It's hard to believe that it is only eighteen months since DJ SpinOza first used the words 'post-visual theatre'to describe his début album, Uncle Vanya In Dub. The Edinburgh Fringe 2015 has only just started, but two of the most important plays are clearly in the post-visual camp.
'Yeah,' laughs a relaxed SpinOza, clearly enjoying all the money that comes from stringing together a few words by accident. 'McBurney from Complicite: he's doing it post-visual style in The Encounter, only he's got the cash to use bi-aural tech. I just had some old 45s and the truth.'
He's quick, however, to praise the other big post-visual show. 'Daniel Kitson's alright by me.' SpinOza sips on his vokda and smiles. 'Polyphony is smart. He's doing po-vi, sure, but that stand up shtick he's got? And all the little speakers? Genius.'
As delighted as he is to see po-vi take off, SpinOza is not resting on his laurels. 'I'm working with the Homeless Critic. I don't think people realise how high concept this is going to be. It's a fierce attack on the failure of theatre makers to act on their principles. He was reading Plato, and wondered whether he could test the claim that actors are morally dishonest. Hypocrites, even!'
It might just be the high grade cocaine, or SpinOza's background as a teacher of classics, but he dissolves into hysterical laughter. 'Hypocrites, see? Get it?' he mumbles, gasping for air between giggles.
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