EDINBURGH FRINGE 2024
Interview
TEMPLEMAN-
YOUNG
ZOE
GABRIELLA
FOLEY &
FLICKER
Have you ever thought about your dad's cock at a funeral? If so, you'd probably dismiss it. But what if your brain couldn't do that? After a shit-show of a shag, Jo must hide a stain, a semi-naked man, and her terrifying intrusive thoughts from Anna, before she loses everything. When being queer goes from one of many intrusive thoughts to a real feeling, how do you know what’s true, or intrusive? If you can’t trust your own thoughts, what can you trust?
Hi Zoë & Gabriella, it’s lovely to talk with you ahead of your Fringe run, how’s the build up to the festival going?
Gabriella: Super exciting! It's daunting going into a month run but I’m so excited to bring the show to more people and let it grow!
As this is your debut play as a writer does that add any additional pressure on you?
Gabriella: Sort of yes and no. I would love people to enjoy the writing but at the same time I know I’m at the start of a (hopefully) long and exciting journey and this is just the beginning.
Flicker was shortlisted for the Victoria Wood playwright prize, did you imagine your debut play would get such prestigious recognition?
Gabriella: Not at all. This play was mainly written in my bed…so to be long-listed for an award by my icon Miss Wood is pretty unbelievable.
What does Edinburgh Fringe mean to you?
Zoë: I’ve brought shows over some years and it’s always exciting to be a part of such a creative atmosphere. It’s a great place to see new emerging artists and creatives, and to expand your understanding of what’s possible in theatre.
Can you tell me a little about how Flicker came about, what inspired you to explore Pure OCD through a sex farce theatrical setting?
Gabriella: Pure OCD is something I know a lot about and something we don’t see much representation of in the media, because of the shame and guilt surrounding it. I think it’s also quite funny. Because although thinking of your dad’s cock at a funeral is disturbing, it is also, arguably, hilarious. I love farce and so why not combine the two.
When writing and researching Flicker how invaluable was the support and knowledge you gained from OCD UK?
Gabriella: OCD UK were amazing in supporting us with Flicker. I never wanted to shy away from the darker parts of the condition and they gave me the confidence and support to do that.
What would you say have been the most interesting things you’ve discovered about yourself in the process of bringing Flicker to the stage?
Gabriella: That being around a team of creatives is so important to me. That playing games is crucial to getting the right energy for a play like Flicker. That I work best with fizzy sweets on hand at all times.
Had you always intended to play “Jo”?
Gabriella: Hell yes. I graduated as an actor last year and I’ve been gagging to get back on the stage!
How easy was it for you to keep your roles as playwright and actor separate?
Gabriella: It was quite hard because I’ve been working on the play for so long. But once we got into the room it was so much easier to just switch into just being an actor when working with the wonderful Zoë.
"I think if a story has truth at its core, important and difficult issues will be appreciated by audiences, even when played out as a farce."
What was it about Flicker that really connected with you as a theatre director?
Zoë: I saw it a year ago at the Yard when Gabriella had first written it, and it was the most exciting, funny and honest piece of theatre I’d seen in a while. The writing is incredibly clever and forward thinking - something that’s rare to find with new writing sometimes. It challenges and welcomes an audience at the same time.
Due to some of the themes within Gabriella’s text, and due to much more sensitive audiences these days, did you have any apprehensions about how you would fully and authentically bring Flicker to the stage?
Zoë: From the off, it was about making the story clear - fully delving into the farcical moments and then making sure the turmoil that the main character is experiencing is raw and honestly told. I think if a story has truth at its core, important and difficult issues will be appreciated by audiences, even when played out as a farce. It’s only if it becomes trauma-porn or feels like you’re wanting to shock an audience, then you lose their trust.
What has the process been like working together on Flicker?
Gabriella: It’s been a bloody joy.
Zoë: I concur.
Gabriella: And together -
Zoë: We conquer
*Zoë laughs*
*Gabriella shakes head in utter disgust*
How much has your background as an actor Zoë, helped to guide your journey into directing?
Zoë: It’s only because I trained as an actor that I am now directing. I worked with a handful of different directors, and after finally working with some younger female directors realised I could do it. I love world building, and that’s something that you’re not welcomed into always as an actor. Other creatives bring so much to a play - together we all make a much bigger brilliant brain that then holds the actors in a safe, well-thought-through world.
Do you think more theatre directors could learn from taking an acting class or two?
Zoë: From my experience as an actor working with directors, and from the conversations I’ve had with actors, it’s a real benefit to understand an actors process and the language they use. It’s also incredibly helpful to understand how to break down a script psychologically. It’s surprising when I hear some directors labelled as “actor directors” because it seems that’s what we’re here for. We can create a beautifully designed show but if the acting is shit, no one cares.
And how important is the creative collaboration between a playwright/ actor and director when creating such a unique show like this?
Zoë says “fucking imperative”. I don’t know what that word means. I will google it and then put it in the play. That’s how we collaborate.
Do you have some routines or superstitions before you head out on stage?
Gabriella: My pre stage tradition is getting in a circle, holding hands, closing eyes, breathing in and on the out breathe saying JOANNE. Unfortunately, I can’t say any more on this.
Where did your passion for theatre come from? Do you recall the first production you saw that gave you the bug?
Gabriella: My dad always used to say I was ‘play acting’- fake crying, lip quiver, the works. So clearly I was being dramatic from the start, but I’m pretty sure I saw a good “Jack and the Beanstalk” panto when I was young that sealed the deal.
What advice would you offer anyone wanting to start their journey in theatre?
Gabriella: I think self belief goes a long way, which is a lot easier said than done. If anyone knows how to get it, please let me know.
Zoë: To someone starting their career, find a mentor who will open up the world of theatre or the arts. There are brilliant creatives out there who don’t gate-keep! That, and sign up for any free deals on tickets and workshops you can - expand your world and understanding and it’ll give you so many more tools and ideas.
And finally, what would you like your 2024 Fringe audiences to take away from Flicker?
We want audiences to leave laughing but with a broader understanding of OCD and people who suffer from intrusive thoughts to feel safe, seen and less alone. And celebrate some women kissing.