that you need to trim that fat on a show and make sure it has enough jokes, as well as that I need to have stamina to maintain energy over an hour!
Why is this an important story to tell?
Well I can’t give away the storyline of my show, and I take mild issue with the sentiment that all comedy has to be important BUT I think whilst my show is mainly tongue in cheek it does deliver an interesting commentary on gender performance and the male gaze – which feels pertinent right now as various political bodies seek to roll back the clock on women’s rights.
What would you like audiences to take away from seeing you/this production at the Fringe?
I want them to want to be my friend! And for the girlies; I want you to see yourself in the show.
Do you tend to take inspiration from events happening in the world around you in terms of your work?
To an extent? I’m by no means a political comedian but I think it’s also like… how can you not let the roiling mass of global injustices bleed into your world view and consequently your material?
Do you think artists have a responsibility to respond to what‘s happening?
Yes, but I think we all do! Putting the pressure on the shoulders of specifically artists feels tough when we are dismissed and underfunded by our government and all live on shoestrings. Artists are the canaries in the coalmines, often they speak out first and face enormous backlash for opinions that in years to come will be appropriated as ‘how we all felt’.
How do you feel about the current arts landscape in your country and your part in it?
I’m writing this 10 minutes after reading that Kneecap’s performance at Glastonbury was censored, and that Bob Vylan’s agent dropped them for shouting ‘Death to the IDF’ who by the way are not a protected minority :). We are not living in a democratic country. The arts landscape is fighting tooth and nail but we can’t singlehandedly stop the government from funding a genocide and forcing us to say nothing about it. Not to bring the tone of this lighthearted interview down or anything; but Fascism is here.
Does it excite you and inspire you to keep pushing the boat out?
Hang on while I Google ‘pushing the boat out’ because it’s one of those phrases I’m never sure of. Ok, according to Merriam Webster it means: ‘to spend a lot of money: to be extravagant’. If Merriam is right and this is the intended meaning of the question then NO! There’s nothing inspiring about the extortionate amount required to attend the Edinburgh Fringe and the consequent tourniquet it puts on artists. Risk taking becomes untenable when this much money is involved, at least for me.
Why are arts festivals such as the Fringe so important for international exchange?
Because for me, I’ve always wanted to have a one night stand with an Australian mime who will absolutely exit flyer my show and then proceed to ghost me for the rest of the festival.
What can the wider arts community do to get more people involved in their specific disciplines?
Outreach, affirmative action and bursaries as well as just making sure the info is accessible!
Have you got your eye on any other shows that are part of the programme?
Oh yeah, there’s tons of shows I’m excited to see! James Trickey, Amelia Hamilton, Caroline McEvoy, Marise Gaughan, Roger O’Sullivan and Frank Foucault just to name a few!
What’s next for you and how are you feeling about the future in general?
I’m so excited! I’m finally a full-time comedian, I have a large network of amazing friends and colleagues, I feel abrim with creative ideas. If we can only stave off the political end times then I think I will have a long and illustrious career.
How can Edinburgh audiences keep up with you beyond the festival?
They can absolutely follow me online @jessienixoncomedy on Instagram and TikTok, as well as joining my mailing list (the link for which can be found in my infamous instagram bio)
Anything else?
Just stay safe and think critically! xxx
Jessie Nixon: Don’t Make Me Regret This, Assembly George Square, 30 Jul-24 Aug (not 11), 7.20pm