Category: Tragedy

IN CONVERSATION WITH: Bill Schaumberg

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Three Chickens Confront Existence returns with its eggs-traordinary blend of comedy, tragedy, and surreal existential musings. Set in a factory farm, this hilariously profound show channels Waiting for Godot, but with chickens, as it tackles mortality, power and purpose. We sat down with Writer and Director, Bill Schaumberg to discuss his upcoming production.

Thank you for chatting with A Young(ish) Perspective! Introduce us to who you are and what your doing at the Edinburgh Fringe this year?  

Hi. My name is Bill Schaumberg and I’m the writer and director of the play Three Chickens Confront Existence playing at Underbelly Cowgate for a full run at this year’s Edinburgh Fringe Fest. 

A Youngish Perspective platforms accessible arts and champions the huge scope of different perspectives – can you tell us about the show you’re taking to Edinburgh Festival Fringe as if you’re flyering to both a young first-time-Fringe goer and a festival veteran returning every year?  

You’re going to die! I’m going to die! We are all going to die! Now that I’ve got that unpleasantness out of the way – let me ask you this? How would you like to explore this fundamental and unsettling truth through the lens of three fabulously costumed, introspective, and extremely witty factory farmed chickens as they passionately explore their comically impossible situation – awaiting their imminent trip to the broiler? 

When developing an absurdist show such as this one, how are you able to ground the plot and the themes? 

I think I’m able to ground the plot and themes of the play by keeping everything anchored to a core and relatable (human) experience. No matter how exaggerated and ridiculous these characters’ attempts to make sense of their situation and find deeper meaning are they remain, at their root, relatable – we just stretch these universal experiences to absurdist lengths.  

Three Chickens Confront Existence centres humanity and does not contain any human characters. What was the process of developing each of these chickens and ensuring that they had allure and motivations of their own? 

That’s a great question. I thought of the different coping mechanisms I, and people I know, employ (consciously or otherwise) when dealing with mortality and transience, and I built the characters from there. One character copes through intellectual detachment and obsesses over discovering a formula that will reveal a pattern dictating which cell block is sent to the broiler and when. Another character, who I refer to casually as “Hamlet in Feathers,” remains a steadfast contrarian who shuns escapism and broods endlessly about the injustice of his life, and a third character attempts to view everything as glass half full, focusing on the simple things she’s grateful for, anxiously avoiding unpleasant inner and outer truths. Through the course of the play, each character grows and discovers new perspectives and parts of themselves they didn’t know existed – ultimately finding a lot of common ground I think. 

Who would your surprise dream audience member be?  

Without thinking too much about it, the first person that came to mind was: John Cleese.   

Underbelly Cowgate (Belly Button) from 31st July – 24th August at 17:20. Tickets are available here.

REVIEW: Women Beware Women

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Rating: 3 out of 5.

This bloody Jacobean tragedy explores how unchecked desires can bring about incredible destruction

In some ways, it is easy to see why Thomas Middleton’s early 17th-century play, Women Beware Women, is rarely produced. The plot is highly intricate, and the writing is steeped in the misogynistic attitudes of the time. The moral of this bloody tragedy is simply laid out; untempered lust will bring about the downfall of those it consumes. The title places the blame squarely on the shoulders of women, and indeed, much of the plot centres on women tempting other women into dangerous or sinful situations.

However, these betrayals are always driven by the desires of men; no one escapes judgement after this complicated web of relationships comes to its dramatic and violent end.

Director Mya Grace Kelln has assembled a strong ensemble cast, who deliver this complex piece with a good amount of chemistry and energy, and a compelling grasp of the show’s dark humour. Several creative movement sequences, directed by Isabella Garland, offer some of the most visually striking moments in the show, such as the opening scene of a dance-like wedding ceremony between Leantio (Ewan Bruce) and Bianca (Lani Blossom Perry). This scene of four veiled figures playfully challenging the groom to find his true bride will remind viewers of a similar device in Shakespeare’s Much Ado About Nothing, and the complex wedding ceremony helps evoke the play’s setting in 16th-century Florence.

Another effective scene sees a foreboding tableau of statues come to life and draw the unwilling Bianca into a sinister encounter with the Duke. This central plotline of the show is based on the lives of real historical figures – Bianca Cappello did live in 16th-century Florence, and she did become involved with Francesco I de’ Medici, the Grand Duke of Tuscany. The rest of the plotlines are taken from other historical novels and sources, which Middleton weaves together to create a dizzying array of ill-advised relationships.

The plot’s impact was slightly dampened, however, by some of the production choices. For instance, having a uniformly young cast made the generational dynamics between the innocent young lovers and the scheming older generation harder to visualise. At times, the sound design overpowered the actors, both in terms of volume, and also in one scene where an unevenly looping audio pulled focus away from an otherwise compelling exchange of the Cardinal warning the prideful Duke to repent for his many sins.


Overall, the cast’s grasp of the play’s early modern language was strong, and many of the actors conveyed their meaning with an engaging use of cadence and gestures to make Middleton’s text come to life. A small handful of pronunciation errors did momentarily break the spell of the story, but these could be easily fixed by this cast, as they are clearly comfortable with historic language.

Finally, the visual design of the production was striking but not new – much of the production was quite visually similar to 13th Night’s 2024 production of Hedda Gabler. In both productions, the cast was dressed all in white with a few choice accents of red, and the staging relied primarily on chairs as the only set pieces.

This minimalism does place the focus on the human relationships central to each play, and Kelln has certainly found a visually impactful style, which has served several productions well. It will be interesting to see how her directorial style evolves with time.

REVIEW: Troilus and Cressida & Romeo and Juliet

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Rating: 4.5 out of 5.

 BMH’s double bill production foregrounds love and interpersonal connection in a fluid and refreshing take on Shakespearean comedy and tragedy.

Bounding in from all angles, the characters seem to breathe life into the open air space, creating massive energy with bold costuming and a semi-acapella soundscape of shouts and cheers as Troilus and Cressida begins. 

The simplified staging makes great use of the Oxford Castle & Prison’s ancient stone architecture throughout the double bill in a unique and malleable space. 

This sparse stage allows performance to take precedence, the mischievous humour of the cast, first found in Angus Fraser’s portrayal of Pandarus, bubbles its way throughout the production, creating a joyful atmosphere.

There is great strength in the subtlety of interpersonal relationships; some of my favourite moments of the night being small improvisations – or extremely natural deliveries – of muttered discussions and connection between characters.

In Troilus and Cressida, Elizabeth Champion, as Odysseus, achieved this throughout. Her flowing delivery rendered the content clear and relatable to the modern audience, an achievement particularly vital in a play so little known compared to its companion piece, Romeo and Juliet.

Both plays are, at face-value, similar star-crossed love affairs. However, as director Jessica Keill states: “when they are laid out directly beside each other (…) the contrast between the two plays is highlighted”. Troilus and Cressida is, after all, one of Shakespeare’s problem plays, the primary romance of which is desecrated by the selling of Cressida as a war prize. This controversial and unripened relationship is well managed by Grace Boag-Matthews’ sensitive and understanding performance as Cressida.

In fact, the play is surprisingly funny and its flexibility allows for a refreshing departure from strictly traditional elements – the sub-romance of Achilles (Joshua Varty) and his lover Patroclus’ (James McDougall) – was explored unapologetically and naturally. This open, queer relationship felt a true and natural reflection of the tragi-comedic complication of the play, ranging from knowing inside jokes about their closeness to their final tragic moments.

As the evening progresses, the forever stifled love of Troilus and Cressida presents a conflicting backdrop in order to uplift Romeo and Juliet’s blossoming love. 

The romance of Romeo and Juliet is bursting with giddy young love; Jessica Sexton as Juliet providing a truly honest and effervescent portrayal of passion alongside the equally enamoured – yet less mature – Romeo (played by Joe O’Connor)

The warmth and passion of many interpersonal relationships bloomed in the dramatic modern Italian setting, elevated by Latin music and grounded in Dune-inspired costuming by Catherine Woolley. The jovial interplay and meaningful connection between Juliet and The Nurse (played by Nicola Jones) creates an endearing bond that corrodes as the tragedy progresses. These intense platonic bonds are concurrent and render the imposing devastation all the more potent. Similarly, the drunk, boyish banter of Romeo and his friends has a lovable cheek that is dashed with Mercutio’s catastrophic death, their original closeness corrupted through Mercutio’s (Alistair Nunn) devastating screams as Romeo attempts to physically comfort him again, and again.  Throughout the plays moments of physical connection yield great emotional intensity.

As the evening comes to a close, the sparkling romance of Romeo and Juliet begins to shatter and dim; the natural lighting, creeping further into dusk as lights from behind the audience create a crisp, chiaroscuro effect.

For an evening of laughs and love, painted in many complicated forms, this BMH production is well worth your time. 

Reviewed by Seren Rees Gardener on 28/06/24 

REVIEW: Shakespeare in the Squares

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Rating: 4 out of 5.

Leafy and full of charm, the squares of London are hosting the perfect night out for Shakespeare lovers.

Shakespeare in the Squares returns after a two year hiatus with a series of enchanting open air performances of The Tempest.

Directed by Sioned Jones, the classic Shakespearian saga is regarded as one of the playwright’s last works, written c.1611.

The play explores a multitude of themes including tragedy, comedy, magic, revenge, power and forgiveness. To a large extent, it is often regarded as a tragi-comedy.

The action focuses on a sorcerer, Prospero, and his daughter, Miranda, who have lived on a remote island for several years following a family dispute. The only other inhabitants are a slave, Caliban, and an impish spirit, Ariel, who acts as a servant. The aforementioned dispute involved Prospero’s brother, Antonio, usurping an influential title that Prospero believes is rightfully his. When Antonio’s ship sails near the island, Prospero uses his magical powers to cause the titular tempest to shipwreck it.

Now all marooned on the island, Antonio and an array of other passengers are separated and subsequently tested as Prospero seeks to regain his Dukedom.

What ensues is a juicy mixture of craftiness, blossoming love, plotting, self-realisation and ultimately redemption.

Shakespeare in the Squares is now a popular fixture of the summer outdoor theatre calendar. This innovative production tours to 18 London squares from June 15th to July 8th.

The performances are tailored to each individual square, and the aim is to create a unique community celebration around the play in question.

Most city dwellers will agree there is something beguiling about London squares. Regardless of what season it is, they emit a certain charm you wish you could bottle. It is little wonder Hugh Grant and Julia Roberts’ relationship flourished in a Notting Hill one in the 1999 movie of the same name.

Summer is when they really sparkle; which makes them the perfect backdrop for a picturesque evening of Shakespeare.

Despite the varying array of light and dark subject matters The Tempest is known for, this version adopts a humorous and more genial approach overall. This is an intentional move, bearing in mind we are still re-emerging from the pandemic and bearing the metaphorical battle scars of multiple lockdowns.

The director Sioned Jones explains: “…after so much darkness, we need something lighter. It is also time to celebrate our collective humanity and revel in the opportunity of being back in the world together.”   

The cast of actors blend well as a company, and it is evident that a lot of love and creativity has been poured into the production.

Each actor adds individual merit to the show, but special mention must go to William Shackleton who plays the dual roles of Antonio and Stephano. Shackleton switched from the antagonistic Antonio to the sloshed Stephano with artistic ease, and his portrayal of the drunken latter character was comically spot on.

Several actors showcase their individual musical abilities including the violin, clarinet and guitar. The use of song and dance enhance the general enjoyment, and there is just the right amount of music use overall.

The Tempest was meant to be Shakespeare in the Squares’ chosen play in summer 2020, but was cancelled for obvious reasons. When 2021 came around, it soon became evident it would not be performed that year either. The enforced two year break makes the company’s return all the more special. After all, it does not seem long ago that all things theatrical shut down in a matter of days. Sitting in a busy audience and watching a show in a public, open space suddenly became a notion theatregoers could only reminisce about and hope would eventually return.

So treat yourself to a ticket, take along a chilled bottle of rosé and enjoy a sparkling evening of sunshine and Shakespeare.