Tell us about your shows and what audiences can expect.
Barrowland Ballet present two shows this year, which is quite good for me because I love doing the Fringe!
On the one hand, we have Wee Man that’s a show that’s performed by teenage boys and men. It looks at shifting and stuck rules of masculinity from the perspective of two different generations, and audiences can expect an insight into what that experience is like. The aim of the work is to use dance to bring a different perspective of masculinity, celebrating tenderness and strength at the same time.
On the other hand, we have Chunky Jewellery which is a very different show. It’s an autobiographical work that is created in collaboration with Jude Williams and Ben Duke and, whilst still tender, it’s a comedy that positions itself as an alternative love story to celebrate friendship and chosen family.
Looking at these productions, how would you say they link to previous work personally and thematically?
Wee Man has quite an open structure because it’s not a linear story. It uses a combination of text, dance and poetry which can be typical within my work, and focuses on themes through many angles. This is something that I’ve done previously with a show called Whiteout, for example.
I’m interested in intergenerational work so there’s a link to Wee Man there. Actually, I took a show called Conversation with Carmel to the Fringe in 2011 which was set at an 80th birthday party. It included a baby – my son Otis – who now stars in Wee Man as a 15 year old!
Chunky Jewellery is different in that I am not the sole outside eye, as it’s co-created with Jude Williams and Ben Duke. I’m also performing in it which I haven’t done since Conversation with Carmel, so that’s been quite challenging – physically and mentally – however I am able to find the space and the capability to do it again now that my children are older. Whilst it’s a challenge, it is also very thrilling and fun to dance, perform and act again.
Why are these shows important stories to tell?
The two shows are different, but both shows use dance, comedy or tragedy to explore personal stories and that’s typical of Barrowland Ballet shows.
With Wee Man, I think the themes of masculinity are important to explore. Of course I’m a woman exploring these rules, however I am able to draw on my personal experience of being a mother of boys. In the room I could sit back and listen to the experiences of these men and boys in the room, alongside composer Luke Sutherland and Kevin Gilday, and that was a really interesting process in making the work.
With Chunky Jewellery, I think it’s important to represent single mothers and middle aged women. The show is about dealing with the death of a parent or caring for parents, whilst caring for children. Showcasing that middle space helps to celebrate friendship, over the traditional romantic love.
What is the best or most inspiring show you’ve seen at the Festivals?
I loved Solene Weinachter’s AFTER ALL at Assembly@Dance Base. I found it incredibly funny, and she is the most brilliant, inspiring performer and woman. I also loved Hard to be Soft by Oona Doherty at the Edinburgh International Festival. That was an amazing piece of work.
What’s the one piece of advice you’d give a performer coming to Edinburgh for the first time?
Don’t feel like you have to do the show, that was the best version of the show that you did when you had loads of energy. Take whatever energy and state of mind you have that day, be honest to it, and build the next performance from it.
Chunky Jewellery, Assembly Rooms, 1-24 Aug (not 6, 12, 18, 19), 1.30pm
Wee Man, Assembly@Dance Base, 5-17 Aug (not 11), 7pm