Interview with Bettina Paris, writer and actor

"To see the audience being affected like that, and engaging with one another, asking questions, sharing compassion, being vulnerable, it’s been pretty special."

Interview with Bettina Paris, writer and actor

Could you first introduce yourself to the reader?

I’m Bettina Paris, I’m the writer of Sisyphean Quick Fix, within which I also play the role of Krista. I’m originally from Malta, but made London my home 7 years ago. I landed my first professional job when I was 9 years old, in the TV Movie Helen of Troy. I was last at the Fringe in 2014, and SQF represents my first full-length play. I’m a massive foodie and love to cook, and my perfect day off would consist of lots of walks in nature or swimming in the sea.

How would you describe your show?

Sisyphean Quick Fix is a poignant, funny, & heartfelt comedy drama that deals with the complex realities of addiction, its impact on families, and the pull of responsibility for migrants when difficulties arise at home. The narrative follows sisters Krista and Pip as they navigate through the increasing severity of their father’s drinking habits. Krista is an in-between-jobs actor working bars in London, and Pip lives in Malta and is newly engagedAs the pressures of caring for a person struggling with an alcohol addiction puts a strain on their lives, it tests their close relationship with each other.

Theatre critic Ramona Depares said: “Paris’s protagonists are neither martyrs nor prodigal daughters. They’re simply human, and we utterly feel their pain, their joy, their anger… The dialogue is honest, no-filter, replete with devastating witticisms that elicit laughter even as we wince at the raw pain it represents.” “Tightly directed by Nicky Allpress”,the chemistry between the characters [is] electric; Rizzo and Paris bounce off each other as effortlessly as a tennis ball in a championship match”(Times of Malta).

It is inspired by my own personal experience of caring for someone with addiction, and has been made with input from alcoholism charities in Malta and the UK.

What is your favourite part of your show?

The show sees the two sisters in varying moments taking place over two months, so as actors, we get to cover a lot of ground and play in multiple scenarios, embracing the rising stakes. The extremes the characters are pushed too, result in a lot of ridiculousness. Being able to tackle a play that deals with very relevant social issues, whilst finding the humour within them, has been my greatest joy. There’s a scene with a bag of stolen shoes, which is as funny as it is hard-hitting and getting to share the stage with Tina Rizzo in what feels like a back and forth tennis match has been an absolute pleasure.

Are there any particular themes or messages you hope the audience takes away from your performance?

SQF was born out of a want to give a voice to the multiple casualties of addiction by putting those living with a person struggling with the disease at the centre, whilst sharing a message of hope for the future, in the sisters’ united compassion. As someone who has first-hand experience caring for someone with alcoholism, I would like the play to act as a vessel for audiences to delve into their preconceived notions of addiction. It is an ingrained part of our culture to drink. This has unconsciously made a lot of people with addiction issues feel isolated and ashamed, which in part makes it difficult for them and their families to access the resources they need. The more we can engage in conversations about it, the more normalised it becomes for people to seek help. I have done my best to present this in as genuine, raw and truthful a way as possible.

Why do you want to perform at Edinburgh Festival Fringe? What differentiates it from other festivals?

I last performed at the Edinburgh Festival Fringe in 2014 in a two-hander by Philip Ridley. It feels so special to come back as an artist sharing my own work ten years later. There’s no better place than the Edinburgh Festival Fringe to showcase your work in an international context. It is the greatest celebration of arts and culture in the world, and the opportunity to be surrounded by like-minded people and be inspired by their work is such a great gift. The Edinburgh Festival Fringe is a proven training ground where some of today’s most popular entertainers got their start. It’s also home to one of the most adventurous audiences in the world – an audience that, along with the paying public, includes producers, promoters, journalists, and fellow artists, so it feels like anything is possible.

How has your background, upbringing and education had an impact on your artistic career?

I’ve been performing since I was young – I was one of those kids who knew exactly what they wanted to do as soon as they got a taste for it. Of course my career trajectory has developed and changed over time, but growing up in a home where finances were always a struggle, I definitely learnt resilience. I’ve learnt how not to take no for an answer and shift my perspective when it comes to rejection. I truly believe what’s not meant for you won’t pass you by and if you really want something, you can achieve it, you might just need to change your outlook and find a different way in. This belief system has allowed me to move country, gain further education, build a successful career and remain in London through Brexit and a pandemic so something’s definitely working!

Can you describe your creative process and how you develop your ideas into a full-fledged performance?

The work I create is often centred around the human condition and our psychology, identity, relationship dynamics, our need for community and interrogating societal pressures and expectations. Theatre should entertain, and I am a firm believer in the power of theatre to instigate change. I’m interested in good storytelling and believe in the power of art as a platform to shed a light on the unknown, reveal the truth - as messy and as beautiful and as ugly as it is - to give a voice to the voiceless and eliminate barriers. That said, my ideas often develop from something that is personal to me, they may form from my own experience, or they may generate from something that has piqued my interest personally.

You’ve recently performed Sisyphean Quick Fix in Malta, what is your favourite thing about performing it for a live audience?

There’s no feeling like the feeling you get when you step on stage. Honestly, I’m not the biggest fan of the moment just before – the butterflies in your stomach, the feeling that you might gag at any given moment. However, the thrill I get from being present with my partner on stage, living moment to moment, going through a whirlwind of emotions and states, and surviving it. There’s no better feeling than that except for the audience response afterwards. I feel my happiest when the show has come to a close and it’s clearly had an effect on people and resulted in some sort of connection. Sisyphean Quick Fix sparked a lot of conversation post-performance, which has been so lovely to be a part of. To see the audience being affected like that, and engaging with one another, asking questions, sharing compassion, being vulnerable, it’s been pretty special.

Is there a piece of feedback you've received from an audience member or critic after a performance that’s stuck with you? 

I think overall I’m just so happy so many people have found something to connect to within the piece – I’ve had people who have been carers for others for other reasons outside addiction tell me they felt seen, people connect with the sibling dynamic and the commentary on migration and how it affects relationships too, the aspect of my generation now in our 30s stepping into this new role of caring for our parents, and of course, those personally affected by addiction themselvesThe best feedback has been universal from audiences so far and critics too – that the piece wears its heart on its sleeve, it's anything but superficial, it's honest and heartbreakingly funny, which is exactly what I wanted to achieve, and knowing that it’s making a difference to people, means everything.

Is there a show you’re excited to see when you’re up there?

Of course! I’m excited to see the other play our brilliant director Nicky Allpress is directing, Jobsworth, written by Isley Lynn and Libby Rodliffe, and also Chalkline Theatre’s The Chaos That Has Been and Will No Doubt Return – I’m always excited by the work they produce!

What would you say has been (potentially) the most useful piece of advice you’ve been given about taking a show to Edinburgh Fringe?

Expect anything and everything. Be adaptable, and ENJOY IT. I think it’s easy to get caught up in the ‘work’ of it all, especially when you’re taking on more than one role within the team (which is common for so many artists at the Fringe). It’s important to remember to have fun and take it all in, and be proud of what you’ve achieved! We’ve made it this far!

When and where can people see your show?

Pleasance Courtyard, Pleasance Below, 31 Jul – 26 Aug 2024 (not 14), 11.05 (12.00)

And where can people find you online?

https://www.pleasance.co.uk/event/sisyphean-quick-fix

Header Image Credit: Tina Rizzo (L) and Bettina Paris (R) in Sisyphean Quick Fix (c) Emma Micallef

Author

Tom Inniss

Tom Inniss Voice Team

Tom is the Editor of Voice. He is a politics graduate and holds a masters in journalism, with particular interest in youth political engagement and technology. He is also a mentor to our Voice Contributors, and champions our festivals programme, including the reporter team at the Edinburgh Festival Fringe.

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