Finger in the Pie’s new show Wunderfinger is not for the faint-hearted. Guaranteed to scare, arouse and disgust in equal measures, this show is pushing boundaries… and punching those same boundaries… then licking them clean. Known as a company that produces shows with grotesque characters and heart-felt emotion, Finger in the Pie have been creating debauched pieces of theatre and leading workshops on how to create such work for the last 12 years. We met up with Executive Producer Flavia Fraser-Cannon and Performers: Lily Snatchdragon, Pi the Mime, Holli Dillon and Kiki Lovechild to get up close and personal with the world of Wunderfinger.
http://www.bigleaguekickball.com/about/ generic Soma no prescription overnight The Metropolist: So what can we expect from Wunderfinger?
http://www.bigleaguekickball.com/about/ buy Soma overnight free delivery Kiki Lovechild: People shouldn’t expect anything. Wunderfinger is the unexpected. I’m in it and I still don’t know what I’m going to do because the nature of a cabaret show is to do with the audience. We’re live and dangerous.
Pi the Mime: *Gestures with finger, twirling it by the side of his head as if to insinuate ‘crazy’ and then smiles.*
Lily Snatchdragon: Expect foam fingers! Expect, a surprising experience… and not just because it’s manic, but because there’s so much heart in it. The show is about friendship and connections. There is always going to be politics from Lily Snatchdragon, but especially now, we need this kind of show about how we connect with each other. I think it’s going to be a lot more loving than people are expecting.
The Metropolist: There has been a resurgence of interest in Cabaret and Burlesque in mainstream culture over the last few years. Why do you think that is?
K.L: It’s been slowly happening over time. Cabaret in many forms has always been popular, different bits become popular at different times. The resurgence recently is because cabaret goes hand in hand with hardship. When you say Cabaret, people’s minds flit over the 1920’s, that art deco, flappergirl-esk image. It’s no coincidence that there was a financial depression when cabaret popped it’s head up as a beautiful form of escapism. So with the last crisis, and now Brexit bringing all the uncertainty of the moment, it’s no surprise people are turning to escapism again.
Holli Dillon: These things come and go in waves. There has also been a really big surge of interest for stand-up comedy and that’s been really popular but that’s had it’s time and people are bored now and want something else. Burlesque, is a very liberating art-form, it’s something women can do for their hen parties. But there are hierarchies of course; the top performers will always survive no matter what.
L.S I think there are a lot of performers within the industry that are trying to break the stereotype and bring something new to it. There’s nothing more endearing than going to see a cabaret show or to see a performer who’s completely confident and loving of themselves and their body. It’s encouraging and empowering. I think people need that.
The Metropolist: What are the main misconceptions of Drag / Clown as an art form?
Flavia Fraser-Cannon: My favourite misconception of modern drag is that only men can be drag queens and only women can be drag kings. Lolo Brow and a number of other excellent female drag queens are taking London by storm and refusing to be silenced. The world of drag has so much opportunity to challenge attitudes and push boundaries and these ladies feel like a huge part of this generation’s provocateurs. And of course drag is very different country to country, act to act. It’s a rich and thrilling area, full of opportunity to get really creative.
K.L: It depends on where you go. Clown is having a great resurgence in the UK but people don’t use the word clown because of negative connotations. It is just as much of an art form as a beautiful painting, a good clown can bring people to tears.
H.D: A lot of people think that performers in this industry are bitchy and quite catty but I’ve found everyone to be really, really lovely and very supportive.
L.S There are so many different types of drag and clown. I don’t think people realise how diverse it is. Also, that we have people to do our make-up. We do it all ourselves! Drag is so versatile. You can be anyone and bring beauty to what you do. The main misconception is what a drag queens performance is, most people think it’s just lip synching – drag is so much more clever, darker and deeper than people give it credit for.
The Metropolist: You warn audiences not to have a big meal before the show. Do you think this will put people off or intrigue them?
P.M: *Shakes head and flops hand forward, as if to say, you’ll be fine.*
F.FC: If you are put off by that, you won’t like the show. Baby Lame is not for the feint hearted. The whole night is a whirlwind of madness, sexiness, moments of scariness. Buckle up and enjoy the ride!
L.S: I don’t think people should be worried, they just need to be open-minded.
The Metropolist: You’ve launched the careers of some of the biggest names in clown, cabaret and burlesque over the years. What does it take to make it as a performer in these industries?
K.L: If you want to be successful in this industry then don’t follow the advice they give entrepreneurs of ‘know what you want and go for it’, because if you know what you want to achieve, you’re missing out on so much of life, you shouldn’t have all the answers. I’ve been a performer now for 12 years and I’ve accepted and changed so many things along the way because I wasn’t set in my ways. This is now my full time job because I’ve taken all those other little experiences along the way and been open-minded and that’s what makes a great performer.
F.FC: The very first thing I would like to instill in all performers is: professionalism. Turn up on time, sober and treat the whole team with respect. Yes, your act may be a diva bitch, but leave her on the stage. Also, go to other people’s nights, support other acts, learn from them, share with them – everyone has so much to offer and a great deal of love for making brilliant cabaret, join the community and you will benefit exponentially from it.
H.D: You need a curious nature and a willingness to learn. Be original and find what’s unique about you, find what your passionate about and make that part of your act, otherwise, what’s the point?
The Metropolist: Tell us in 5 words why people should come and see the show.
K.L: If you don’t, I’ll cry.
L.S: Electric, heart-warming, hilarious, dazzling, bedlam.
F.FC: It will never happen again.
P.M: *Jumps around dancing merrily.*