Edinburgh Fringe Q&A: Yozi

Tell us about your show. What can audiences expect?

A sketch-opera-tragi-comedy following an autistic clown-to-be’s obsession with the rules. Expect silliness that conjures a deep yearning for belonging, a fruit*ful yet sinless orgy, and a story about an AirBnB that will boil your milk!

*are pickles fruit?

Can you talk about some of the creative team involved?

In January of 2023 Lucy Haas, Mary Angley and I locked ourselves into a decommissioned news programme’s boardroom, danced around to disco music, yelled 'shut up – SHUT UP – SHUUUT THE FUCK UP!!' at one another, while I improvised several scenes that became the script, with a tale I lived through the year prior injected into its core. The show opened a month later to raptor-ish applause. (Have you seen them dinos clap? It’s encouraging!)

Shay Leach has contributed in numerous ways wearing innumerable hats – costume and prop creation and collation, photographer, endless emotional support AND a couple of jokes that have found their way into the tapestry of the show.

This show was the culmination of years of trying to make the perfect show to show off my talents. A solo showcase. I can spin a yarn, pop a funny face, crack a good joke, and make you feel things akin to hopeful pity. 

I'm also here as part of the House of Oz programme, this year at Assembly. They spotted me at Adelaide Fringe and gave me the House of Oz Purse Prize Award so I can bring the show to the lovely people of Edinburgh.

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

The sources change depending on that season’s hyperfixation – sometimes it’s a real-life situation that I can’t stop thinking about, other times it’s a silly voice that I love doing and people love hearing.

I was heavily influenced by sketch comedy. I grew up watching – Skit House (AU), The State (US), A Bit of Fry and Laurie (UK), and Rowan Atkinson’s live solo sketch anthology shows (also UK). I’d learn these routines to perform for my school mates, often not understanding why things were funny, just that they were. 

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

I’m addicted to this festival, and I have been ever since I first arrived in Ol’ Reekie for my first foray in 2017. I love how diversely textured the tapestry is, how far the participants pilgrimage from. So, getting to contribute my silks, and be a part of this global congregation is an incredible privilege. I’ve been waiting 5+ years to make my return, and to be able to do so, with this show that I love so much, is an absolute dream.

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

It’s a mild departure from my previous work, which has been mainly collaborative and featured ensembles. The End is High Concept exemplifies this period, having a cast of 10 and being co-written with my long term collaborator Kyron Weetra. My only previous solo work, ABOMINATION, was thematically very different – where that was a straight theatre show, with sprinklings of comedy, it mainly explored the grief I was experiencing at the time. This show, NBITS, is at its core about belonging and trying to make sense of the world enough to move through it. This show feels more foundational – stronger shoulders to bolster more nuanced and accessible ideas as my practice progresses. 

Why is this an important story to tell?

After the first performance of this show an audience member approached me and thanked me for making them feel seen – they had recently been diagnosed with autism and weren’t finding the representation they were after in other mediums. But this silly show, about a clown trying to learn the rules of comedy, spoke to them exactly how they needed it to – and to me that makes this important. I’m looking forward to more people coming to me after the show for similar chats and sharing their experiences.

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 feel very lucky to be an artist from Australia – we have lots of funding opportunities to create and/or tour new work, develop our professional skills, receive mentorships etc – and funding aside there are vast arts entities to envelop oneself in. I will always be excited to make new work that I didn’t think I was capable of. I have been participating in the landscape for a long time, however much of a tumbleweed my role may have been, but now as my practice has become more focused and my ability to make what my dreams are filled with grows, my hope is that I am not long for the role of oasis.

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

I am on Instagram, TikTok and X as @yozihaha – my name and what I hope to make you do!