This was my live coverage of Brighton Fringe in 2015, featuring my thoughts as the festival went along. All the plays mentioned here are reviewed in my roundup, when I had more time to think over what I thought. But if you’d rather read what I thought of these plays at the time, read on …
Wednesday 20th May, 9.00 am: Welcome to my live coverage of the Brighton Fringe. This is where I will be posting updates of what I’ve seen in Brighton from tomorrow until Sunday evening. And then – you lucky lucky people – you get an extra two days of coverage from London where I’m stopping over before I head home.
Interim reviews of plays I liked will be posted here as soon as possible after I’ve seen them. As always, I will write up everything in a roundup after the fringe is over, but it you can’t wait for my verdict, here is where you’ll see it first.
Wednesday 20th May, 1.30 pm: So far, I have already written two guides for how to make the most of the Brighton Fringe: one for people who are used to the big one at Edinburgh, and another for complete fringe novices. As for actual shows I recommend, you can read that in my What’s Worth Watching list.
Three of these shows are coming to Brighton whilst I’m there: The Silence of Snow from Mark Farrelly, Come Unto These Yellow Sands from Wired Theatre, and sketch group BEASTS. I’ve seen The Silence of Snow before and I can thoroughly vouch it’s worth seeing; the other two I recommend on other shows of those performers. But with no Bite Size to keep me busy over the weekend this year, it looks like I’ll be seeing a lot more plays than usual that I’ve never heard of. What will be joining my list of must-sees this time?
Wednesday 20th May, 5.15 pm: There is one other group I’m giving a shout out to, and that’s Next Generation Youth Theatre. They’re coming to Brighton next week with a show called The Butterfly Catcher. I am working with them on a guest post to this blog, in response to my Brighton Fringe tip where I said beware of youth productions, which I hope to publish shortly. It’s not quite ready, but the draft is an interesting read on how to avoid being another “didn’t they all try hard” piece.
I don’t know whether they’re any good myself, and unfortunately I’ll be gone before they perform, so I won’t have the chance to find out. However, I think I can safely mention that they’ve managed to get recommendations from FringeReview and FringeGuru, so they must be doing something right.
Wednesday 20th May, 11.00 pm: And final bit of news today. Not really theatre-related at all, but yesterday I pitched myself as the new artist to be featured on the £20 banknote, with a drawing of the Queen (knocked up in Paint in 2 minutes). I don’t think it’s going to make it on to the new banknote, but – to my surprise – I did manage to get the attention of the BBC.
Okay, enough of that. Off to Brighton proper tomorrow, possibly first reviews out tomorrow evening.
Thursday 21st May, 9.15 am: Train just pulling out of Northallerton station. Brighton here I come …
But before we get stuck into what’s on at Brighton, here’s an interesting bit of news concerning the bigger fringe over the border which broke during this month. Richard Herring says he’s not going to the Edinburgh Fringe this year. That in itself is nothing too unusual – celebrities pull out of shows for all sorts of reasons, such as failure to cut sandwiches into equilateral triangles – but the interesting thing is, amongst other reasons, he feels that people like him are pushing out small-time comedians trying to make their break.
This isn’t the first time I’ve heard big-name comedians grumbling about Edinburgh – I’ve previously heard talk of setting up a rival comedy festival. Still think this is most likely a storm in a teacup, but might we see an exodus of big-name comedians from Edinburgh? I’ll write up my thoughts about this some other day, but in short: if it happens, I’m not sure it’ll be entirely a bad thing.
Okay, where am I now? Damn, all the countryside round here looks the same. No, wait, I can see a horse on the hill in the distance. So round about Thirsk, I guess.
Thursday 21st May, 11.15 am: I’ll be arriving in London shortly and losing my train wi-fi. So, before that happens, a reminder of the rules:
Each festival fringe, I come up with a “pick of the fringe”, based on the best shows I’ve seen, and “honourable mention” for other shows that are nonetheless worth a mention through innovation or performance. I will only make the decision on what goes in which list after my visit, but shows I mention during my live coverage are likely to be strong candidates for pick of the fringe. Shows I didn’t like, or shows that were okay but nothing special, generally don’t get reviewed at all. Being a performer myself, I don’t want to kick other performers in a similar situation to me. (I sometimes break this rule for high-profile theatre companies who should know better.)
In the event that you know I’ve seen your play and not given you a review, you are welcome to ask why. (Similarly, if I have reviewed you, your are welcome to contact me privately and ask me to expand on something I said.) It’s not fair on performers to be given the thumbs down and without a chance to ask what was wrong. You might not agree with what I think, you might not like it, but I will at least do my best to be constructive.
Ooh, Welwyn viaduct. Not far now.
Thursday 21st May, 3.00 pm: Jesus Christ, took me ages to get to Brighton. Thameslink trains take an hour to get out of London now, thanks to this diversion whilst they’re rebuilding London Bridge station. Guys, hurry up and finish it, okay? Still, one better bit of transport news is that apparently we’re not having a strike on Monday and Tuesday next week after all, which should be good for anyone hoping to get to or from Brighton (myself included).
Anyway, that should be my final bit of pre-fringe rambling. First plays this evening – hope you give me a good one.
Thursday 21sy May, midnight: And apologies for the break. I’ve been away from anywhere with wi-fi for a while. Anyway, I’ve learnt something today. Hove feels an awful lot closer when I allow myself plenty of time to walk there. Maybe I should stop leaving it till the last second to dash to Hove venues. But enough of this waffling. You want to read a play review don’t you? And, you lucky people, I have one for you.
I went to Hove for Request Programme, and I can thoroughly recommend this. In a rare deviation from normal practice, I’m not going to say why I recommend this, because this is a play where the less you know what to expect, the better. I will write something more thorough when I do my roundup, and if you absolutely must know some more details, there’s a review from FringeGuru you can read, but – trust me – it’s best seen cold.
What I think I can safely say without giving any spoilers is that it’s different from anything else you’ll see in Brighton, and it’s even different from any other site-specific piece you’ll see. And I think I can also safely say that Rachel Wood’s performance was outstanding. Particular praise must go the attention to detail paid by Rachel Wood and presumably director William Bowden too. It’s on for a 12-day run, and there’s three days left. You have until Sunday, with performances at 3 (not Fri), 7 and 9.
(One word of warning: the Fringe programme says you meet at the Otherplace box office, and it’s wrong. Someone somewhere along the line made a cock-up. You meet at 52 Waterloo Street, Hove.)
The only question I have is I’m not sure how this play can have a translator. Hey, have I given away too much?
Friday 22nd May, 4.00 pm: Bugger. Seems Michael Fish lied when he said it was going to be sunny. Brighton now looks set to be cold and overcast for the rest of the week. My plan to eat an ice cream on the beach looks in doubt.
I started off today watching The Circle Game at Wagner Hall (that’s where The Warren was last year – it’s still hosting the odd show without Otherplace). This is a “devised musical” from music graduates of BRIT school of arts. I must confess, the moment I stepped in the theatre and saw a row of five seats underneath individual lights, my mind recoiled in horror, because this usually means you’re in for two hours of pretentiousness. Luckily, my fears were unfounded.
It’s probably fair to say this production is intended as a talent showcase first and a play a long way second. Based around a theme of growing up from birth to sixth form leaving age, the piece is largely a collage of monologues (generally memories of cast members), dance and mainly song. As such, I think I can safely say this piece is unlikely to have a life beyond this run. Having said that, it was very disciplined devised piece. Devised theatre is hard to get right and easy to get wrong, and one of the commonest ways devised theatre goes wrong at a fringe is when they try to be clever and/or produce something understood only by the other actors. This piece didn’t try to be clever and concentrated on doing what they do best, mostly singing.
But as far as a talent showcase goes, I have little to fault with this. Clearly BRIT school of art are doing a good job training this cast in acting and singing. So whilst this might not be the most memorable piece you’ll see at this fringe, it’s still worth a look if you want to see what this young cast can do. There one more performance tomorrow (Saturday) at 7 if you’re up for it.
(Footnote: just so you know, the play is 60 minutes long and not the 90 advertised. I do somewhat from on advertising plays to be longer than they really are, but I’ll let them off because 60 was about the right length for this. But it’s only fair to give people the full picture of what they’re paying for.)
Saturday 23rd May, 10.00 am: Okay, yesterday was a pretty good day in the end. Saw three more plays after The Circle Game which impressed me one way or another.
The obvious one that impressed me is, of course, The Silence of Snow. I’ve already reviewed this in my Edinburgh Fringe 2014 Roundup, and I broadly stand by what I said: it’s a textbook solo biopic to some extent, but Mark Farrelly capture the self-destructive streak of Patrick Hamilton so well. One difference from the Edinburgh version is that this time it’s got full and sound and lighting. The Espionage version was good, but it’s even better with the sound and lighting. Slight niggle that the rain sound was a bit too loud, but really, who cares?
I do wonder, however, if it was a good idea to put this in the Literature section of the programme instead of theatre. The audience for this play was only okay, when I’d have expected better from something with this many recommendations under its belt. I fear this may have lost potential punters who only look at the theatre section. Still, that’s a debate for another day. And this runs until the 31st so there’s plenty of time for this to pick up. (One other note: this got the attention of FringeGuru because I drew it to their attention in the first place. And Richard Stamp liked it. So, you see, my reviews do matter.)
[UPDATE: Told you.]
Saw The Silence Of Snow last night on @cns_theatre‘s recommendation. Great choice – excellent performance, haunting story, cleverly staged.
— Richard Stamp (@FringeGuru) May 23, 2015
I’ve got two other plays to write about this morning. I’ll write about them a little later, once I’ve had a chance to think about them a bit further, but they can both expect good news.
Saturday 23rd May, 12.15 pm: Next review, which I’m bumping forwards as I was on a press ticket, is Reno. This partly came to my attention because one of the actors in this two-hander is Robert Cohen, writer-performer of the excellent Trial of Harvey Matusow and High Vis. This time, however, it’s the other actor who has the real chance to shine. Lauren Varfield does an excellent portrayal of a disintegrating Marilyn Monroe, with Cohen as her third and final husband. Amongst her many insults, she says her writer husband will always be nothing compared to her. What’s that obscure writer’s name again? Oh yes, I remember. Arthur Miller.
This play is essentially a snapshot in Reno, where they are filming The Misfits that Miler wrote for her. And, as is often the case, her best performance came from a script where the writer brought out all her real-life flaw and weaknesses. We hear a lot of Monroe’s back-story in the play. It’s often said she fell apart at the end, but in reality, she was damaged throughout her life, both before and after rising to stardom.
If I have one criticism of this play, I think an hour might have a bit too long. This play chooses to portray a snapshot of their marriage just before the end, rather than a gradual disintegration over time. And the snapshot tells us a lot, but eventually I felt it kept going over the same things a little to often. But it’s an interesting script with one good performance and one excellent performance. But there’s a final show at 8 p.m. this evening at the Rialto, so you’d better be quick.
Hey, the sun’s out. I might be able to have my ice cream on the beach after all.
Saturday 23rd May, 4.30 pm: I’m starting to develop a backlog now, but I’m going to carry on reviewing in order for now, because the next one I want to highlight is Greywing House, which only runs until tomorrow evening (all performances at 10 p.m.). This play is set on the premise where you the audience are checking in top a mysterious dilapidated guest house, with Mary Beth Morossa playing the landlady, the mysterious Miss Ameilia. In theory, she’s giving a friendly welcome, but from the start there is something fraught and forced about this which means things aren’t right. She begins to talk about the local area, and some of the local superstitions, and – eventually – the sticky end that met both her husband and husband’s father.
Morossa uses a lot of theatrical devices throughout the play, including projections, puppetry, sleepwalking and dream-like flashbacks, all of which are slick and flawless. So it’s annoying that I have to say my only complaint was the over-use of theatrical devices. Nothing against any one is particular, just the sheer number used. Great though they were, they somewhat overpowered the story. As a rule of the thumb, the audience should always be thinking “I wonder what happens next,” and I struggled with that because I wasn’t sure which plot thread I was meant to be following.
But the reason this is worth seeing is the performer. Many fringe actors are interchangeable, but Mary Beth Morasso and a unique confident style of performing that is clearly hers. My firm call, you will not see any performance like hers anywhere else in Brighton. And with so many fringe performers being interchangeable, she is someone to keep an eye on. What she does, she does better than anyone else, so I hope she sticks at this style, because she may have great things ahead of her if she does.
Saturday 23rd May, 7.15 pm: We interrupt the coverage of Brighton Fringe to give you the caption competition. Or at least one of the oddest things I’ve seen in Brighton this week. Any particular reason why someone would stand in a puddle of paint in order to leave paint footprints behind?
Oh, back to actual theatre, I’ve been to see Come Unto These Yellow Sands. I always caution over Wired being hit and miss with their gambles. I can now vouch it’s a hit. If you were in doubt, you can now safely see it. I believe it’s on at 3 and 5 tomorrow (with more performances BH Monday and next weekend).
Sunday 24th May, 9.30 am: Okay, now that I’ve a bit of spare time – having finished hiding the bodies of those tossers whothink it’s normal to come back from their drinking bender and carry on talking loudly in my hostel room at 4 in the fucking morning – let’s have a catch up.
So, Come Unto These Yellow Sands from Wired Theatre. Wired are long-standing Brighton regulars who do site-specific pieces, with this year’s play taking place in someone’s house. Their devised plays vary from year to year, with some taking more risks than others – and when they take risks, some work out better than others – but this year they’ve stayed on the safe side with a reasonably conventional play. Had this been produced on a normal stage, the play would probably have worked just as well (not that I would ever want Wired to stop their site-specific format).
But on Wired’s scale of safe to adventurous, “safe” is still quite innovative compared to other plays. This year, they put all of their energy into researching the lives of the women who camped out on Greenham Common in the eighties and nineties. I gather there was a few nerves over choosing Greenham for the play’s subject matter, but I personally didn’t see this as particularly contentious compared to other plays. The play is very heavily derived from the stories of real Greenham veterans (including the actors of the play), with real account forming many of the plot points.
The play, however, neither idolises nor vilifies the protesters. There were a lot of tales of the cameraderie within the camp, the relationships that were formed, and the actions of some of the less pleasant gentlemen in charge of policing the protests. But the most interesting theme was the unintended price of the women-only rule. When men were excluded from the camp, the husbands and sons of the Greenham women – often men equally dedicated to their cause – could find themselves strangers to their own families.
Anyway, the upshot of this is that I can now upgrade this from “bold choice” to “safe choice”. Worth the trek to Hove.
Sun’s out. Time for ice-cream on beach. (Update: sun was back in by the time I made it to the beach. Almost died of hypothermia.)
Sunday 24th May, 1.30 pm: Another break from reviews for another look at fringe news from Edinburgh. Two things have come to my attention.
Firstly, Bite-Size, sadly missing from Brighton, is coming to Edinburgh. That is unusual – a successful Brighton-based group leaving out the Brighton Fringe from an Edinburgh warm-up. Still none the wiser as to what’s going on. I’ve vaguely heard there might have been some sort of row with another company over a collaboration that didn’t work out, but off-hand I can’t think why that would lead to missing Brighton Fringe. Your guess is as good as mine.
Now, the other bit of news, potentially more contentious. You remember last year’s censorship of a theatre company for having the temerity to be of Israeli nationality (because, apparently, all Israeli artists are sinister Zionist conspirators here to subvert us into supporting the bombing of babies)? Well, it looks like battle lines are being drawn. Underbelly is hosting a show about censorship, Northern Stage is hosting two Israeli groups, whilst David Greig’s “Welcome to the Fringe” scheme seems to have mutated into a multi-day arts event from Middle East performers. I have mixed feelings about this – I will comment on this another day.
Sunday 24th May, 4.30 pm: Right, this pub only gives me 30 minutes wi-fi, so let’s catch up with another play. This time, it’s Bathtime from Richard Purnell. This is a solo performance about a Harry, a man with a higher-than-average fascination over baths. This is a minimally-staged play, where the bath is represented by a blue fold-up bed which so steps into keeping his clothes on, so don’t get too excited ladies.
Anyway, this bath obsession is just one of several plot threads. The other major thread is his marriage to Sarah, which appears to have been based on a one-night stand that should have stayed as that. It appears that differing attitudes to baths might have contributed to this, but there are other things too. So when Sarah is murdered by an unknown assailant, Harry is too indifferent about her death for everyone else’s liking. This and has unconventional views on baths means that the suspicions of Southend-on-Sea fall on him.
Richard Purnell does a good performance of a man who makes such an unusual obsession sound normal, whilst at the same time dealing with the tougher issues of indifference when society expects grief, and life as unspoken pariah. This forms the basis for a play with decent beginning and strong middle, but – so sadly – doesn’t seem to have any sort of ending. The play just stops abruptly when I was expecting something more, and the main issue was the unresolved elephant in the room. When a murder, and questions over the murderer, forms such an important plot point, this has to be addressed somehow. I appreciate the aim of this play was to handle the reaction to the murder rather than the identity of the murderer, but something needed saying. At the very least, I feel, something should have been said about whether Harry’s floozy had anything to do with it.
But Purnell has created something that’s original and he’s done enough to grab my attention. Even if the ending didn’t quite work, it’s still worth seeing it, and how to handle an ending can be addressed in future plays. There’s a final performance of Bathtime tomorrow in Otherplace Basement at 2.30.
Monday 25th May, 9.45 am: And that’s it. Time’s up. Put your pens down. Between Thursday evening and Sunday evening I saw a total of twelve plays. I have two plays remaining to write reviews for. The it’s the moment of truth and I decide what to put in this year’s pick of the fringe.
But that’s not quite the end of my theatre binge. I will be stopping off at London on the way back home, and I should be seeing some more plays there. So I will continue this coverage for London – let’s hope London gives me something worth writing about.
I hope to get the last two reviews done some time today.
Monday 25th May, 2.00 pm: Well, I’ve made it to London, and to mark the occasion here’s a picture I took at Victoria tube, which contains an in-joke that only north-easterners will get.
For the rest of you not from the north-east who have no idea what I’m on about, here’s the first of my two catch-up reviews, and it’s The Tale of Tommy O’Quire. This is down in the children’s section of the programme, but it’s got appeal to adults as well. In general, when a family show is dominated by adult – as was the case here – that’s a promising sign.
It’s a quite straightforward idea: a story told in verse about our “hero”, Tommy O’Quire, on his quest for buried treasure. Except that he forfeited his claim to be a hero after he murdered the original owner of the treasure map. He goes on adventure over swap, forest and mine, escaping the horrors of monsters, wolves and ghosts, but he cannot escape the horrors of his own soul.
Although telling a story in verse has been done many times before, it’s the numerous little things in the performance that make this play what it is. A simple yet comprehensive set to cover numerous locations, some lovely illustrations at various parts of the short, and some extremely novel uses of a bucket, spoon and two-rung rope ladder all work wonders to bring this story to life – plus, of course, Tom Dussek’s excellent performance.
The only snag is that the few children at the performance seemed to have trouble following the story. I hope that wasn’t a representative sample of children, but it would be such a pity if one of the most successful child-friendly shows isn’t being enjoyed by children. That said, I gather there’s plans in the pipeline to make an illustrated book out of this. I would highly encourage this, because with the poem and illustrations already complete, the work’s pretty much been done already.
This still has another week at the Dukebox during Brighton Fringe’s family-friendly week. From the 26th to the 31st, it alternates between 12.30 and 3.00 performances. Worth seeing with or without children. (See also this glowing review from Fringeguru.)
Monday 26th May, 10.45 am: And my final show at Brighton Fringe was My Friend Lester. This is a show about the fascinating story of Billie Holliday and saxophonist Lester Young. Lester was Billie’s unofficial mentor, then friend, then close friend, but never lovers. The supported each other through their doomed marriages – sadly, they also shared a desire to destroy themselves through drink and drugs. And when they went, they died within four months of each other.
I wouldn’t normally review a show such as this, because it almost belongs in the music section rather than theatre. It’s very nearly a tribute act to Billie and Lester – not that it would have been anything to be ashamed of. The four-piece combination of Maria McAteer as Bellie, Björn Dahlberg as Lester, and bass and piano forms a beautiful quartet. The actual story, however, is squeezed into the gaps between the songs, in a kind of edited highlights of the Billie/Lester story.
But even though there’s only a few snippets of story, the few spoken exchanges between Billie and Lester are lovely little gems. And the songs are carefully chosen to match the mood of the story. Don’t Explain becomes a very different song when Billie has just told us of her first marriage to the unfaithful husband she couldn’t stop loving. As her equally emotional rendition of Strange Fruit whilst her friend Lester was mistreated in the army because of his race. So this might not be your first port of call if you’re after a comprehensive biopic, but for something short, sweet and moving, with a great jazz set to boot, you can’t go wrong here.
There’s one final performance on the 31st May at 8.30, which I gather has a further jazz set from the band straight after for the Rialto’s closing party.
Tuesday 27th May, 3.00 pm: All the shows feature here will go into a roundup, which ought to be coming in the next few days once I’ve had a chance to relax. Expect much of the roundup to be a repeat of what I’ve written here, but I may have new things to say once I’ve had a chance to think things over. (This page should be considered more of an instant reaction.) In particular, I can promise a more thorough review of request programme, which I’ve so far avoiding doing because anything I write would be a spoiler.
I’ve got something to say about the London play I saw last night, which was surprisingly good. Bonus points if you can guess what play I saw. (Clue: it is just about possible to guess this if you use some cunning deduction about where I might go to see plays in London.)
But my laptop’s almost out of juice, so this’ll have to wait.
Tuesday 27th May, 10.45 pm: So, did you spot the clue? Remember, I have a lot of interest in fringe theatre, so if I’m popping to London, which kind of theatres am I most likely to look at first? The fringe ones. And what’s the most fringey of all fringe theatres? Correct, The Pleasance, Islington. Because Inigo sounded interesting.
Inigo is a true story about this Catalan nobleman in the days when the Spanish Inquisition was all the rage. Being a younger brother without the responsibilities of being an heir and whatnot, Inigo is quite content to be a duellist and womaniser until the he defend a tower in a siege with a broken leg. Whilst recovering, his devout Christian wife gives him nothing but stories of saints as bedside reading. To Inigo’s suprise, he dicovers he finds it all fascinating. So fascinating, in fact, he decides to turn his back on his old life and become a pilgrim devoted to got. And – here’s the important detail – he was particularly inspired by saints such as Francis who gave away all their possessions to the poor, in sharp contrast to the upper echelons of the Catholic Church who preferred amassing huge wealth.
I think the biggest endorsement I can give is that I’m a complete atheist and I still found this story fascinating. There are a lot of parallels to the story of Jesus himself. Whatever you views on the big man upstairs, we know that somehow, round about 0 AD, a man managed to build up a follow through little but his own words and charisma. Similarly for Inigo, he somehow managed to be so inspirational – possibly through offering other people a purpose in life – to give away all their possessions and work for the poor. And the parallels don’t end their. Jesus made a lot of enemies with the religious authorities who didn’t like their order being upset, and so did Inigo. And both men, it seems, played their enemies very carefully through strategic hands of friendships. Only thing Inigo missed out on was being nailed to a tree for suggesting we should all be nice to each other, but I think he was happy to make that concession.
The play maybe takes a little too long to get going – I’m not sure we needed to know so much about his pre-conversion life – but this is a fascinating play to watch, even if you think this whole God thing is bollocks. And, you lucky lucky people, I caught this at the start of the run. It goes on until the 13th June at the Pleasance Islington, so if you live in London you have no excuse to miss it.
Right, I am now retiring to my hotel room to deliberate with myself on the Pick of the Fringe list. Hope to list it tomorrow on the train home.
Tuesday 27th May, 12.30 pm: Home time. I am currently forced to listen to a young lady on her mobile phone in the seat opposite me having a loud lengthy discussion on a grievance that appears to involve a friend who was somehow responsible for incorrect application of nail varnish, as if it’s the most important issue in the world, above ISIS and global warming. And it’s been going over and hour. Lucky lucky me.
But enough of that. I have made my decision. My pick of the fringe has been chosen. The line-up is (in chronological order):
Pick of the Fringe:
- Request Programme
- The Silence of Snow
- Come Unto These Yellow Sands
- The Tale of Tommy O’Quire
- My Friend Lester
- The Circle Game
Special Honourable Mention:
- Greywing House
(Note to anyone who has come here straight from the @brightonfringe retweet: this is a pick of plays that I saw over the four days I was in Brighton. This should be treated as a cross-section of the good plays there have been in Brighton. It is not an exhaustive list.)
Congratulations to those who made it. Commiserations to those who missed out. As always, anyone who didn’t make it who knows I saw your play is welcome to contact me for private feedback (as is anyone who is on the list who’d like me to expand on things).
Full details of why which plays made it into which list will come in my roundup, but that will have to wait because I’m now about twelve hours behind on sleep.
Wednesday 28th March, 12.30 pm: And before I sign off, there’s just time to report that The Butterfly Catcher (who I mentioned at the start of my coverage and are hopefully providing a guest post), seem to be doing very well, with a good number of 4* and 5* reviews under their belt. Pity I had to miss that.
And there’s just time to tally up my “Luvvie score”, to keep track of the number of time I say “Natasha! Darling! I’ve haven’t seen you since the Edinburgh Fringe.” (Note: this is an illustrative example. I don’t know anyone I call either “Natahsa” or “darling”.) I score one point every time I meet someone who I know from previous festivals, and they have to know who I am. I scored seven this year. Not sure if that’s a good or a bad thing.
Wednesday 27th March, 8.00 pm: And that concludes my coverage of the Brighton Fringe. Thank you to all who followed this, and thank to everyone who put on performances worth writing about.
In due course, I will sum up everything here into a roundup, which might also contain a few new thoughts about the plays once I have time to think about them a bit further. Inigo will also get a proper review once I do a catchup. In the meantime, cheery-bye, until I do this all over again for Edinburgh.