Hi Om Raj, it’s great to talk with you, how does it feel to be heading to Edinburgh Fringe with your new show 1953 Race for the Summit at C Venues this August?
Thank you for having me! This is my first show at the Edinburgh fringe and I am super thrilled to be a part of it. Edinburgh Fringe is one of the most renowned and exciting performance arts festivals in the world. It's a remarkable opportunity to showcase talent and connect with artists and audiences from various backgrounds. As a first timer in the fringe, C venue has been a great support for me to put my solo show at the fringe and I am very thankful for it.
You have already had an amazing reaction to 1953 Race for the Summit, gaining a Best Actor nomination at the New York Theatre Festival, what has it meant to you to get this type of recognition for your show?
I see it as encouragement in my artistic journey. It motivates me to continue pushing myself as an actor and writer, to take risks, and to explore new possibilities. It also reinforces my belief in the importance of telling stories that captivate and connect with audiences on a deep level.
Are there any nerves ahead of your Edinburgh Fringe run?
Of course! There are always some nerves leading up to the performance. Since the festival is renowned for its vibrant atmosphere, naturally, there is a scene of wanting to deliver a memorable performance. It’s a solo show which means one actor is performing the whole time and carrying the story forward. It’s a direct address to the audience which is terrifying, adventures, and a very intimate connection with the audience. However, I see the nerves as an opportunity for personal growth and development in this case.
Can you tell me a little bit about how 1953 Race for the Summit came about, what was it about the Tenzing Norgay story that really connected with you as a theatre maker?
Actually this project progressed from classroom to theatre. In my solo performance class at University I had to write an autobiography of a historical figure for my class project. Mountaineer Tenzing Norgay was the first historic person I have known in my childhood and as someone who was born in the pocket of hills and mountains, I was fond of his story. So when I had my first draft my professor Dr. Kathleen Potts and most of my friends encouraged me to put it out there.
During your research what where some of the surprising facts you discovered about Tenzing Norgay and his time with Edmund Hillary as they reached the Everest Summit?
One of the interesting facts was that this was his 7th attempt to climb the Everest and after conquering the Everest, Tenzing never went back there but became a Trainer and Hillary continued his mountaineering journey. And Tenzing had a great Smile, let’s not forget that, that’s important!
When writing a new show like this how important is the creative collaboration between you and your director Ayusha?
One of the great things about writing a solo show is that you don’t have to wait for no one. You can just write. It gives a lot of power to the writer till the initial first draft. And after that it’s not just one person creating one full show, the director's input is valuable in shaping and refining it for the stage. And my collaboration with my director Ayusha was crucial for shaping the script, developing the production's vision, and ensuring a cohesive show. She is amazing and I couldn't ask anyone but her for this play.
What are the biggest challenges you face creating the 1953 Race for the Summit?
Since this is an autobiographical solo play of a historic figure in Mountaineering history. It is a great responsibility to represent an individual accurately and respectfully. Life doesn't happen like a story structure so selecting a specific and relative event and putting that into Narrative structure, creative adaptation and rearranging the event was a challenging but rewarding experience as a writer. I feel like I have learned and grown so much writing this play.
If you could describe 1953 Race for the Summit in only THREE words what would they be?
Adventurous, Historic, and Fulfilling!
What has been the most valuable lessons you’ve take away from creating and performing this show?
To trust in the process! Writing a solo is really daunting, however it's a really rewarding experience as a writer. It is all about believing in the power of creativity, embracing uncertainty and failure, and honoring the journey of self-expression. It's a journey of self-discovery and growth.
Once a show is running are you able to give yourself much flexibility with your material or Do you prefer to stick to your text?
While some flexibility is beneficial, I strive to stay true to the essence and theme of the show. However in a solo show, it often gauges on the audience's reactions and responses during a show. Because it’s all about performers and audience journey.
How much has your approach to creating your shows changed a lot since your debut?
My approach to creating this show hasn't changed much in terms of the theme. However, this time, I'm taking a slightly different approach to the performance. It's a biographical solo show, which means I sometimes have to improvise certain real events to uncover a deeper truth.
Do you have any advice, tips or suggestions you would offer anyone thinking about getting into theater?
If you're thinking about getting into theater, go for it! Take that first step and keep at it every day. Remember, theater is a journey of learning and expressing yourself with others. Enjoy the process and have fun, whether it's in class or on stage!
And finally, what do you want your fringe audiences to take away from 1953: Race for the Summit?
In my show, I want to share a story of human determination and the triumph of exploration through the eyes of Tenzing Norgay as he conquers Mount Everest. Each audience member may connect with different parts of the performance and find their own inspiration in the tale of this incredible human achievement.
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