Brian Dykstra’s new show, A Play on Words, heads to the Edinburgh Fringe this summer. Produced by Twilight Theatre Company, and directed by Fringe First winner Margarett Perry.
“‘Who’s On First meets Waiting for Godot’ (New York Times) in this ferociously witty play on, about and spilling over with language. Rusty and Max have been friends for most of their lives, and they’ve been arguing almost the entire time. Today, they’re scheming up something big. Fringe First winner Brian Dykstra’s signature style crackles in this uproarious backyard comedy where two not-so-average average Americans spar in a relentlessly fanatical pursuit of what is said, what is intended, and what is.”
Where: Front Room at Assembly Rooms
When: 6-30 Aug
Ticket link: https://www.edfringe.com/tickets/whats-on/a-play-on-words
What can you tell us about your show? What is it about and where did the idea come from?
Well, right. It’s a play about political fragmentation and polarization that threatens to make sure we can no longer communicate with one another, along with a larger argument that language has devolved into the opposite of what it was invented to accomplish: communication. The play was born out of an article I read, whereby there were duelling political rallies in the same medium-sized town in a “swing state.” I began to imagine the potential for disaster in that kind of setting. Then, about who might want to make that disaster happen, finally landing on some “average Joe” with a decent, if diabolical plan.
How would you sell it to audiences in one paragraph?
It’s a two-character play with a vaudeville vibe slamming into the existential humor of Beckett during the downward spiral of late-stage capitalism in a once-proud country in the middle of a decline of which they are not aware.
Do you enjoy participating in the Fringe? Do you have any particularly memorable moments?
I mean… this is my ninth Fringe and I really only like missing it when I’m doing something spectacular in some other venue. I was doing a play of mine last August that started at Fringe the year before, whereby we set box office records in that particular NY theatre. Even so, I’m only too happy to return after a one-year absence to get my Fringe fix.
My memories have to do with finding myself in a room with some incredibly disparate theatre artists from far-flung locales and making a connection that is only possible when three aboriginal comics meet up with a couple of French/Canadian Circus performers, a drag stand-up, an Asian-American improv performer, three Aussies from two shows, and my director and me.
What are you most looking forward to in Edinburgh?
I got nothing. Because it’s always a different experience. I mean, my birthday is always a party, so I look forward to that. Wright and Grainger always knock my socks off. Rob Auton and Chris Grace never fail to kill me. Along with Reuben Kaye. But there is always some sneaky-awesome shit that jumps up and slaps the shit out of your attention and leaves you gob-smacked! Plus, the mussels at the Old Chain Pier.
What’s next for the show?
Whoever knows? There is some talk of a London Pub production some months later, but, like every other gig in my life, when we stand in front of an audience on that first night, THEN it’s official…