Anu Vaidyanathan is preparing to tape her latest stand-up show, Allegory, in May before bringing it to the Edinburgh Fringe in August. The show, which debuted as a work-in-progress last year, tackles what it means to be a woman, moving away from the purely observational comedy of her previous performances into more surreal territory.
Vaidyanathan described the shift as a welcome break from pattern. A family tragedy prevented her from bringing a fully formed show to the Edinburgh Fringe last year, forcing her to experiment and rediscover the joy of playing with her material. “I have a lot of fun experimenting and playing with my material as a comedian and after your debut hour you kind of lose sight of that,” she said. The show has been building “bit by bit” since then.
While stand-up remains her primary focus, Vaidyanathan continues to explore theatre, a passion she shares with filmmakers she collaborates with. “Our shared love is performance—that’s basically where we all started,” she explained. She is currently developing a new theatre piece with her director, considering whether to bring a work-in-progress to the Fringe this year. She noted the distinct experience of performing theatre versus stand-up, describing theatre as “not as light as comedy,” and “slightly unexpected.”
“I love standup. That’s where my vote is,” Vaidyanathan stated, adding that she believes theatre is best suited for ensemble performances. She sees theatre as a space for experimentation, a place to push ideas that don’t quite fit within the confines of stand-up. Her current theatre project incorporates lights and sound in a more integral way than she has previously explored.
Recent performances in India, including a late-night gig at the Underground Comedy Club in Bengaluru, have reinvigorated Vaidyanathan. She described the experience as a reminder to avoid complacency. “You demand those experiences to not sit in the comfort zone of ‘I’ve done the Fringe, I’ve done this.’ I don’t suppose you should ever think you’ve arrived,” she said. The Bengaluru show drew a younger crowd, with many attendees identifying as parents – a demographic she jokingly described as an “underground secret society.”
Vaidyanathan observed the unique connection she makes with Indian audiences when incorporating local languages like Tamil and Hindi. “When I gig in Tamil or slip into Hindi, those are the times when I can witness the laughter come from the belly rather than the face,” she said. She also performed to an audience of approximately 300 people in Delhi.
She noted that parenting material translates well across cultures, particularly for working mothers. “Being a mother or parent is equally difficult anywhere in the world,” she said, adding that she adapts her set to the specific energy of each room, avoiding crowd work in favor of finding the humor within her existing material. She emphasized the importance of avoiding pandering, stating, “If you pander, you’re finished.”
Vaidyanathan also highlighted the vibrant Indian comedy scene, mentioning Gurleen Pannu, Shreya Priyam Roy, and Ashish Solanki as rising stars. She was particularly impressed by Rahul Dua, saying his performance made her experience “half Punjabi.”
Alongside her performance work, Vaidyanathan is developing a podcast called Glyph, designed as a series of portraits of artists. She described the podcast as a departure from her comedy, offering “honest conversations, done with a mother’s sensibility of frugality and curiosity.” The podcast, which has been delayed due to personal circumstances, has already featured interviews with comedians, a writer, and a filmmaker.
While she has stepped back from competitive triathlon, Vaidyanathan continues to engage in adventurous physical activities with friends, maintaining a connection to the discipline that once felt “political” – a way to assert agency over her body.
