Edinburgh Fringe Q&A: Runi Talwar

Tell us about your show. What can audiences expect?

Runi Talwar as ‘Runi Talwar’ in Runi Talwar: The Runi Talwar Story is an hour of stand-up comedy about Runi Talwar (me!) – an Indian/Kiwi/Aussie comedian and writer, who also happens to be a fundamentally unlucky person. It’s a breezy journey through the life story of someone who has always found themselves at the mercy of Lady Luck – from moving continents right before a global pandemic, to accidentally causing a billion people to be upset. Audiences can expect a hilarious, engaging hour of stories and observations, from a charming and captivating storyteller and comedian. 

Can you talk about some of the creative team involved?

The show is written and performed by me, comedian Runi Talwar, with direction from the brilliant Daniel Emery (director of John Tothill, The Last Living Libertine, Edinburgh Fringe 2023), and dramaturg extraordinaire, Dec Munro (director of Sofie Hagen, Bubblewrap, Edinburgh Fringe 2015; Lara Ricote, GRL/LATNX/DEF, Edinburgh Fringe 2022).

Where do you draw inspiration from for your work, both in terms of creation and performance?

My inspiration for my stand-up has always come from my own life, and from how I interact with the world around me – whether it be the experiences I go through, or the observations and musings that come from them, my creative work has always been driven by finding the funny in every situation I’m find myself in – difficult as that may sometimes be – and putting my own unique spin on it.

What are your thoughts on the festival in general and how do you feel about being a part of it this year?

Edinburgh Fringe is an absolute institution of comedy and performance art, and as a comedian and artist, I feel incredibly privileged that I have the opportunity to take part this year with a show of my own. I’m incredibly excited and not at ALL anxiously vomiting at the thought of doing my debut hour – something I’ve personally dreamed about and worked towards for a long time. It’s also hard not to talk about the Fringe without mentioning the increasing burden of costs that artists face every year, so more than anything, I just feel grateful that the economic gods have aligned for me this year and enabled this to happen (after this, see you in 2029!)

Looking at this new show, how would you say it links to your previous work both personally and thematically?

This show is, in many ways, the culmination of the last nine years I have spent working as a stand-up comedian – the years I’ve spent honing my craft, developing my material, and crystallizing my unique perspective as an artist and humourist. The themes of luck and identity are something I have explored for a long time in my stand-up, and this show is the purest form of those ideas and stories.

Why is this an important story to tell?

The story is important because I think it speaks to something fundamental to us all as human beings – our desire and need to control our own destinies. We use ‘luck’ as a catch-all for all kinds of chaos in our life – yet I don’t think we talk about it in the right way, as a society. The story is about the power of perspective, and how we perceive our luck can actually end up shaping it.

Do you tend to take inspiration from events happening in the world around you in terms of your work? Do you think artists have a responsibility to respond to what's happening?

As someone who has worked extensively in topical comedy, the world around me is a constant source of inspiration. At the same time, this is a much more personal piece of work than a typical segment of topical comedy, so the inspirations in this show sit at a deeper level. I think artists have a responsibility to be informed by what’s happening around them – art that isn’t informed by reality or genuine emotion has a tendency to feel empty, in my view.

But beyond that, the only responsibility an artist has is to create art.

How do you feel about the current arts landscape in your country and your part in it? Does it excite you and inspire you to keep pushing the boat out?

I think the current arts landscape in the UK is in an interesting place. From an economic point of view, it feels nothing short of grim – opportunities seem to be ever-dwindling, and while the barrier for entry into the arts these days is the cost of a phone and an internet connection, the ability to carve out a sustainable career in the arts seems to have gotten harder.

Despite that, though, I think the quality of the art being created right now is genuinely inspiring. I am constantly in awe of my fellow comedians and artists who show up every day, in the face of overwhelming odds and with little to no guarantee of any sort meaningful success, and still create incredible pieces of work. If all that’s left of the arts industry one day is amazing broke artists creating amazing broke art, then I’ll gratefully be a part of it (and keep doing my day job in the meantime).

Why are arts festivals such as the Fringe so important for international exchange?

Arts festivals are a powerful way to expose people to ideas and perspectives they may not have considered before, and to broaden their understanding of different communities, and viewpoints. Being able to experience a slice of a different culture goes a long way in helping someone relate to people outside of their specific bubble, and being a melting pot for perspectives from around the world is what makes a festival like the Fringe so important.

What can the wider arts community do to get more people involved in their specific disciplines?

For me, the easiest way to get more people involved in a specific disciple or art is to give them more opportunities to engage with that art. From a comedy perspective, that might look like a strong open mic scene for those who are brand new to the craft, or an increased number of opportunities for people who come from less represented demographics, among other things.

What would you like audiences to take away from seeing this production at the Fringe?

First and foremost, I’d like the audience to take away the thought that they just spent an amazing hour watching a comedian who they absolutely love now and will definitely become life-long fans of. On a smaller level, I’d love audiences to go away and reflect on their own relationship with luck (and the attitudes they hold towards it in their own life).

What show are you most looking forward to seeing in August, and why?

The show I’m most looking forward to seeing is Rose Matafeo: On and On and On. Rose is an amazing comedian and it’s her first full show at the Fringe since she won the award for her debut show – absolute must-see.

What’s the one piece of advice you’d give a performer coming to Edinburgh for the first time?

My one piece of advice is the piece of advice I have been constantly getting as a performer coming to Edinburgh for the second time (I assume it’s still relevant) – just enjoy it. Edinburgh will mean different things to different people, but as long you remember that you get to have a brilliant month telling jokes and drinking too much and hanging out with other comedians at one of the coolest arts festivals in the world, you’ll be fine.

What’s next for you and how are you feeling about the future in general?

Next for me is doing an hour long stand-up comedy show for a month, followed by at least one solid week of sleep and Avatar reruns. I’m feeling good about the future – while I can’t know for sure how the festival is going to go, I do know for a fact that by the end of it, I will be a better comedian than I am going in. And that’s more than enough already.

How can Edinburgh audiences keep up with you beyond the festival?

They can follow me on social media (@runitalwar) or via my website (runitalwar.com) or they can come visit me in London and we can get overpriced bubble tea.