The run up to my shows at Camden Fringe Festival was mad, exciting and exhausting and I wouldn’t have changed a bit of it!
One of the press interviews I had was with the talented Terri Paddock of My Theatre Mates. Terri has a prolific background in theatre media and publications and is a digital content and event strategy consultant for theatres, producers and other clients.
We had a heart to heart about my motivation for writing Celia Delaney is…Angelic? and what my future plans are for the show – and life in general.
Take a read of the interview here:
What made you first want to perform?
Seeing Victoria Wood on TV doing funny songs. I thought, ‘I can do that’, so I did.
How would you define the difference between comedy, cabaret & theatre?
I trained in cabaret under Paul L Martin, who runs courses aimed at singers who want to cross over from other disciplines into the cabaret genre. As part of that, we have this debate on day one of the course about, ‘What is cabaret’? For me, cabaret is subversive, intimate and breaks with convention. What it also shares with comedy is that it ‘breaks the fourth wall’, which means you are speaking directly to the audience without pretending you can’t see them, as is usually the case in theatre (with the exception of pantomime, Restoration theatre and one or two other forms.) Comedy is the easiest to measure in terms of success in that people either laugh or they don’t. Cabaret is more likely to ‘go for warmth’, as Paul says, and to provoke as much as entertain. If I had to sum it up, I would say: in theatre, the performer pretends to drink on stage; in comedy, the performer is drinking on stage; in cabaret, the performer drinks the audience’s drinks!
This is your debut solo show. Why did you want to branch out on your own?
It doesn’t feel like I’m branching out, as I did a trilogy of three shows with a pianist that were presented more as solo shows with accompaniment, so I was halfway there with those! However, they were cabaret shows, in which I presented the songs of other people alongside my own. The difference this time is I am doing a stand-up show with only 2/3 songs and all the material is original. I like performing alone and with others, they seem to complement each other.
"I genuinely have always had an imaginary daughter.
Well, since I was 19 anyway."
Celia on the motivation for her new show solo show
which ran for three nights at the recent Camden Fringe Festival
What was the inspiration for the show’s subject?
I genuinely have always had an imaginary daughter. Well, since I was 19 anyway. I never had real kids and have always wondered what it would have been like.
The show touches on Brexit. Are you updating material as real-world events unfold?
The touch is very slight, so the references are likely to be broad enough to stay current. Besides, nothing has changed in three years!
How does your corporate work help you as a performer?
I get lots more stage time – and in front of much bigger audiences – than most comedians at my stage in their career. I am singing songs and making jokes to 5-600 people at an awards evening, and that is a fantastic way of growing both your skill and your profile.
Read the rest of the interview here.
Celia and the mural of her inspiration Victoria Wood at The Bill Murray – her venue for Camden Fringe Festival