The Gaulier-trained Zoe Wohlfeld sits down to answer Pepper&Salt’s questions about her upcoming Edinburgh Fringe debut, Dog Funeral, Wohlefeld’s approach to writing and clown as well as the rule for Pinot Grigio.
What is the elevator pitch for your show?
Victorian Funeral meets Lucy Van Pelt from Charlie Brown meets Old Yeller!
Dog Funeral is a solo comedy show that doubles as a funeral for my childhood dog. It’s an (absurd) ode to loss, dogs, and the loss of dogs. It explores what it’s like to watch someone mourn: how they behave, how they might treat others and what happens when they’re in the midst of grappling with comprehending loss and the existential dread that comes with it (but it’s a comedy!).
What was the initial prompt or idea behind your show?
I wanted to cry real tears on stage like the beautiful dramatic actress I once dreamed I would be. I also really love dogs
What would you say to potential audience members perhaps put off by the title of your show?
I love dogs, and I understand why the title is offputting! The title is a bit absurd, but I think it’s truthful advertising because the show is even more absurd than the title. I expect that it won’t be everyone’s cup of tea! I think either folks are going to be on board with it or they’re not, in the past DOG FUNERAL has really resonated with certain people, and others have found it a bit bizarre. Though sometimes I think talking about my show in this way is false advertising, because it is a very silly comedy! Though the topics of grief and mourning are sensitive ones, I’m confident that for most audience members, it will be an uplifting experience.
How would you describe your approach or ‘brand’ of clown?
There aren’t a ton of jokes and punchlines that I do every time, like in a stand up show or character comedy for example. It’s physical and stupid and I love interacting directly with the audience. While this show has a script, there’s lots of audience participation and improvisation, the show could look very different one night to the next. I think it’s important that I keep myself on my toes in this way. I will definitely mess up, which is good!
How does your Gaulier training/ technique influence your writing or devising process?
What I’ve taken from Gaulier is to be sensitive to the audience and what they are enjoying (and more importantly, what they are not enjoying!). My goal going into every show is to be sensitive! If one audience is loving something, I will play with that thing longer, if another audience isn’t too into it, I’ll move on and change and keep fighting to put on a good show for them. It’s important to search for what each audience likes! The script is loose and there is a ton of room from improv. Each audience is so different and the subject matter in this show can be a little sensitive, so my goal is to never barrel through something if I feel the audience isn’t with me.
When writing or performing dark comedy, for yourself, where would you place the lines between comedy, dark comedy and something that’s just dark?
This is a great question! I’m not sure I have a clear answer to this, to be honest. You could say a line that, in just reading it, it’s just bleak and dark and not funny, but in performing it, it becomes funny for whatever reason. For me, I think it’s kind of a feeling thing, and I think it completely depends on context and delivery and how it’s received by the audience.
On the other hand, I guess a dark comedy is a dark comedy because it’s irreverent, it’s about something that is naturally serious or painful, but it’s supposed to be funny. I think it turns the corner into just being dark when it’s not funny.
“While this show has a script, there’s lots of audience participation and improvisation, the show could look very different one night to the next. I think it’s important that I keep myself on my toes in this way.”
If there was a rule for pinot Grigio like the one for Champagne what would it be? And what would the equivalent of sparkling wine be for pinot Grigio?
The Pinot Grigio grapes would exclusively be grown in the backyard gardens of white women on Long Island. And it would be Sparkling Pinot Grigio! with the exclamation mark.
What elements of Victorian funeral traditions can audiences expect to see or take part in?
The Victorian elements are primarily in the aesthetics of the show and the pure theatrics. It is hopefully not historically accurate, but you never know, people were crazy back then!
Is there anything that you’ve had to adapt or change in the show when performing it in the United States as opposed to the United Kingdom or vice versa?
Yes! There are jokes that only work in the US, or only in the UK, even some jokes that only work in certain cities. It makes me sad because they are some of my favorite jokes and I don’t think I will ever have a show where I could use all of them!
What are you looking forward to the most about debuting at the Edinburgh Fringe?
I am excted to meet so many audiences! I am hoping a few dogs come, I have a special surprise for them!The special surprise for dogs is treats. And I will be selling a puzzle I illustrated of Edinburgh (with lots of dogs!).
By Katerina Partolina Schwartz
Photo credit: Hudson Hughes, Marissa Moorhead
Pepper & Salt 
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