This article is one I hoped I would never have to write. It was almost three years ago that the scandals surrounding Harvey Weinstein broke, but that event – and even subsequent news in closer places such as the Old Vic – felt like something happening far away. Now we face the real possibility of an abuse scandal on our doorstep. The north-east arts community is up in arms about this, and things could get uglier still. As a result, it was very tempting for me to steer clear of this subject. But I have often enough criticised arts media doing too much cheerleading for major cultural venues and not enough asking on questions, so I cannot in all conscience stay silent now. The reason this has taken so long to write is because I have had to keep fact-checking a constantly-updating story and run this past people whose advice I trust – not to mention the knowledge of how sensitive this subject is – but I am now ready to speak.
If you are based in the north-east and involved in the arts, you should know what’s happened by now. For everyone else: this all began in late June when an allegation was posted on Twitter from a woman who said she’d been raped by a member of staff at the venue – and this has escalated swiftly. Now large numbers of Tyneside Cinema staff and staff have come forward with other complaints, and it is this, combined with an arguably poor response from the management, that has prompted the BFI to take action. I am reserving final judgement on the Tyneside Cinema until I see what comes out of the various investigations, but as it stands, it doesn’t look good.
It now looks like we’re in for a slow return for conventional indoor theatre. It’s not clear what’s pushing this more: a government dragging its feet over matters as trivial as actors projecting their voices, or theatres themselves deciding it’s not worthwhile for the foreseeable future. But bucking the trend are the outdoor theatres. Even though their go-ahead wasn’t that much ahead of their indoor counterparts, there are some venues determined to go ahead with whatever they can. And the one of greatest interest ot the fringe circuit is The Warren. Normally a pop-up venue that forms the centrepiece of Brighton Fringe, this has hastily reinvented itself as an outdoor venue on the beach. I was invited to the media launch day, as as a weekend visit to Brighton is probably the closest I’m going to get to a summer holiday this year, I decided to take it up.
I’ve already written the basics in my preview for both this festival and a similar outdoor festival in London, but to reiterate the main point, there are two approaches that outdoor events are using. Some are sticking to the traditional method of one ticket per person and making sure the audience are spread out. The Warren, however, has gone down the route of group ticketing. Their auditorium consists of fifty picnic tables, and one ticket equals one table seating up to six people. If you can manage six people from no more than two households, it works out considerably cheaper than six tickets at a normal fringe performance. The obvious drawback? It works out rather expensive if you’re not in a large group. To mitigate this, The Warren have now introduced “standby” tickets for up to two people that can be bought up to one hour before a performance if available (and it’s a safe bet they will be) – this keeps the price sane if there’s two of you, but I wish they’d do something similar for solo punters.