Edgar and The Land of Lost -Part Three

If I could work on Christmas shows for the rest of time I think I’d be forever content. As a company, we often employ a lightness of touch in our work. Our opinions on the bigger picture, on political and emotional matters, are implied, not hammered home.

However, a Christmas show is a very different beast. The great Christmas films, like It’s a Wonderful Lifeand Home Alone, take us on journeys; revel in peril, loneliness and heart-warming conclusions. It is a gift to take these conventions and create an original story from them.

We’re well into our second week of rehearsals now and the plot is getting tighter and tighter, the characters are becoming richer and more complex, the mad moments have been viewed by outside eyes and have been deemed comprehendible. We’re in a place where the plot is feeling more and more secure and we can delve into detail and polish up our stagecraft.

One of the greatest things about working as an ensemble is honing all the brilliantly creative minds that we have in the room. I would describe the show that has erupted from our collective brains as UP meetsThe Mighty Boosh. It is mad, musical, emotional, fantastical and, if the rehearsal process is an apt reflection of the final show, a whole lot of fun.


Helena (Co-director of Edgar and the Land of Lost)

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