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    Interview: We Want To Know Much More

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    Voloz Collective’s Olivia Zerphy on The Man Who Thought He Knew Too Much

    Earlier this year, Voloz Collective brought The Man Who Thought He Knew Too Much to Clapham’s Omnibus Theatre. We called it ‘a brilliant whirlwind of story and movement‘, giving it a full 5 stars. After a successful run at Edinburgh Fringe, Voloz are coming back to London for a short run as part of Pleasance’s Best of Edinburgh season. It seemed like a good time to catch up with Co-Artistic Director and Performer Olivia Zerphy to find out a bit more.

    Photo credit Jake Wadley

    Congratulations on the success of The Man Who Thought He Knew Too Much at Ed Fringe. You’re coming back to London as part of the Pleasance Best of Ed Fringe. Tell us about the show and what audiences can expect?

    Thank you! The Man Who Thought He Knew Too Much is a fast-paced, comedic, cinematic, acrobatic whodunnit. It follows the story of Roger Clement, a copywriter in 1960’s New York. One day, following a series of seemingly unrelated minor delays, Roger is just a few minutes late to work, arriving just in time to witness the explosion that kills his friends and colleagues. This event draws him into a web involving cold war conspiracy theories, false identities, hilarious mis-steps, and an ever present mysterious figure in a red hat. Audiences should expect plot twists, live music, back flips, and lots of laughs in this high-octane, roller coaster of a show.

    Voloz Collective is an international company, where are you talking to us from today? While many more people have been working remotely since the beginning of the pandemic, we can only imagine how creating physical theatre from different locations presents its own set of challenges?

    I (Olivia) am currently in Vermont, USA. Paul is just outside of Paris, and Emily and Sam are both in London. You are absolutely right – creating physical theatre from different locations presents its own set of challenges. In this case, unequivocally insurmountable ones. After a few hilarious and entirely unsuccessful attempts at zoom rehearsals, we discovered that since our style is so dependent on the relationship between our four bodies in space, there is absolutely no way to create without having, well, our four bodies in one space.

    There are certain things we can accomplish remotely, and we do our best to frontload production, marketing and administrative work so that when we are together in the same country we can focus on creating our shows.

    Photo credit Jake Wadley
    In Voloz Collective, very differently from traditional theatre companies, you share all of the roles directing, acting, producing etc. How do you make this work?

    While the four of us have different backgrounds, and certain categorizations of actor / director, social media marketer etc… that we might fall into outside of our work with Voloz. Within the company, we strive to resist the hyper-specialisation that is increasingly expected in many professions. That doesn’t mean we sit down and collaboratively compose every email or discuss until we come to a consensus on every line of a budget spreadsheet, (we divy tasks up in weekly zoom production meetings) – but it does mean that each of us has a finger on the pulse of the company, and each of us feel ownership of and responsibility to what we’re creating.

    People often think that we must be extremely aligned in terms of taste and vision in order to create shows in this way, but that’s actually not the case. While we all have a shared language from our Lecoq training, we have very different theatrical universes, and there is a constant push and pull between the four of us. We always have different perspectives of what the work is or could be. While certainly not as efficient as having one director in charge of final creative decisions, we think this internal friction is productive – that it makes the work more alive, nuanced, and surprising.

    Your Ed Fringe run saw a sold out run and some really great reviews, you must be pretty pleased with how it went?

    This was our first time at the Fringe, and there were a lot of uncertainties regarding audience behaviour due to covid concerns. Bringing our show to the Fringe was a risk, and we are incredibly pleased with the payoffs. The main thing we took away from the past month was a deep respect and admiration for the sheer talent and resiliency of the global artistic community.

    Photo credit Sammy Mori

    Photo credit Jake Wadley

    Prior to Ed Fringe, you ran a successful crowdfunding campaign, where you even shared some figures with the worst case suggesting a loss of up to £14,000. We know that so many performers faced such financial challenges at Ed Fringe, how did it all go for you?

    Thank you for asking this. We are really passionate about being transparent regarding the financial realities of producing as a young theatre company. We were extremely fortunate in many ways. We were able to raise £4,156 in our crowdfunding campaign, received £1,000 from the Carol Tambour Incentive Award, £1,000 from the LET/Greenwich Partnership Award, and received £400 from the Pleasance Debut Fund. In addition to this unbelievable support, we sold out every performance in our 75 seat venue. Our time at the Fringe was as successful as it possibly could have been. Even so, we will barely break even.

    Many companies – through absolutely no fault of their own – did not have access to this kind of financial support, and didn’t see ticket sales reflect the immense quality of their work. They will be operating at an enormous loss post-Fringe. Even more unsettling is the fact that the massive financial risk coupled with the need for sizable upfront funds made bringing work to the Fringe simply not possible for many companies. Voloz was very fortunate to be in a position that allowed us to take a financial risk. We were able to dedicate a huge amount of time and energy to raising funds in the lead-up to the Fringe- this is not the case for many, many companies, which is in no way reflective of the quality of their work, and entirely reflective of the far reaching influence of luck, privilege and circumstance.

    Like all inequities, this disproportionately affects artists of colour, artists that identify as D/deaf or disabled, artists who identify as working class, and artists identifying as a member of any group historically underrepresented in the theatre industry.

    This year, there were some fantastic initiatives working to address this problem, but there needs to be more. While the Fringe is just one aspect of a larger industry, it is a place that unites artists, audiences, critics, programmers, and producers from around the world. Being shut out of the opportunity to have work seen by these industry professionals has consequences that reach far beyond the month of August.

    What did you see at EdFringe yourselves?

    We saw so many stunning shows. A few of our favourites were See You from Hung Dance, Famous Puppet Death Scenes from Old Trout Puppet Workshop, Project Dictator from Rhum and Clay and Hungry from Paines Plough.

    What’s next for Voloz Collective? Is there more life for The Man Who Thought He Knew Too Much or do you have any new projects in the pipeline?

    After our run at the Pleasance this October, we will begin creation of our next piece, which will premiere in April of 2023. In May of 2023, we have a month-long run of The Man Who Thought He Knew Too Much in Paris, where we will perform it in French! Because of interest generated during our time at the fringe, we are also in the process of scheduling another mini-tour of The Man Who for next spring.

    You describe the Man Who as ‘Wes Anderson meets Hitchcock meets Spaghetti Western’ – as a final fun bonus question and without giving it too much thought, give us your top five movies

    Sorry To Bother You, Everything Everywhere All At Once, Parasite, Fantastic Mr. Fox and Baby Driver

    Photo credit Ruth Sinead O’Brien

    Huge thanks to Olivia for taking time to talk with us. The Man Who Thought He Knew Too Much plays at The Pleasance from 4 to 7 October. Further information and bookings click here More

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      Preview: Godot is a Woman, Pleasance Theatre

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      In 1953 a man wrote a play about waitingIn 1988 he sued five women for trying to perform itIn 2001 Madonna released ‘What It Feels Like for a Girl’ It’s 2020 and we’re still waiting.

      Playing between 8 – 12 June 2021

      After two postponements in 2020, Godot is a Woman is finally set to hit the stage. Third time lucky.

      Silent Faces make ensemble-led devised theatre and are proud to be an integrated company of disabled and non-disabled artists. Godot is a Woman follows the critically acclaimed A Clown Show About Rain (“Delightful” Scotsman) and Follow Suit (“Marvellously comic and compelling” The Stage).“We’re excited to see Silent Faces take a swing at the patriarchy with Godot is a Woman. The Beckett Estate’s refusal to allow women to do Waiting for Godot (and who even knows where they stand on gender non-conforming people) seems a relic of a bygone time and deserves interrogation.  In their inimitable style, I have no doubt that Silent Faces’ new show will not only rage but question, challenge and hopefully inspire us all!” Nic Connaughton, Head of Theatre at Pleasance Theatre

      With their trademark style of playful and political physical theatre, Silent Faces explore permission, patriarchy and pop music in Godot is a Woman.

      We all know what it’s like to wait, don’t we? Waiting for our banana bread to come out the oven, waiting for Boris Johnson’s 5 o’clock announcement, waiting for permission from male playwrights to perform plays about the human condition. Since Waiting for Godot was written, non-men all over the world have been waiting to fill the boots of Vladimir and Estragon. Nearly 70 years later, the playwright is dead and his estate still says no to the casting of women.

      Today Ariana Grande tells us that ‘God is a Woman’… so we’ve decided we’re done waiting. Samuel Beckett? As Grande would say: thank u, next.

      The show plays between 8 and 12 June, with a matinee performance as well on the Saturday. More

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      Interview: Chloe Nelkin on Positivity and where we go from here

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      I think one of the things we will learn from this nightmare is the power of the people involved in the arts community

      Chloé Nelkin Consulting has been a leading name in the world of theatre PR since it was founded in 2010. A decade on and it’s a name that anyone involved in theatre is likely to have come across, having worked with countless shows and some of the best fringe venues in London.
      And right now, with theatreland in the dark, and venues and those who work in the industry not knowing when they will be able to work again, what better time to hear from Chloé Nelkin herself about how we can stay positive and prepare for when we can finally take our seats again.
      Before we talk about the current situation, tell us a little about CNC, and why you’re such a respected name within the theatre scene?
      Firstly, thank you so much for such a kind introduction.  It really means a lot to me that we have great relationships with outlets like you. CNC is a PR and marketing agency working across the arts with a strong commitment to theatre from West End shows to small-scale pieces staged by new writers at the start of their careers, and of course the Edinburgh Fringe – a platform I’m hugely passionate about and which represents an important part of our year.
      Edinburgh is an incredible launchpad for new writers and new companies (take a look at schemes such as the Pleasance’s Charlie Hartill Theatre Reserve), trying out work for the first time on this giant stage. We’ve looked after some pretty epic shows in our time including the very first appearance of Phoebe Waller-Bridge’s Fleabag and Sabrina Mahfouz’s Chef.  But our support of new companies isn’t just limited to the Edinburgh Fringe.  It’s so special to me that we work with people and companies as they grow, helping pave their way to becoming the superstars of the industry.
      We only work on projects we love and with people we like and that means we’re able to stay honest and really committed to everybody we’re supporting.  I hope this ethos is why we have such close friends in the industry.
      How is CNC coping with the shutdown?
      Our work is built on relationships and, although we have lots of coffee or cocktail catch ups, a lot of what we do is over the phone or email.  So, while it’s bizarre to be at home, it’s also a transition that’s very easy to make as long as we have wi-fi!  I’ve become very au fait with Zoom and FaceTime and Teams and all these platforms mean we can actually see people and still speak face-to-face. 
      Are you concerned that some venues and productions companies may not survive the shutdown?
      Of course. It’s a concern shared by many in the industry but I also think it’s too early to get a true sense of what the theatre landscape will look like when we reopen. What is for sure is the amazing fighting spirit that exists among companies. I’ve had such inspiring conversations with creatives who are using this time to plan, create and think ahead, companies who are refusing to dwell on dire straits but planning ways to make their postponed shows even better and even more accessible. The whole theatre community is joining together as one large support group and I hope that this, combined with government and ACE initiatives, will enable as many companies and people as possible to get through these difficult times. 
      What advice would you have for shows that either closed early, or never even got to the stage?
      Know that you are not alone, make the most of the supportive community who surround you and ensure you are a part of the conversation – even in a small way.  Think about what assets you have that you can share – videos from the rehearsal room, rehearsal pictures, backstage footage, script extracts. Find ways to excite people about your project. Host Q&As on your social platforms explaining the origins of the work. Also use this as a time for development. Ask yourself what you would have done differently had you had an extra couple of weeks and, if possible, use this weird hiatus to implement those changes. 
      What do you think of the digital offerings that many venues and companies are putting online, and what advice would you give them?
      Not everyone has the resources to share work digitally and it’s important to be properly equipped to do this and not feel pressured to jump on the bandwagon. I think the way the industry has risen to the challenge of providing digital resources is incredible.  Take a look at HighTide’s Lighthouse Programme, Hoopla’s improv classes on Zoom or #OperaHarmony run by Ella Marchment.  Even though doors are closed, audiences still exist and it’s inspiring to see venues tackling this head on.  Remember to support initiatives from your colleagues and in turn they will support you.  As with normal show openings, there’s a lot of competition and we don’t want to drown each other out so it’s important to be respectful of each other in this regard.
      What positives do you think we should take from the current situation?
      I think everyone in this industry works crazily hard, often working long hours and not having much time to unwind and restore our energies.  Many people will struggle with the period of lockdown and isolation that we find ourselves in but let’s try to use this time for us – make sure you’re getting fresh air, remember to exercise, hydrate, go to bed at a decent time and find ways to relax and not worry all the time. 
      And what can everyone do to help?
      Many theatres, including those we work with, are asking the public to consider donating their tickets rather than having a full refund.  Of course, not everyone is able to do this but for those who can even the smallest contribution can offer major help. This is an unprecedented situation for any government and they continue to roll out new initiatives all the time to support not just the arts, but all the amazing businesses in the UK.
      On a non-monetary level, join the community and let people know you’re out there. Do you have skills to swap?  Can you offer advice to anyone who is struggling? Maybe just take a second to like someone’s post on social media if you think they’re doing something interesting and important.
      Will theatres be less likely to take risks on emerging talents when they reopen, or will this enforced break allow for a whole new generation of talent to emerge?
      I actually think we are going to end up with a combination of these situations – small new companies may have been knocked badly by the financial implications of our current situation and may take a while to rebuild and feel ready to take the risk of staging work.  But it doesn’t mean we won’t hear these voices, either in collaboration with other companies or through digital channels. 
      I truly believe in the fighting spirit of those in the arts and I do think that maybe people who haven’t yet broken into the industry will be using this time to learn from their future colleagues and to be creative. Take note of what other people are doing and ask yourself what you think works and what doesn’t.  Ask yourself what you would do better. Maybe, now is the time to develop a mini-plan which you have never had the time to do. As I mentioned before, now could be the time to re-consider on an already finished project and ask how you can make it better. There will, no doubt, be a huge appetite for theatre once buildings reopen but we are also going to have to entice audiences back through the doors with a host of amazing work. 
      What has been clear is how the whole theatre world has tried to rally around and support each other, for example New Diorama inviting the Bunker to host a final closing party at their venue. But is there more the industry could do to work together to ensure we all come through this bigger and stronger?
      I think one of the things we will learn from this nightmare is the power of the people involved in the arts community and I’m filled with joy seeing the shared positivity and hope which is galvanising others.  People are swapping skills, organising large-scale Zoom chats for colleagues in similar roles across the country and offering their services pro bono.  We are already working together in unprecedented ways.  It’s important to remember you are not alone.  If you need help right now, even just for a chat, don’t be afraid to ask.  Let the industry support you!  When the crisis ends, we will be closer as an arts community than ever before – better placed to work together, to help each other and to produce amazing arts projects that the world will be eager to receive.  
      And finally, what are you most looking forward to when we do return to normal?
      A lot of our future shows have quite uncertain dates right now but we’ll definitely be sharing news about the amazing things that are coming up as soon as we’re able to. I’m really proud of some of the fantastic companies CNC works with and there will be a lot of truly brilliant things to tell you about. In the meantime, stay tuned in to some of the venues we work with such as the Pleasance, Polka, Ovalhouse and The Actors Centre to see what they’re up to. 
      As for me, I can’t wait to commute, to get back into the office and see the CNC team in person, to hug someone hello and have proper face-to-face meetings.  I’m excited for normality.  But, in the meantime, I’m staying positive, taking my one walk a day and exploring the amazing part of London I live in and thinking ahead for when the doors reopen. 
      ============================================Everything Theatre would like to thank Chloe for taking time to talk to us, and as she says, this is a time we should all support each other. So, if anyone would like to talk to us for an interview, email us at info@everything-theatre.co.uk More