I sat down with writer and performer Georgina Collins to find about Fringe sensation Succubus, which returns for a limited run at The Courtyard Theatre this October.
Can you tell me a little about your show and what audiences can expect?
SUCCUBUS is a 60-minute cannibal joy-ride, told by a lonesome character on a cellophane-covered stage. At its heart, it’s a queer story about finding your place and keeping your humanity when facing the unimaginable.
Expect a few laughs, some queasiness and, hopefully, to leave feeling a little less alone.
What drew you to this specific story?
It grew out of my own experience of hormonal changes and PMDD in my twenties, which felt like a second puberty. (I’d like it in writing that the play is not autobiographical. I’m practically a vegetarian.)
I’ve always been drawn to the monstrous feminine and to characters who physically change and feel othered for it, like Jennifer’s Body, Ginger Snaps and The Fly. I also wanted plenty of humour and action in there. Women want to bleed out in the snow too.
The show enjoyed enormous success during its Edinburgh Fringe run. Why do you think that was, and how has the Fringe experience impacted your preparations for your London transfer?
It’s still hard to believe. It’s tough enough finding an audience for a gore show, never mind one from an amateur showgirl with no training or writing creds. Word of mouth definitely helped: win over one horror fanatic, and you unlock a few more.
We also had a fantastic poster (shoutout Alex Christian and Myla Faith), and I’d often flyer in the poster outfit, blood-soaked chin and all, chatting to people about the show. It isn’t to everyone’s taste, but the people it’s for really connected with our cannibal with a heart of gold. I’m not setting expectations for London.
It’ll be a different beast with different challenges, and I’m just hoping to find our audience here too.
What has been the biggest challenge in bringing this production to life?
The show is pretty technical. There are over 200 sound cues, which our incredible producer and dramaturg Zara (she wears many hats) operated every night, plus LEDs, blood, gore and plenty that could go wrong.
Deciding to multi-role at the 11th hour as an early career actor was particularly challenging, but I’ve learnt to revel in it. I enjoy talking to myself on stage.
How does the design of your show (set, sound, or lighting) impact the presentation of your story?
By my estimate, we got through 19 imperial pints of fake blood in Edinburgh. It’s fun! Washing your hair and clothes every day is a pain, and so is slipping on a piece of human flesh (we’ll let you figure out what it’s made of) mid-scene. Add that to the risk assessment, Zara.
But it gives the show a visceral, physical language that’s an utter delight to play with. Our Edinburgh props had a certain B-movie charm, and for London the wonderful brothers at Twin Focus are upping the ante. Womanhood can often feel gross, so let’s make it gross.
If you could sum up the show in one word or phrase, what would it be and why?
“Coming of rage story with (delicious) heart” (credit to Zara, co-founder of production company Halfway Productions).
I think it best captures the show’s well-meaning horror. :)
Succubus runs at The Courtyard Theatre, London, on selected dates between 13 – 28 October. Tickets available at https://www.omnibus-clapham.org/whatson/dolly
