Could you first introduce yourself to the reader?
My name's Arthur and I'm one third of Tit4Twat. We make sweaty, interactive theatre and mischief, and are taking a very rowdy show - Losers - to Underbelly Cowgate this summer. Maybe I'm biased, but regardless of whether you love or hate reality TV, I reckon you'd have a good time.
How would you describe your show?
Expect spectators shouting out loud, Destiny's Child sing-a-longs and some fairly brutal punishments. Losers focuses on how dark and disturbing reality TV is becoming. It's a bit like a high-stakes drinking game for the performers - every audience member is armed with an electronic voting pad and must make decisions about which contestants fly and which ones get punished. That's where things get interesting…
Why do you want to perform at Edinburgh Festival Fringe?
We couldn't turn an Underbelly offer down. Getting a late-night Edinburgh slot has always been a goal; due to the show's interactive nature, we can't wait to see what happens when it's inevitably experienced by some of our most lively (and drunken) crowds ever. We also want to try haggis.
What differentiates it from other festivals?
Edinburgh is by far the biggest and (let's not beat around the bush) still the best. It's great for getting diverse (and busy) audiences in, and it can do absolute wonders for new and emerging artists and companies. Take Fleabag: back in 2013, that started as a monologue in the exact 60-seater space we're in this year (Big Belly, at the Underbelly). We're feeling the pressure…
Do you think the Fringe has changed over the years? If so, how? Are these changes positive or negative?
I've experienced the Fringe every year since 2011, and its incredible spirit definitely hasn't changed. The Mile never ceases to represent the sheer variety in what's on offer. It's exciting and inspiring to see Canadian circus troupes, South London beatboxers, bright-eyed emerging comics from the Scottish Highlands and blokes dressed as enormous condoms all flyering side-by-side. There's nowhere quite like it.
What first motivated you to enter the industry? Who were your inspirations?
The real answer is my Dad took me to see Chitty Chitty Bang Bang when I was eight, and when it flew over my head at the end, all I was thinking was "How the fuck can I get myself in that car?" A more finessed answer (equally true) is I had incredibly inspiring secondary school drama teachers (Mr May, Ms Penglase and Mr Piper) who taught me it was totally OK to be myself and not be good at remembering historical dates or German vocab.
If you didn't have your current job, what would you probably be doing?
I actually have another job already because there's obvs not much money in the arts right not (certainly not enough to pay ourselves the London Living Wage anyway). I work on the core advertising team for Maltesers, so eat a lot of free chocolate and occasionally get to go on fun TV shoots.
If you could have any job in the world, what would it be?
I'd love to own and run a hotel. Probably with some sort of performance space attached to it. Do they exist (outside of Vegas)? Maybe it'll need to be in Vegas.
What is your earliest childhood art memory?
My first ever theatre outing. I was 3 and saw Noddy: Live! at our local theatre (the Catford Broadway in South London). I wish I could say it was a happy memory but the whole experience was thoroughly traumatising. The baddy was "stealing all the shapes from Toytown" and the prospect of all the bright coloured triangles and hexagons being taken away was too much for me to handle. I caused a very vocal disturbance and had to be taken out. My parents probably didn't realise, all these years later, that I'd still take theatre quite seriously.
Do you ever feel any pressure to be a social commentator, or constantly update material to respond to events?
I think every show needs to have some sort of social commentary at its heart (explicit or implicit) or it's a bit pointless. Every piece of art needs to provoke, at least a little bit. The type of shows we make never have fixed scripts, and always rely on audience involvement and the performers having to respond to real-time events, so I think we're quite lucky in that respect - they're constantly evolving based on what is going on in the wider world. The specific landscape of 'reality television' has evolved significantly in the last three years (since the inception of Losers) so we've certainly had to alter language and certain messages to be culturally relevant in the new directions our subject matter is heading.
Equally, do you think there has been a shift in public sentiment that has affected your work?
Yes, I think commercial audiences were a lot less familiar with the prospect of 'interactive theatre' three years ago, and it was therefore more of a subject of intrigue in itself. Since then, I think it's developed a slightly negative reputation; people now roll their eyes thinking it's a cheap gimmick, or perhaps associating it with lazy craft or sub-average improv. We're on a mission to prove that not all interactive theatre is about "dragging audience members up" to make them blush (and the rest giggle). I love that the form can force audience members to evaluate their own behaviour, not in a theoretical or make-believe situation but in real-time (and with real consequences).
Describe the last year in 5 words or less.
Donald Trump is a cockwomble.
If you could work with anybody, from any point in history, who would you pick and why?
Beyonce during her 'I Am World Tour' era. I already know the choreography so it's not an unrealistic dream.
Losers is performing at Underbelly, Cowgate at 23:20 on 3rd – 27th (not 14th). For tickets and more information visit the Ed Fringe website.
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