by Ed Fortune
Noel Byrne is the co-artistic director and founder of Box Tale Soup, an inventive theatre company which combines classic literature and puppetry to bring fantastic shows to audiences. Founded in 2012 by Noel’s wife, Antonia, the company has a very strong and recognisable style. They are bringing the MR James ghost story Casting The Runes to the Edinburgh Fringe. We caught up with Noel to find out more.
STARBURST: How would you pitch Casting the Runes to someone new to the fringe?
Noel Byrne: It’s a classic ghost story, a supernatural thriller, but with a twist – it features unique puppets alongside the actors, fantastic original music, and dance-like choreography with a transforming set. Don’t come alone, though – there are a few good scares too!
Why are we so fascinated with this sort of horror?
We like to be scared a little. We like something that gives us a thrill, and sets our heart racing and spine-tingling, but in a safe environment. So I think that’s a big part of it. You can watch or read a ghost story and get that sense of excitement, that fear, but all the while knowing you can close your eyes, shut the book if it gets too much! I also think there’s a fascination with the unknown, the possibility that there is something else out there that we don’t yet understand, and it’s fun to explore that in a good ghost story.
Why puppets?
As a company, we love working with puppets, and puppetry features in all our work in some form. Puppets are magical, instantly transportive, with an otherworldly quality that engages an audience’s imagination immediately. I love the fact that they allow us to show and do things that would otherwise be impossible on stage. For a ghost story, I think they’re perfect. Used in the right way, puppets can seem unnerving and unnatural, and in a ghost story, where isolation is important, puppets can make an actor seem alone even when there are other characters onstage. I’m really proud of the puppets we’ve made for this show too, and I think our mysterious villain, Mr Karswell, is pretty intimidating!
What is it about MR James that keeps bringing us back?
Although the style is certainly of its time, his work is still very popular today, and there’s a good reason for that. He’s cited as an inspiration by so many of the horror writers who came after him, from Lovecraft to Stephen King, so his influence runs right through the genre. When you read his stories, James’ gift for slowly, subtly building tension and creating this incredible atmosphere is immediately clear. Like any great ghost story, you can imagine people listening, gathered around the fireside, silently drawing closer as the dread
increases. Some of the images he conjures really stick with you – his stories can haunt you, and that gives them a lasting appeal.
What does theatre bring to this story that other formats don’t?
Theatre is a great medium for a story like this because it gives you a sense of presence and immediacy that you just don’t get from anything else – you’re there, and the story is unfolding live, right in front of you. Are you safe in the audience? Perhaps, perhaps not… And the audience themselves add to the atmosphere – you can feel the tension growing in the room, hear the gasps or nervous laughter around you. Being there, in the same room as the action, sharing it with other people, that all heightens the experience of a story like Casting the Runes.
What makes the Edinburgh Fringe unique?
For starters, it’s the largest arts festival in the world by quite some margin, and if you’ve never been, I think it can be hard to imagine what that’s like. Venues everywhere, literally thousands of shows, some from all over the world. You could watch shows from 10 in the morning until 3am, and be constantly amazed by the breadth and variety of what you’ll find. If you’re performing or working there, it’s also great (if exhausting) that it goes on for the whole month. That length gives a rare chance for many shows to have a good run, really develop and grow, and it allows for word-of-mouth hits, unheard of shows that find an audience at the Fringe and take off – harder now, perhaps, but it still happens. Finally, the city itself is an incredible, beautiful and dramatic setting unlike anywhere else, and I don’t think you can overstate how important that is in giving the Fringe its unique character. I’ve visited Edinburgh so many times, but I still find it breathtaking.
Why should STARBURST readers seek this out?
If you like good theatre, I think you’ll enjoy this show. We’re really passionate about what we do. The company creates everything – script, puppets, music, set, costumes – and we really work hard to make it all the best it can be.If you like a ghost story, or a thriller, something that’ll have you on the edge of your seat, then I think you’ll love ‘Casting the Runes’. It’s spooky, tense, and pretty frightening at times. There’s no gore or violence, though – it’s definitely not that kind of horror. If you’re up for something a little bit different, I think the puppetry, the transforming set, and the storytelling will really get your attention. People often tell us they’ve never seen anything quite like it!
Finally, if you’re a fan of classic horror movies, this should be right up your street! Films like The Haunting – 1963 version, of course, Drag Me To Hell [2009, loosely based on Casting the Runes], and naturally, Night of The Demon [1957] were part of our inspiration for the show, and in fact, there are even a few easter eggs to spot for those who really know the genre!
How would you describe your process?
Inventive, holistic, and respectful of the source material. When we start a new piece of work, we try not to limit ourselves and any idea, no matter how crazy, can be on the table, but we always return to the source material for inspiration and guidance. Then we work backwards from there, trying to find a way to get as close to that idea as reality will allow! Because we write the script, design and build puppets and sets, and create the music, it means that everything really can be connected and developed together in a complementary way. A lot of creation happens in rehearsal too, and we devise and rewrite as we go, with an emphasis on movement and flow – what’s happening onstage should always be engaging, and even the scene changes should be beautiful! As I said before, I think now we’ve developed a very strong, individual style, and I hope that’s part of what people enjoy. We’ve certainly found a supportive audience at the Fringe, and we’re very grateful to everyone that keeps coming back!
What media are you currently enjoying?
We listen to a lot of audiobooks while we’re making; over the last few months, we’ve really enjoyed Maggie O’Farrell’s Hamnet and I Am, I Am, I Am, Andrzej Sapkowski’s Witcher series = brilliantly read by Peter Kenny – and John Fairfax’s Benson and De Vere series. We’re late to the party, but we’ve been making our way through Succession, which is great. Severance was an incredible series that we watched earlier this year – a fantastic concept, really well executed. Andor was possibly the best Star Wars spin-off we’ve seen. On the movie front, Ruben Östlund’s Triangle of Sadness was great, and we really enjoyed Guardians of the Galaxy Vol.3. Music-wise, we’ve had some Agnes Obel, Massive Attack. We also love Voka Gentle – if you haven’t heard of them, you should check them out. I like something a bit heavier when I’m painting set though, so Nine Inch Nails, Rollins Band, and Mick Gordon have been on the headphones!
What are your plans after the Edinburgh Fringe?
After the festival, we’ll be taking Casting the Runes out on tour around the UK – if you can’t make the Fringe, you can check our website for upcoming tour dates. That will continue touring into Spring 2024, and in the meantime, we’ll also be doing some international performances of our previous show, Gulliver (available to watch online), and Christmas shows at the Stables, Milton Keynes and the Exchange, Twickenham. So we’re keeping pretty busy!
Casting the Runes can be found at the Pleasance Courtyard during the 2023 Edinburgh Fringe, and tickets can be booked here.
