Todd Almond talks about making his debut at the Fringe and his show, I’m Almost There.
The scariest thing is letting someone know the real you and (gasp) maybe even love you
Todd. How are you?
I’m fantastic, thanks. I keep waking up thinking, “Wow. I’m going to be at the Fringe so soon!” I can’t wait.
Which ties in nicely with title of you show, I’m Almost There. What can you tell us about it?
It’s a riff on The Odyssey. I love the idea that The Odyssey wasn’t written down, it was performed, it was told. One person would tell and sing this epic story through songs. I’m convinced that every conceivable plot in humanity exists somewhere in The Odyssey, and for this version, which is a comedy, I really wanted to focus on the complicated love story between Odysseus and Penelope.
In my version, it’s a love story between myself and a new love, whom I call Guy. And what makes it complicated is that Guy is waiting for me to arrive, just like Penelope did, but I keep getting lost and distracted and interrupted and sidetracked. So the question my show is asking is, "Why does it take so long to get to Guy?" Am I just afraid of being in love, so I’m inventing all of these problems for myself? I know the way, why do I REALLY keep getting lost?
You’re making your debut here at the Edinburgh Fringe. Given you are so well known on Broadway, was a Fringe run always on the cards?
I made my way up in the theatre world through the downtown scene in NYC. It’s in my blood to make things this way, the way that works for the Fringe. Stripped down and essential. Left of center. All of my heroes work this way. I feel like this should be my tenth time at the Fringe, but it’s my first.
The show is co-produced by Francesca Moody Productions, who also produced the original Fleabag and Baby Reindeer. How do you feel about being accompanied by such a prolific and successful producer in your debut Fringe year?
I invited Francesca over for lobster rolls and chips and I played the whole show for her, never imagining she would say, “Let’s do it THIS year at Fringe”. I’m beside myself. Francesca and her team at FMP are the gold standard, so when she came onboard it really made me sit up and get to serious work. Her brain and her talent are immense, and it’s a beautiful feeling to have a producer you can absolutely trust. I’m in heaven.
The show is a modern queer love story. How important is queer visibility for you on stage, especially when it comes to relationships and love?
That’s a great question for this show, because so much of it is about accepting yourself so that you can accept love. That’s a huge battle for everyone, but particularly for queer people. When you’re queer, your instinct is to run from it, your queerness; you want to disappear or get lost at sea, and the scariest thing is letting someone know the real you and (gasp) maybe even love you!! That’s what this whole show is about. But it’s a comedy! And a musical!
What are you looking forward to most about your time in Edinburgh?
Making new friends in the theatre world. I love theatre artists and musicians and writers, and that I have this opportunity to connect and commune with potentially thousands of them! Bliss. I can’t wait to share what David Cromer, our team and I have cooked up, and I can’t wait to see what everyone else at the Fringe has made.
So which acts are you looking forward to seeing during the Fringe?
Oh, so many. Seeing my friend Dylan Mulvaney’s show, of course. And wonderful Charles Quittner’s All The Fraudulent Horse Girls, and Gay Witch Sex Cult! And Gwyneth Paltrow's Gwyneth Gows Skiing. So many. Oh, and Otis Wolodarsky, The Christening of Prince Imogene, of course. I cannot wait.
