{"type":"rich","version":"1.0","provider_name":"Transistor","provider_url":"https://transistor.fm","author_name":"The Variety Show","title":"Sarah Louise Young On Being a Cabaret Polymath, Kate Bush & Live Grit","html":"","width":"100%","height":180,"duration":3093,"description":"To stay updated on future episodes, follow us on:TikTokInstagramYouTubeIf you have any comments about the podcast or are a performer who wants advice please do email info@thevarietyshowpodcast.co.ukSarah-Louise Young is an actress, writer, director, improviser and internationally renowned cabaret performer. Known for her acclaimed solo work, including An Evening Without Kate Bush and Julie Madly Deeply, Sarah-Louise has built a career around live performance, storytelling, music, comedy and audience connection.Episode summaryIn this episode of Variety, Sarah-Louise Young joins us to explore the world of cabaret, solo performance, improvisation and the realities of building a creative life. The conversation moves through her upbringing in Kent, early love of singing and theatre, years of making work at the Edinburgh Fringe, and the long process of finding her artistic voice.Sarah-Louise also reflects on making shows from scratch, the importance of failure, the relationship between performer and audience, and why live performance still matters in an increasingly digital world. Along the way, the episode looks at creativity, resilience, rejection, class, arts funding, AI, fame, and the strange, beautiful power of being in a room with an audience.In this episodeSarah-Louise’s upbringing in Kent and early love of performingGrowing up with music, singing, choirs and homemade variety showsDiscovering theatre and cabaret through the Edinburgh FringeThe influence of Victoria Wood, Fascinating Aïda and Stephen SondheimWhat cabaret means and why audience connection mattersMaking Julie Madly Deeply and An Evening Without Kate BushHonouring iconic artists while creating something originalImprovisation, Showstopper! and learning to fail publiclyWhy live performance does not need to be perfectRejection, reviews and being judged as a performerPantomime, vaudeville and the joy of theatrical traditionThe cost, privilege and pressure of the Edinburgh FringeArts funding, access,...","thumbnail_url":"https://img.transistorcdn.com/JHRDqil-H1p__PcBxkFKeWgvmzANKXqZzhsKiqUP0gc/rs:fill:0:0:1/w:400/h:400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9mODc5/NmZkY2I4Nzk5OWNi/MjFiNDFhNzY5MTNi/NzI1Ni5qcGc.webp","thumbnail_width":300,"thumbnail_height":300}