Ben Target: LORENZO, Interview
Theo and I saw Ben Target’s sell-out show LORENZO at different points during the fringe, having booked it on word-of-mouth recommendations. When Theo text me proclaiming that it was ‘By far and away the best thing I’ve seen this year’ it was clear I had to book immediately, and made him swear not to tell me a single detail about it; oh he was not wrong. You can read his five star review here.
We had a little chat with Ben, ahead of his highly-anticipated transfer to Soho Theatre at the end of the month, and he kindly answered ten of our questions. Read them below and then run to get a ticket before this sells out too!
Ben, tell us who Lorenzo is and what the show is about?
The show is a tribute to a remarkable man called Lorenzo, who I lived with during Lockdown as his end-of-life carer. It tells the story of our friendship, the adventures we shared and speaks about people taking care of each other in the messiest of times.
You speak in the show about a period of time where you felt lost in this industry, what advice do you have for artists feeling the same and trying to navigate their way through?
Do it if you love the work. If not, find something else. As soon as this lark heads south, I will join the London Fire Brigade.
What’s the best and worst gig you’ve ever done?
My best gig was at the legendary comedy club Up The Creek, where the alternative comedians of the 80s reshaped the cultural landscape. I did the middle spot in between Tim Key and Andrew Maxwell, two comedians I admired. The audience loved every bit of my set and I crowd surfed at the end. It was the first standing ovation I’d ever received. I developed an unbearable ego after that, so in many ways, thank goodness I had my worst gig to come and deflate it.
My worst gig was at Portsmouth Football Club Member’s Bar, where I performed to 500 very drunk men, who yelled abuse at all the comedians. Throughout my set, they played this game of repeatedly faking a mass walkout across the stage, which was quite funny tbf. Afterwards, they felt the need to tell me, via the medium of The Internet, that I was the worst comedian they’d ever seen. I haven’t been back to Portsmouth since, even though my brother lives there.
You run a stand up course for beginners at the Bill Murray, what three bits of wisdom would you give people thinking about giving stand up a go?
If you’re curious, give it a go! Stand-up is fun, scary and immensely rewarding. Studying stand-up is also a wonderful way to meet a whole bunch of new people who’re also keen on being creative. I’ve had the pleasure as a teacher of seeing some quality friendships begin in my classes. Secondly, If you enjoy the experience of writing and performing then keep going. Stand-up teaches you how to better understand yourself, how to present yourself, how to laugh at life and how to communicate clearly. Lastly, figure out what it is about it that bring your joy, hold onto that and let it be your guide to longevity.
How did you become a performer?
Accidentally but on purpose. I wanted to be an artist but my parents halted that dream by threatening me with banishment from my family if I tried. They wanted me to be a wealthy orthodontist who drove around in a red Porsche. I tried to do the whole career thing. Got an apprenticeship in the Barbie factory. An incredible place to work but it wasn’t for me - I became savagely depressed and dropped out. I found work in education for people with special needs and in the evenings, I began going to see stand-up shows. It looked so free-ing and accessible but I had no idea how to begin. Then, one night, I saw a poster for a music and comedy open-mic. I went and did it on my own without telling my friends. I was the only person on the bill trying to do comedy. I don’t think anyone laughed but I loved it, from the very first moment that I clumsily tripped onto the stage and accidentally knocked the mic stand over.
During the show you hold the room with such affection and care for your audience, how do you ground yourself post-show to take care of yourself?
Ultimately, it’s about carefully examining my intentions before I even make a show and making sure that whatever I’m trying to say, it positively affects the audience. In doing this work, it means I don’t put anything on stage I can’t safely guide an audience through and live out on stage myself. I leave all the emotions on the stage, where they are justified in the story, and when I step off stage, I feel a great sense of relief. Napping is also good.
You sold out your entire fringe run pretty early doors, but what are your tips for surviving the whole month?
Here is my survival mantra:
Angry = Eat
Sad = Sleep
Tired = Drink Water
Anxious = Exercise
Jealous = Focus on your work
Also, random adventures are good. In Edinburgh I went to see Barbenheimer at the IMAX with my good friends and fellow comedians Adam Riches and John Kearns. The team who worked on LORENZO and I walked across the Firth of Forth bridge and went to see the seals in Deep Sea World, an abandoned quarry. Oh, and a very talented playwright walked up Arthur’s Seat with me and we ate blackberries along the way. These golden moments make it all the more worth it.
What artists would you point to, as people (or companies), that have had a lasting impact on the work you make?
The fierce camaraderie I have with my brother Hugo has probably been the one constant throughout my years of making work. Also, my romantic partners have had a significant hand in shaping who I am as an artist, for the better, I think. And maybe most importantly, the audiences I perform to - they’re always my guide. For this show, I was inspired by: the films of Wong Kar Wai, Michael Stipe’s performances with R.E.M., Patti Smith’s M Train, Jeanette Winterson’s Why Be Happy When You Can Be Normal, Bruce Robinson’s Withnail & I, Four Tet, and Brendan Yates’ dancing.
LORENZO was one of our favourite shows at Edinburgh this year so we know our answer to this, but why would you say our readers should book a ticket?
Thank you! I really, really appreciate that. I think LORENZO is a life-affirming story about death featuring shadow puppetry and live carpentry. It’s a beautiful way to spend your evening. The show’s at 7pm, so you can get a pint in after work, enjoy this piece of celebratory theatre about friendship and then, because the show finishes at 8:05, you can go for dinner in Soho glowing with gratitude.
Lastly, what’s your favourite biscuit to go with tea or coffee?
I love coffee. I drink about a litre a day. I like to keep it simple. No milk. No sugar. And I’m very partial to a Tunnock’s wafer biscuit. Do I dip? You bet.
Ben Target: LORENZO is on at Soho Theatre Dean Street until the 14th October, tickets are available here.
Photo by Ed Moore