OMNIBUS THEATRE: What were your main objectives on your way to the Fringe this year as the Artistic Director of our mothership?
MARIE MCCARTHY: To programme work for Spring 2019! Specifically, for our second annual 96 Festival and also for our fifth annual Perception Festival that will take place in 2019. And of course, to build relationships with theatre-makers.
OT: Have you observed any new recurring narratives or trends that are emerging in the theatre world?
MM: I noticed that there was a fair amount of work focusing on sex and consent and shows on masculinity made by both men and women, also more work reflecting on life as a ‘millennial’ – rubbish term, and more Gig theatre around then last year.
OT: Are there any theatre companies or individuals that stood out to you?
MM: There are so many… I saw a lot of amazing work about the resilience of women. Omnibus Theatre’s Associate Artists Nouveau Riche, their Queens of Sheba was just phenomenal – raw, powerful and incredibly moving, Future’s Theatre’s Never Vera Blue was excellent, about domestic violence, very nuanced, sensitive and subtle – a cracking performance from Laura Dos Santos. They came to Omnibus with Offside and Kay Adshead’s A Cracked Plaster Sky. Build A Rocket by Christopher York was fabulous, particularly the powerhouse performance from Serena Manteghi, Madelaine Gould’s Ladykiller produced by brilliant theatre company, The Thelmas, another one – Malaprop’s Everything not Saved. As well as Transgress Productions‘ fab hit Even Hotter, I saw Everything is going to be KO about how we think and learn. I couldn’t wait to see Wild Card’s Electrolyte as they rehearsed with us and we could hear belting lyrics from our rehearsal room – it was exceptional– Gig Theatre at its best.
OT: Omnibus Theatre staff are descending on Edinburgh throughout August what are your top survival tips for them?
MM: Pack your rain-mac! Get the Fringe app on your phone, especially if you have a bad sense of direction like I have. Make sure you have at least half an hour to travel between venues. Stay at the back of the queue so you can get out of the venue first to make it to your next show on time. Don’t forget your running shoes!
OT: How has your visit impacted/informed what Omnibus Theatre’s future programmes will look like?
MM: I hope some or all of the vital artists I saw at the Fringe will come and be part of the programme here [at Omnibus Theatre]. Each season has a particular narrative and rhythm, and I saw plenty of pieces that would fit perfectly in those future seasons.
OT: What are your key takeaways from the fringe this year?
MM: I was really struck by the tenacity of theatre-makers, particularly in solo-shows. An artist that can take a room, a black drape, four lights – maybe six, sometimes shit soundproofing, and transport an audience to another world through sheer artistry. But more than anything – the phenomenal atmosphere, it is the best festival, ever.
