The University of Bristol Drama Society are bringing their electric new piece, Body Parts, to this year’s Edinburgh Festival Fringe. I sat down with the creative team and actors involved to discuss the innovation of their piece, and why it is such valuable viewing for Fringe audiences.
The team highlighted the importance of their piece here and now, especially at the Edinburgh Fringe. Exploring themes of Catholicism and family trauma, the play follows three women (May, Carmel and Margot) who spin on their axis around the epicentre of grief and memories — not forgetting the boyfriend who puts a spanner in the works. Speaking to Méabh Brolly playing the youngest (Margot) she highlighted how she has drawn from her own experiences to communicate the challenging themes of her character as she inherits her family’s home while navigating complex religious beliefs. She noted how the team had been “ethically informed” by their experiences. Personal experiences have supported the interpretation of the characters and aided actors’ creative process.
Speaking about the rehearsal and development process of the piece, writer and director Iola King Alleyne and director Madeleine Morgan emphasised that “possibility and capability” are at the core of this team’s ethos. In the rehearsal room, the team encourage a devising process with a “passion for telling short stories” mentioned by King Alleyne. The team talked to people with similar experiences — equally the directorial team underlined that they wanted to discuss themes like “abortion, which shouldn’t be shied away from.” The team is open-minded and strives for a harmonious voice when discussing these themes.
While Lily Robinson has performed at the Fringe four times in the past, Body Parts’ Tom Bayman, Cleo French, and Méabh Brolly are newbies to Edinburgh’s festival season. All four performers are still highly mature and well-informed about the weight of the show they are bringing. Morgan noted the importance of making May “not a caricature and not a mockery of an ageing adult,” but an informed and intelligently crafted creation. The team mentioned how they are keen for audiences of all ages to be able to experience their piece and how the Fringe is the perfect place to do this. King Alleyne mentions how “there’s a formula that works very well,” and “taking something so intimate” will be “really interesting.” This group of actors note that it will be particularly interesting to engage with older audiences and witness their reaction to the portrayals.
The impact on the audience is something which the cast hope to monitor carefully — they are excited to have conversations with viewers after the piece, with regard to the harrowing material. Content warnings will be illuminated in line with the University of Bristol Drama Society Policy, and in rehearsal the cast have involved the Drama Society’s ‘Equality and Liberation officer’. Morgan highlighted her experience in safeguarding, and how she has “mimicked these safeguarding procedures in the rehearsal room.” The group made clear that they regularly check in with their cast, which is especially important when using a devising approach like with this show where so much discussion happens in the room. They emphasise playing a game at the end of every practice as part of “expected patterns of behaviour used in rehearsals” to mean that they are consistent and can iron out any issues promptly.
The technological elements of the show are truly where this production shines through. The production is utilising body mapping technology to project actor Lily (who plays May). This will allow the team to transpose age onto a younger person, and show an interesting liminality between youth and ageing rarely seen before. Working with the acclaimed Alensi Studios, this is a truly experimental and innovative technique borne from the student theatre scene. Writer King Alleyne made clear that the projections were added after the rehearsal process so as not to create an “acute awareness [of age] which changes [the portrayal] when…trying to become an older person.” Equally sensitive is James Hattan’s sound design. Hattan is looking to “focus more thematically [on sound design]” than he has done in the past. He noted the importance of motifs which will support the abstract setting for the piece — using bells to make the audience aware “we are talking about religion.” Particularly due to the short form nature of this piece, he explained how these motifs will be essential.
To close the interview, I asked this bubbly group of well-fashioned students what drink they would pair this production with. Grilling the creative team, King Alleyne selected a Dark and Stormy cocktail, given the show’s “dark underbelly” beneath, while Morgan opted for an Old Fashioned given this show’s refreshing excavation of themes of age and generational beliefs. The cast members opted for caffeinated hits, ranging from an Espresso Martini to Long Island Iced Teas. And then an innocent smoothie also is mentioned. It is a unique show, with varying flavours, but what is apparent are the dark, deep-set themes to what these creatives have formulated.
Body Parts runs from 24-29 August at the Edinburgh Festival Fringe at Stephenson Theatre at Surgeons’ Hall.
Image by Connie Weston, provided as press material.