We are thrilled to be sitting down with Freddie Walker (SF 12-17), a former student who has made quite a name for himself in the world of theatre. After an award-winning run at the Edinburgh Fringe, Freddie’s theatre company, Fishing4Chips, is bringing its latest work, Burning Down The Horse, to the Macready Theatre. This immersive comedy epic, co-written by Freddie and Sean Wareing, takes the audience into the belly of the legendary Trojan Horse, where absurd humour and thought-provoking themes collide. With its blend of ancient history and sharp wit, the show has already garnered high praise for its likable characters, clever dialogue, and surprising reflections on the futility of war and the power of comradeship. As Freddie returns to Macready, we’re excited to hear about his journey, his creative process, and what we can expect from this production.

Freddie, welcome back to Rugby! How does it feel to return to Macready Theatre, this time as both writer and performer in your own show?

It is pretty surreal. It’s the same venue where I did my first ever play, so I'm really excited to be back. I think if you had told me at school, "You will write and perform an Edinburgh Fringe show and then do it in the Macready," I’d have called you mad.

Burning Down The Horse had a great run at the Edinburgh Fringe. What was the inspiration behind the concept of the Trojan Horse, and how did you and Sean come up with the comedic angle?

We came up with the idea on a dog walk. We were trying to think of new show ideas and always knew we wanted to do a comedy. For some reason, the Trojan Horse came up, and we thought about how absurd and funny it would have been to be the soldiers hearing the plan and then squeezed into a wooden horse. We are both very interested in politics and satire, and I think the feeling of being told by authority figures, “You must do this, no matter how stupid,” felt very familiar.

The show blends hilarious gags with more subtle themes about war and comradeship. How did you strike the balance between keeping the humour light while still touching on these deeper ideas?

We always wanted comedy to be at the forefront. In today's society, we all need a bit of escapism, and I think, at times, art can become too bogged down with the depressive state our country and world are in. We wanted to have a message we believed in and have that as a strong through line, but we never once compromised the comedy. We are constantly trying to add new jokes to the script.

Your character interactions are often compared to those in great sitcoms. Did any particular comedic influences or shows inspire the style of humour in the play?

We both grew up watching comedy. I think shows like Monty Python, Horrible Histories, The League of Gentlemen, and Carry On films forged a real love for that style of comedy. When we met at university, that was the first thing that bonded us together. There is a great mastery to comedy that cannot always be appreciated by a child. I remember it always looked so easy, effortless, and off the cuff. Since writing a comedy, I can now confirm that this is not the case, but that style is something we both aimed to recreate in our play.

One of the things that stands out is the chemistry between the cast. What has it been like working with the team, and how do you ensure that high energy and enthusiasm come across in every performance?

The team has been amazing. We began workshopping the first draft of the script with a few members of the cast in early 2023. The key for us as a team is everyone buying into the same aims and goals. It helps us keep perspective when we get tired and lose energy. For the performance itself, I think the fast tempo and style of the piece help us lift our energy and the audience's.

This play also touches on the expendability of foot soldiers and class clashes. Talk to us about the social commentary within the comedy, and how do audiences react to that aspect of the show?

I think some audiences miss elements of the deeper themes, but I don’t see that as a bad thing. We want the show to push an important message but also entertain. The show has been a great hit with younger audiences, and I love the fact that they can have a completely different experience to the adults and both can still enjoy it. The majority of the audiences seemed to really relate to what we were getting at. I mean, a lot of us feel an affiliation with what these soldiers are being asked to do in their own lives. At some point, we all have to answer to an authority that we fundamentally disagree with.

Looking back at your time at Rugby School, how did your experience here shape your journey in theatre, and do you have any advice for students interested in following a similar path?

Rugby played a big part in who I am and the theatre I like to make. They instilled in me the feeling that anything is possible, and if you work hard enough, you can achieve it. Since leaving the school, I have realised just how rare that privilege is, to have people pushing you. They gave me the chance to go up to Edinburgh in my final year, and without that, I don’t think I would be here. Upon leaving the school, it also helped me gain a greater perspective on the outside world. I was able to fully appreciate how lucky I am and the opportunities I was given. It has definitely lit a flame in me to make a difference with my life. I realise there is a big old world out there, and I don't really understand any of it. I want to use theatre to dissect and discuss elements of society you don’t see at a boarding school.

Freddie Walker is a recent graduate of the Guildford School of Acting. He is a Founder and Co-Artistic Director of the emerging immersive theatre company Fishing4Chips Ltd who are performing their new production Burning Down The Horse at Macready Theatre.

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