Zazi has taken time out to talk to me about their performance heading to Lambeth Fringe in October They Weave with String that Suffocates which will be performed at The Glitch. Shows are October 12 & 13 at 5:30 pm.

 

What was the inspiration behind your show?

I (Zazi the Artist, Creator & Director) have my Bachelor’s degree in Classical

Civilizations with a focus on Ancient Greek Literature and Drama. I have a deep love for Greek mythology and tragedy, particularly the story of the Curse of the House of Atreus, which this show re-imagines. When I was tasked to create a show for my MFA Theatre Directing course, I jumped at the opportunity to dive into these amazing and timeless stories. I was especially interested in looking at them through a woman-centered lens, and wanted to give a voice to the characters most often swept to the side: the women. Thus, this show of female rage and Greek mythology was born. The concept for the show is that the three performers are connected by long pieces of rope for the duration of the piece, and that came from how intertwined the characters are in the myth and how their stories are tied together. I wanted to literalize that connection as well as the restraints women feel in society on a day-to-day basis, so I came up with the idea to have the performers actually tied together. 

 

How long has your production been in progress?

I began research & development in February 2024 which culminated in a 10 minute scratch performance in April 2024. It then became a 50 minute show called The Women of the House of Atreus that was performed in an MA New Works Festival in July 2024. I then developed the first version of They Weave with String that Suffocates at the beginning of 2025 that was performed as my MFA final creative project in July 2025. It was an hour and 40 minutes long, and fixed the issues we discovered in the 50 minute version. Now we’re working on the latest version of this show, which is an hour long and will be debuted at the Lambeth Fringe this October. It has been a whirlwind of a process, and I cannot wait for what this newest era will add to the show!

 

 

 

Where are planning on taking the play next?

After the Lambeth Fringe, the plan is to take the rest of 2025 off to develop the next iteration of the script. I’d love to create a 75 minute version, and begin performing it sometime in mid-to-late 2026. I would also love to keep touring the 60 minute version at various fringe festivals in the meantime.

 

What would you like audiences to take away from your show?

Determinism versus free will is a major theme in the show, and I would love for people to come away from it feeling empowered to take that control over their story and exercise their autonomy. I also want audiences walking away feeling reflective of their life and how their choices are affecting not only themselves, but those around them. Education is also a primary goal for me with this piece. I want more people to know these stories, and to walk away wanting to learn more about these characters and their origins. If even one person Googles the name “Klytemnestra” after watching the show, I’d be ecstatic! 

 

What are you looking forward to most about performing your show?

I’m really looking forward to performing in the round at The Glitch. I’ve never directed in the round before, and I think with all of the string movement it will look cool from whatever seat you’re in. I’m really excited to tackle this new staging and see how my actors adapt to it. They are phenomenal performers, so I have no doubt they’ll be amazing in the round!

 

Why did you choose your particular Fringe venue?

I wanted to experiment performing in the round, and The Glitch has a great in the round space in their basement. I’m really excited to be partnering up with The Glitch for this performance, and can’t wait to see what it’ll look like once we’re in the space.

 

Which shows at the Fringe are you planning on watching?

There’s too many to name! I’m really hoping to watch as much as I possibly can. I want to network with all of the amazing artists who are participating in the Fringe, and think the best way to do that is to go support them.  

 

 

Have you had any major hurdles to overcome to get this production on the stage? 

I think the biggest hurdle we’ve had to overcome is financing the show. Luckily we have a GoFundMe and have been able to raise money through there to help with production costs. If anyone reading this is interested and able to help our show, please feel free to visit the GoFundMe at https://gofund.me/03eeace5 🙂 

What other productions have you previously been involved with?

I have directed a few other shows, including Peter/Wendy (2021), The Importance of Being Earnest (2022), and Melancholy Play (2022). I have also written and directed another short play called Maybe We are the Satellites (2024) that was performed as part of East London Theatre Collective’s New Works Festival. I’m also a light designer, and designed the lights for Dreambite Collective’s show called Consumed (2024).

 

Please check out Zazi’s social media accounts.

Instagram: @zazi.theartist / @theyweave.theshow

Website: https://www.zazitheartist.com/