It is August which only means one thing – it is Camden Fringe time! Over the next few weeks we are chatting to acts that are performing at the festival and finding all about their show and what they would call this years iconic Camden Fringe Pigeon! Today we find out about the show Eyes See Song
Date: 29th & 30th August
Time: 20:00
Price: £15 Concession £12
Location: The Cockpit
Ticket Link:https://camdenfringe.com/events/eyes-see-song/
How did you come up with the name of your show that your taking to the Camden fringe?
The show has it’s roots in the Pid’or’s work as a writer/performer in the London poetry scene and women’s integrative well-being coach. She found that “the language of somatic coaching is often abstract and poetic to help individuals access and explore their emotional stories” and so she uses poetic language and abstraction in the language of the play to support a deeper, embodied experience of the stories being written told. As well as signalling the poetic language of the play, the title also introducing an idea of a multisensory, interdisciplinary show that will bend the way we are used to experiencing storytelling.
Tell us a little bit about your style of show?
Eyes See Song is a truly interdisciplinary, interactive show! The story is delivered through dramatic scenes, moments of poetry, gorgeous and memorable songs, a rich soundscape of music production and emotive movement work. Fast paced and performed immersively with the audience, there is never a dull moment. Uniquely the production integrates the use of somatic interplay between audience and performers. Not just a piece to be watched, audiences are encouraged out of passive viewing into song, dance and even breathwork. To attend is to engage in a full body experience of powerful storytelling. You are welcomed into the world of the characters as friends, mirrors, accomplices and jury.
What other acts are you looking forward to seeing at the fringe?
Dragon by Yehyo Dance Production at the Courtyard looks really interesting. I’m curious about how they will play with movement and story development in the space. Fat, Black and Single by Venus Ashu at Baron’s court theatre feels like it’s got a fresh, bold, satirical stance that will challenge our perceptions of beauty standards, who is deserving of our attention and platforms.
The Bride by Yu Ai at Camden People’s theatre looks beautiful. The grief and re-embodiment themes in this piece speak to me. That they are to be explored through dance, ritual and cinematic storytelling sounds like theatrical luxury I can really sink into!
How are rehearsals going?
Rehearsals have been fun and deeply expansive in terms of what we as a team are growing to understand about the themes, the characters and ourselves. The Chorale Poetique ensemble is made up of a diverse group of women from different cultural, ethnic, generational, creative and sexual orientations. This makes for a dynamic rehearsal room where explorations can bring in references from British culture, just as much as Congolese, or Italian.
Character relationships may be played through a heteronormative lens, whilst being dissected through queer perspectives. The range of ages makes for complex, multi-layered approaches to representing women’s stories and it’s exciting because we really feel we are speaking for the many and not the few through this work. The ensemble has now completed two research and development phases. The depth of character development work has opened up space for all of us to examine and explore our own personal stories too and why these particular 6 characters resonate so deeply with us all. This isn’t always easy.
The themes are heavy and have often taken us in raw and tender spaces within ourselves. The vulnerability and care-taking practise in our approach enables us to go there in order to develop something real, impactful and resonant for audiences. That’s exciting as we approach our fringe performances. It also prepares us for how we intend to hold the audience through these dramatic and visceral stories as they journey through grief, religiosity, addiction, friendship, sexual violence, love, and betrayal with us. Some of our favourite moments in rehearsal naturally revolve around singing rehearsals as the songs are fun, hauntingly beautiful and packed with moving lyrics, harmonies and arrangements.
We cannot wait to share them with audiences this summer at The Cockpit. For those who’d like to get a sneak peak or learn them ahead of the show, so they can sing along, we’d encourage you to head to our YouTube and get listening! And yes… you are encouraged to sing along.
What is the best thing about performing at the Camden fringe?
I’m excited to bring the production to The Cockpit. As the show’s writer and director, I have a history with the venue. It was where I gave my first leading lady performance in Theatre as a young actress, when I was 17 years old. playing Juliet in a youth theatre musical adaptation of Romeo and Juliet. To return with my own show, and ensemble all these years later, feels like a full circle moment and it’s really exciting!
To be presenting this particular show, and its message about friendship and well-being feels so important right now as we are constantly being encouraged to abandon ourselves and our communities, by systems we feel are taking our power. I’m excited to present a show that protests loudly, through all the creative devices we have available that “We will not give up on ourselves, our bodies or each other. We stand together – heard, seen and radical in our commitment to joy.”
London can be an expensive place to perform in – what key advice would you give to performers that is a sort of life hack?
Collaborate. We don’t have to work alone in this. Get involved with projects that interest you and where you think you can grow. It will help build your network, your experience and the number of favours you can call in as and when you need them. There are so many of us creatives doing this. If we support each other not only does our work become richer but we lighten the load of expense. We are often afraid to ask and afraid to try because we think we may fail or be told no. We won’t know until we try and we also won’t encounter the creatives who might just be willing to say yes, if we don’t say aloud “Hey, I’m over here making this thing… wanna help?”
Who would be your ultimate dream audience member?
Gosh, wow! That’s an interesting question. This show is for the audience member who wants a theatre experience that goes beyond entertainment. We cover that with the relatable, dramatic stories, the comedy moments, great songs and captivating movement work but we are here for the audience members who are craving real connection with powerful themes and possibly each other.
Curious about how a theatre piece might wake them up to their senses, their personal experience and their relationships we are calling in theatre lovers, makers, first timers who are ready for an interdisciplinary experience that includes them and doesn’t leave them silently viewing from the dark comfort of their seats; so come with your friends, come with the women in your lives, come with that person who needs to shed something they’ve been holding onto for too long, come with the people who want to hear and champion women’s stories and experiences in public spaces. That is what we’re here for!
The iconic image of the Camden Fringe is the Pigeon – if you could call this years pigeon a name to represent its style what would it be and why?
I’d call it “Doc” – The pigeon is giving strong Doc Martens vibes and that also fits the rebellious, bold, punk and protest spirit of Camden.
If people want to find out more about you where can they follow you on social media?
Instagram | @choralepoetique / @ptplays
Youtube | @ptplays100
Threads | @ptplays
TikTok | @ptplayscoach
Substack | @ptplayspens
BlueSky | @ptplays
And Finally, in three words – Why should people come and see the show?
Unmasking musical healing
Welcome to The Phoenix Remix 
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