Writer and performer Abigail Weinstock talks upcoming show ‘Giraffe’: “Masking is such a big part of the autistic experience”

Inspired by her own personal accounts, the actress and comedian brings humour and drama to this year’s Edinburgh Fringe through a semi-autobiographical play exploring queerness, neurodiversity, and self-acceptance. Guillermo Nazara chats with the performer to learn more about the show’s development and how its celebration of individuality makes a difference.

How does it feel to be presenting your own personal story at this year’s Ed Fringe?

I am the perfect mix of very excited and absolutely terrified! I thought I didn’t mind at all about it having so many personal elements in it, but after the first preview, I was hit with an enormous wave of vulnerability I wasn’t expecting. It was great insight to gain so early as now I’ve been able to come up with techniques to put in place in order to feel safer within the work in time for Edinburgh!

How did the idea for the show come about?

I’d been trying to write something autobiographical about my weird personality for ages but was always missing something. And then, about six years ago, I got an autism diagnosis and it was a bit of an ‘aha’ moment (for both my personal life and the development of the show, which as a creative takes priority over my personal life…).

How close are the plot and main character to your real self and story?

Well, the inciting incident of the story is that the main character gets a restraining order for stalking her neighbour, so I have to stress upfront that I have absolutely no history of stalking or restraining orders! Pretty much everything else in the story has been taken from real life, or pulled together from different characters in my own life — or exaggerated from the truth.

One of the show’s main themes revolves around embracing the difference. Is that idea still not widely accepted in today’s world?

I would say that, socially speaking, certain differences are more accepted than others. This show had a big focus on the experience of autistic women in particular, and I would say quite a lot of the ‘cooks’, ‘quirks’, and ‘oddities’ of a lot of autistic women are still deemed to be socially unacceptable – hence why ‘masking’ is such a big part of the autistic experience for many people.

Should normality be avoided?

I’ve spent most of my life desperately trying to be perceived as ‘normal’, so I’m the wrong person to ask as I generally strive for normality in everything I do. Haven’t quite mastered it sadly, so in the meantime, I’m going to say normality should ABSOLUTELY be avoided at all costs.

When it comes to accepting our own differences, are we our greatest obstacle?

That’s such an interesting question! I suppose the key thing is that if we love and accept ourselves fully, nothing that anybody else thinks about us can affect us. That’s a journey, though, and one I’m definitely still on myself — I give too much credence to what other people think about me.

What other themes have you tried to explore and how have you approached them?

I identify as a tall, gay, jewish, autistic woman with a dead mother. And given that the main character Eliana is very much drawn from me, these themes are all explored in the show to various degrees. In particular, I’ve really enjoyed writing and portraying a queer relationship (albeit with myself) and most of the scripts I write have queer characters at the heart!

What creative and performative challenges have you found in this show in particular?

Oooh, lots! Like any theatre process, it’s been a joy and a challenge always at the same time. I would say the main challenge has been working out the best language for staging the show, as there are so many characters and settings and scenes, and far too many options when it comes to bringing them all to life with one performer. The other one that’s been interesting for me is working out the right comedy/drama balance — I initially meant for it to be a full comedy, but over the course of the process, it’s become clear it’s very much a drama too. As a result, I can’t perform it like I would perform a stand-up set (or expect the same audience reactions!).

Are there any highlights you’d like to flag?

As a marketing ploy, I have to say the whole show! But I’d say there’s been one scene in particular that goes down very well, which is a ‘Meisner’ exercise taking place in a drama-therapy group. I’ve tried to make it accessible for people with no knowledge of acting, but I hope it will be a particular hit with actors.

Why come see Giraffe?

Because you’d be doing me an enormous favour. In return, I hope it will make you laugh and/or cry and/or even, I’m sorry to have to say it, learn something?

Giraffe will play at the Edinburgh Fringe from 5 to 31 August. Tickets are available on the following link.

By Guillermo Nazara