Carolina Garção and Alexander Wardach will be performing at the Lambeth Fringe in October and I have caught up with them to find out more about You Sou, performed on Sunday 19th  1pm, at the The Bread and Roses Theatre.

 

What was the inspiration behind your show?

The play was born out of a deep fascination with language — not just as a tool for communication, but as a vessel for identity, memory, and emotion. The inspiration came from personal and observed experiences of navigating love across cultural and linguistic lines, where speaking the same words doesn’t always mean understanding each other. We were drawn to that intimate, often painful gap between what we say and what we mean — and how much gets lost, twisted, or buried when we try to bridge those differences. The show blends realism and surrealism to reflect how relationships operate simultaneously in the literal and the emotional — in translation, and in feeling.

 

How long has your production been in progress?

We had the first call about the show in January 2025 and started workshopping the idea around beginning of march.

 

Where are you planning on taking the play next?

We’re already working to perform the play in 2026 in Lisbon (Portugal), in a coproduction with The Lisbon Players. We also want to take the play to another venue in London and in the USA.

It’s important for us to perform it in both our countries but also in the country where we met.

 

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

We hope audiences leave with a deeper awareness of the untranslatable spaces between people — even those who love each other most. This isn’t a story about villains or victims, but about people fighting hard to understand each other and sometimes failing despite their best efforts. We want the show to sit in the ache of that: the beauty of trying, the heartbreak of almost, and the quiet dignity in letting go when love alone isn’t enough. If nothing else, we want people to recognize themselves — in the silences, in the tension, in the sticky notes we leave behind hoping someone reads them the right way.

 

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

Not only because we’re developing the show mainly online, so the opportunity of being present in the same space to perform it is very exciting for the whole team; but also, the fact that it’s a bilingual play and we want to see the audience’s reaction to both languages combined in the story we’re creating.

 

Why did you choose your particular Fringe venue?

The chance of performing the play in a black box opens a whole world of new opportunities to create, with just few set items, three different imaginary worlds for the characters to inhabit.

 

Which shows at the Fringe are you planning on watching?

Because we are flying specifically to perform our show, unfortunately we won’t be able to watch all the shows we want to. But definitely “Mother Knows Best”, “Love and Human” and “Overwhelm”.

 

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

The major hurdle is definitely the fact that Alexander is in LA, Carolina in Portugal and César in London, having to rehearse most of the process online. But we still managed to find some periods where we can meet each other and rehearse in the same space until opening night.

 

What other productions have you previously been involved with?

This is our first time at the Fringe. Alexander and Carolina have previously worked together, in London, in “Widows” by Ariel Dorfman and “Ragedom” by Hassan Abdulrazak.

 

https://www.instagram.com/meraki.theatre/

 

https://www.instagram.com/_embuscada_/

 

https://lambethfringe.com/events/yousou#Tickets?fbclid=PAZXh0bgNhZW0CMTEAAaer6m33-