Postcard from the Fringe (2)

You can see Arthur’s Seat from the window of my student accommodation. Boom, it’s right there, looking in all the time. At night you can see the torches and lamps of people climbing up it, which is kind of eerie. Lost souls, perhaps. And during the weeks of the fringe, Edinburgh has a lot of lost souls.

This is the longest that I’ve ever stayed in Edinburgh with a show, which means that this show is the one I’ve performed more times than any other. I know every inch of it, now. To think that I started work on this almost a year ago, almost as soon as I came home from last year’s fringe. No wonder I know the thing back to front.

And so does my technician, bless him. There are a couple of songs during the show, and I looked over to his booth during one of them and I could see his head bobbing away. He knew the words. He knew what was coming next. That poor chap could probably write a thesis about my show.

But I still hate the flyering. I still hate it with a passion. Today is my penultimate day, so that means I’ve only got two more flyering sessions left. Perhaps I wont even flyer at all on my last day, because immediately after the show, I’ll be off to the airport to get the plane home to Exeter. I might have luggage with me during the usual flyering session. To be honest, I think I’m just talking myself out of doing some flyering.

The shows have been going well. I’ve been very pleased with my performances. In two weeks, I’ve only ever stumbled over the words of a poem once, which isn’t bad, for me. The weird thing is that the audiences differ so much. You can have a small audience, but they can be very loud and appreciative. Or you can have a larger audience and everyone just sits there quietly and you think you’re going down like a lead balloon.

Of course, it’s the camaraderie and the connections you make, which makes a fringe all the more enjoyable. Not only my technician, but also my flyerer, Tash, who took two days off to get married. She has a very Scottish accent but we got talking the other day and it turns out that she grew up in the same part of the world as myself. And she’s very good at flyering. She’s even convinced people to come and see my show!

And then there are the other performers. People like Jonathan Kinsman, Tom Juniper, Elizabeth McGeown. There’s a great community here among the spoken word artists. It makes you think that you’re not alone.

So tomorrow I’ll be performing and then flying home. I have a taxi booked to pick me up from the airport and drive me the thirty miles to Paignton, which means that I’ll hopefully be home by around nine in the evening. And I’ll probably still be wearing the same clothes that I perform in. Obviously, not the sparkly sequin jacket or the top hat. And everything will start to feel like a dream.

In fact, it already does. I’m proud of this show and the fact that I’ve managed to stick at it for a year. I love the way that it flows and tells a story. It’s going to be weird not performing it every day.

And I’ll miss the routine, too. I won’t miss the flyering, (I usually start around 10.30, carry on till 12.30, then linger around outside my venue). Once the show is done I head up to the Plains and the Circus Hub, where there’s a bar that most people haven’t discovered yet, where I can find a table and relax and drink a cola and eat a sausage roll. There’s a van on the Plains which sells the most amazing sausage rolls. I think I’ll miss those sausage rolls.

https://tickets.edfringe.com/whats-on/robert-garnham-bouncer

A Postcard from the Fringe

There’s a divine madness about the fringe. It’s so big that it brings out the despair in us all. How can one possibly compete with all of the other shows that are on at the same time? At the last reckoning, possibly six hundred going on at any one moment. Or was it six thousand? It couldn’t have been six million, though at times it seems it.

The venues are tucked anywhere throughout the city. If you stand still for long enough, you become a venue yourself. Underbelly have already contacted me about using space inside my backpack. It’s a new stage which they want to add to their roster, and advertise as The Cow Bag, and then rent it out to theatre companies. But then I moved, and they lost all interest.

There’s a piece of wasteland outside my student accommodation. It’s overgrown with vegetation and bushes and I stopped and looked at it and I thought, yes, there it is. The last place in Edinburgh which hasn’t been turned into a venue or a bar or a festival village. And just as I was standing there looking at it, someone tried to flyer me.

Because that’s what Edinburgh is all about. The flyering. You can have the best show ever written, and you can perform the best anyone has ever performed, but it’s the flyering which ensures people get in to see it, and it’s the flyering that ensures that the show is a success. Which is great if you have a passion for flyering, or if you have a theatre troupe filled with sixteen incredibly enthusiastic and young performers from middle class universities, with floppy hair and high cheekbones and winning smiles, but when you’re a lone operator doing it all yourself, from a seaside town in Devon, then the odds are already stacked against you.

Which is to say that I hate flyering. People scare me. The general public are frightening. I want to be polite at all times, but the moment I steel myself to smile and say hello, some young buck with an improvised opera jumps in and flyers the person that I’m just about to flyer. It’s a dog eat dog world. And also, my brain doesn’t move as quickly as some. I see someone coming and the words kind of tumble out in a nonsensical jumble. You wouldn’t think that I’m a performance poet! ‘Hello there. Yes, what it is, you see, I’ve written this show, and . . .’, by which time they’ve already walked away.

Consequently, I didn’t have much of an audience for the first couple of shows. One person turned up for each, and I knew each person. They were friends. I think my show is good, but they probably would have come even if it was just an hour of me on the stage doing armpit squelch farts. But there’s a guy from Cambridge University who’s already doing that, and he’s winning rave reviews.

I decided I needed a flyerer. I had no idea that you could just hire a flyerer. I thought only the good shows had a flyerer, because why would a flyerer want to flyer for something that nobody had heard of? But I went online and I made contact with a couple of flyerers. The first two didn’t turn up, on consecutive days. But the third did. And she’s wonderful.

I’ve had an audience ever since. She really knows how to bring in the people. I don’t know how she does it and I don’t really want to ask. Naturally, I was worried that she would take my leaflets and walk off and dump them in a recycling skip, but I actually saw her at work several times, and it really did fill me with glee.

We got chatting one day, my flyerer and I. She’s actually getting married in a couple of days. She’s getting married right on the Royal Mile. I even thought about popping along, or at least exit flyering the service. That’s how grateful I am at all of the flyering that she’s been doing.

The show is going well. In fact, the show is going really well. The last three shows have been absolutely wonderful. Great audiences, and I’m so comfortable with my performances. I know it inside out and I’m very happy with it. I think it’s the most accessible show I’ve done at Edinburgh, (which is code for the fact that this is my first show which doesn’t have an LGBTQ theme or gratuitous references to sex). It has: three costume changes, some choreography, a song, a high note which I try to sustain for twenty seconds, and I get to do a lot of acting, too. So yes, I’m very happy with it. From an artistic point of view.

I have a little post-show routine, now. If it’s a good show, I go to my favourite place at the fringe, which is the bar of the Circus Hub on the Plains, and I sit and have a cola and just relax. It’s a great place, because it doesn’t get as busy as the rest of Edinburgh and I can just take in the sunshine and listen to whatever’s going on inside the Big Top. There’s also a stall nearby which sells, quite frankly, the best sausage rolls I’ve ever seen.

So that’s how things are going, as I enter week number two. What will this week bring? Will audience numbers go down a bit, now that the weekend is out the way?  Who will I get to do the flyering when my flyerer gets married? How does my show stack up against the six hundred that are also on at the same time? (Someone the other day called it ‘light and lovely’, which I kind of like). And at the end of the day, does any of this mean anything?

They always say that you should ask yourself why you’re coming to the fringe. Is it to get noticed? Is it to refine a piece of work? Is it to meet new fans? To be honest, I’m not sure why I’m here. I think it’s just the challenge of putting on a show, and writing it, and memorising it, and all of those other things. Or perhaps I’m just here to join in this merry dance, to at least say I gave it a bash.

My show details can be found here: https://tickets.edfringe.com/whats-on/robert-garnham-bouncer