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Hi, I’m Heather McLean. I studied geography at the University of British Columbia and now I am a professor, teaching environmental studies.
I have been practicing clowning for over 20 years, and my work has included performing fake TED Talks, satirizing professional development and strange institutions, and responding to local politics through fun, problematic characters. I have also worked with a female cabaret. I love creating weird, fun, entertaining pieces that respond to society, institutions, and their problematicness.
What is the plot of your show?
The show is structured around five characters who are part of a low-funded university and only have about $5 for their art research. The new president of the university comes from a banking and technology background and has no knowledge of the arts.
The president has a lot of money for funding, but there is a catch: the professors must present research that could benefit the university and connect it with corporations to win $5,000 in funding.
Each professor presents a project, and the projects become more unhinged and problematic as the show goes on. The result is lots of havoc, questionable ideas, community engagement, and audience interaction.
What inspired you to create this show?
Working as an assistant and associate professor in the UK and Canada, I have done a lot of research into precarious work in the arts, working with feminist and queer groups to support artists.
I became very interested in student coalitions and activism, and how universities disregard students and their situations. I also looked into problematic university behaviour, because these institutions are highly complicated.
What are you hoping audiences will experience or take away from your show?
I’m hoping audiences laugh, especially because we are making humour from our economic and environmental situations. I want them to see the contradictions of universities and capitalist institutions without feeling bad.
Clowning is meant to be funny and to create a place for release, while also letting people think. This show has a strong sense of humanity, and I hope people see that these over-the-top characters are good people who have travelled down a bad path.
How did the Fringe Mentorship Program help you create your show and shape your Fringe experience?
My mentor Jess Amy Shead was wonderful, and we had many great discussions, especially around radical inclusion in my performances and more participative theatre.
I know that next round I definitely want to include ASL as part of the show. It’s been such a fun experience, especially learning from past Fringers. With Jess Amy, we had so many amazing conversations as my goal was to make a more approachable and inclusive show, and they helped do that.
Why should people come see your show?
It will be unhinged, weird, and funny in the best way possible. My show is very failure-forward, showing that it’s okay to fail. It’s a kind of joy the world needs.
Theatre edition: what is a hill you’re willing to die on?
We need more female characters being deranged and grotesque, post-menopausal. I want more interesting, silly female characters that are like clowning, very failure-forward.
