TravFest is back: bigger, better, and packed full of exciting female writing!
I was lucky enough to attend the launch for this year’s festival programme, and hear from the writers and producers behind the Traverse’s work. The room fizzed with an excited energy as the programme curators demonstrated their fantastic eye for finding writers.
While the Traverse Theatre is at the heart of the ordinary theatre scene in Edinburgh, of course, it is equally sensational for finding new writing at the heart of the Fringe. This year’s programme, focussed on female writing, reflects their diversity-led aspirations which takes risks, and will always get viewers on the edges of their seats to witness works which get your fingernails throbbing.
In this day and age, the Traverse’s work packs often the largest punch. As summarised by Executive Producer, Linda Crooks, the Traverse will always create new and unique programming. One huge crowd-pleaser for this year’s festival — which I for one am excited by — is star-studded writing royalty, Zinnie Harris. At the event I chatted to Harris about her return to the Traverse and the Fringe. Harris, based in Edinburgh, applauds all that the Traverse stands for, and is so glad to be back after some time. She explained how this is like a return to her roots to be back in the building, as a place which helped to elevate her productions to prominence. This Fringe, she brings Supposing. Taking the audience on a journey about mythology, Harris — of The Duchess of Malfi fame — does what she does best and adapts yet another text to bring to the Traverse’s stage. This is one to watch if you are craving something philosophical and historical.
Speaking at the programme launch was also Eilidh Loan. Scottish superstar of stage and directing, she has composed a comedic and proud piece which explores the darkly poised topic of grief. Given the appearance from Scottish comedy royalty, Elaine C. Smith, this is definitely a piece to watch out for. In Loan’s appearance onstage, she underlined how in this day and age, grief is so difficult to solve and dissect. It seems her play Cathy will take comedy as the answer while being a deeply personal project for Loan. Handing over to Smith’s capable hands, Loan mentioned how the piece will examine the absence of rituals for solving grief.
Also gracing the stage at this event was Morna Young, who gave a striking speech about the importance of female-led voices and the presence of the Traverse in theatre’s endangered status in this day and age. Energetic and passionate, she spoke about how Paines Plough has assisted with her show, and what an honour it is to work with this company who provide work year-on-year which tests perceptions of theatre and calls forth unheard voices in writing.
Afterparty is a domestic drama, but one which is not ‘domestic’ or pedestrian in its detail. At its closure, the audience is promised a sense of disorientation and shock at the events which take place, as the narrative unfolds. Actor Vivienne Blackwood sits down with her family and as this plays out chaos ensues, and all else will be left to uncover.
Spoken of briefly at the event was The Singer, which will prove a smash hit. This musical looks to be promising, especially given the music by KT Tunstall. Interestingly envisioned, the piece will narrate the tale of Joe, a deaf man who must sing with his hands. The piece seems to be a rendition of underrepresented voices in the arts and a call to arms for action in this little-known way of creating music.
The TravFest 26 Launch Party was a buzz of big names, excited chatter, and Fringe favourites. This year’s Fringe looks as jam-packed and hectic as all the rest.
Photo by Aly Wight, courtesy of the Traverse Theatre.