#Interview with Philip Gladwin on his latest thriller – The Snake #thriller @randomttours #blogtour #thesnake #authorinterview

Interview with Philip Gladwin about The Snake

Interview by Louise Cannon – Bookmarks and Stages

Today it gives me pleasure to welcome Philip Gladwin to Bookmarks and Stages as part of the Random T. Tours virtual blog tour, who I thank for setting this interview up. I also thank Philp Gladwin for the fascinating and in-depth answers to my questions.

Philip Gladwin has written several books, such as After the Fire, Old Persistent Spirits and more…

He has previously wrote for some of the UK’s top TV dramas, which has sent him out in interesting situations to do research. His latest thriller is The Snake, which sent him out with SO19 on research… more about that thrilling experience in the interview. We talk about the plot of the book, the originality of focusing on an SO19 police unit, mental health in a way that is different from what you may expect and more…

The Snake is set in London, 1999. There’s a family tragedy, which breaks Kate’s heart, but also propels her into a new job with the elite police unit, SO19. There are fast cars, serious weaponry and threats along the way. It’s far from regular policing and Kate is one of a team of firearm specialists.
There’s also an ex-marine sniper witwh a grudge to contend with…

Let’s begin the interview, which holds some fascinating answers, I am sure readers will not have know nor realise as certain bits take you behind certain scenes of the first-hand research and experiences. The Snake is available now and launched 6th October 2026.

You’ve written for some of the top tv dramas, such as The Bill, Trial and Retribution and New Tricks (all dramas I have enjoyed). With over 60 credits over the past 25 years, what inspired you to go into writing novels?

The 2020 lockdown had a major impact. TV drama stopped in its tracks for a while, and the project I was about to begin got cancelled, and that gave me valuable time to re-assess.

For a few years before that, I’d been concerned that the dominance of the American streamers was pushing TV into being too slick, and very forgettable, and I had been increasingly wanting to write on more lumpy, less obviously commercial projects. I also had a great bank of stories saved up that wouldn’t work on TV.

That spring I wrote my first novel After The Fire, about a homeless guy who goes back to a school reunion to find out what happened to his first love. I realised I much preferred the freedom of writing books compared to the tight confines of any TV drama, and when After The Fire was done I just continued.

The Snake (launched Oct 6th) is my sixth book since then (ironically, probably the most commercially viable thing I’ve ever created) and there are more to come. It’s been amazing to finally be able to tell the stories that I love just the way I choose.

The Snake is the only novel that truly focuses on the elite SO19 unit, why do you think this is and what attracted you to tackle it in your novel?

I honestly don’t know why no-one else has tackled SO19 in novel form; all the books I can find are memoirs. (I’m still waiting for someone to let me know I’ve missed the obvious and I’m actually SO19 novel number 28!) To me, thinking dramatically, SO19 is an obvious goldmine, with endless stories, sharply defined desire lines, characters who can go as deep and as morally complex as you want, great set-pieces, natural adrenaline, the ultimate story stakes, and a good clear, pre-existing market.

I can think of two possible reasons why no-one has yet gone there.

Firstly, there seem to be very few long-form investigations for the average SO19 officer. The nature of the work seem often to be more about being sent out on sorties, or patrols. Once they’ve done their bit, they leave, and they often have no idea what happens to the people involved. That means the obvious crime story whodunnit won’t work (if you’re being realistic) and you’ll need to do some serious research to find the unique stories that properly belong to that world.

Secondly, getting that super-close research access on a daily basis is seems less straightforward these days. I was fortunate enough to have a mass of access before 9/11 (and especially 7/7 in London), forced much tighter security, and that’s actually one of the reasons the book is set in the years around the Millennium – I really knew how things worked back then.

You spent some days riding with SO19 Officers for the first-hand research experience, what did you discover that the public perhaps don’t know that you can tell us about and how did you choose which parts of this experience to transfer into The Snake?

Two things really struck me. Firstly, how much we all laughed. I was happy to find that these bright, skilled, super disciplined and highly professional people were also very funny. Presumably for very deep, stress-relieving reasons, their sense of humour was very dark, and very sharp, and I genuinely have never laughed as much as I did when I was hanging out with these officers.

The other thing was the simple, constant, no-questions-asked, heroism. There was one transformative moment when I found myself in the back of an Armed Response Vehicle racing towards an armed robbery happening at a bank on Southampton Row. I was wearing all the bullet proof gear that was available to me, but during those tense few minutes I regretted very deeply my choice of writing project, my desire for first-hand experience, and even my entire career!

That day I didn’t disgrace myself, but I did realise that I am a bit of a coward generally, and would rather do almost anything other than go up against people with guns and knives.

Not so for the average SO19 officer. I saw first-hand how, every single day they go out, they are prepared to lay down their life for the general public – the same general public which often mistrusts, fears or even hates them. I find that absolutely extraordinary, and well worth writing about.

As far as what went into The Snake, well, I tried to express a lot of their attitude to life, a lot of their mindset, and my insight into the choices I’d seen them make. Generally, it was a case of using the old story instinct: include moments that make you go ‘Wow!’ and leave out the boring bits.

You deal with mental health issues, such as psychosis, demonic possession as well as grief as guilt and indeed have a deranged marine sniper who begins a killing spree.
What do you hope readers see and take away as you deal with those issues and show the sacrifice police officers are prepared to make?

I’m very interested in the interplay between joy and lament, and how the bright light of love is balanced by the darkness of fear. I believe both sides of that balance are necessary for a life lived in all its fullness. I don’t want to write throwaway stories, and many of the writers I love are honest about both good and evil. I think writers can definitely (perhaps even should?) go into the abyss, and then come back and write about it – just so long as they bring back some boon or blessing for humanity as a result of the trip. I’m not a fan of horror films for that reason – there’s rarely any boon. (In fact, most horror stores seem to say that humanity is damned.) I prefer to focus on the possible path to salvation if I can find one.

What’s more, having talked to various experts in the mental health field, I’m told there is a growing recognition by some serious, very academically respectable, practitioners, that some forms of mental illness may actually have more spiritual, even more supernatural, origins than simply chemical or hormonal. I find all that intensely interesting, and have tried to dramatise that question in The Snake. So I guess another thing I’d hope to leave for readers is the sense that, in all our lives, even in the hard nosed, nuts and bolts world of SO19, there are places where you can find things that go beyond.

Pacing is important, The Snake sounds fast-paced, what is your rhythm for setting this and does it differ from or are there similarities to writing for tv?

I really do hope it does read fast. Despite my serious answers to the last question, Rule 1 for any story I’ve ever worked on is that it must entertain!

For me, pace comes from having a strong idea of the outline of the story, even down to the content of individual scenes, and getting rid of everything that doesn’t move the story forward. When that basic shape is in place to the point that reading it makes my heart beat a little faster, I’ll write each scene up as fully, yet as concisely, as I can, still working hard on stripping out all the extra ideas and words that I can find.

I’ve found myself writing some very short chapters in The Snake – as you’d expect from an ex-screenwriter – but I’ve also given myself a lot of room for that wonderful thing you can’t do in a screenplay: meander off the narrative thread for a while and just play a while.

Other things that help – clarity over character’s desires, needs, and actions; and stripping out anything that clogs these up, or splits them. This straightening out wouldn’t work in a Samuel Beckett play, or a George Eliot novel, but for an action thriller it’s good.

Writing a novel has some different processes and gives a bit more space to write than for tv, what did you learn from writing your novel and getting it published and will there be further books?

You do have more space with a novel, and that feels like an incredible luxury, but the biggest difference for me is that I’m on my own. As a TV writer, depending on the show and the management structure of the production company, you can find yourself getting notes on every draft from from three to ten or more people. Honestly, after all these years writing for hire for others, I don’t think that’s a process I want to go through any more. It’s so much more fun to do it on my own, even if I do make a fair few mistakes and lapses of judgement along the way.

God permitting, there will certainly be further books. Firstly, I’ve got a great idea for The Snake Part 2: Full Flood, to be written if Part 1 takes off. Then I’ve between thirty and forty thousand words written of two more novels – still lots to do on each – have an action adventure fantasy story half formed, and then there is an absolutely massive community saga story, again set in North East Lincolnshire, that I’ve been putting off for a very long time, basically because I’m scared of it.

Given I seem to take about a year to finish a book once I commit, and adding in a little extra time for red herrings, all that that will keep me busy for at least the next five years!

#Inteview with Natalie Grace Lewis on her new Gothic/Horror book, The Hollow Garden, in time for Halloween. @nataliegracelewiscreative #TheHollowGarden @randomttours #blogtour

Welcome Natalie Grace Lewis to Bookmarks and Stages.
Thank you very much for the opportunity to do a Q&A style interview with you as part of the Random T. Tours blog tours, who I thank for the opportunity. Please note, I am unpaid and did not receive anything for this interview, except access to the author, who graciously answered the questions with very interesting, illuminating answers.

Natalie Grace Lewis is a British author of contemporary gothic fiction. Her work combines haunting settings, family secrets, and supernatural elements to explore memory, loss, and the stories we inherit. She is drawn to historic cemeteries, ruined churches, identity, forgotten pasts, the relationship between memory and truth. She also likes visiting old bookshops.

Her debut novel is The Hollow Garden, set within a decaying Victorian graveyard, where old tragedies refuse to remain at rest.

We discussed all of this, including the attraction to the gothic/horror genre, including that 90’s Point Horror series, fragmented memories and the fascination of secrets hidden or contained in mausoleums and gravestones and more…

Check out the intriguing cover that would look mysterious on anyone’s bookshelf and then let’s begin the interview.

1. Who or what inspired you to write books?

There is no particular author that inspired me to write; the habit of writing came from needing to get the stories I’d made out of my head. I am fascinated by the choices we do not make and the roads we could have travelled. Creating a narrative is my way of experiencing those lost decisions and sharing them with others.

There is also something special about writing; in that whatever a person reads, they experience the story differently in their imaginations. That inspired me to write rather than draw or film my stories, so a reader can make the story their own. I’m the kind of person who won’t watch a film based on a book if the actor or location doesn’t meet with the expectations in my head…

2. The Hollow Garden is Gothic/Horror, what attracts you to this genre?

I grew up reading the Goosebumps and Point Horror books and for a long time, I was obsessed with Buffy the Vampire Slayer. I couldn’t relate to the supernatural elements of the stories, but often those same elements were metaphors for experiencing life.

There is something comforting and enticing about darkness, a person can never really know what’s within. Gothic / Horror takes me through a whirlwind of thoughts and emotions that I haven’t experienced in other genres.

3. Kyra is haunted by fragmented memories of her friend, Eleanor’s death. What research or how did you go about creating a world where this occurs to ensure it was someway grounded and feel real?

Our minds can go to some dark places when we experience loss and what we see and feel is often not reliable. At the same time, those experiences and emotions inform how we understand and live our lives. Whilst I haven’t experienced Kyra’s trauma, I was able to draw on my own experiences of loss and the guilt of what should have been done or said in someone’s final moments.

4 There are secrets hidden behind graves and mausoleums. What fascinates you most about these places?

As part of my undergraduate degree, I studied landscape history and I really enjoyed visiting graveyards as part of my studies. This continued when I finished university, and I love a trip to London to wander around Abney or Highgate.

The monuments in these places give the modern world names and dates, but nothing about the past lives lived or the loved ones left behind. At the point of burial, there would have been an outpouring of grief and love and the marble headstones and ornate mausoleums were built to last. Yet, decades later, nature takes back the plot and the stone, and the family has long moved on. It’s this juxtaposition of history, nature and emotion that I find fascinating.

5. Kyra is forced to confront the tragedy. That feels quite big, emotionally, did you feel any part of what she feels, if so, how did you deal with that in-terms of self care?

As adults, we are all forced to deal with the remains of the past. For me personally, Kyra’s story became an outlet for grief that I couldn’t express. The Hollow Garden has existed within my head [and many battered note books] for twenty years, but only through experiencing grief, did the story take its proper shape. After writing dense or emotional scenes, I take long baths or quiet walks – usually in a graveyard near to my house – to help my creative brain rest. I recently found that bus and train journeys, with no book or music, are just as good for a mental reset.

Updated Interview with Stan Zimmerman of Gilmore Girls fame on Transferring Right Before I go to Soho Theatre #RightBeforeIGo #suicideprevention #GilmoreGirls #goldengirls #wellbeing #theatre #play #SohoTheatre

Interview with Stan Zimmerman
on Right before I go

interview by Louise Cannon

Right Before I Go has a Soho Theatre transfer from the Edinburgh Fringe Festival with a hope that it will extend to other places. In this updated interview, we chat about what effect the play had on Edinburgh audiences, certain changes and certain aspects that will remain and about the play, a special talkback with a professional present and more…

I am humbled to have the opportunity to do this interview with Stan Zimmerman, writer of Golden Girls and Gilmore Girls and on a much talked about and very important subject matter. Right Before I Go is a suicide prevention play. Do read on, he is very serious about this and has answered questions informatively, sensitively and it’s interesting. It is also worth noting his show comes with support and from what I’ve read, it sounds a very well thought out and responsibly put together show for audiences.

Let’s warmly welcome, Stan Zimmerman to Bookmarks and Stages.
pics are Stan Zimmerman (writer and actor) Check them out and then let’s begin the interview.

How does it feel knowing you are able to transfer your show, a hit at the Edinburgh Fringe Festival to Soho Theatre?

Overjoyed! I thought being invited by Pleasance Theatre to bring my play, RIGHT BEFORE I GO, to Edinburgh Fringe was a monumental moment on my life’s bucket list. But being able to perform it in London, especially during September, which is World Suicide Prevention Month, is really a dream come true. A dream I don’t want to wake up from. My mother, who passed five years ago, was obsessed with the UK, even living in Bridport for a few months when she was my age. So, I’ll be holding her very close to my heart during our limited run on Dean Street.

Would you change anything or certain aspects you feel you would definitely keep the same from your Edinburgh show as you transfer it?

I edited the script for the UK, when we did an Industry Only reading of it last March. And of course, I had to tighten the script for Fringe, which only allows for an hour running time. My director, the fabulous Abigail Morris, seems pretty happy with this version, so we’ll probably bring this draft to Soho. Maybe a few minor tweaks.

What effect did it have on people in Edinburgh?

I got to connect with so many people, from all over the world, during our post show Talk Backs and in the lobby after. It was clear to me that this is a global epidemic that needs our collective attention. Immediately. Audiences were grateful that there is now a theatrical piece that addresses the shame and silence around this topic.

Are you planning to try to tour to more places in the UK?

I obviously would love a longer run of this play on the West End, but our immediate goal is to plan a school tour in the UK next year (mid-April to mid-May 2027). Reaching students at that age, could save so many lives. Not to mention stop the bullying that made me feel so isolated and not wanting to go on when I was that age. If anyone wants to help with this endeavor, please contact me via my website: stan@zimmermanstan.com Together, we can break the silence.

Stan, you are bringing your show Right Before You Go, a suicide prevention play, driven by the suicide of your real life friend, to the Edinburgh Fringe.

Who or what inspired you to bring the play from NYC to Edinburgh?

“Having one of my plays performed at the famed Edinburgh Fringe Festival has always been on my bucket list. But it felt like a far off dream. It only became reality after our very successful UK industry reading of it this past March at the Soho Theatre. I was honored to share the stage with a stellar cast including Vanessa Williams, Matt Henry, Iz Hesketh and Olly Alexander. The Pleasance Theatre came to that reading and invited me to Fringe for the entire month. We’re hoping to bring the play back to London after Fringe in September, which is World Suicide Prevention Awarness Month.”

In the UK, suicide is starting to gain awareness. Why do you feel it is so important to talk about suicide on stage and in the hope of preventing it.

“Theatre can be a powerful tool. I know firsthand. Finding my tribe on stage saved my life. I want to end the shame surrounding the subject of suicide and talking about it, in this forum is a start. Especially with young people, which is why we’re in discussion tour this play in schools throughout the UK in Spring 2027.”

You use real suicide notes of celebrities, veterans, bullied teens, those identifying as LGBTQ+ and those who have experienced mental health issues.

How did you go about getting permission to use letters that are so raw and sensitive?

“All of these notes are in the public domain. They’ve been posted, broadcast or released by family members. Usually with the intent of saving other individuals from suffering in silence. Something I learned when first creating this play, was that newspapers used to regularly publish suicide notes.

Right Before I Go is followed by a talkback with a mental health professional.

For those going to the performance, how does that work in practice?

“I made it part of the agreement when licensing my play from TRWshowsUK, that you must do a Talk Back after the show with a local mental health professional. I often find that part of the show, is the most gripping. After I’ve been so open and honest in the play, audience members sometimes reveal feelings and stories that they’ve kept hidden for years. Even decades.”

What do you hope the play will achieve by the time people are leaving the auditorium?

“I already know that this play has saved lives since we debuted at the Hollywood Fringe Festival in 2015. Being in Edinburgh, i hope the piece is introduced to the global theatre community. The high suicide rate knows no boudaries of countries. This subject must be addressed through a worldwide lens. On a personal level, I hope that audiences leave the theatre and check in with their friends to see if they’re doing okay.”

How do you and others in the star-studded cast look after own wellbeing after rehearsals and performing in-front of audiences, in-particular after this play which carries such a necessary, important but emotional topic.

“I get asked that question a lot during our Talk Backs, because it’s obviously still so emotional for me to talk about losing my friend to suicide in the play. But it’s also extremely empowering to know that using my craft can make a difference in other people’s lives. Of course, I’ve only done the play two days in a row in the past. I’ll be performing in twenty-four shows in Edinburgh. So if you see me staggering through town, buy me a pint!”

Money will be raised for SL24: Unlocke the Light Foundation, based in Delaware. Can you tell us more about this non-profit organisation?

SL24: UnLocke the Light Foundation is a Delaware-based nonprofit organization with a threefold mission: to educate, assist, and support young people on their mental health journey. For more information on their educational and Peer24 Support programs, please visit www.unlockethelight.com. I had the privilege of meeting Chris Locke during a mini-East Coast US tour starring Virginia Madsen and some “Gilmore Girls” cast members. He lost his son to suicide and created this amazing organization. He said he plans to come to Edinburgh and is a very eloquent speaker on this subject.”

Tickets can be purchased and further synopsis looked at on the official website for the Soho Theatre run can be found here: https://sohotheatre.com/events/right-before-i-go/

#Interview with academy award film director, Guy Trevellyan on movie, Plastic Surgery by Lou #plasticsurgery #GuyTrevellyan #AnnaPopplewell #DanielIngs #plasticpollution #thriller

Interview with Guy Trevellyan

Interview by Louise Cannon -Bookmarks and Stages

Guy Trevellyan is a film director who is having a lot of success with short film, Plastic Surgery, a film that highlights plastic pollution in an original way.
He has won Best Thriller at the Academy Award, had a sell-out screening at the Glasgow Frightfest and more… He has also worked with well known directors, Wes Anderson and Greta Gerwig.
We talk about the film’s originality, the stella cast, setting up Nice Guy Pictures and its goals, his next film and more…

Let’s give a warm welcome to Guy Trevellyan as we begin the interview…

What or who inspired you to become a Film Director from being an Assistant Director, learning from Wes Anderson, Greta Gerwig among others?

You’ve hit the nail on the head here! It was indeed directors like Wes, Greta and of course my childhood favourites like Steven Spielberg and Ridley Scott. However, my main inspiration came from where I grew up near the Bourne Woods in Surrey. This became a popular film set ever since they shot the iconic Gladiator open battle sequence and I used to cycle to the woods after school with friends to watch whatever magical production was filming. This truly ignited a cinematic dream in me since I was a kid, and I’ve been chasing that ever since. One day I hope to film in the Bourne Woods and go full circle with my own film. I did shoot The Witcher season 2, way back when in the woods as an Assistant Director which was quite the career highlight for me, going home to where I used to watch them film as a kid. Incredible.

Plastic Surgery is enjoying a lot of success just now, including winning Best Thriller at the Academy Award qualifying Hollyshorts Film Festival and a sold-out screening at the Glasgow Frightfest.
What is the impact on your career and how did you celebrate this success?

It’s been a crazy journey, and I never thought it would happen to be completely honest. You never create something with festivals in mind; you just make what you feel is true to you and tell the story that you want to tell. It was quite a shock being selected to Hollyshorts and winning was just a dream come true. As this was my first film there are always nerves, making the creative plunge after being an assistant director, you are always asking yourself; was this the right decision? However, this whole experience has given me the confidence that I do have a voice, and I have stories to tell. I am so grateful to all the festival programmers who selected us and all the public who came to watch and support independent film. It’s had a massive impact, getting signed by an agent is probably the biggest but also the networking. Meeting so many like minded directors, writers, producers at festivals has opened so many doors for me. In terms of how I celebrated, well, I guess I shot another film! I love my work, so maybe I had a glass of wine while writing the next one!

It’s a rather different type of plastic surgery, Dr. Terra performs on her patients, it’s finding bits of actual plastic inside people that started with a small plastic fork and evolves into finding plastic shopping bags, bottles, six-pack rings, toys, food packaging, fishing nets and even PPE equipment. How important is it to highlight plastic pollution and what inspired the use of humans to have it within their bodies instead of the usual birds and mammals?

Highlighting plastic pollution is extremely important because it effects not only our natural world, marine life and mother nature, but also ourselves. Our health and future generations are affected by plastic waste and microplastics, seeping into our bodies through the food we eat, air we breathe, water we drink and even the clothes we wear! It’s important for people to know this, because it directly effects our lives and the lives of our children. It’s sadly reality that inspired the visual use of everyday plastic seeping from within our bodies, with the proof of microplastics inside us. In terms of the imagery and prosthetics this was heavily inspired by marine and bird life which had died from plastic consumption, trapped or suffocated by netting and waste. After working with the Ocean Agency I was given a rare insight into the true horrors beneath the waves and seeing how our use of plastic has polluted the natural world. But when I dived into deeper research, I started learning about its effect on our health, I was stunned. The medical research which has gone into this is truly terrifying, like studies from the British Heart Foundation and more worldwide. I had to create something which would bring this to global attention, increasing our awareness of the subject.

The infection spreads from patients to the medical staff and a decision for pregnant Dr. Terra has to be made, whether to save herself or more patients.
How easily or challenging was it to find a conclusion to this profound dilemma?

This was a great writing challenge. Whenever you write something which has an environmental angle you can often get lost in the wider narrative so it’s important to hone an idea down to something simple and for me is a character driven story, someone more relatable. Putting real characters into surreal worlds is really appealing to me and creates interesting obstacles and conflicts along the way. Ultimately Dr Terra represents mother nature, so I wanted us to really root for her, and in that sense, I always had an ending in mind. Which was mother nature making a choice whether to continue saving us or save herself. I think this question will be answered sooner than we think…
The look at the end is a look of warning, it’s says; look at me, look at what I am about to do. I knew the film was always going to end that way and I think it was important to have the titles at the end here to bring us back to reality after watching such a vivid and visually striking world.

You were directing a stellar cast, including Anna Popplewell from The Chronicles of Narnia film fame. What is it like to direct actors who have been child/teen actors and are now adult?

To be honest, I was blessed to have Anna on this film (hence why I used her on my next film!). Anna was extremely supportive and loved the script from the very beginning. On our first call she revealed she was going to be 6/7 months pregnant during filming so I re-wrote the script around her and changed the story so it followed a pregnant mother on her last shift before stopping work to start this next chapter in her life. The script evolved so naturally having Anna onboard and that collaboration is what made the film so impactful and relatable. Anna bought a level of experience and knowledge which really helped bring out her performance and the fact she was actually pregnant clearly had a baring on how emotionally driven her performance was.

Following on with the stellar cast, there is also Daniel Ings from Pirates of the Caribbean franchise and Love Sick, The Gentlemen etc. What was it like to direct someone who has played quite a range of roles?

Dan was fantastic, and he was the voice of our Intercom! It was easy to direct Dan as we’d worked together before so it felt more like friends catching up with some hospital dialogue thrown in the mix! He’s an incredibly talented actor and so proud to see how successful he’s been recently. Actor’s like Dan just make my job easier as he’s so open to trying things and going out of our comfort zone in order to expand and get various takes. It all helps us in post when putting the final edit together.

You set up Nice Guy Pictures in 2024 to raise awareness about social and human issues. What inspired you to create this company and do you find more people are becoming aware of the issues you cover by watching your films?

I really hope they do! I always wanted to create cinematic films which challenge our understanding of a human or social issue. I really want an audience to come out of a screening with tons of questions, thought provoking work which challenges our understanding of a particular subject or better of worse. With Plastic Surgery the highlight was partnering with Kids Against Plastic and being able to create a lesson plan we can take to kids around the UK – showcasing the film and then active debates around the subject is really important for children to grow their environmental reach.

Your next film is “The Act of Learning”, covering your personal experience of undiagnosed dyslexia at school set in the mid 1990’s around the Disability Discrimination Act in 1995. What did you personally gain from making this film and what do you hope others will gain from watching it?

This was a personal film for me, something I battled with and had to overcome in my own way. I think I gained a full circle feeling, that I’m harnessing the gifts of my dyslexia in my film career. I have a very visual imagination and being able to make this film really let me go to town! The film is made for kids with dyslexia and the mentors which help unlock the sometimes-hidden potential we all have as human beings, with or without dyslexia. I want kids to feel like they have that power and confidence to see Dyslexia as a gift, not a disability. To understand that difference is beautiful. I also wanted to make a film which highlights the work of our incredible learning support teachers across the country who help kids like me. I think it’s an incredibly selfless act to become a teacher and dedicate your life to helping others. With that in mind this film is also inspired by my learning support teacher Miss Morrison, who is the reason I got through school with any grades at all, who gave me the confidence to keep going and work hard, and made me realise I had a future and dyslexia wasn’t going to limit me.

#Interview with comedian Liam McGough on #EdFringe show Two Guys, One GCSE – A Dave Vaughn and Liam McGough Production #JustTheTonic #TheMashHouse #MixItUp #TwoGuysOneGCSE

Interview with Liam McGough

hosted by Bookmarks and Stages –
Louise Cannon

I recently interviewed comedian, Liam McGough, rather timely given there’s a little bit more conversation around the working class. Coincidentally he and I are both of this class. We talked about his comedy show, Two Guys One GCSE. He has an agenda and that is to make people laugh. He has answered questions candidly giving a little bit about his life, the quite frankly strange attitude some middle class audiences have when they see him. We also talk about overcoming challenges and who inspired him. Discover too, whether awards help a performance or not… Ultimately, the show is just about making people laugh, that’s what is most important to him, as you will find out in the interview. He steers away from politics and the like and even his title is described as “a silly play on words”. After the interview, you can find out where to follow him and how you can see his show at Just The Tonic venue – The Mash House, see further details after the interview.

Let’s warmly welcome Liam McGough to Bookmarks and Stages

The name Two Guys One GCSE is a silly play on words, referencing an unwatchable video that went around when I was at school.

It was a unique time, pre-social media, and it had its own sense of humour. The sheer ignorance of that time, when looked back on today, is amusing to me.

It was lads and ladettes, lads’ mags and gossip mags. Greasy curtains for boys and rock-hard hairspray for girls. At the time, being brash and stupid was celebrated.

I was a late developer and really struggled with learning. I was, bottom set for everything and in special classes for disruptive pupils and those falling behind with their learning. Some teachers just thought I had no future, and others sent me out of class without even bothering to check.

But even though I knew I couldn’t keep up academically, I had a strong sense that I was smart and that people just couldn’t see it because my brilliance was lost amongst the 10,000 annoying questions and statements I would make.

To summarise, I was, and am, smart. The style of learning just wasn’t suited to people who think like me. But whether I was a write-off or simply misunderstood, I had the ability to make people laugh — teachers and students alike. That helped me survive school.

So, when trying to make people laugh with an Edinburgh show, what better time to talk about than the period when you developed your sense of humour?

You aim is to tell jokes and stories with the only agenda to make people laugh. So many comedians look at health or politics, so was this a conscious decision and what led you to this?

My intention is to give people a break from having other people’s views forced upon them. It’s one thing to shine a light on the darkness in this world and another to use the stage as a soapbox.

Too often, comedians think they know best and that it’s their responsibility, as one of the great minds of our time, to “educate” people. Firstly, I think this discredits people’s intelligence, and secondly, how does a group that famously are not considered titans of industry, have the most to say about how that money goes on to be distributed?

My views are very liberal and fall left of centre, but I find it uncomfortable to hear both sides be so sure of everything and say it with such aggression. I’m yet to meet a single person who has read everything there is to read on any one subject.

So, when faced with a world so broken by disagreement, wouldn’t it be nice to take a break for a moment and focus on something we all share: laughter?

Who or what inspired you to be a stand-up comedian?

This is harder to answer, as many of my peers are like encyclopedias of information about great comics and their material. But the truth is, I’m not a huge consumer of stand-up comedy.

There are people I find funny, but I don’t have specific comedians I particularly follow. I like hearing funny people chat with each other — people like Norm Macdonald, Bernie Mac and Martin Lawrence. When I’ve heard them on talking-head shows, or heard stories about them having dinner together and chatting at speed, that’s the thing that interests me.

Making people laugh is number two. Being around people who make me laugh is number one.

You’re part of the working class. What challenges have you faced to become a comedian as a direct result of being working class and how are you overcoming them?

Generally speaking, I benefit from being working class and having an accent.

But there are times when certain working-class subjects are expected of you, while chatting about books seems less interesting to a middle-class audience.

They want me to talk about having a fight in a mine while drunk.

Luckily for me, I have a business, and that affords me the ability to put on a show. But if I didn’t, Edinburgh might be totally off the table for me.

You have been named as “one to watch” and also won King Gong at the Comedy Store, Comedy Knockout and semi-finalist of Leicester Square New Comedian of the Year.
How does that feel, has this helped your career and where do you see your career going next?

I don’t think any of those things have done anything for my fledgling comedy career, per se, but they do win me the congratulations of my peers.

Doing them puts you in a situation where you’re tested against other people who are well received, and I think that makes you want to do better. You are the sum of the company you keep at the end of the day.

I would say I have been overlooked, but I would also say that others seem to be better at the admin, and at this stage, that’s what gets you booked regularly at the harder-to-get spots.

I’m hoping I’ll get so good one day that I become undeniable. But that’s something that will take a lot of work.

Where can people follow you on social media?

My Instagram is @liammcgoughtreeguy

My TikTok is @liamlol

Find details for tickets to Liam McGough’s show here on the EdFringe website:

https://www.edfringe.com/tickets/whats-on/two-guys-one-gcse

#Interview by Lou – What does Comedian, Robyn Perkins and Psychologist, Dr. Keenan have in common? Free #EdFringe show – Shrink Wrapped A Psychologist Analysis Live On Stage. @lhcomedy #Hoots #Apex #WhatsOnEdinburgh #ShrinkWrapped #Comedy #Psychology #RobynPerkins #DrCarolyneKeenan #ComedyForTheCurious #LifeHacks

Interview hosted by Louise Cannon – Bookmarks and Stages with
Comedian, Robyn Perkins
and Psychologist, Dr. Carolyne Keenan
Shrink Wrapped: A Psychologist Analysis Live On Stage

Hoot 1 at Hoots @ The Apex
Grassmarket
9pm until 30th August

Welcome, Robyn Perkins and Dr. Carolyne Keenan to Bookmarks and Stages.
Thank you for your time in answering all my questions in an in-depth, fascinating manner.

Robyn Perkins is a multi-award winning comedian with hit shows such as Comedy for the Curious. She is said to like investigating life. She tackles big emotionally charged subjects and brings it back to the audience with relatable humour and anecdotes.

Dr. Carolyne Keenan is a fully-qualified, licenced, registered psychologist who is founder and clinical director @ Lotus Psychology Ltd. She has also featured on BBC Radio 1 in programmes such as the popular, Life Hacks, The Independent, Psychology Today and more…

The idea of bringing comedians on-stage together in a group therapy type of scenario, with a psychologist really analysing them, sounds a fascinating and original show. It’s a pleasure to interview you both about this, covering what you hope audiences will get from this, what psychologists really think of clients and so much more… The answers truly are fascinating and insightful.
Firstly, we will check out the synopsis and then on to the Q&A before details on where you can catch Shrink Wrapped in Edinburgh.

Ever been deep in a therapy session and gone: I want to know what the hell she’s thinking? Well now’s your chance… with comedians in the hot seat. Join award-winning comedian Robyn Perkins and real-life psychologists (Dr Ruchi Sinha, Dr Carolyne Keenan or Dr Edel McGlanaghy) for the most entertaining therapy session you’ll ever witness. Guest comedians perform their best material, before submitting themselves to gentle psychological probing in front of a live audience. Don’t worry, we’ve got more safe words than a BDSM convention.

Without further ado, let’s begin with the questions I have for you:

Robyn, What gave you the idea to have a comedy show around the topic of therapy and then add in real psychologists into the mix?

It actually started in Adelaide when I had one of our psychologists on Comedy for the Curious (my science comedy panel show, also in Edinburgh). During the show, the psychologist (Dr. Ruchi Sinha) just read all of the comedian guests, from a psychological point of view. After the show, we chatted about how that would make an incredible show on its own, and the raw idea was born. From there, I have developed the idea into a full-blown panel show, developing the structure into what it is today.

Dr. Keenan, how did you become involved in this show and how is it being in the mix of a comedy show and at the same time giving your psychological opinion in front of a live audience?

I was invited to be part of Shrink Wrapped because I had already been a guest expert on Robyn’s show Comedy for the Curious. We had been working together for a while when Robyn came up with the concept for Shrink Wrapped. I’ve always believed psychology shouldn’t just stay in clinic rooms or textbooks, it should be part of everyday life. When Robyn described the show and the concept of combining comedy with psychological insights, I thought it was brilliant.

Being part of a comedy show is exciting and I love meeting all the comedians. It’s different from my therapy work but it uses the same skills- listening deeply, noticing patterns, and reflecting back what I hear. The difference is that on stage, we’re exploring these insights with humour, warmth, and openness in front of a live audience. I love that it makes psychology accessible and fun, while also highlighting the very real human truths that comedy often touches on.

Dr. Keenan, can you give an example of what do psychologists think of their clients, since that is a little of what’s billed in the show that makes it sound so interesting?

People often wonder what psychologists really think about their clients. The reality is, we’re human and often I’m thinking very similar things to what you might be:

“I wish they could see how great they are.”
“They really need to get rid of this idiot, they’d be so much happier.”
“I wish they would focus less on how much their favourite influencer has helped them and give the sessions we have been having some credit!”

In Shrink Wrapped, the audience gets a playful glimpse into how psychologists analyse behaviour and language. For example, a comedian might make a joke about not feeling good enough growing up and I might explore whether that contributed to their attraction to a job where they are constantly seeking immediate and positive approval from an audience. It’s done with kindness and humour though, not judgement, which is what makes it so engaging.

Robyn, Shrink Wrapped has done hugely well at the Adelaide Fringe having sell-out shows. What can people in Edinburgh expect and what do you hope they take away with them at the end of the show?

The concept of Shrink Wrapped seems to intrigue most people, but I think it is the structure behind it that gives the show it’s depth. I have worked with a few psychologists to refine a list of topics we explore across the shows (eg. Conflict, Trust, Romantic Relationships, etc.). Each show tackles a few of the topics in a group therapy session between 3 comedians and a psychologist.

Because the discussion is based in real therapy concepts, the show inherently flips between serious and funny, emotional and light hearted. Equally, I have chosen comedians who are, by nature, quite vulnerable on stage so the chat will occasionally reach emotional moments. However, with 3 comedians on stage at one time, this also means we are desperate to crack a joke if it gets too intense. It is the ebb and the flow of these moments that really makes the show special.

Additionally, since we are talking about real events and real people, we have found that audiences relate to at least one of the comedians on stage, in an ‘I do that’ or ‘that’s me’ kind of way. We are hoping that this can also spark conversations about mental health in a positive and fun way. I know using humour to explore mental health is not a new concept, but watching 3 comedians talk about their mental health in the form of a live therapy session is new territory we are excited to be exploring.

This year in Edinburgh, we are doing the Free Fringe (free entry with donations after the show), and while you cannot book ahead, based on feedback we have had about the show, we are expecting to be just as busy as Adelaide.

Dr. Keenan, what do you hope the audience will have learnt and take away with them by the end of the show?

I hope the audience leaves with:

A sense of relief – realising we all have quirks and struggles, and humour can be a brilliant way to explore them.
A new curiosity about themselves and others – understanding that behaviour always makes sense when you look deeper.
A feeling of connection – seeing comedians open up about their lives helps us feel less alone in our own messy human experiences.

Ultimately, I want people to feel entertained, uplifted, and inspired to reflect on their own lives with more compassion and humour.

For both Dr. Keenan and Robyn, how did you convince 8 comedians to be on stage doing some form of group therapy with 3 psychologists present. Was this an easy or hard task to do?

Dr. KEENAN: I think comedians are naturally curious and brave, they’re used to being vulnerable on stage and they quite like talking about themselves! When they realised this show wasn’t about picking them apart but about exploring their material and personalities in a fun, supportive way, they were on board.

Also, Robyn’s energy and the framing of the show as “science comedy” rather than “group therapy” helped. It wasn’t about fixing them – it was about exploring some of their material through a psychological lens. That made it feel safe and exciting rather than threatening.

ROBYN PERKINS: Similar to what Dr. Keenan has said – as a comedian we love talking about ourselves! But more than that, comedians are curious by nature. I have been overwhelmed by the number of comedians who have asked to be on the show. It’s been fantastic! No convincing necessary!

For both Robyn and Dr. Keenan, what did you both learn from doing this type of show that you would take forward into your careers moving forward and would you do something similar again in the future?

Dr. KEENAN: For me, it reinforced how powerful humour is in making psychological concepts accessible. People learn best when they’re engaged and laughing. I also learnt that psychology belongs everywhere – not just therapy rooms but in arts, media, and entertainment. I regularly take part in BBC Radio One’s Sunday evening show Life Hacks where we take topics that impact the listeners and explore the psychology behind them. We often have call in questions so I’m comfortable thinking on my feet and making these insights accessible and actionable but doing it in front of a live audience on stage has helped me practice those skills and feel even more comfortable with it.

I’d absolutely love to do something similar again. Bringing psychology to audiences in creative ways is something I’m deeply passionate about, and Shrink Wrapped has been a perfect example of how that can work- long may the show continue!

ROBYN PERKINS: I have learned I probably need to do more therapy! I have actually learned a lot about myself, both from comments about me and my set, but I’ve also learned things from watching others. I am hoping this show continues far into the future.

What made you choose Edinburgh Fringe for Shrink Wrapped and what are your plans for where this show can go next?

I go to the Fringe every year, and do the global festival circuit, so it was a no brainer to bring it to EdFringe! Through at least December, we are performing monthly at Top Secret Comedy Club in London at the moment. We will bring the show back to Australia next year. But also, we are looking to potentially start touring the show around theatres and the rest of the UK. The possibilities are endless!