Welcome back to OPENING LINES, the interview series that puts playwrights centre stage by diving into the world of new writing and original work. Each interview explores the creative process, the challenges and triumphs of developing new ideas and work for the stage, why new voices and stories are essential to the future of theatre and what the industry is doing to nurture and support new writing. 

With Edinburgh Fringe on the horizon, I spoke to the wonderful Marie Hamilton about her show MADONNA ON THE ROCKS which I saw at Brighton Fringe in May. After a successful run in Brighton and sell-out runs of the work-in-progress version at the Greenwich Theatre and Vault Festival, MADONNA ON THE ROCKS travels to Edinburgh Fringe from 31st July – 24th August at Roxyboxy at Assembly Roxy. Tickets available here!

Introducing Marie Hamilton –

Marie Hamilton is an actor, writer and theatre maker. At 18, she moved to Paris to train with Philippe Gaulier, before relocating to Bristol where she immersed herself in the fringe theatre scene. She later completed an MA in Acting at ArtsEd in London. Now based between London and Bristol, Marie works primarily in theatre, film and television.

She has toured internationally and performed at venues including the Almeida, Soho Theatre, the Gate and the Arcola in London, Bristol Old Vic, Tobacco Factory Theatres and The Wardrobe in Bristol, the Pleasance in Edinburgh and the North Wall Arts Centre in Oxford.

MADONNA ON THE ROCKS is about madness and maternal rage and the struggle to be an artist, or to have any sort of career at all really, and still be a reasonably present parent. With songs inspired by Madonna, Peaches and Nina Simone. Written and performed by Marie Hamilton, composed in Berlin by Cameron Mackintosh Award winner Ben Osborn with dramaturgy from Bryony Kimmings.

What inspired you to write MADONNA ON THE ROCKS?

I started writing it when my first child was about 10 months. Suddenly everyone was asking me when I was going back to work, all my new Mum Friends were finishing up their Mat Leave, and suddenly I was expected to get out of my grotty pjs and re-enter society. The problem was, in having a baby my entire identity had been exploded open, and I no longer knew who I was, and if I re-entered society whether it would accept me anymore.

It was this crisis, can I still call myself an artist if I’m not making art? Can I still be a feminist if I can’t afford childcare? Will I hurt my child more if I go to work, or stay stuck at home… And all the other conflicting, impossible choices of 21st century motherhood, that became this show. 

What does bringing a show to Edinburgh Fringe mean to you? Is this your first time or have you been before? 

I’ve brought shows up before but always in big casts – this is my first solo show and my first time coming up as a parent… so it’s going to be a bit wild! 

Were there any moments during the writing process that surprised you?

It turned from a serious play about climate change – into a comedy about why anyone would have kids when the world is on fire, into a dark comedy musical about mums. 

As the writer and creator, how did it feel to bring your own words and vision to life on stage?

It’s amazing having artistic autonomy. I’m an actor so I’m very used to being a pawn in someone else’s creative vision… but it turns out I’m also a control freak… I’m turning drunk on power.

Did you learn or discover anything about the show during rehearsals that you didn’t expect to?

How flipping great everyone has been when it comes to fitting in with my mad baby schedule. I think we’re so afraid to ask for help or adjustments and we try and hide our ‘family commitments’ like they’re something to be ashamed of, but actually people do want to help. Institutions might be a bit slow on the uptake, but if you don’t ask you don’t get, and if you ask, you make it easier for other people to ask too. 

How do you want audiences to think and feel about your show? 

To feel empowered and feel less alone, having laughed and cried, ready to fight for a fairer future. Whether they’re going to grow a baby inside themselves one day, have someone else grow a baby for them, or just spend time with people who have once been babies. 

If you could ask your audience one question after the show, what would it be?

Wanna go for a drink?

Do you see yourself continuing to explore similar themes and topics in your future work?

I’m sure I’ll make more dark, funny and political stuff… and probably more shows with music in them… but I might let the mums have a break for a bit.

Do the works of other playwrights, writers or theatre-makers influence your own writing? Are there specific writers or plays that have shaped your approach to storytelling?

I trained with French Clown Master Philippe Gaulier and so he is always in there, Bryony Kimmings, Caryl Churchill, Sarah Kane, Lucy Prebble, Sally Cookson, Complicité, Told By An Idiot, I love when comedy is dark and art is entertaining, and the story is strong.

Do you feel that the theatre world is doing enough to support and nurture new writing? If not, what changes would you like to see?

More programmers coming out and seeing shows even if they’re only on for a couple of nights above a pub, more transparency between artists and institutions and more emails for actual human beings that are actually visible on websites. Oh and loads of money for everyone.