The Camden Fringe is almost upon us, providing one of the best times in the capital to get into Fringe theatre, and the stories it can tell. To get prepared for the festival, Read About Stuff is running a ‘Five From The Fringe’ interview series, where creative teams answer five questions about their upcoming Festival shows.
In this interview, I chat to Aimee Gebhard about their new show This Could’ve Gone Better.
Can you tell me a little about your show and what audiences can expect?
This Could’ve Gone Better is a sixty-minute, one-woman play that follows the unfortunate hour of a woman who gets stuck in a supermarket freezer after attempting to steal ice-cream. This nameless woman is forced to come to terms with the disappointments, losses, dreams and hopes of her lacklustre existence. And to make matters worse? The world might be ending…Through anecdotes, poetry, dark comedy, a little bit of Shakespeare, and a complicated relationship with a freezer-wall, the complexities of a twenty-first century existence crash down in haunting waves of grief and fantasy.
Audiences can expect a rollercoaster of emotions and revelations, exploring themes of coming-of-age, grief, unrequited love, queerness, death and loneliness. This is a premiering piece that speaks to audiences about the uncertainty of today’s society, feeling lost in life, and the difficulty in navigating a world full of supposedly endless possibilities.
What drew you to this specific story, and why does it belong at the Camden Fringe?
Quite honestly, it’s a story that emerged from my own anxiety. Last year, there was a moment when the whole world seemed to be losing it: headline after headline of doom and gloom that led me to think only of the worst. So, rather than spiral, I tried to rationalise my emotions by writing and, thus, a first draft of This Could’ve Gone Better was born.
This Could’ve Gone Better belongs at the Camden Fringe because it is a true piece of Fringe theatre: low-budget, small team, minimal set, honest story, unique take. It takes audiences on a journey of relatability and truthfulness whilst holding up a mirror to social complexities.
What has been the biggest challenge in bringing this production to life?
One of the biggest challenges has been trusting myself and my creative ability. I know the story I want to tell and how it should be told; I have created stories and performed countless times before. However, this show feels more personal than ever, and the biggest hurdle is overcoming self-doubt and fear that comes with presenting this to the public. I have to stop questioning whether this is what the audience wants. I have to remember that this is a story from my perspective, how I view the world, and whichever way I decide to express this view will be correct in those circumstances.
I need to stop trying to impress and instead follow what I know is right.
How does the design of your show (set, sound, or lighting) impact the presentation of your story?
The set design is purposely bare. There shouldn’t be a lot to distract both the protagonist or the audience from the situation they are in. Ignoring the few objects scattered across the stage (empty cardboard boxes, a broken clock, tattered supermarket uniform), everyone is left with scarcity and a barren landscape that forces you to examine the events unfolding and the reality we are placed in. The only changing factor of the set will be lighting; an ominous external factor that matches the interaction of the woman with the mysterious Freezer Wall. The stillness, reset by the subtly changing light, should add to the fantasy the woman experiences as she loses her grip on reality.
If you could sum up the show in one word or phrase, what would it be and why?
Fine. This isn’t an under-selling of the show, it’s what you take from it: “it’s fine”. As the protagonist constantly tells us and herself, everything is fine; throughout the chaos and uncertainty and joys and fears, we’re still alive and living. We can push through what we thought was impossible and come out on the other side. It’s a message of hope that I truly believe people will carry with them after the performance.
This Could’ve Gone Better runs at Canal Cafe Theatre 11 – 13 August. Tickets are available here: https://camdenfringe.com/events/this-couldve-gone-better/
