As part of the continued development of our TEAM Collaborate members, we were able to offer the opportunity of visiting the Edinburgh fringe to two of the collective, where we were also producing Relay by Leila Navabi

This is Chillee's story...

During my time at Edinburgh, I had the opportunity to see a wide range of performances and shows, and I worked with several fantastic actors and comedians. How to Win Against History was, by far, my favourite experience. Written by Seiriol Davies, the production tells the story of Henry Cyril Paget and how he lost his family wealth in pursuit of becoming a famous actor, all while hiding his true self and struggling against the constraints placed upon him by society.

The highlight of the show for me was the set design and overall production. The use of inventive lighting and the unconventional interaction with an instrument on stage — particularly the moment of standing and performing on a piano — gave the performance an incredibly dynamic feel, despite the intimacy of the space. In addition to this, the costume design was crafted with exceptional attention to detail, filling the stage in certain acts with bold visuals that created a real sense of awe among the audience.

Watching the performance from a technical perspective gave me a deeper appreciation for the value of bold creative risks in stage design and direction. What stood out most was how seamlessly every element — from the lighting cues to the costume transitions — was orchestrated to not only support the narrative but to heighten its emotional impact. It demonstrated that even within a small venue, imaginative and daring choices can elevate production values far beyond expectations, leaving a lasting impression.

Beyond its technical achievements, the show also made me reflect on its deeper themes: identity, societal pressure, and the personal cost of authenticity. The way humour and poignancy were interwoven allowed the audience to connect with Paget’s story on multiple levels, balancing light-hearted entertainment with a powerful exploration of personal struggle. This balance of style and substance has shaped how I now approach live performances, reminding me to value not just the artistry of production, but also the storytelling and emotional resonance that elevate a piece beyond its technical craft.

Through attending talks and speaking with peers during my time in Edinburgh, I also developed a broader understanding of the UK arts funding landscape and the importance of building connections. Many conversations highlighted how even established artists and companies face difficulties in securing reliable financial support, with success often tied to visibility within the right networks. These exchanges underscored for me that networking is not simply about individual advancement, but about building and sustaining a collaborative community that can navigate the challenges of arts funding together. I am especially grateful to have met people who generously shared their experiences and advice, as those encounters offered me valuable insight and inspiration for how I might approach similar challenges in the future.