Thom Louis meets for a chat with organisers from this week's Bedlam Festival.

Walking down from the Royal Mile it is impossible not to notice the iconic red doors of Bedlam Theatre. The building looms at the end of George IV Bridge and houses the oldest student-run theatre in the United Kingdom. Most weeks during term time you won’t see those doors open outside of the evenings, when the building welcomes audiences for its weekly play or for the resident Improverts. However, for one week during the academic year, Bedlam opens from 12 till 12 for the Bedlam Festival (recently split from EUSA’s Student Festival), providing shows, workshops and even cocktails for everyone who passes through. This year that week started yesterday, with a packed schedule and more theatre than you could shake a stick at.

“Its all going really well,” says organiser Sarah Hilmy modestly, and with 11 shows being put on across the week I would be inclined to agree with her. These shows are anything but normal fare and include everything from a devised clown show and an adapted play about talking, medieval animals to an Agatha Christie mystery and hard hitting drama about cerebral palsy; there really is something for all tastes here.

One of the show’s directors, Paul Hughes, claims that the festival gives an opportunity for “playing, which you don’t get the chance to do anywhere else”. This provides a diverse line-up and theatre that, according to Hughes, is “more fun and more unpolished.” “And more honest,” cuts in productions manager Alex Fernandes.

Not only is Bedlam Festival a time for experimentation but also a time for inclusion. “There are loads of non-actors acting and loads of people who have never done Bedlam before who are involved,” grins Sarah. Not only does the festival provide opportunities for new people, at £2.50 a ticket, it also lets people take in a show for the price of a pint.

Of course, Bedlam Festival is not just a time for watching shows but also is filled with chances to learn about theatre. The programme is not only packed with performances but also a diverse set of workshops, ranging from puppet-making to playwriting. New writing is a staple for the festival; not only are at least half of the billed plays pieces of original work but the programme has two slots entirely dedicated to the performance of short pieces of original drama. These various opportunities to learn, write and even perform allows people who have never been in a theatre before to get involved, without any of the pressure that term time usually provides.

To accompany the festival is Bedlam Radio, an independent line up of recorded shows being broadcasted in the building throughout the week.The programme of shows is once again eclectic, including a recorded performance of Dylan Thomas’ famous radio play Under Milk Wood accompanying the regular news, views and music.

Not only is the Bedlam Festival a time for learning and performing drama but the building also becomes a social space. “It’s like having a pub in your house,” laughs Lillis Meeh who is directing with Hughes. With the addition of an alcohol license, Bedlam not only becomes a thriving venue for a week but also a central watering hole. “The socialising really is part of the fun” agrees Hughes, “people really aren’t sure what to do the week after.”

There is something for everyone at Bedlam Festival, from learning how to make theatre to watching it being performed. Whether it be for a cocktail or a clown show, Bedlam’s red doors will be wide open all of this week and I, for one, can’t wait for the white Russians between lectures.