Right. Better get a move on with these. I have had the excuse of having my hands full with four fringes in three months, but it’s now October. So let’s begin with Brighton. And, boy, what a festival they had.
They year began on tenterhooks when it became unclear whether live performances would be allowed in May at all. Brighton Fringe opted to postpone itself by three weeks, so that the fringe would take place over mostly June instead of May. In the end, that turned out to be a very good call. With the go-ahead for live performances turning out to be only 11 days before the start of the fringe, to festival turned into a big celebration of the arts getting going again. I don’t have definitive figures for how this compares to a normal year, but by all account the level of business was excellent, for both the acts taking part and the social aspect of the Warren and Spiegeltent’s bars.
The only dampener on this success is that it could have been even more earth-shattering. In spite of some very last-minute organisation, Brighton Fringe managed to be about 50% of its normal size, give or take a bit depending on whether you count online. But it was during June when serious questions were being raised over whether its Edinburgh counterpart would go ahead at all, owing to some absurd restrictions in Scotland specifically applied to the performing arts. With a very late go-ahead, and Edinburgh’s programme announced towards the end of Brighton Fringe, the jaw-dropping news was that it was less than a third the size of Brighton’s. In the end, Edinburgh pipped Brighton into the lead at the last moment – the Big Four venues programmed themselves very late on – but the fact that a half-size Brighton Fringe was two weeks away from taking the title as Britain’s largest fringe is staggering.
So, who remembers the “before” times? Well, one thing I used to write on most months was “odds and sods”, rounding up the little things that have been happening in theatre that weren’t reviews or recommendations or something that required a full article. Then along came a certain event that put paid to little events happening in theatres, or indeed any kind of event.
Contrary to what it feels like for a lot of people, things haven’t ground to a complete halt for 18 months. In spite of the high-profile cancellation of Edinburgh Fringe 2020 there’s still been a lot going on with the fringe circuit to keep me busy. However, in the north-east, theatre has only really got going in the last month. But things haven’t been entirely still on regional theatre, and we’ve got some pretty significant events to catch up on. So, let’s do a catch-up.
What’s been happening between March 2020 and September 2021. Apart from Coronavirus.
There’s a been a lot to talk about relating to Coronavirus, both directly and indirectly. Most of this I’ve talked about indirectly in my live fringe coverage. I might round this up later, but here I am concentrating on what else happened. Here are some events that could just have easily taken place another time.
New artistic directors
When we left off, Lorne Campbell had just departed Northern Stage for a new challenge at the National Theatre of Wales, and the search for his successor was underway. But part-way through 2020 came the shock news that his Live Theatre counterpart Joe Douglas was also leaving. The reason I say shock is because he was doing so well. Sometimes, when an artistic director leaves unexpectedly, I later find out that some of the trustees weren’t happy with the way he or she was taking the theatre, but that looks far form the case here. His first Live Theatre play sold out and came back for another run, and the second also sold out and looked set to come back too. I will say that I did hear a few grumbles over Lorne Campbell (not that I have any reason to believe that was why he moved), but Joe Douglas was getting universal praise. Ah well. Looks like sometimes life’s demands outside of the theatre are more important.