Features Published 10 June 2019

An Obsession Is Born

Natasha Tripney marks the launch of the 2019 Edinburgh fringe programme with a poem, crafted from its cut up and reassembled entrails.
Natasha Tripney

The 2019 Edinburgh fringe programme

At the height of her fame. Having disposed of her virginity. One extraordinary woman. With multiple personalities. On a mission. On a stolen BMX. On a pale horse. In an existential rut. Decides to challenge the perceptions of femininity. Whilst singing along to Meatloaf.

A Deliveroo driver. An alcoholic lion. A sexy French clown. An eccentric string quartet. Two circus sea lions. Two NASA technicians. Three thieves. Armed with five spades. And a full-size table-tennis table. Plunged into a ruthless world. Thrown into descending chaos. Caught in a vicious cycle. Completely and utterly addicted to porn. Within a circle of salt. Finding solace in each other. Fuelled by Taytos, gin and a chainsaw. Make their voices heard. An obsession is born. Secrets are revealed. Mayhem ensues. All hell breaks loose. Life changes forever.

Masculinity and mental health. Gender identity and caravan holidays. The legacy of colonialism. The dark side of the internet. The polarisation of politics today. The neuroscience of memory loss. The fight to be European. But who are the real bloodsuckers? Is female ejaculation the last taboo?

A gender-neutral script. A kaleidoscope of characters. Rehearsed via Skype. Performed in your home. By a real couple. In a box. In a completely dark shipping container. In a midwinter’s attic. In an after-hours gay bar. In a dystopian society. In a near-future England. In a society of presumption and fear. In a world consumed by competition. On the verge of a natural disaster. A bloodthirsty grudge match. A domino effect of destruction. An epidemic of mistrust. A fuck ton of bananas. The inevitable eruption. Damnation or salvation?

Back by popular demand. A highly physical romp. A girl-powered delve. A journey inside your own self. Savagely black satire. Ground-breaking subversion. Poignant renditions of hymns. Pure, roaring rage. With a modern twist. With a dash of dirty bass. In rhyming pentameter. In the original Italian. Full of whimsy and wonder. Critical to societal discourse. Bigger than life. Packed with audience participation. With real robots and real people. Not for the easily offended.

Bitterly funny. Brilliantly fresh. Semi-nautical supernatural storytelling. Verbatim testimony. Radical drama. Gender-bending comedy. Frenzied one-man cabaret. Gasp-inducing moments. Vocal gymnastics. Villainous accents. Fractured autobiography. Erotic positivity. Spiritual catharsis. Shameless hijinks. Live looping. Live sewing. Ecofeminist myth. Superhero noir. Dark intensity. Tender fury. Righteous vengeance. Sing-along opportunities. Complete with chariot race.

The war is over. The skies have fallen. The mutiny did not go as planned. Turn up the radio. Start a revolution.

Expect gruesome tales. Happy endings are far from guaranteed.

How far will we go to escape reality?


Natasha Tripney

Natasha co-founded Exeunt in 2011 and was editor until 2016. She's now lead critic and reviews editor for The Stage, and has written about theatre and the arts for the Guardian, Time Out, the Independent, Lonely Planet and Tortoise.



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