REVIEWS: Skip to Gratiano, And Love Walked In, I Am Beast, Between You and Me, BADD, Scorched, The Ruby in the Smoke, Blink, Blooming, Shit-Faced Showtime, Decide-a-Quest, Catching the Ghost, Doktor James’s Academy of Evil
All right, I know I’m nearly two months behind on this. No need to get so smug about it. I’m learning the hard way how much paperwork piles up when you go for a two-week holiday in May, and I’m still clearing the backlog now. But I can’t delay this forever, so let’s get a move on.
New to this roundup is the Ike Awards. I will be writing about this properly when I have a bit more time; if you want to know why I created these awards and who this Ike is, you can find that in my live coverage of the fringe (along with my instant reviews of the plays). For now, the short version is that an Ike Award can be considered equivalent to a five-star rating. It’s a bit like the Brighton Fringe Argus Angels, except they’ve good as stopped reviewing the fringe this year. So, Ike has replaced the Argus Angels. So there.
The one thing you won’t be seeing in this roundup is a list of stories about the fringe as a whole like last time. Last year was a very significant year for the Brighton Fringe, mostly down to the appearance of Sweet Venues, a second supervenue to complement The Warren, and also a huge rise in registrations, partly but not entirely driven by the appearance of this new venue. This year, however, it’s been much more of a “no change” festival. There was another rise in registrations: not a huge one, but enough to suggest last year’s surge isn’t going to recede. Sweet and Warren largely stayed as they are. The only notable difference was the absence of Republic, a large Spiegeltent-style venue on the beach, which I can only suppose couldn’t compete against Spiegeltent proper. The most interesting news that surfaced during the fringe was pop-up venue “Shiny Town” being cancelled after being refused planning permission – at first, it seemed odd that a venue would commit to being in the fringe before they had the go-ahead, but apparently this ran into all sorts of red tape and I’ve drawn a blank over who was at fault. Continue reading →
In a region that rarely looks beyond Newcastle for culture, The November Club gave a shining example of what happens when you do with Beyond the End of the Road.
It’s my eternal bugbear: the mindset ingrained over much of the region’s cultural scene that the north east is Newcastle. For all the talk about cultural engagement, for years in Tees Valley and County Durham this amounted to importing all the talent from Tyne and Wear. Usually writers based in Newcastle telling stories based in Newcastle. On the rare occasions the plays were set in places beyond Tyneside, the depictions were generic north-east suburbs with only the basic nods to the local area – there was a time at the Gala where it was virtually guaranteed you’d have a reference to getting cut off by the tide at Holy Island. In recent years, things have started edging in the right direction, but still the most depressing thing is the numberpeople in the north-east who complain, quite rightly, about nationwide funding and attention favouring London at the expense of the rest of the country. It’s depressing because the same people seem fully aware that exactly the same thing is happening between Newcastle and the north-east – and don’t appear to have a problem with it.
But amongst the Arts Council’s National Portfolio Organisations in the region, there is one group that won’t settle for bringing in everything from Newcastle, and that’s Northumberland-based The November Club. Beyond the End of the Road is set in rural Northumberland in a town known as “place”. Far from treating this village as another Tyneside suburb, this place is distinct from the distant city not only by the surrounding countryside but by its isolation. A bypassing is being built around the place (yes, this play on words is a common theme here), and in charge is a someone apparently part workman, part narrator and part oracle, seeming to everyone’s backstories. Coming to the place are two outsiders, one seeking refuge from an unhappy marriage with a sister she barely knows, another come to give his brother advice on how to run his farm, unsolicited but very badly needed. Continue reading →
Aaargh. I’m on my train to the Buxton Fringe launch and I still haven’t done my Buxton recommendations. Better hurry up. Apologies if you’re waiting for a review, that will have to come after this.
Anyway, Buxton Fringe 2017 is here. The most unpredictable for a long time, due to the loss of a key venue that formed a focal point for the whole fringe. For months, there were questions over whether a new venue would take its place. And when we found out the answer, the were there were questions over what this would mean for the fringe. But the development no-one saw coming was the arrival of an entirely new managed venue. Suddenly, all bets were off.
So, before I dive into recommendations, let us begin with this and look at what this could mean for the festival. Continue reading →
Welcome to another odds and sods. It’s been an eventful month and- … what’s that I hear you say? “You didn’t do an odds and sods for April like you’re supposed to?” All right, fine. That was my plan, but at the end of April I was busy preparing for a holiday, and then my Brighton Fringe coverage started, and by the time I had a moment to catch up it was already halfway through May and getting a bit pointless. There, happy now?
Anyway, I’d better do a June update because quite a lot’s happened this month that needs talking about. Continue reading →