REVIEWS: Skip to: Bin and Gone, Metamorphosis, Apparatus, The Owl and the Pussycat, Antigone Alone, Tom and Bunny Save the World, Always, With a Love That’s True, Beasts, The Erebus Project, Larkin Descending, Wan In, Wan Oot, Brighton Queen of Slaughtering Places, One-Woman Alien
Last year, I had the dubious honour of not getting round to finishing my Brighton Fringe coverage until after the Edinburgh Fringe. That was a little embarrassing, and I don’t want to repeat that in a hurry.
So, Brighton Fringe 2018 has come and gone. Some years I write a lengthy introduction before getting on to reviews – in 2016, for example, the unprecedented growth that year transformed the face of the fringe. This fits into a wider growth of the fringe over the last decade, and I wrote a list of 10 ways the Brighton Fringe has changed for anyone who wants to read this further. This year, however has very much been a “no change” festival. The numbers are about the same as 2017, all the major venues are broadly carrying on doing what they’re doing, and the only notable different is that Sweet Venues ditched Sweet Waterfront and replaced it with Sweet Werks and Sweet @ The Welly. There are some early signs ticket sales may be up, but this is unconfirmed at the time of writing.
All right, Manchester Art Gallery, seems like you want a discussion after all. I’ll give you a chance.
For anyone unfamiliar with my current bugbear, so far this year I’ve been mostly complaining about Manchester Art Gallery and their stupid stunt to remove a beloved by the people of Manchester, in order to – so they claim – start a conversation. I am amongst the large majority of respondents who opposed to it. I wrote at length about my issues here; I won’t go over this again, but the TLDR version is that, at best, the Gallery staff showed no interest in any views different to their own, and, at worst, this was testing the water to see how far they could go with culture policing. But that’s old news now. What riled me more was their behaviour after they made (were forced into?) the decision to restore the painting. After thanking everyone for Contributing To The Debate™, they spent a month behaving like nothing had happened, then proceeded to do a series of interviews and articles that pretty much dismissed all the opposition as online abuse. Most suspiciously, they promised release information shortly about a panel debate that would invite speakers with a range of views. Three months later, with not a peep from the gallery about this, suspicion grew they decided asking other people for their opinions was a mistake and they hoped they could drop the debate quietly without anyone noticing.
But wait. On the 17th May, Manchester Art Gallery had their debate after all. The kept their promise. Well, some of it. Releasing information about the debate three months after it was originally announcing isn’t exactly a time-frame I’d call “shortly”. As for the wide range of views – not a chance. The panel was Alistair Hudson, the director of the gallery, and Clare Gannaway, the curator who championed the removal. They wanted to include a third panellist, Ellen Mara De Wachter, who wrote a, shall I say, “interesting” takes on this stunt, rebranding what most of use consider to be cultural authoritarism as “curatorial activism“, but she had to cancel. Regardless, this is a far cry from their original commitment to invite “inviting speakers with a broad spectrum of opinions”, and it didn’t exactly fill me with confidence that they believe in open debate.
The one thing that sticks in my mind about Pilot Theatre more than anything is their striking sets. Directors and writers change, but the projections and running treadmill in The Loneliness of the Long-Distance Runner and the concrete flats in The Season Ticket have always stuck in my mind. So I was expecting something striking for Brighton Rock, but the choice, in retrospect, was the obvious one: Brighton Pier – or, more accurately the West Pier, back in the days when it was still a pier. The girder-themed West Pier is the better choice here, because, as Pilot Theatre plays always do, this set will be representing a lot of different locations around gang-ridden 1930s Brighton.
An early example of the set put to use is the chase. Fred, having fallen out of favour with his own gang, keeps moving, trying to stay where people are watching, and even attempts an impromptu courting of Ida. Alas, Ida is too slow to twig what’s really happening, and the minute she spends away from Fred to powder her nose is the minute his gang move in for the kill. With young Pinkie installing himself as the new leader, he then covers his tracks, but a careless mistake make by Spicer leaves a witness, a waitress called Rose. Pinkie opts to court her, and if necessary, marry her so she legally cannot testify against him.* By now, however, Pinkie is up against Ida, determined to make it up to Fred, and determined to protect innocent Rose. But does anyone know what Rose really wants? Continue reading