Interview: Louise Quinn of A Band Called Quinn on play/gig hybrid Biding Time (Remix)
The project tackles becoming 'hacked off with being a woman in the entertainment industry'
A Band Called Quinn is already a well-known theatrical proposition, thanks to the curation of cabaret night Club Tromolo and performances in Vanishing Point's The Beggar's Opera. Singer and songwriter Louise Quinn explains how Biding Time (Remix) evolved into a play/gig hybrid.
Where did the production begin?
The first version was written by producer and activist Pippa Bailey. She was hacked off with being a woman in the entertainment industry. Twenty-five years later, she threw the work out into the world, and all these versions came out.
When did you pick it up?
When Pippa asked me to do it, I said: ‘I like it, but it is not what I do’. I asked if I could mash it up and we never took any dialogue, just the main character. Pippa was totally fine with that, and I used it to tell my own story.
How does Biding Time (Remix) differ from your usual shows?
When you play a gig, it is different every time, which is why people can come again! But the film aspect is already set.
And what made you decide to use the 'personal disco' headphone technology?
When we were doing The Beggar's Opera, Janice Forsyth said: ‘I think you are amazing, but you can't really hear your diction’. So it was either singing in an opera style – which doesn't suit the music – or this!
There is a large rabbit that acts as a symbol throughout the show: was this in Bailey's version?
There was a moment in Pippa's original when a rabbit runs through the crowd. But as we were devising it, we thought it would be good to have a character that represented various hurdles I had to defeat, as well as my determination to succeed. We wanted to make something dark, but it came out quite happy in places.
Summerhall, Edinburgh, Sat 24 May.