Writer/performer Henriette Laursen brings her clever and witty multimedia show Swipe, Life & Gate Number 5 to Brighton Fringe.
Where: The Actors Theatre
When: 16-17 May, 6.30pm
Ticket price: https://www.brightonfringe.org/events/swipe-life-and-gate-number-5/
“Inspired by true events, Swipe, Life & Gate Number 5 is an exceptional lesbian love story between a white and a black immigrant. Told through a fusion of live theatre and films, you become a passenger on a hilarious and heartfelt journey from their first date to a cheeky, honest (sometimes too honest) loving relationship.
Only one performer is present on stage, whilst the other characters are projected through facetime, conversations and movies. Prepare to fall in love as the couple begin their extraordinary, almost too good to be true, love story that leads them from a swipe through life and to gate number 5.”
What’s the best thing about bringing your show to Brighton Fringe?
Glancing the images or reading the first line about this show, it is no surprise that this piece is a lesbian love story. I think Brighton is the perfect location for this play, as the city is known for their – not just queer acceptance but – queer celebration.
Although it is a love story between two women at no point do we address their queerness and at no point does their queerness cause conflict.
I’ve personally wanted more queer-led theatre that doesn’t portray queerness as the main cause of conflict – where the characters just so happen to be LGBTQ+ but it doesn’t have an impact on the story being told.
Don’t get me wrong, the other stories are also super important, but I wanted to show queer love as any other love; filled with conflict because of outside forces, as well as the basic fact; they are two individuals trying to create a life together.
Can you tell us a bit about Swipe, Life & Gate Number 5? Why did you write it for one person on stage?
Inspired by true events, Swipe, Life & Gate Number 5 is a lesbian love story between a white and a black immigrant told through an innovative fusion of theatre and film.
Only one performer is live on stage and everyone else – including the other lead – is projected on a wall. I like to push boundaries and uncover different formats when I create theatre, and I use humour to comment on social structures that I feel aren’t quite explored in all its nuances.
I think humour is the best way to open people’s hearts before you potentially destroy it (in a fun kind of way).
I can’t share too much as to why only one performer is presented on stage, and everyone else is projected on a wall. The reason becomes clear when seeing the show – BUT what I can say is that I wanted to explore the sense of connection and separation between the live performer and the other characters.
We live in a world of social media which makes it possible to connect across borders and countries, but at the same time it can make us feel disconnected with people in our inner circle, and I wanted to transfer that media and sensation to the stage.
What’s your background before getting into theatre?
I have a bit of a wonky background. I used to study social anthropology, then I took a break from it and went on to study fashion and design before returning to finish my anthropology degree.
And then I went on to become an actor, which opened the door to hustling, rejections, and starring in films that never made it past postproduction – and more rejections.
So, I started writing my own material and put on my own shows.Growing up, I never thought I was great with words, but I felt I found my footing with theatre.
And as a bonus for being confused in my early 20s, my wonky background helped shape who I was and am as a performer and writer, as I aim to understand characters from their unique individual, social and cultural perspective.
And the rest, they say, is history!
What’s been your favourite experience at the fringe?
I’ve never performed at Brighton Fringe but I brought the play to Edinburgh Fringe in 2023 and I love the possibilities the fringe provides, including creating industry contacts and experiencing an array of theatre one would otherwise never have come across.
Despite hardly selling any tickets at Ed Fringe, I was fortunate that those who saw it often stuck around to chat about the piece because it had moved them.
Receiving positive feedback from people who aren’t your friends (yet) really makes theatre-making truly special. Knowing you have created something that resonates in others makes all the blood, sweat, and (endless) tears worth it.
I didn’t even consider bringing this piece to Brighton Fringe, but I was told by some who saw it that I definitely should, and so, here I am.
That is part of what makes fringe festivals so special – if you’re open, it might unlock possibilities you wouldn’t have planned yourself.
What’s next for the show and for you?
I’m in conversation with theatres about bringing the show to Copenhagen, DK, in 2025, so that is definitely on the line.
What’s so great about this piece is that, in theory, it can go anywhere (granted only where queerness is not a crime) because the format makes it easy to add subtitles.
Besides Swipe, Life & Gate Number 5, I’m currently writing a new play, which is also based on a couple – however this time focusing on male infertility, being a 30-something woman not wanting babies and how life can randomly lead you down different paths.
However serious that may sound, it is, like this play, going be a fun… or at least for most parts – just like Swipe, Life & Gate Number 5 is.