[Interview] David Elendune on Welcome To Croglin at the 2024 Victoria Fringe

Coming to the 2024 Victoria Fringe Theatre Festival is Outpost 31’s Welcome To Croglin. This play written and directed by David Elendune concerns a lone, unnamed, struggling artist (Jared Gowen) desperately needing to find his muse.

It appears as the ghost of Katharine Hepburn (Christina Patterson), and what she says is thus: “Some days I’m Katharine Hepburn. Some days I’m Kate. Some days I’m Katharine Hepburn pretending to be Kate. Some days I’m Kate pretending to be Katharine Hepburn. For do not be mistaken, ours is very much an egocentric profession—perfect for stupid people who like to pretend they are not stupid. But alas, never quite knowing whether they are actually any good, or just plain lucky.”

Though this description is cryptic, I wanted to know more, and pretty soon, was in contact with this playwright. His works are a staple in the local theatre scene. With a lot of locally recognised and award-winning shows, perhaps he can shed light upon this mystery before I see the show.

For readers who are unfamiliar with your works, can you please introduce yourself?

I’ve been a writer/director on the Victoria theatre scene since 2009 and this will be my eighth Fringe production. In my time I’ve won awards in England, Canada, and America for my writing. I used to work in TV. I ran the sound synchronisation department for Todd AO UK (this was over 20+ years ago); I worked on one heck of a lot of shows: Midsommer Murders and many Michael Palin travelogues. But my heart has always belonged to theatre. As a relatively unknown writer I quickly realised that it’s a show and tell industry. So I formed a production company which primarily focuses as a vehicle to present my works.

When it comes to directing your own work, what does that entail versus interpreting another person’s words?

In a nutshell, when it’s my work, I’m allowed to change my own words. Actually, I’ve found that I often write on a subliminal level, and it’s only when I direct I realise what I meant on a deeper level.

As you’ve done a lot to bring pop culture to fringe theatre, what would you say are your standouts?

That’s a bit like asking who is your favourite child. To which I’d quietly whisper: Winnie The Pooh (review). Sure, other adaptations (Leer) have won more awards, had bigger box office (Casino Royale), or even longer shelf lives (Frankenstein). But the tale of a bear with a tiny brain is one that always makes me smile when I look back on it

With this latest, how did the idea to turn Katharine Hepburn into a muse come about?

As with most of my plays, it’s usually a couple of disparate ideas, bolted together. For a long time I’ve often considered doing a piece about Miss Hepburn. One thought was to do an adaptation of the novel of The African Queen crosscut with the making of the film. But TBH, I really have no idea where the idea for this play originated.

Once a first draft is written, one way I polish the dialogue is by making sure a character’s vocabulary is both externally unique, yet internally consistent. Sometimes this is factual, sometimes I made it up.

In a nutshell, what can people seeing this show expect?

Intelligent entertainment. A lot of 1940s witty banter. Infused with some heart touching moments. Oh, and some bloody big projections.

When it came to casting, was it an open audition or did you have certain local talents in mind?

A bit of both. We had open auditions for this one. I have worked with Christina before (The Shadow In the Water) and it goes without saying that she is incredibly talented. She brings to the table the experience of being a writer /director /producer, and It helps a lot that we lived on the same James Bay street for many years. There was no awkward getting to know each other phase; I think we will continue to work together on and off for many more years to come. And Jared of course is a great foil to her The ‘us’ character Like Watson to Holmes. He came heavily recommended by Christina.

After seeing the show synopsis, I can’t help but be reminded of Xanadu (Olivia Newton-John). How would you respond to that?

I can’t say I have ever seen that movie. Though I have heard the song Xanadu by Rush. Which is ace. In all seriousness. Like with most of my plays there are many twists and turns in store for all those who agree to attend.

Have you thought about taking your shows on the road, so those who aren’t from the Island can see it?

I always love to get my work out there to a wider geographical audience. One of the good things about being a writer is that sometimes happens without you actually having to put in the legwork. For example, this show has already been booked for a second production in England next year.

Any final words in closing?

If you can’t see this show once. See it twice.