We’ve come across the work of award-winning musical comedian Edy Hurst before, and witnessed his very interesting and rather unique projects up at the Edinburgh Festival, so of course I was interested when I heard about a new show from him. But then, it turned out to have a focus on a lot of stuff that interests me, so it seemed even more urgent to make sure I found out more about it. 

‘Edy Hurst’s Wonderfull Discoverie Of Witches In The Countie Of Himself’ is a piece of comedy theatre that explores the performer’s relationship to people accused of being witches up in my old stamping ground and birth place, Lancashire, and what happened up there back in the bad old days; as well as late stage ADHD diagnosis and, um, the Vengaboys. 

I caught up with Edy ahead of his upcoming dates in London. 

CM: Can you start by telling us what to expect from ‘Wonderfull Discoverie Of Witches In The Countie Of Himself’ – what kind of show is it and what do you cover in it? 
EH: ‘Edy Hurst’s Wonderfull Discoverie Of Witches In The Countie Of Himself’ is the tale of a venerable comedian, me, discovering he is related to those accused in the Lancashire Witch Trials.

These revelations about my relations release a riot of ruminations in my brain, leading me on a spirit voyage across the astral realm, as the audience join me in calling for answers in the great beyond. Also I got diagnosed recently with ADHD, but it’s not really anything to do with that. Also the Vengaboys keep showing up.

Expect a high folk-horror fantasy through is-it-or-isnt-it-time-travel, loop pedal nonsense, and the biggest cauldron a comedian has ever flopped out of.

CM: Being from Lancashire, I’ve always been interested in the Pendle witches, which I assume you have too?
EH: Yes! I have also been interested in the Lancashire Witch Trials since I was young, in part thanks to my mum, and it’s something that looms large in the area still today.

When I make shows, a large amount of research goes into it and, particularly with the Pendle Witch trials, it was really important that their stories were told in a way that did more justice than what they received in 1612.

The documents and stories around the events are not only a huge insight into how trials operated at the time, but provide a lens through which we see how institutions have treated the poor, women and the North, and maybe continue to.

CM: As someone with close experience of ADHD and autism…. Do you think neurodivergence and being witchy are connected? 
EH: Great Question! And a tricky one! I think that, as neurodivergent folks nowadays will know, you spend a lot of life either being told that – or made to feel like –  you don’t fit in.

And so it’s not hard to see how you’d be drawn to exploring alternate ways of seeing the world, and with the broad range of ideas and inclusivity of witch-i-ness, it’s tempting to draw connections.

I think in the specifics of my show, and whether those accused of witchcraft then would be neurodivergent now, it’s probably not that helpful, and isn’t the complete story of the events that happened. 

Being diagnosed as dyslexic, most of my time at school involved getting told Albert Einstein was dyslexic, despite them never getting or seeking a diagnosis, and I don’t think that helped me read or write any better.

TL:DR: There are parallels you can draw, but it doesn’t paint the full picture. Now how’s that for a jumbled metaphor?

CM: What led you to focus a show on these themes? What made you think it would be a good basis for a show? 
EH: I’ve always been interested in magic and rituals, and at university I created this Shaman character that would use household items to try and solve people’s cosmic problems. Since then I wanted to create a show that expanded and explored this, but with more of my life in there.

A lot of neurodivergent life is finding parallels and patterns in places people might not have before, or finding similarities where there aren’t any.

And with the big mish mash of witchcraft, late 90s euro-pop and the world of ADHD diagnosis, I thought that – whether or not it turns out there are any cross-overs – the journey of finding out would be one that’s fun for me and audiences!

Plus, the Vengaboys have made some rock solid bangers.

CM: How do you put your shows together? Do you sit down and write them or are they constructed in a different way? 
EH: Previously I have worked a lot on my own in creating material, or I guess with audiences, as I gig and work it out on stage on the circuit. As a musical comedian you need quite a bit of preparation before you take it on stage, but find out pretty quickly if there’s anything in it or not.

Whilst I do write material down, my head is not great at remembering it the same way, and so often I’ll have the gist of what I’m saying, and then once it’s figured out live it’ll then get written down, which feels like the opposite of script writing in a way.

I love making videos, drawings, props, songs and costumes myself, and I think that’s a big part of what I do, but with the size of ideas in this show I knew I wanted to work with other people, and needed to explore this to grow as a creator.

I was fortunate to be supported from Lowry’s Developed With programme to bring a group of people in at the very beginning to work in a new way.

With director Joz Norris, and a talented range of dramaturgs that are too numerous to mention, we really had the space to jumble all the pieces of the show up and put it back together like a mystical comedy theatre jigsaw.

CM: We first came across your stuff up at the old edfringe. How was your run there this summer? What draws you back? 
EH: Ah yes, the siren call of the Fringe, like a piper on the North Bridge luring us to its hilly shores.

I did the last week of the Fringe this year and it was great to take the show up and see people’s first reactions to the work before its ‘finished’ premiere in Salford. Seeing the show connect with audiences and getting to perform each day was a joy.

There’s been a lot of discussion – as there should be – on what role the Fringe plays now, and we only have so much space in this interview.

But as someone who lives in Manchester, the Fringe is always an amazing time to get to see acts from across the country, acts that are normally really tricky or expensive to otherwise get to.

I think that, coupled with audiences who – whilst wildly inconsistent in numbers – are actively looking for things that are outside of the norm, makes it still a really special place that will always be a draw, whether or not I can find accommodation.

CM: Can you tell us a bit about yourself now? How did you get into performing? Was it something you always wanted to do? 
EH: Now I stand as a fully grown man on the shore staring out at the vast blue sea of arts. I open my arms and cry out to the waves, “Take me you coward! Bath me in your brine!” 

But originally, I think it was probably a standard performing thing. I loved pretending and dressing up, and then went to some drama school stuff and was in school productions.

I love acting, but something I was really drawn to was an immediacy with the audience, where you’re directly talking to them, and that’s stand-up!

I started at university and gradually the musical side crept all the way through, before I did long shows where it turned out I was accidentally making quasi-theatre comedy shows.

It’s always been something I love and want to do, but what shape or form that takes is varied and ever changing, much like the lapping tides of the ocean.

CM: What have been the highlights of your performing work thus far? 
EH: Performing this show’s premiere at Lowry was so special, as it was the first time working with a full production team in a theatre space for the purpose of my show.

I felt very lucky that we clicked as a team, and I think as a majority neurodivergent team it was a privilege to work with such a talented bunch of people to share an ND story.

Performing at the Bloomsbury Theatre for the Musical Comedy final was amazing, as was being part of the BBC New Comedy Award when it was at the Manchester Comedy Store – RIP!

I also did a gig once where there was a giant alsatian in the audience that was asleep for most of the show, but every now and then would raise its head when there was a really good joke it liked, and damn that felt like such a win when you got the nod.

CM: What aims and ambitions do you have for the future? 
EH: A world free of fear, conflict and misery, where we value kindness above success, and one where we collaborate together to push back the tide of climate change.

More specifically to me, I’m really looking forward to taking this show across the country, and would love to see if there’s avenues to adapt it into other formats like TV or radio – who doesn’t think about that though!?!

I also hope that in some small way, the access that we have worked hard to integrate into the show helps demonstrate how it can be a part of comedy/theatre shows that doesn’t cost the earth, but allows those who otherwise wouldn’t be able to to enjoy live performance in the same space.

CM: What’s coming up next for you after this? 
EH: ‘Edy Hurst’s Wonderfull Discoverie Of Witches In The Countie Of Himself’ is going on tour! You can see upcoming dates here.

I’m also in the very early stages of a new one-man-punk-electro-musical-but-also-comedy-mish-mash-about-the-odyssey-but-also-not-really that will be airing out its mucky wares for the first time in February at Leicester Comedy Festival. 

‘Edy Hurst’s Wonderfull Discoverie Of Witches In The Countie of Himself’ is on at Camden People’s Theatre on 12 and 13 Dec. See the venue website here for more information and to book tickets. 

LINKS: cptheatre.co.uk | www.edyhurst.co.uk | x.com/edyhurst