Autumn equinox has just gone, putting an end a period over the first three weeks of September where people violently argue over whether it’s already autumn (as per the meteorological definition) or still summer (as per the astronomical definition). So now that you’ve all finished arguing over that, let’s go into this list of recommendations.
You know the score by now: I’ve searched the listing of the north-east theatres and looked for stuff that grabbed my attention, but this is a cross-section of stuff out there worth watching, and not an exhaustive list. For future reference, if I have seen you before and reviewed you favourably, you are encouraged to send me press releases for new projects if you’d like to be included here – I will probably pick up on what you’re doing anyway, but sometimes things escape my attention and a press release is a good backup. If I have not seen you before, it is unlikely you’ll get on to this list – invite me to review you and I might get you on the list in future seasons. Continue reading →
Okay, here we go. Got a long article ahead of me to write, condensing all of the rambling thoughts in my live coverage into one coherent article. There’s 22,706 words of live coverage to summarise, so please bear with me, it will take some time. It will, as usual, come in dribs and drabs. Last time it took me months to complete the coverage – I hope to a be a bit more timely this year.
So, I had a very good Edinburgh Fringe this year, due in a large part to my ever-expanding list of shows from performers who I know and expect to be good. This, combined with the increasing number of review invitations I received, also meant I had a very busy fringe, with 35 shows seen in total, and 6-show days becoming a new norm. There were a few side-effects to this, the big one being that I’ve had to start saying no to the odd review invitation. I’m going to give my review policy a rethink for next year. In the meantime, however, this year I saw no absolute turkeys and so I’m able to review all the plays I saw. The only things I haven’t reviewed is the odd piece (mostly stand-up comedy and sketch comedy) that was too different from the theatre I’m used to reviewing for me to be able to make a qualified judgement.
Before I embark on what’s going to be a beast of a roundup, let’s start with this … Continue reading →
The Gala’s first theatre commission in years, The Fighting Bradfords, might not be the most memorable World War One play, but it portrays a faithful story of four forgotten brothers.
What a year it’s been for the Gala Theatre. Ever since the acrimonious departure of artistic director Simon Stallworthy, the Gala Theatre’s status has been relegated to a second division receiving venue, with very little actual theatre being programmed. I got wind of things changing around 12 months ago with the appointment of a new programming director and a renewed interest from the County Council. Things started bearing fruit earlier this year with a lot of high-profile companies coming to the theatre – there had been the odd high-profile company before, but three companies in one season (Northern Stage, Original Theatre Company and John Godber company) was new. Then came Next Up …, the inaugural scratch night, which was successful enough to become a regular thrice-yearly fixture.
Now comes The Fighting Bradfords, the Gala’s first commission. Well, sort of. Officially, this is a Durham County Council commission for a play to be performed at the Gala. The Gala is owned by the council, and theatre management is so tightly integrated into the council structures, there’s no clear line for what cultural activities in Durham County do and don’t count as the Gala’s own. In this case, the commission (along with No Turning Back over the summer) was part of a wider series of events over the county called Durham Remembers, marking the centenary of the Battle of the Somme, and the commission requested by the council was the story of four sons of the respected Bradford family. All enthusiastically signed up to fight, all were decorated for bravery – and all but one gave their lives. Continue reading →
Stage School has got the acting community up in arms. But if you’re one of these people who watches so-called “structured reality” TV shows, you are partly responsible for this travesty.
Ho hum, barely finished the Edinburgh Fringe and what do I find? There’s a new “reality” TV series on E4 called Stage School. You might have noticed my use of quotation marks around a certain word; I will be expanding on this shortly. Anyway, I haven’t seen this as such, but it’s been impossible to not hear about this following an uproar throughout the theatre world. It’s been slammed as fake, misrepresenting and blatantly scripted, and there’s already a petition to have the programme canned.
Now, the easiest thing to do would be for add another blog post on to the pile of pieces castigating the show. However, I have sufficient integrity to not pan a programme I haven’t seen, and since I would rather stick my knob in a blender than watch another reality TV programme, that’s not going to happen. I’ll instead point you to this blogger’s comment which seem to be representative of all the scorn I’ve come across on-line and off-line. I’ve tried reading supportive pieces just to get some balance, but weighing things up, it really does look like a pile of unmitigated shite. In the unlikely event someone from the acting community would like to defend the programme’s accuracy, I will give you a fair hearing, but in the meantime I am writing this on the assumption that Stage School is as fucking awful as I think it is.
But here’s the depressing bit. Whilst most of the acting world have been horrified that such a misleading show could be made, I wasn’t surprised in the slightest. Ever since Big Brother hit our screens back in 2000, we have normalised a culture where outright bullshit on television is accepted. It’s happened in stages, and I have to say that we the television-viewing public bear a large share of responsibility for this travesty.