Every Single Sound in the World, Libra Theatre Cafe
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We caught up with Natalie Patuzzo as she prepared to bring her innovative comedy show, Every Single Sound In The World, to Camden Fringe. Armed with her voice, the audience, and whatever objects she can get her hands on, Natalie conjures every possible sound, and your participation is essential.
What can audiences expect from the show?
Audiences can expect half an hour of fun, silliness and noise! I will be creating every single sound (yes you heard that right, every single sound!) in the world using my voice, body, objects, audience members, and more!
Is Camden Fringe going to be the show’s first time on stage, or have you already performed elsewhere?
The show will be performing first in my home town at Manchester Fringe on the 2 & 9 July. I’m taking the show to Camden Fringe too because I’ve really enjoyed the work I’ve seen at the festival in the past and I’d love to get some London eyes on the show!
What was your inspiration behind the show?
Me and my flatmate LOVE playing a game called ‘make the noise’ we came across on Tiktok. It’s a really simple game – one person creates a sound with an object in the flat (maybe tapping your fingers against a glass or swiping your hand across a surface) and the other person just has to create that noise to the best of their ability using their mouth. Every time we played it we were in fits of laughter so I started hunting around for fun objects to do this with at comedy gigs and people really loved it, so it’s sort of just grown and grown from there!
Is this version how you originally envisioned it or has it changed drastically since you first put pen to paper?
This show doesn’t actually have a script – it’s devised so it’s a case of me trying things out in front of friends, by myself in the mirror and then in front of audiences at small gigs. It’s already evolved loads since first trying bits out in front of audiences and I anticipate it will keep evolving right up until I perform at Camden Fringe.
Being a fringe festival, we all know sets have to be bare minimum, how have you got around this with your set and props?
This is really tricky. It’s hard to reign it in when I get excited about objects – I have to make every single sound in the world after all! The important thing when I’m choosing my props is that I can fit everything into a suitcase so I can get on a train with it. Plus a lot of sounds will be created by my voice (and your voices too if you’re in the audience) so that saves some space.
How important is audience interaction to you?
This is the most important thing about my show! My hope is that the show just feels like one big game where we all get to play together. How the audience responds will influence how I play with each thing. If there’s something that the audience finds really funny then I’ll stick with that and see what else I can do to make it even funnier.
Are there any plans for what comes next after the show has finished its run– for you or the show?
This year is a half an hour work in progress. My hope is to come back next year with a full one hour show (and hopefully take it up to Edinburgh Fringe too!). In the meantime, once this year’s festival is complete I’ll be heading to Italy for a couple of months to spend some time relaxing before I start planning all over again for next year.
If your show had a soundtrack, what songs would definitely be on it, and why?
This show is all about sound, so I’ve made you a Spotify playlist to answer this question so you can listen along! In all honesty it might not make for an entirely relaxing listen… but hopefully you’ll get a bit of a vibe of the show.
1. Pool Party Music by Mall Grab
I’ve chosen this song because it’s fun and generally has good vibes which I hope is how my show feels as an audience member!
2. Chats dans l’eau by Zinzin
When I studied mime in Prague one of my teachers used to use this to completely change the energy of a scene and throw the cat amongst the pigeons (or in the water in this case). Also it makes me laugh and it’s a very strange listen.
3. I’m Every Woman by Chaka Khan
Chosen because I like to use a technique I learned from Bryony Kimmings called Blitzing to help me get out of my head and come up with ideas when I’m rehearsing. Blitzing is when you play music and you dance like nobody’s watching (or like everybody’s watching if that’s your thing) and then stop the music to ask and answer yourself some questions about the show. I chose this song because it’s my favourite song on my Blitzing playlist.
4. Car Crash Sound Effect by Beats by Talent
Another one inspired by my training – is more a sound than a song but as it says it’s a car crash sound effect. My teacher when I was studying clown at Gaulier (Carlo Jacucci) would play sound effects like this one for us to recreate with our voices. My show is like an extended version of this exercise.
5. Hero by Enrique Iglesias
Finally I chose this song because it’s simply the best song ever created.
If you could perform this show anywhere in the world, where would it be and why?
I would really love to perform this show in Prague one day because that’s where my love of clowning really started for me. I did my Erasmus training at HAMU in Prague where I had my first proper clown lessons, and I haven’t looked back! I also studied dance, mime, acrobatics, aerial circus and juggling. (nb despite 6 months of training I cannot juggle. Or do aerial circus. Or do acrobatics really)
What’s the most valuable piece of advice you’ve received during your career, and how has it influenced your work on this show?
I was lucky enough to receive Arts Council DYCP funding last year and as a result received mentoring from the very lovely and talented Lucy Enskat. Lucy is also a clown and she gave me lots of super helpful career and performance advice. The most helpful thing I took away from her though was to make it happen for yourself (which, yes, is easier said than done!) I felt really stuck with my career because I think I was waiting around for opportunities to come to me – whether that was performance opportunities, funding opportunities or even just having time. Plus I think I was a bit scared to just take the plunge.
Lucy told me about how she would put on cabarets and the different shows she made – from puppetry to clown to immersive shows. After that I put on my own comedy cabaret last summer and LOVED it! I think it gave me the confidence that I can produce my own stuff too.
Thank you Natalie, for taking the time to tell us about your show and get us excited about seeing it. You’ll be able to catch Every Single Sound In The World at the Libra Theatre Cafe on the 9 August at 9.00pm and on 10 August at 4.45pm
