Mike Hatchard brings Ludwig: Unfinished Business to the Edinburgh Fringe, a bold and entertaining solo show that reimagines the life of Beethoven through comedy and music. This unique performance blends theatrical storytelling with virtuosic piano playing.
Co-written with director Guy Masterson, the show offers a humorous and human take on one of history’s most iconic composers. Audiences can expect a fast-paced exploration of Beethoven’s life, legacy and unfinished business.
Ludwig: Unfinished Business runs at Assembly George Street – Front Room from 6–30 August (not 12th) at 12:35pm. Tickets are available here.
You’re the co-writer and performer of Ludwig: Unfinished Business at Assembly George Street – Front Room, what can you tell us about the show?
It’s a show, and the previews have established this, that makes people laugh but also contains a lot of serious drama, exploring what was unquestionably a difficult life.
What inspired you to bring Beethoven to life on stage in such a comedic and contemporary way?
I’m completely obsessed with Beethoven. I feel there is an honesty in his music that isn’t found in any other composer.
It’s utterly uncompromising, as I feel Beethoven himself was — a man completely in the moment whose disorganisation and confusion would earn him all sorts of labels in modern society.
The fact that his music is still so highly regarded all these years on speaks volumes.
The show combines virtuoso pianism with stand-up comedy, how did you develop this unique blend of music and humour?
I’m still developing it. Practising the piano for hours and hours a day isn’t a particularly enjoyable experience. It’s very lonely and often intense, so the humour is almost born of necessity.
A lot of classical performing, even today, is a somewhat dry experience. In the past it was generally more so, but with some extreme exceptions, including my hero Vladimir de Pachmann, a flamboyant and rather eccentric concert pianist who died in 1933.
You’ve had a wide-ranging career across music, theatre and comedy, how have those experiences shaped this piece?
I consider creativity across these media to be a very similar experience.
Comedy is very tangible. You cannot come off stage thinking, ‘wow, I was really funny’ if the audience haven’t laughed.
Music is harder to quantify. Sometimes you feel you have played well even though the audience hasn’t particularly responded. But when you’re right on it, in the zone, that’s when the audience tends to pick up on it too.
The ability to be a bit theatrical at times can help, but within the boundaries of good taste, of course.
You’re working with Guy Masterson as co-writer and director, what has that collaboration brought to the development of the show?
It’s very much been a two-way process, even though Guy and I are coming at it from very different directions — Guy more as an actor, and me mainly as a musician.
It’s fascinating how Guy can change one word and the whole structure alters.
Guy is an absolute stickler for precision. I tend to be much more improvisatory, so it’s a combination that works well.
What would you say to anyone thinking of booking to see Ludwig: Unfinished Business?
I’d say thank you very much — and do take note that Ludwig has a tip jar.
