Odds and Sods: October 2022

Time for another odds and sods. One thing I have still not mentioned is the Chris Goode shitshow that blew up this month. Rest assured, I am well aware of this – I will be talking about this separately, because there’s a lot to cover there.

Stuff that happened in October

Having started off mentioning the really depressing news, I’ll carry on doing this in order. I’ll move on to the next least cheery development, and finish with some good news.

Edinburgh Film Festival under threat?

I’m starting with the most concerning news this time, so read on for the cheerier stuff. This has only really been on the Edinburgh cultural radar, but in the worst case scenario the rest of us will be noticing the fall-out very soon.

film_festival_logoSo, the news that has rocked Edinburgh is that the Centre for the Moving Image has gone into administration, with trading ceasing immediately and all staff being made redundant. Truth be told, I’d never heard of this organisation until I saw it was in this much trouble. It runs two arthouse cinemas in Edinburgh and Aberdeen, both with strong local followings. However, there is a more significant part to this that runs wider: they also operate the Edinburgh International Film Festival. That has been running as long as the Edinburgh Fringe, and is one of the festivals under the Edinburgh Festival banner. There is a long-running theory that the powers that be in Edinburgh would never allow one of its flagship festivals to disappear – but that it about to be put to the test. And if we’re wrong, which other festivals would they allow to go bust? The tattoo? The international festival? The Edinburgh Fringe itself?

 

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Odds and sods: September 2022

We’re back into autumn, so it’s time to get stuck in to odds and sods again: a round-up of various things that have been happening that don’t fit anywhere else on the blog.

Stuff that happened in September

I will mention at this point that this list doesn’t mention a couple of pretty major things that happened recently: Edinburgh International Film Festival under threat, and one of the worst scandals yet of abusive directors. I am still processing the information of these, and I will be commenting by October odds and sods by the latest.

Other than that, it’s been a slow news month overall, but a few things are worth mentioning.

Unboxed aka Brexit Festival

So the big news that broke in September – if you can call it that – was the festival on nobody’s radar. I raised by eyebrows when the idea of a “festival of Brexit” was first raise, but what with one thing and another happening in 2020 and 2021 I forgot about this. I vaguely remembered hearing about the festival happening in 2022, but to be brutally honest I had no idea the festival had come and gone until I read the news about it being a flop. Now, I’m not sure what sort of numbers it’s fair to expect for this festival, but it was pretty dire: 238 thousand visitors (whatever that means) against upper aspirations of 66 million. Ouch. Even more embarrassing, it allegedly cost four times the budget of the Queen’s Jubilee celebrations, which was enjoyed by most of the country.

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Odds and sods: June 2022

Yes, I know, it’s closer to August than June now – for those of you who follow my projects, you’ll know what kept me busy. But there’s some bits of news that have happened since the end of Brighton Fringe that need some attention. Three of these things are probably some sort of good news, in either the sort term or the long term; however, the other one is a very sorry development of a once-respectable organisation who’ve committed the thing I hate more than anything else: hypocrisy.

Stuff that happened in June

But let’s leave that till last. Most of the news from last month and this month is about the Edinburgh Fringe; I will be leaving that for my Edinburgh Fringe coverage itself. But apart from that, this happened:

Quentin Letts strikes again

Apologies. I hear you all going “Oh no, not this one again.” Bear with me, there is a reason why I’m picking this one up.

As pretty much everyone has worked out by now, Quentin Letts is a theatre reviewer who makes a name for himself but being controversial and offensive for the sake of it. Until now, he’s been mostly active at the Daily Mail where he panders to an audience who like diatribes about the wokies who’ve taken over theatre, and the easy solution was to just not invite the Daily Mail to press nights – seriously, what are you missing? Unfortunately, for some reason he is now also reviewing for The Sunday Times. Anyway, the furore broke out all over again with the Regent’s Park Open Air Theatre production of Legally Blonde, where the part of Elle Woods was played by a black woman.

Against my better judgement, I read the review (content warning: Quentin Letts). Now, if you think the story doesn’t work if the lead is played by someone who’s clearly not a natural blonde, I will defend you right to say so (although the obvious solution, as always: if you don’t like it, don’t watch it). This review, however, was just nasty, with far more thinly-veiled personal insults than anything about the show itself. That is different from what I’ve seen before. His infamous reviews of Salome and The Fantastic Follies of Mrs. Rich, attention-seeking drivel though they were, has a method: he chose his words have a bare minimum of objectionable content needed to cause widespread outrage. This one, I have to say, was bile from start to finish.

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Odds and sods: March 2022

For the first time in three years, odds and sods makes it to March without a catastrophic event rendering it redundant. To recap how this works, March is normally my last monthly update until June. In April and May, I turn my focus to Brighton Fringe, and any notable events that take place over this time tend to get mentioned in the coverage. That established, let’s get going.

Stuff that happened in March:

It’s been a slow news month. The biggest news was the first major production of The Laurels, which effectively amounted to its launch. You can follow that link for my account of how this got here and what this means for the future, but their debut production was impressive. Other than that, developments have been thin on the ground and I’ve been scraping the bottom of the barrel. But here’s what’s been going on.

Edinburgh Fringe and employment

With the Edinburgh Fringe set this year to return to something comparable to pre-Covid times, concerns have been raising about the return of bad practices. A few weeks ago, I was worried this was turning into a pretext to campaign for the removal of open access – that would be a huge step backwards. (Fortunately, the festival Fringe Society shows no sign of budging there.) However, the battle lines seem to have been drawn around employment practices, in particular the use of volunteers. It’s difficult to piece together reliable conclusions based on the info we have, but one of the bigger worries is that the volunteer adverts posted by C Venues – who were pilloried three years ago for allegedly treating staff the worst – suggested more of the same. In response, Shona McCarthy has made this statement about employment conditions.

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Odds and sods: February 2022

Right, what happened in February. Oh yes. That.

But apart from That, this also happened.

Stuff that happened in February

So far the first time since 2019, we have preparations underway for all the main fringes. Last year was cause for celebration when, against all odds and so much stacked against them, the two biggest fringes put on great comeback festivals. Now, however, it seems we’re into the hangover. Oh dear, here’s what’s been going on.

Brighton Fringe loses The Warren

E2u1hO0XoAQQfM2How could this possibly go so wrong? Brighton Fringe 2021 was, by all accounts, a roaring success, with custom for both ticket sales and ancillary income (i.e. drinking) vastly outperforming every expectation. But then, last October, signs emerged that perhaps all was not well after all, specifically with The Warren. Complaints started emerging online from performers and staff about not being paid that year, both from the Fringe and the subsequent Warren on the Beach (although some are going further and claiming the problem goes back years). It did seem strange that such difficulties were happening after such a lucrative summer, but apparently it’s perfectly possible for this to happen simply because of inadequate financial management. The absence of anyone from The Warren at registration launch also seemed strange. Then the news died down and the registration for Brighton Fringe approached and I assumed that The Warren must have got a grip on events and settled it quietly.

And then, days before announcement of the full programme, the bombshell was announced by Brighton Fringe: The Warren will not take part in 2022 whilst it sorts out its finances. The announcement came from Brighton fringe rather than the venue, but it sounds like they’ve admitted they screwed up. The problem with the timing is a lot of artists were already programmed to perform there. There is currently a scramble to find alternatives, but off-hand it doesn’t look like there’s enough spare capacity at the other venues to absorb this. At the time of writing, Brighton Fringe doesn’t seem to be budging on its 7th March deadline to get in the printed daily guide. It also dashes the (previously quite high) hopes that Brighton Fringe would be back to full strength for 2022.

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Odds and sods: January 2022

Sorry this is late. I do have an excuse for this – the first week of February was solid for me.

Anyway, let’s catch up on what happened since November Odds and Sods.

Stuff that happened in December and January

So this big news from January was the cancellation of Vault Festival 2022. Ouch. Perhaps a bit over-optimistic to commit to this, but precedent shows that cancelling a festival this close to the launch is really bad news financially. I wrote extensively about how this happened and what this might mean. However, we start to roundup of smaller news with a side-effect of this closer to home.

Vault festival cancelled, Laurels steps in

f71722_57a65ccbc5654c7bb79054862d048a2amv2In the short term, the cancellation of the Vault festival leads to an issue over what happens to all the groups who were counting on their Vault slot as their big break. This might not be a big deal for, say, a comedian who had a Vault appearance as one date on a bigger tour, but it’s a huge blow if you were giving it all for a run at the Vault and nothing else. Well, The Laurels have made an unprecedented offer: accommodation and 100% box office income for shows wishing to transfer. And for those of you outside the north-east who have not caught up with this: The Laurels is the new project of Jamie Eastlake, who use to run Theatre N16 in London.

As far as I can tell, this is not a free-for-all: it’s an invitation to pitch. The pitch deadline has only just passed, so we’ll need to wait a little longer to see what we get. It may be difficult to separate who comes forwards from who gets chosen, but this may be or first clue of what sort of work The Laurels wants. Jamie Eastlake should be in a good position to organise this, having presumably had a lot of experience of London fringe theatre from N16 days. Keep your eyes peeled, because this could be very influential. It might be London’s loss is Whitley Bay’s gain.

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Odds and sods: November 2021

It’s December, and we’ve had a November which almost looks like business as usual. So let’s do a business as usual roundup of things that have been happening other than plays to review and other things that didn’t warrant entire articles. For those of you who need a refresher, November is my last Odds and Sods of the year, because December is basically pantos and not much else. Let’s dive straight in.

Stuff that happened in November

So the big thing that got me talking was the Royal Court’s ill-judged character on Elon Musk named Hershel Fink. Cue outrage from everyone who thought the Jewish-sounding name was an insinuation that Jews secretly control the world. The Royal Court admitted they got it wrong; some people think that’s the end of the matter, others aren’t so forgiving and think there’s a deeper problem with the Royal Court. I’ve gone further: I suspect this is a problem endemic to the whole of the theatre industry, with the Royal Court merely being the most obvious offender. So what was originally meant to b a couple of paragraphs here became a long-read article in its own right. You are probably not going to like what I have to say. But read it anyway.

Apart from that, this all happened:

Vault Festival returns

festivalpasssmallSo we start the round-up with the news that the Vault Festival is returning in 2022. For festival fringe fans who are new to this, the Vault Festival takes a lot of acts of the length and scale you’d expect to the Edinburgh Fringe – indeed many of the acts go to or form there – but unlike the Edinburgh Fringe, it’s curated. I believe one in six of the applicants get programmed, and realistically there’s no way Vault could run as an open festival. However, until Brighton Fringe gets going in May, this is the closest thing you’re going to get to a fringe.

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Odds and sods: October 2021

So, it’s back to business, and for old time’s, sake, I’m going back to my monthly odds and sods updates being late. I would have got it out on time, but a certain shitstorm blew up that I had to write about first. But now that this is out of the way (for a moment), let’s catch up with what else has been happening.

Stuff that happened in October:

So the big thing that happened – not quite theatre news but still very relevant to north-east culture – was SSD Concerts. Previously making a name for themselves back in April by allegedly going round groping everybody, after the MD implicated in this resigned, we thought we’d heard the last of the MD, or SSD Concerts, or groping, or all three. Nope. It now looks like they thought they could lie low a few months and then just carry on like nothing had happened. The good news is they thought wrongly, and didn’t get away with it.

However, the less prominent news stories, involving people who – as far as I’m aware – don’t behave like sex cases, are:

Durham 2025

cropped-d2025-bid-logoThe excitement at the start of this month was the news that Durham has made it through to the longlist of City of Culture 2025. One important point is that it is Durham County that is bidding for this rather than just the city. This makes use of a rule change that this time round, regions can bid for the title – it need not be a specific urban area. This suits the bid, because ever since Durham County Council became a unitary authority, they’ve been promoting the culture of the county as a unit. Events such as Kynren and attractions such as Beamish are routinely alongside events and attractions in Durham city itself.

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Odds and sods: most of 2020 and 2021

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.

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Odds and sods: January 2020

Those of you with good memories will recall that my monthly odds and sods articles are supposed to come shortly after month has ended, not when we’re nearly at the end of the next one. My excuse is that there’s no let-up in my day job and 50-hor weeks are still the norm. As such, I was tempted to gave January a miss and catch up with everything in a February edition. However, there have been a couple of pretty major things that have happened over the winter that need attention, but I’ve decided it’s better late than nuver.

Stuff that happened in December and January

So what’s been happening in December and January to grab my attention. Let’s start with two pretty major news stories that could have a lot of repercussions, and then follow it up with two more things of interest.

Goodbye Great Yorkshire Fringe

https://www.exploreyork.org.uk/wp-content/uploads/2016/06/GreatYorkshireFringeLogo.jpgSo there was one big bit of news that almost passed me by, but after five years of the Great Yorkshire, founder Fringe Martin Witt has pulled the plug on this festival – and is blaming York City Council for this. As my regular readers will know, I’ve been quite critical of this fringe in recent years for its practice of curating who can take part, in contrast to all the major fringe that are open to all. However, in the end, the mood is it’s a dispute over city centre management that has brought about the end. There does seem to be a consensus that it came down lack of space to set up its pop-up venues, meaning it would have spread over more of the city instead of the cluster of venues in one place. That, I appreciate, must have been demoralising for the fringe organisers. Continue reading