Interview with Simon Jay

Simon Jay takes some time to talk to Voice about the show, inspirations, and to give advice to young people.

Interview with Simon Jay

Could you first introduce yourself to the reader?

Hi I'm Simon. I've been putting on shows since I was eight years old. The first in my parents living-room, and from then on, I've been constantly challenging myself to do different types of performances, plays and shows. I've done everything from playing Hamlet, a Dame in a disturbing anti-pantomime and even co-writing a radio drama about a haunted house overrun by inter-dimensional politically aware salamanders.

How would you describe your show?

Trumpageddon - it's the closest you'll ever get to having an unfettered hour with the President of the United States (at the time of writing) Donald J. Drumpf. You get to play golf with him, ask him any question you like. Meet his wife, see what he says when on the phone to other world leaders. It's like one of his rallies, but you're totally safe. It's a satirical safari where you can roll down the windows and immerse yourself in the horror that is our current reality.

Why do you want to perform at Edinburgh Festival Fringe?

I've been coming to Edinburgh either as a performer or to simply watch amazing shows since 2011. It's a month like no other in my life. It's a great equaliser for artists and creatives, we are all there working towards making something good for an audience, to tell a story, to paint a picture, to inform and educate. It's the best of life.

What differentiates it from other festivals?

Being the biggest mingled with its 70-year reputation, there is a buzz abound that nothing else can match. I've done Brighton, Reading and other festivals in the past and none can match the behemoth that Edinburgh has become. If you're doing it right, it's hard work and it feels like you're earning your stripes as a performer doing Edinburgh.

Do you think the Fringe has changed over the years? If so, how? Are these changes positive or negative?

In the seven years that I've been going, I haven't seen much change, other than flash in the pan disputes between organisers, or venues, but these blow over, in the grand scheme of things, like anything, you can choose to be cynical and look at the negatives; the commercialisation, the monopoly of the big four, or corporate sponsors hollowing out established venues and giving them to big names rather than allowing new talent to be nurtured. But these are as nothing to the overwhelming positives. People have reacted to that commercialisation by seeking new venues, creating free fringes (busking indoors) and bucking the trend, that's the ethos of the fringe and that can never be dampened.

What first motivated you to enter the industry? Who were your inspirations?

I kinda fell into it really. I've always been creative, and when I got to about twenty, and went to university, I realised 'oh you can do this for money?' and that gave me the confidence to go into theatre. The first pay-packet didn't come for a while though…

My inspirations are manifold; Barry Humphries for his DaDa Roots and anarchic suburban rebellion, the philosophy of Quentin Crisp, the surreal inventiveness of Peter Cooks improvisations especially with Chris Morris. I like character comedians, especially old-school sketch-comedy which Catherine Tate continued and so has Morgana Robinson. I love the writing of Michaela Coel and Phoebe Waller-Bridge too.

If you didn't have your current job, what would you probably be doing?

Local Councillor in south London most probably, getting arrested for handcuffing myself to diggers on fracking sites.

If you could have any job in the world, what would it be?

Prime Minister of Great Britain and Northern Ireland.

What is your earliest childhood art memory?

Creating some abstract monstrosity in nursery for 'Santa Claus', everyone else was doing snowmen, I went for this Rothko horror, the teachers thought I was simple after that.

Do you ever feel any pressure to be a social commentator, or constantly update material to respond to events?

The whole point of the show is to be constantly updated, at the time of writing, Donald Drumpf Junior has just revealed he was talking to that Russian lawyer, that'll have to be reflected. It's obvious putting Drumpf in a Fringe setting that the creator is probably critiquing him, but my social commentary is about the people who are affected by leaders. I feel bad for Republicans and others who voted for Drumpf to improve the rust-belt in America because he simply isn't going to do that, they'll continue to suffer. I also feel that no-one can feel superior over the U.S for voting Drumpf in, look at the state of British Politics at the moment, so there is a lot of that resentment in the show too.

Equally, do you think there has been a shift in public sentiment that has affected your work?

I am glad that people get what I am trying to do with Trumpageddon it's not an impression, it's an inhabitation. I am not playing him like Baldwin does, who goes down the route of him as a kind of childlike frat-boy. I play him as an aggressor, a bully and a dangerous figure, because that's what he is. So, I'd never change that about it, whether the public get it or not.

Describe the last year in 5 words or less?

Unbridled Global Horror with laughs.

If you could work with anybody, from any point in history, who would you pick and why?

I'd love to work with some old-school music-hall comedians and learn their craft. Or be in a film with Charlie Chaplin, or be directed by Stanley Kubrick, or just be allowed to be on set. Kubrick, for all his careful artistic eye, loved comedy, there's no mistake he had three cameras constantly on Peter Sellers during the filming of Lolita and Dr. Strangelove to pick up every detail. It would be great to work with someone who took comedy that seriously.

Why would a performer opt to do either a ticketed event or participate in the free fringe? What are the benefits and limitations of both?

Money. Money. Money. A ticketed event in a venue you hire yourself you're looking to outlay anything between a grand to 10! That's without paying for your show or advertising or accommodation. Free Fringes take care of the cost of the venue, you're part of a community, that's very important, especially when you're new. Paid shows work best if you have a production company behind you. Otherwise it's high-risk.

What advice would you give to someone who wants to take a show up to the fringe?

Do it. Ignore the doubters, don't expect anything, go and watch everyone's show, live it and experience it.

When and where can people see your show?

Thanks for asking. It's on at The Gilded Balloon, Nightclub at 2.45pm from the 2-28th August, [not 9, 16, 23]

And where can people find, follow and like you online?

You can follow me on Twitter: @thesimonjay, Instagram: @simonjayness and if you type Trumpageddon into Facebook you get the official page of that, which is nice.


Trumpageddon is performing at The Gilded Balloon at 14:45 on 2nd – 28th (not 9th, 16th, 23rd). For tickets and more information visit the Ed Fringe website.

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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