I Really Want to Wring a Seagull’s Neck, Aces and Eights
We’re now just a few days away from the start of this year’s Camden Fringe, and we’re well into our month of interviews to celebrate the sheer range of what’s on offer at this year’s festival.
Next up is a show that could well be the winner of our favourite show title so far with I Really Want to Wring a Seagull’s Neck. Obviously we could never condone such mindless violence, but we have to admit, it’s a thought that has crossed our minds once or twice on our outings to the seaside!
You won’t be surprised to hear it bills itself as “a dark show with elements of comedy”. We caught up with director/ producer Charlotte D’Angelo to ask the all important questions about just why they seem to hate seagulls so much.
I Really Want to Wring a Seagull’s Neck will play at Aces and Eights from Monday 18 to Wednesday 20 August. Further information and tickets available here.
You can find all our Camden Fringe interviews here.
What can audiences expect from the show?
There’s an old myth that seagulls carry the souls of dead sailors. Ant believes she is able to hear their thoughts… their dark and dirty thoughts. Nesting at her window one day, driven by disgust she kills a gull in the night. Then she kills another, and another, and another. Her partner Gill starts to remind her of the gulls she hates so much and she has to come to a blurred, crazed decision.
A dark show with elements of comedy, this new-writing piece, previously previewed at the Minotaur Shorts Festival in October 2024, now extended to it’s full length for it’s London debut, Seagulls is one woman show, following Ant’s struggle through dark voices, moments of comedy and most importantly – wretched seagulls.
As an independent young persons team, Seagulls is here to centre female-led stories and protagonists. Opening conversations on coping difficulties with a more surrealist retelling around sexual assault, domestic violence and mental illness. Destroyed by the fear of facing male dominating discomfort and force, using violence to fight violence.
Is Camden Fringe going to be the show’s first time on stage, or have you already performed elsewhere?
We (myself and writer Lucy Matthes) first professionally worked together as actor/director with their Spirit of the Fringe (Derek Awards 2024) original queer comedy show Disco Dick. Now Edinburgh survivors, we are ready to explore darker theatrical themes this Camden Fringe.
What brought you all together?
Picture this. You’re in Brighton, you’re 15. Enjoying a bagel to celebrate the end of school exams. BAM. Seagull swoops down and takes the bagel right out of your hands. This is the memory that first came to mind when I went back to my old University to see Lucy Matthes’ short play I Really Want to Wring a Seagull’s Neck. Having completely coincidentally worked together on every single play done whilst studying on the Drama and Creative Writing at UEA, I came back to view the amazing original selection of short plays done every year – the very occasion myself and Lucy met. I went back to London the next day with the play going on and on in my head until I eventually messaged Lucy saying ‘I can’t stop thinking about seagulls. How would you feel if I directed it for a London fringe show?’.
Being a fringe festival, we all know sets have to be bare minimum, how have you got around this with your set and props?
We picked a small stage for an smaller audience, therefore immediately restricting our use of props and forcing us to think creatively and minimalistically. Allowing to think through the dialogue as a memory, recounting Ant’s moments of hatred and mania, has given up more freedom to let Ant tell her story more stylistically in imitation, dance and speech. So we’re leaning into this, that it’s just us and her, her and us. Letting the small space and lack of dressing get intimate, questioning and uncomfortable. Other than a record player, made an exception for as Ant’s one true love of Beethoven.
What has been the biggest challenge in realising the writer’s vision for the show?
Directing the piece, the biggest question I find myself faced with it ‘Is Ant a good person?’. Her anger and murderous rage, this sense of duty she gives herself to go out into the night and murder creatures, slinging a gun across her back and covering her hands in blood. But also a childish innocence, a love of music and inability to comfortably belong. How do you present someone who is just as much a young girl as a prideful killer? Allowing her to exist as a grey character; letting her be unreliable, malicious, angry as well as vulnerable, giddy and earnest – is both her biggest challenge to present, and her biggest strength to connect with.
How important is audience interaction to you?
Small play, small set, small cast – it’s going to be personal. But in a way that asks for volunteers, but for attention, held eye contact, scrunched grimaces, guilty laughs and a maybe a need to hold your neighbours hand in its tensest moments.
Leaving behind a character with no one else to confess to. No friend to listen, sympathise or judge. Leaving behind not only a play but a person – walking back home and realising you’re still holding your breath for them.
Are there any plans for what comes next after the show has finished its run– for you or the show?
We would love to continue this piece into future UK fringe festivals, depending on success, looking into Lambeth and Edinburgh Fringe.
If you had to describe your show as a colour what would it be, and why?
Blood red, for obvious reasons.
If you had to describe your show as a meal what would it be, and why?
Fish and chips, in Brighton spirit.
If your show had a soundtrack, what songs would definitely be on it, and why?
Beethoven’s Piano Sonata No.14 and String Quartet No. 13.
What’s the most valuable piece of advice you’ve received during your career, and how has it influenced your work on this show?
The best feedback I’ve received after a rehearsal is ‘I feel so much better than when I came in’. I try and take this as my piece of advice and motivation when directing, creating a space for actors that feels comfortable to be curious, play, explore, connect and open. Crucial not only in making a good play, but a good company and a good working environment: hopefully translating to easily allowing an audience to trust us with their time and emotion, and enjoy the journey alongside us.
Thanks to Charlotte for telling us more about I Really Want to Wring a Seagull’s Neck. It plays at Aces and Eights between Monday 18 and Wednesday 20 August.
