The Edinburgh Fringe is upon us and to get prepared for another Scottish summer 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 Mimi Collins about Good Girl.
Can you tell me a little about your show and what audiences can expect?
After discovering her husband’s affair, Alix fights like hell to save her marriage. So when more affairs are discovered… well, she fights harder.
But as her marriage continues to unravel, and with it her sense of self, Alix makes a final, desperate attempt to keep it all together by… posting a nude. To the internet. (She doesn’t post her face, she’s not insane). Overnight, she finds herself catapulted into a world of kink, curiosity, and – unexpectedly – the support of a community she never knew existed.
What drew you to this specific story, and why does it belong at the Edinburgh Fringe?
This story is largely autobiographical, and it demanded to be told. It offers a vulnerable look at the inner workings of a fractured marriage, and an honest portrayal of the world of BDSM and kink that is rarely shown in the media.
The juxtaposition of the relationship one would expect to be safe – the traditional marriage – against the relationship society would term deviant – the Dominant/Submissive dynamic – and the investigation of which one actually provided more care and healing, will leave audiences talking for days.
What has been the biggest challenge in bringing this production to life?
It’s always hard to translate a true story to the stage. Perhaps the biggest challenge here was how little of it, in the end, was able to be fictionalized. The performance is taxing, but the connection made with the audience makes it all well worth it.
How does the design of your show (set, sound, or lighting) impact the presentation of your story?
Lighting defines the timing, and the addition – or subtraction – of a blanket and pillow defines the space. Maintaining the simplicity of the set and light design was important in assuring it that it can translate well in small and large theatres.
The sound is more dynamic, with some effects coming from the phone on stage and cued by me, while others come from speakers. This design adjusts the intimacy of moments to help the audience feel what the character is feeling from beat to beat.
If you could sum up the show in one word or phrase, what would it be and why?
Heartbreaking and hilarious. Because if we don’t laugh, we’ll cry.
Good Girl runs at Gilded Balloon Patter House (Venue 24) from 5th – 31st August. Tickets can be purchased here: https://www.edfringe.com/tickets/whats-on/good-girl
