It’s been amazing to be selected as part of the Showcase; we couldn’t be happier because we would love to tour internationally. We applied to the Showcase to help the show be seen by as many people as possible, really!
Audiences can expect some imaginative sets, a laugh, to feel something and to get to know my dad a bit. It’s important to me to share this story, to share my dad and to keep telling this story around the world. What’s really lovely is that everyone who watches the show learns some things about my dad, they get to know him a bit. That’s really, really nice for me – I’m sharing these memories that I treasure with other people, and it sort of keeps it alive, in a way.
The show was a long time in the making – we made it over a period of just over two years. We started in August 2012, at the Edinburgh Festival. I was a producer at that time, and I saw about 30 shows and kind of had this idea at the back of my mind. I was so inspired by the shows I saw, lots of which didn’t rely on the spoken word, they used lots of different techniques to convey things, not just spoken language. The idea came to me and we went from there, really.
The process of making the show kind of followed my processing the experience for quite a long time. This was one of the first times I spoke about how I felt properly. Using the white board was a way to be able to express some of those emotions without feeling too choked up. When I tried to speak the words, I always got too choked up, and felt like I wanted to push it away, to not confront it. With the white board, I was able to say new things, and that was really important.
In making the show, we did quite a lot of processes and did three separate work-in-progress showings, working on the show in between. We changed it, changed it, changed it, and I think all of that needed to happen for me to come to terms with it and understand it in a really full way. Doing the show over those two years really helped me to come to terms with it.
We always tried to avoid it becoming a kind of therapy session for me – we didn’t want it to be too specific.
We always tried to avoid it becoming a kind of therapy session for me – we didn’t want it to be too specific. It’s a sharing of something that other people can relate to. We tried to tap into the universal thing you see every day – there are things in it you recognise, or have been through yourself, or know someone who has been through. We were always conscious of that and trying to tap into those common experiences about bereavement. Every person in the world will experience bereavement at some point in their life, so that does connect you with people even if you speak a different language or don’t share a culture, you do share this experience of losing someone, or knowing someone who has lost someone.
You have to learn from each other. What’s amazing about travel, and what I love about visiting different countries, is getting to know a bit about other cultures. You learn new things, and you don’t look at the world in the same way. It’s like having your eyes opened, sometimes. People come at things from a different angle, and you realise you would never have thought about things in that way. That’s so interesting.
Learning from each other is important. It develops you as a person, it develops your work, it develops so many different things. It’s so exciting to have an opportunity to do that.
Hannah Moss is the Co-Artistic Director of On The Run. So It Goes will be playing at Cowgate, Underbelly from 24-30 August and is part of the British Council's Edinburgh Showcase.
Words by Eleanor Turney