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BWW caught up with Daniel Nodder to chat about bringing Only Bones to the 2026 Edinburgh Festival Fringe.
Tell us a bit about Only Bones
No problem! Only Bones – Daniel Nodder is a nonverbal physical theatre solo show that follows an odyssey through the cosmos - from the chaos of the Big Bang to the creation (and death) of the dinosaurs, a wibbly wobbly melting iceberg to a pair of singing kneecap divas. A collision of clown, mime, dance and innovative design, this work bends minds, limbs and the laws of physics alike, exploring the endless storytelling capabilities of the human body. It's a joyful, hilarious and strange piece of theatre, and one that I hold very close to my heart.
As part of the Only Bones Project (created by Thom Monckton in 2015), this work was made under strict devising restrictions: one light, one performer, no narrative, no set, no props, no text, and all within 1m2. Once they are invited to create their own version, each artist is then left much to their own devices to create their own world within the restrictions. This concept is designed to push each performer's skill and creativity to their limits and encourage them to not just think outside the box, but explore the space within it.
What are some of the challenges that come with non verbal storytelling?
I think sometimes nonverbal storytelling can be hard to get across complex ideas or concepts, you really have to work hard on showing your audience instead of telling them. I really enjoy that challenge of finding ways to "say" the things I want to say in a given show without necessarily putting it in words. I think audiences are also sometimes intimidated by nonverbal work, for the fear of not "getting it" or losing the story because of the lack of language.
But once you get past that, I think there's a universal nature to nonverbal storytelling, especially in mime and dance. There's something ancient and primordial about it - like sitting around with your cave-man mates and watching a story told with only grunts and movements. You don't really need any cultural context or backstory to understand what is happening - it's simple, and engages your imagination no matter who you are, where you come from or what language you speak. It's A VERY OLD form of theatre, that probably predates the word "theatre" entirely, so it feels nice to be keeping it alive!
What sets this apart from other iterations that have been at the festival previously?
Each version of Only Bones is completely different, because each performer brings their own background, interests and own personal skills to it. Different versions have different setups for their single light, for instance - previous iterations have just had one spotlight, whereas we have opted for a single light bulb on a pulley. This version draws from my background in street dance, contortion, mime, clown and does a lot of physical storytelling, but is also very comedic (I can't help but put little gags in). It has an epic sci-fi theme to it, heightened by an amazing original cosmic jazz score created by Aotearoa / NZ local composer Ben Kelly! All of that sets it apart from the others, and also I'm pretty sure that this is the only version in which David Attenborough AND a brontosaurus features.
This version is the 11th iteration of the project - previous creators have included Thom Monckton, Tyrygve Wakenshaw, Jenni Kallo and Marina Cherry. They're big shoes to fill, but we're super proud of the work we've made and can't wait for people to see it in Edinburgh.
Who would you like to come and see Only Bones?
Everybody! We've had grand-parents, kids, adults and teenagers, and honestly across the board people have loved it. I think that because the work utilizes such a universal language of movement, mime and nonverbal sound, it is a super accessible show, and is intriguing to everyone, regardless of who they are. That being said, I would love to have some fans of previous Only Bones iterations in to see it, and to hear what they think!
What would you like them to take away from the show?
I would love it if people left this show feeling inspired, and connected to their fellow audience members. I think this show is very human. It celebrates the stories that can be told with the body, what can be achieved when you lean on simplicity rather than complexity, and encourages human creativity. I think it can be hard to feel human togetherness in the current whirlwind of a world, which is very fast, very digital and increasingly complex. But if anything can help humans feel a little less lonely in a vast, empty universe, it's live theatre. So I hope that people can find a little bit of joy, laughter and beauty with me and our little light bulb.
Photo credit: Christian Best
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