BWW spoke to Ellen Toland about the introduction Pretty good, not bad to the Edinburgh Festival Fringe 2024.
How did you first come into contact with the world of theatre?
I can remember the first time I performed on stage was when I was four and for some reason I was dressed like Priscilla Presley in her big hair era. Elvis was my first crush and I think she was my version of a Disney princess. It’s a fevered memory. My mother had put me in a theater class for young children. I remember liking the shade of the gold lights, the feel of my huge wig, the lipstick my mother had let me wear and saying something to the audience that made them roar with laughter. After that I was over.
What inspired the creation of Pretty good, not bad?
I went to a storytelling evening in NYC and absolutely loved it. Performing my own writing was like a big, scary breath of fresh air. After that, I wanted more. I didn’t know what more looked like until a friend came up to me and said, “You should do the Edinburgh Fringe!” It’s amazing what a vote of confidence can do for a person. A few months later, I spontaneously asked my director Rachel McBath if she would be interested in helping me develop a play. She was there and I knew I had just found the perfect match for my flame. I don’t really believe in manifesting, but I do believe in telling everyone you’re going to do something you don’t know how to do and then being so afraid of breaking your word that you find out. I encourage anyone who has an idea in the back of their mind to make it happen.
What was the creative process for Pretty good, not bad How?
It was a whirlwind to say the least! Rachel and I really discussed every little detail. She has experience in developing with authors, which was really helpful for me. She gave me the confidence to keep working Pretty good, not bad. We have a very trusting, creative friendship. I believe that kinship can do wonders for any emerging work or artist. You need someone, especially at a solo show, to bounce ideas off of and keep your crazy ass in check. Once we had a script we were happy with, we started work in LA, then a preview in NYC, and now a performance in Edinburgh. It all feels very fast and slow.
What is it like to perform in a solo show that you wrote?
It’s terrifying and incredible, like I imagine most good things in life are. Every time I go in I think I’m crazy, and then I walk away thinking it’s the best thrill in the world.
How do you prepare for such an emotional show with dark themes?
I don’t plan ahead. I experience these moments differently each time and see where my subconscious takes me. I think that’s how it stays fresh and not daunting for an artist. It allows me to explore aspects of my experience in a way that I can control. I find that powerful in an experience where I’ve felt very powerless.
How is it, Pretty good, not bad on the Fringe theme from Texas?
My director Rachel and I are both from Texas, but we now have roots on both the East and West Coasts. However, we believe our Texan flair is still present in the play, along the lines of “You can take the girl out of Texas, but you can’t take Texas out of the girl.”
What do you hope to achieve from the audience? Pretty good, not bad?
I don’t want to lecture anyone. I just think it’s worth examining how we interact with someone after a traumatic experience and what expectations we have.
How would you Pretty good, not bad in one word?
Fawn.
Pretty Good, Not Bad runs August 12-24 (no performance on August 18) at Space @ Surgeons’ Hall at the Edinburgh Festival Fringe 2024.
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