A new musical about the myth of the Minotaur is heading to the Edinburgh Fringe this year. With a book by Kent-based writer Elissa Nicholson, the musical refocuses the narrative on the character of Ariadne, the people of Crete and the Athenian tributes. Rather excitingly, this new piece of writing will be presented in two forms at the festival and it has found a home at two different venues. I recently had the opportunity to ask local creative Elissa some questions about her inspiration for the show and theatre company Nicholsons Upstage’s journey to the festival. I was particularly intrigued by what it is about the myth that inspired the creation of a new musical.
What can you tell me about how you got into theatre making and playwriting?
The Arts have always been a part of my life – Many of the women in my family have been creative, and the passion for theatre is something my mum and I share. I used to take part in my school productions, attended residential summer workshops, and took trips to see shows whenever I could. By the age of about 15 I’d decided I wanted to make a career out of it, and at 16 I wrote my first musical. I did my Undergraduate degree at the University of York thinking it would help me specialise in a particular area of theatre-making, but instead I graduated with even more interests! The one thing I did know is that I loved writing and storytelling, and that’s something I’ve continued to do over the years. Now, I am co-director of a theatre company, work part-time at the Marlowe, and make the most of every chance I get to engage with the Arts. For me, the sense of community, the opportunity for creative expression, and the experiences that a career in theatre produces are incomparable, and I honestly wouldn’t give them up for anything.
You are based in Canterbury and completed your Masters degree at the University of Kent. How would you describe the local arts scene here in East Kent?
I think there is an amazingly talented, diverse, and inspiring community out there. Of course, it’s great to have touring productions on our doorstep, and we should consider ourselves lucky to be able to see such an incredible variety of large-scale shows. However, I think it’s just as important to recognise and celebrate our local talent. Venues such as the Gulbenkian, the ARK, and even the Marlowe’s studio space and youth company (amongst others) have a real interest in their community, and companies such as Sunrose Arts are working to create warm, welcome, and creative spaces for Kent-based artists. If I can offer one piece of advice to local theatre-goers it’s to go out of their comfort zone and explore the incredible art that’s being created right here in East Kent every day!
What inspired you to look to Greek mythology as the inspiration for the new musical ‘No More Bull’, which is debuting at the 2025 Edinburgh Fringe?
As many of my friends and family will tell you, Mythology and Folklore are a bit of an obsession for me. I think what draws me to Greek mythology in particular is the fact that the stories are timeless – there’s an element of the fantastical with the heroes, gods and monsters, but we can also recognise ourselves in the characters so easily – and even though they’ve been told and re-told a million different times, places, and ways, they still resonate with us to this day. There’s also an innate connection to theatre and a sense of performativity in the texts – the idea of these stories being shared across generations and performed in theatres throughout history is something I really enjoy and feel honoured to be a part of.
How have you adapted the myth of the Minotaur for modern day audiences?
Well, given how many different versions of the myth are out there, the first step was to do A LOT of reading and decide which details we wanted to include in our retelling of the tale. I knew I wanted to turn the focus away from the recognised hero-vs-monster narrative trope and instead consider some of the lesser-known characters in the myth. I had a feeling that audiences would be drawn to Ariadne, who plays such a crucial role in the events that unfold but is often considered as no more than a love interest and the catalyst for Theseus’ personal and ethical growth. I also wanted to look at how the people of Crete and the Athenian tributes were affected by what happens, creating a world in which the audience can picture how the narrative might change when the recognisable, relatable, and mundane characters we see ourselves reflected in take control of their own story. I began working on it in the summer of 2024, and I have to say I didn’t realise quite how relevant the piece would be to our current socio political landscape!
You are presenting two versions of the show at the festival: the full length version at theSpaceUK and a cabaret adaptation at C venues. What inspired you to create two iterations of the musical?
When I first started researching for this piece, I realised that myths such as that of Theseus and the Minotaur change and adapt to suit the person telling them, and the world and time in which they’re being told. This inspired the team to consider how we might do the same, coming up with different ways for people to engage with the story. We’re hoping that each version will appeal to slightly different audiences; for those of us who love a good, all-singing, all-dancing musical ‘No More Bull’ offers exactly that – with breathtaking movement by Katie Mayfield, and incredible performances by our talented cast. Meanwhile ‘An Evening of Bull’ is a slightly more intimate and stripped-back production that hones in on the absolutely gorgeous compositions by Corin Buckeridge, allowing the cast to showcase their vocal abilities and musical talents, and giving audiences an opportunity to learn about, and connect with, the characters and their stories.
What can you tell me about your plans for the lead up to the Fringe?
From coming up with innovative ways to promote the show, to designing and sourcing costumes, building and experimenting with sets, and getting our cast together for rehearsals, we have plenty left to do in the coming months. I’m particularly excited for our first table read at the end of June, and our rehearsals in July. We also have some London previews planned which will be a wonderful opportunity to gauge which moments connect with audiences, and how the piece is received. At the moment, I’m in the process of finalising script edits to ensure the piece is Fringe-ready, but I have to say, I’m really looking forward to getting stuck in and working alongside our brilliant cast and creative team in-person.
What are you most excited about with your writing heading to Edinburgh?
I’m excited about the entire Fringe experience – there’s such an amazing atmosphere in Edinburgh and so many brilliant shows and creatives up there! When it comes to my writing, I’m eager to see how it’s interpreted by our cast, and I can’t wait to watch them bring the characters to life in ways that I may not have expected. I’m also keen to hear how audiences and other artists/industry professionals respond to the piece, and whether they have any constructive feedback or suggestions.
Watching ‘No More Bull’ at the Edinburgh Fringe
It’s been fantastic to hear more about Elissa and Nicholsons Upstage’s plans for Fringe. You can catch the full-length musical at theSpaceUK from 11th to 16th August and the cabaret-adaptation ‘An Evening of Bull’ at C Arts – C Aurora (Main House) from 12th to 22nd August (not 18th). Tickets are available via the festival’s website.
Thanks for reading my blog today.
Love Kat xxxx
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