Brighton Fringe 2021 – as it happens

Saturday 12th June, 6.00 p.m.:

Small update on patronage. Fairly long queue to get into The Warren at 4.00 today. I’m coming across quite a few shows that seem to be either sold out or close to sell-outs. Only weak spot seems to be the times we already know are weak times: straight after work weekdays, early afternoon weekends if hot.

No further updates from Brighton Fringe or any of the venues since the week 1 news we all heard about, but so far, there’s no sign of the start-of-fringe surge easing off.

Saturday 12th June, 2.30 p.m. – Polly, a drag rebellion:

This is the first time I’ve reviews drag cabaret at a fringe. I’m a theatre blogger and cabaret performances, drag or otherwise, are outside my area. But what the hell, this was a review request and Brighton is full of drag performers, so it’s about time I gave this a whirl. From what I know of drag, some drag performers do it for a laugh, whilst others take it very very seriously, with some aiming for convincing ultra-feminine personas and appearances. “Polly”, however, is quite comfortable sporting the big hairy beard of her alter-ego, Joe Stickland, and swaps a fantasy world of glamour and glitz for rants about the state of politics.

This doesn’t mean Polly can’t live in her own fantasy world though. After a rant and a warp-speed rap about her take on politics, she imagines how to put things to rights. She considers setting up a new political party, or just getting everyone to be more caring, but after weighing up the pros and cons she settles on controlling the British monarchy. With a tenuous claim involving a dalliance on the Isle of Wight that puts here something like 300th in line to the throne, and arranging for the 299 ahead of her to all die in tragic accidents, she gets the phone call that starts “Good afternoon, your majesty”. But, sadly, building a better society based on mass murder never works out, and soon Polly finds herself as bad as the people she replaced. Even the world’s most notorious dictators think Polly’s gone a bit too far. And the moral of the story, I guess, is that mass murder to take control of the British throne might seem like a tempting short cut, it’s more rewarding to be nice to people.

Polly/Joe certainly has a commanding stage presence that makes for a good performance. I can’t really comment on whether this bearded drag mass murder/regicide-themed cabaret act is any good, because I don’t have any other bearded drag mass murder/regicide-themed cabaret acts to compare this to. But if you can’t get enough of your bearded drag mass murder/regicide-themed cabaret acts, or you’ve always wondered what a bearded drag mass murder/regicide-themed cabaret act would be like, or you simply like your drag cabaret performaces to be more beard-themed or mass muder/regicide themes, this is the show for you.

Saturday 12th June, 11.00 a.m

Latest from Edinburgh: the Guardian is reporting that Edinburgh Festivals are getting millions of pounds in emergency funding. At present, no details are given about who said this, how many millions this is, or how this is to be distributed between the six festivals. It does, however, reiterate the fears that anyone following this has long since put in the “No shit, Sherlock” list of deductions: the festival may never fully recover.

Have to say, there’s more in this article that concerns me and reassures me. The first thing that gets me uneasy is the weight given in this article to talking down the fringe. Yes, 2019 wasn’t exactly the Fringe’s finest year, but this reads uncomfortably close to the directors of six festivals jostling for limited bailout money and rounding on the fringe as the one who doesn’t deserve that much help. The second thing is an omission on what supporting the fringe means. Unlike most of the festival, the Edinburgh Fringe only does the central administration, with the big financial liabilities lying with the venues. Without that, the mitigation to the damage done to the fringe will be minimal.

However, I will try to propose a more positive scenario. Perhaps the reason Shona Macarthy hasn’t been as vocal as she was a few weeks back is that the Scottish Government have got the message, and they are negotiating a package behind the scenes that she’s sufficiently happy with to go along with it. And it is my understanding that the Pebble Trust’s bailout of Brighton Fringe did extend to financial support of the venues. That was an undisputed success (although there’s still some grumblings about whether venue support was fairly distributed). Maybe the same can be achived here.

However, in the case of the fringe, money may be the least of the problems. The real problem may be the confidence of performers and venues. Brighton Fringe is leading the way on festival recovery. The pop-up festivals from the Big Four in London and Coventry will probably follow. The small fringes in England appear to be in for a good summer. Even if the Edinburgh Fringe itself gets generous support, that won’t necessarily undo an impression surely – setting into many people – that you’ll get a far warmer welcome away from Edinburgh.

Part of me wonders if the Scottish Government are taking Edinburgh’s status as world festival capital for granted. Another part of me wonders if the Scottish Government are setting up Edinburgh Fringe to fail. I have a post coming up where I will consider seven possible futures for the Edinburgh Fringe. As always, hot take and controversy guaranteed.

Friday 11th June, 11.30 p.m.:

And one observation before bed time. One question I will be looking for answers to this weekend is whether the excellent start to Brighton Fringe in the first week can be sustained to the (sort of) mid point. In practice, I don’t think selling the entire forecasting fringe’s sales every week is going to happen, but even a mdoest drop from a start-of-fringe peak would be an excellent result.

Well, one early sign is at The Warren, which I entered at 9.30 tonight, and there were just as many people queuing outside as I saw in the first weekend. Of course, lots of people go the The Warren just to drink, and that doesn’t necessarily mean ticket sales are going at the same rate, but so far, there’s no sign that the excellent beginning to the fringe is tailing off yet.

I’ll keep you updated as more info comes in.

Friday 11th June, 4.30 p.m.:

And here I am. No need to start off with some first-sight impressions because Brighton Fringe looks pretty much the same as it was when I left it, except that it’s somewhat cooler.

So instead, I wrote this piece about my reaction to Aware, three films done as the first in-person performance (albiet films) at the newly-reopened Alphabetti Theatre back home. At some point, I will round up the situation with theatre re-opening in the north-east, but Alphabetti seems to have gone from the most cautious to the most bullish. However, on this ocasion I am not here to commentate on re-opening plans or review something. I’m here to give my thoughts on the issue of neurodiversity that these films strive to cover. In sumary, I thought what it chose to cover, it covered well, but so far neither Alphabetti nor the other north-east theatres have made any real progress addressing the issue of inclusion. If you want me to expand on that, come this way.

However, whilst we’re on this subject, now is a good time to mention the first of two Lava Elastic shows. This is a variety show which is well outside my area of remit for reviews, but I promote this because Sarah Saeed who runs this actually is doing domething about inclusion. She understands what the barriers are, does something about it, and her other company, Stealth Aspies (not running this fringe but will hopefully be back soon) covers the issues that too many people don’t realise matter. Lava Ealstic isn’t there to educate you, though, it there to have a good time. First showing this Sunday at 2.30, Sweet Werks, and another in two weeks, same place, same time.

Friday 11th June, 11.00 a.m:

Okay, here I come again. Brighton Fringe part two, come about as it seems increasingly unlikely we’re going to have an Edinburgh Fringe part one. But let’s forget about that for a while.

Everyone who requested an in-person review between now and Monday: you should have heard from me by now. If not, please get in touch ASAP so I can sort this out.

Excuse me, the newly-build Werrington underpass is coming up. That’s proper exciting.

Continue reading

What’s worth watching: Brighton Fringe 2021

Groups sitting outside the Pavillion
Credit: Dumphasizer

Skip to: Badass Be Thy Name, About the Garden, Skank, The Tragedy of Dorian Grey, Jekyll & Hyde: A one-woman show, Rebel Boob, Clean, Spirit of Woodstock, The Ugly Ducking, Alice’s Adventures in Wonderland, Fern Hill and other Dylan Thomas, Dapha Baram, Notflix, Geoff Mead’s tours

Well then. Who’d have guessed it?

This time last year, I idly speculated 2020 might work in Brighton Fringe’s favour. With Edinburgh Fringe cancelled and Brighton only postponed, an autumn fringe that picked up Edinburgh refugees might have done well. In the end, Coronavirus was just too stubbornly persistent for any fringe to be considered a winner – in fact, we now know the financial situation at Brighton was so dire it was a miracle an October Fringe went ahead at all. As it was, it about a tenth of the normal size, with attention rapidly shifting towards a proper relaunch in 2021 for both Brighton and Edinburgh. Then along came the accursed Kent variant, and Brighton announced a delay of three weeks. Would that be enough?

But in the last couple of months, there has been a dramatic turnaround in fortunes. In the end, Brighton has managed a fringe about half the size of 2019. There are some caveats to this number which I’ll cover shortly, but the news that nobody predicted comes north of the border. The Scottish government is insisting on two-metre social distancing, which as it stands will extend into August, much to the protest of Scottish theatres. It is difficult for a conventional theatre to work that way, but for a fringe theatre it’s next to impossible. As a result, so far all of the major venues have held off announcing anything. At the time of writing, news is emerging for the first fringe registrations, making use of some of Edinburgh’s biggest buildings and outdoor spaces, but that’s tiny compared to what the Big Four normally do.

Continue reading

Roundup: Brighton Fringe 2020

REVIEWS: Skip to: Unmythable, Privates, Shit-Faced Shakespeare, West End on Sea, Savage Beauty, Alice in Wonderland, Toby Belch is Unwell, Geoff Mead’s tours, Daphna Baram

Late to the party as usual, and this is is already becoming a footnote in the ongoing saga, but Brighton Fringe 2020 still deserves its place in the records.

Brighton Fringe 2020 might have escaped the fate of Edinburgh Fringe 2020, but it still took a major clobbering. There was a time – whilst Coronavirus projections were more optimistic and many theatres were predicting a September reopening – when Brighton Fringe might have been in a position to take the Edinburgh refugees and take the limelight usually reserved from the big one. In the end, it was touch and go whether a postponed autumn fringe would happen at all, for more than one reason. But in the end, it went ahead, with a lot of caveats over what going ahead actually means.

But whilst I did of course see what I could see and say what I think, the bigger story here is what this means for the future of the fringes. There were some questions over how fringes would work under current climes, and other questions over what this meant specifically for Brighton. And in my various visits to Brighton, I learned a lot. As such, this is going to be different from my normal roundup. Usually I would go straight into reviews; this time, however, the focus is on the fringe as a whole.

What I learned about Brighton 2020

So, this year I visited Brighton not once but three times this year. One was a two-day binge during fringe proper, one was as I happened to be passing through Brighton on my annual holiday, and other one I’ll get on to in a moment.

2020: the fragmented fringe

Without major venues such as Spiegeltent and major events such as The Lady Boys on Bangkok, what has the centrepiece of the fringe? What was the iconic image? Talk to any layman and the answer you’ll probably get is the venue on the beach. The Warren – normally Brighton Fringe’s biggest venue by a long way – used their expertise in constructing pop-up venues to create a socially-distanced outdoor venue on the beach. It was a huge gamble, verging on reckless, with less than a month between the Government’s go-ahead on outdoor performance and the opening of the festival. As it turned out, it was a great success, with an excellent turnout and attracting even bigger names than The Warren does in a normal year. In fact, hastily-planned pop-up outdoor festivals have been the big success story in an otherwise dire year. It’s a pity more theatres with access to outdoor spaces didn’t strike whilst the iron was hot.

However, The Warren Outdoors was not actually part of Brighton Fringe. They didn’t wait for a decision on a postponed autumn fringe, and arguably couldn’t afford to wait – it’s hard to imagine this working nearly so well had it run September-October instead of August-September. However, alongside The Warren Outdoors came their new year-round venue Electric Arcade, but although this ran events into October this too stayed out of the official fringe listings. As far as I’m concerned, this all counts as Fringe on an unofficial basis, but the lack of affiliation meant that Brighton Fringe lost out of registration fee income it could have done with. And it’s a reminder – similar to the Big Four in Edinburgh – that the Fringe’s power is not absolute, and for better or worse, temporarily or permanently, big venues can break away if they want to. Beware.

Continue reading

Brighton Fringe 2020 – at it happens

Sunday 1st November: At that brings to an end my coverage. Technically there are a few Brighton Fringe events still running, but they are mainly online performances, which is just as well all things considered.

To wind up, here’s the scores on the doors:

  • Outdoor theatre – both official Brighton Fringe events and unofficial affiliate The Warren Outdoors – has had an excellent season, with ticket sales looking very pleasing for most of the events I checked out. Admittedly the October events had a lot of luck on their side, avoiding most of the bad weather, but that won’t be such a problem in May.
  • Less clear what the state is for indoor theatre. Some performances I saw had tiny audiences, but I hear others sold out (albeit a sell-out on severely reduced capacity). I guess the big question will be how well dual live/streamed performances go, or whether there will still be a cause to take this up next May.
  • Larger-scale performances in Brighton have been less fortunate – Circus of Horrors was the big casualty, with permission to perform reduced with days’ notice. That’s going to be a big dampener on prospective large-scale acts.
  • Warren offshoot Electric Arcade joins Brighton’s line-up of year-round venues, but there’s serious worries over the future of The Rialto. You should be worried about this too – I believe the loss of the Rialto would have repercussions far beyond Brighton.
  • Brighton Fringe itself is now being run by The Pebble Trust in return for a bailout, but The Pebble Trust looks like it means business, with risk-sharing models being considered for Fringe 2021.

That’s all from me, and as it happens, all from theatre in general for a bit. Thanks for following this and goodbye.

Saturday 31st October: Ho Hum, Brighton Fringe has been insanely lucky with the wider course of events. Today’s news two weeks earlier would have been a disaster.

But what’s been has been, and amongst what’s already been output are three performances I’ve seen online: one online only, and two live plus online. One important caveat for all of these reviews: I’ve never entirely bought into digital theatre myself, and my concentration in my living room never really matches the undivided attention I give in an auditorium. All three of these plays were complex, so it is entirely possible that had I watched this live – as all three were meant to be done – I may have picked up some things I missed.

First up is Muse 90401. The Warren may have been a big player for Brighton Fringe in everything but name, but this is their sole contribution to official Brighton Fringe, as producer of Fadik Sevin Atasoy’s solo play. The credit this doubtless gets is that, out of all the things I saw at this year’s fringe, this has by far the most ambitious storyline, including Savage Beauty. This is set in a world where there’s a whole army of muses, with, as far as I can gather, at least 90400 other Muses in the same business. This particular one, however, have got the attention of the Muse authorities and is standing for Muse trial for her influence in Tolstoy, Shakespeare and da Vinci’s depictions of Anna Karenina, Cleopatra and the Mona Lisa respectively. Throughout the play, this Muse tells the story of those three women and how she influenced them for the better.

But, try as I might, I just cannot overcome the mind-boggling complexity of this setting. I gather that all Muses ha a Muse Map and use their Muse Magic, but the way they do their Muse stuff seems to arbitrarily vary, from whispering into the artist’s ear to going into a painting the alter a facial expression. In addition, there seems to be a confusingly ad-hoc system of Muse law, and I still can’t work out what she was supposed to have done to attract the wrath of the Muse judge – one would have thought three smash hits under her belt were a good thing, surely? There’s a hell of a lot to take in over 70 minutes, let alone conventional aspects such as characterisation.

Now, I should note that this is heavily based on Turkish folklore (indeed, this play has been performed in both Turkish and English), namely the storytelling form of “Meddah”. So it may well be that someone more used to this style may pick up what I didn’t, and if that’s the target audience, then by all means carry on what you’re doing. But for a wider audience, I cannot see any way round simplifying this somehow. Fadik Sevin Atasoy is clearly a formidable performer, and the most promising story thread I picked up was how none of the great artists she helped remember her. There may be some painful decision ahead on what to keep and explain, and what to leave out, but a more accessible version of this concept could go a lot further.

Next on my list is Make-Up from NoLogo Productions. Out of the three play, I’d say this is the safest, and therefore the most accessible. Much-loved drag queen Lady Christina has just left the stage and is now going back to being Chris. It begins with some frustrations over his career, how he seems to be a novelty for metrosexual men to prove their confidence in their sexuality, but it’s only ten minutes in where Chris notes the lack of a birthday card from his father, that we get to the real subject of the story. Chris’s working-class Irish father, seemingly the butt of too many Irish jokes, coped by deflecting on to other targets of jokes, such as the gays, Jews and Blacks – and when his son comes out, his father would rather save face and cut ties. Disowning his father is easy – the hard bit is keeping in touch with his mother.

It’s a well-written monologue that I suspect too many people will relate to, but the one thing I felt we didn’t hear enough about is, quite paradoxically, Lady Christina herself. The one thing we do hear about the link between the two is the story Chris made up for Lady Christina’s father: something fantastical, but more importantly, everything his real father was not. That was a bit of a missed opportunity, I felt – there could have been so much about how Chris built his later ego as a personal alternative to reality. Make-Up does its job as a tale as coping with family rejection – but be a bit bolder, and this could achieve more.

And finally, Unquiet Slumbers from Different Theatre, perhaps the biggest rising star of Brighton Fringe. Emily Bronte is dying, and in the final few days of her life she is visited by her greatest fictional creation, Cathy from Wuthering Heights. Condemned by her creator to forever wander her ghostly body on the moors, she wishes to discuss her author’s choices. Over Emily’s final week, there will be a lot of dissection of her literary worlds.

I will own up here: I don’t actually know any details of Wuthering Heights outside the Kate Bush song (I saw an Edinburgh Fringe play a few years back that I enjoyed, but it was far too concertinaed to squeeze into under an hour), and as such, I don’t think I picked up on some of the finer references. I therefore get the impression that this is in a similar position to Toby Belch is Unwell, where you really needed a detailed knowledge to Twelfth Night to follow what was going on. My guess is that anyone who knows Cathy Earnshaw well will get the most out of this play.

However, whilst Toby Belch very much belongs as a niche interest, I’m not sure that’s the right philosophy here. There’s plenty of real-life intrigue in the lives of the Bronte sisters, the most well-known being the initial decision to write under male pseudonyms, but Jane Austen openly wrote as a “lady novelist” thirty years earlier. And yet, in the three years that her book was published under the name of Ellis Bell, many critics were convinced the author must be male because of the depiction of cruelty. I’d love to know what Sam Chittenden’s take on this is, because she is very good at making the point in an understated way, but who knows, perhaps on this occasion it was a little too understated.

Friday 30th October: And to complete a roundup of who’s getting going, a quick look at who’s making moves in the north-east:

  • Newcastle Theatre Royal, as is now well-known, is going ahead with a big-scale pantomime thanks to a National Lottery grant. However the good news has already been soured by taking on front of house staff from an external agency instead of using their own staff. I will return to this another time.
  • Northern Stage, as I have already mentioned, has its first live performance at Christmas, with local favourites Kitchen Zoo doing a small-scale production (details coming Monday). They have also been doing various live performances in Byker, but so far only Byker locals have had the chance to see this live.
  • No word from Live Theatre yet, but they have been doing their entry-level writing event 10 Minutes To … for an online audience – normally a low-key affair, this has been very heavily publicised.
  • Alphabetti Theatre, having previously hinted there would be no re-opening until next year, have no just announced they are doing a Christmas production after all. This is probably the most innovative ideas, with 50-minute immersive performances to one household bubble of up to 5 staggered to start every 10 minutes.
  • The Gala Theatre is definitely not opening until next year as they’ve decided to do some refurbishment now whilst there’s not much trade. However, they are running an audio play Sunset on Tantobie, written by Alphabetti stalwart Gary Kitching and directed by Jake Murray from Durham Newcomers Elysium Theatre.
  • Not everybody is pushing forwards, however. In North and South Shields, the respective theatres of The Exchange and Customs House started reopening but then closed again.
  • The boldest theatre of all has to be Middlesbrough, who are adamantly going ahead with in indoor performance Dracula on Thursday next week. Middlesbrough pushed ahead with outdoor performances in the summer, so I’m not surprised they are taking the lead now.

Brighton peeps, don’t go away. I have been watching some online Brighton Fringe plays, and I have three reviews coming tomorrow.

Continue reading

What’s worth watching: Brighton Fringe 2020

Skip to: The Spirit of Woodstock, Geoffrey Mead’s Tours, Savage Beauty, Anytime the Wind Can Change, Make-Up, Jekyll & Hyde, Unquiet Slumbers, (The Trial of Harvey Matusow)

Normally, the problem with these Fringe preview articles in wondering how to open them without it sounding the same as all the ones from previous years. Not this time. Brighton Fringe has taken a major hit with Coronavirus, postponed five months and only a fraction of its normal size. But with Edinburgh Fringe cancelled outright and Buxton mostly taking place online, the fact that a physical Brighton Fringe has managed to go ahead in any form is a big achievement.

It’s fair to say that, this year, Brighton Fringe is playing for pride. Had Coronavirus come under control a month or two sooner and stayed under control, you might have had a huge autumn fringe absorbing many of the would-be Edinburgh acts. But instead, social distancing is still is place and nerves over the lurgi are still fraught, so it’s a much diminished programme with only the most determined and most bloody-minded pressing ahead. But we we at chrisontheatre HQ admire determination and bloody-mindedness, and anyone who is in the programme, no matter how financially reckless that may be, has our respect.

To complicate matters further, it’s this time round it’s open to debate what should and shouldn’t count as part of Brighton Fringe. For a start, although the Fringe officially runs on the 1st-31st October, you are allowed to register shows running in one month either side, and some September-bound shows have indeed taken this up, meaning the Fringe has sort-of started already. The other complication is that Brighton Fringe’s most prominent venue, The Warren, has already gone ahead with an outdoor season. That almost certainly could not have waited until the official fringe; apart from the obvious disadvantage of mixing large venues open to the elements with October, The Warren Outdoors was also heavily dependent on giving Edinburgh-bound acts an alternative for August. They had to strike while the iron was hot. But even if that was officially separate from the Fringe, with such a strong associate you can consider it the fringe coming early (or late) in everything but name.

Continue reading

Interview with Nicky Haydn on The Warren Outdoors

Credit Simon Dack / Alamy Live News

Skip to review of West End On Sea.

Last month, I was invited to the launch of what is possibly the most ambitious venture in live performance since lockdown. The Warren, normally Brighton Fringe’s biggest venue, went ahead and created its own outdoor pop-up venue with socially distanced seating. I was impressed by what I saw, and, more importantly, it’s been getting the audiences it needed – something that was far from certain at launch.

But there was something that puzzled me – how was it possible to put together something of this complexity with less than a month’s notice that outdoor theatre performances were permitted? To answer this, and other questions on The Warren in general, I took advantage of a train/cycle holiday along the south coast to catch up with Nicky Haydn, artistic director of Otherplace, to hear more about this extraordinary story.

I literally don’t know when we decided to do this … It all began with a “what if?” What if we were able to create something outdoors? We had no idea if it could become a reality.

Continue reading

Roundup: The Warren Outdoors

The top of The Warren against a sunset

Reviews: Skip to: Unmythable, Privates, Shit-Faced Shakespeare

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.

Continue reading

Will Coronavirus clobber the fringe season?

Update 29/03/20: As you are probably aware, pretty much every prediction I have made so far with a resolution one way or the other turned out to be wrong. I will write an update once we have a better idea what’s happening – in the meantime, here’s the original for you to laugh and point at.

It’s not often I do stand-alone news articles. Normally I wait until the end of the month and put it in odds and sods. However, this is a fast-moving situation and what was idle speculation a few days ago is already a serious possibility. So, it turns out that, unlike Sars, Swine Flue, Bird Flu and pretty much every other lurgi where the panic was way out of proportion, with Coronavirus there actually is something to worry about. There’s been lockdowns of various degrees going on all over Europe, and this morning the Scottish Government has announced what appears to be a ban on events with more than 500 people. It’s not clear exactly how that’s going to work, and one important detail is that the reason for the ban is to free up emergency services to deal with Coronavirus cases, rather than preventing the spread. Even as I write this, the English football leagues have announced a one-month delay of their matches. Continue reading

Roundup: Brighton Fringe 2019

d6sukmdwsaapg_b

REVIEWS: Skip to: Wolf Tamer, Sary, I Am a Camera, Freak, Ross and Rachel, Be More Martyn, Here We Are Again, Bright Raven, Taboo

Another Brighton Fringe has come and gone. It’s been quite a busy one for me as, all of a sudden, I’ve been kept busy with review requests. It would appear that I’ve managed to end up on a list of press contacts somewhere. But that’s great – it’s a lot more worthwhile reviewing plays when I know the people involved want a review from me.

For fringe news as a whole, it’s been a bit of a slow news fringe. There was some steady growth this year, nothing as earth-shattering at 2016, but enough to keep moving. Within these steady-looking numbers, however, there’s been a lot of rearrangement: The Warren moved next to Spiegeltent and expanded its number of spaces, Sweet Venues ditched the Dukebox and re-focused its operations (including year-round operations) on The Werks, and Junkyard Dogs took on a new Fringe venue at the Brighthelm Centre with three spaces. One effect of this is that The Warren is now by far the biggest venue in Brighton. Could it become too big and too powerful? For an answer to this and other partient questions about all things fringe, you might like to read my interview with Richard Stamp. Continue reading

Brighton Fringe 2019 – as it happens

REVIEWS: Skip to: Taboo, How disabled are you?, Ross and Rachel, Freak, Shit Scripts, I Am a Camera, Sary, Wolf Tamer

Wednesday 5th June: And the answer is … 3,841. That is in “Whoah” territory. This is up 293 from 2018’s figure of 3,548. That works out at an 8.3% increase, slightly under yesterday’s indication of 9.5% but still a dramatic increase. Two years ago it looked like Brighton might catch up with Edinburgh. Little chance of this now.

Of course, the harder to answer question is whether a rise of 293 is good or bad. This will depend a lot on what these extra 293 acts consists of. The ideal scenario is that the Festival Fringe Society’s hard work to make the fringe has paid off and more people are able to go. But it could also be that these efforts have got nowhere and the extra 293 are people who are made of money.

There is one oddity in all of this: the Festival Fringe Society have been strangely quiet about this record-breaking fringe. Normally this kind of news is shouted from the rooftops. And this looks like a conscious choice too – Edinburgh Fringe’s own press release gives the number of participating countries as its headline figure, with the size of the fringe little more than a footnote. Make of that what you will.

But we are going to have to leave it there because that is the end of this coverage. I haven’t quite finished with the Brighton Fringe because I will be getting some numbers from Brighton later, and of course I have to put all the reviews into a roundup, but that can all come later. Thank you all for sticking with me over the month, and join me in August when we do the same for Edinburgh.

Tuesday 4th June: I was going to fill the gap before tomorrow with some news that broke about a former Edinburgh Fringe performer that broke during May, but I’ve decided to hold this off for later. This is big news, and it deserves something better than a chaotic mention in an article about another festival.

So instead, a look ahead until tomorrow. The fringe numbers are Edinburgh are a closely-guarded secret and I don’t have any advance information – but we can try to speculate from the registrations so far. There have been several rounds of early bird going out, and on the eve of the final number, there are 3477 listings on the website. One important clarification about this number is that, unlike the paper programme, any shows that are on at two different venues appear twice. Consequently, there will be a bit of double-counting, and you can’t directly compare this to registrations. But you can compare this to the eve-of-programme figure last year, which was 3179.

At face value, this amounts to 9.5%, which one could expect to mean an increase of around this level when the final number comes out tomorrow, if – and this is the big if – the 3477 vs 3179 figure is a valid life-for-like comparison. We know from Buxton that early figures can make things look more sensational than they really are – at one point Buxton’s figures this year were a 73% ahead of the figures the same time a year before ending up with a less dramatic 21%. Part of the reason for the inflation of the early figures was the discounted early bird fee encouraging earlier registering; therefore, we must consider the possibility that this figure is also artificially inflated by earlier registration. Or the 9.5% really could be the shape of things to come. Even with seasoned journalists used to Edinburgh’s figures defying all predictions of peak fringe, a rise of this scale after all the hoo-ha about the cost of the fringe would be a big turn of events.

The other figure that will be of note is Brighton Fringe ticket sales. Unlike Edinburgh, where sales figures always come at the end of the fringe, Brighton is sporadic about whether it gives the figures quickly, or slowly, or not at all – and they have been known to be slow to announce figures that I’d have expected them to shout from the rooftops. However, Julian Caddy kindly offered to supply me with various fringe figures once things have calmed down a bit, so when I have the numbers, I will have comprehensive numbers.

So now we wait for tomorrow. Exciting, isn’t it?

Monday 3rd June: So, here it is, my pick of the fringe.

First of all, this is a theatre blog so my pick of the fringe and honourable mentions are intended for theatre. I have previously included comedy when there’s been enough crossover with theatre to judge is as a comedy theatre piece, but this time everything in the way of comedy has been more like stand-up or sketches. One other omission from this list is How Disabled Are You? – not because it’s any better or worse than the other plays, but because this was too different to the conventional theatre to draw a meaningful comparison.

Out of the eleven left, there were three duds (none of which I chose to review in the end). So out of the remaining eight, here is the list:

Pick of the Fringe

Wolf Tamer
Sary
I Am A Camera
Freak
Ross and Rachel

Special pick of the fringe:

Here We Are Again

Honourable Mention:

Bright Raven
Taboo

As you may notice, this is a bit top-heavy on pick of the fringe, but there has been a good standard of theatre amongst what i saw this year.

All of these will be collated when I get round to doing the roundup, although don’t hold your breath. I have been known to not complete this until after the Edinburgh Fringe – I’ll try to avoid anything that embarrassing this time, but that will depend what’s going on with my life.

Not quite done, yet. We have Edinburgh Fringe’s numbers to cover before we’re done. But it’s almost done now.

Sunday 2nd June: Before going into the awards, a quick digression to some breaking news concerning Edinburgh. There’s been yet another review publication trying to establish itself as a pay-for-review publication. It’s called The Mumble, and the early indication is that it’s trying to use the same arguments that edfringereviews.com tried two years ago. That’s the mild version of events. I’ve also heard allegations they’re specifically targetting groups who don’t know any better. And I’ve heard worse allegations still. However, I’m going to hang fire on repeating the most serious allegations until I’ve had a chance to investigate this better and The Mumble has had a fair chance to respond.

In the meantime – and the reason I’ve brought this up now – I want to say something for any fringe newbies reading this: have nothing to do with any publication that wants payment for a review. Even if you have no ethical qualms over this practice, paid for reviews are worthless. Anybody who’s anybody in the theatre business knows which publications only said nice things about a play because the theatre company paid them to do that. Even the general public are probably going to smell a rat sooner rather than later. Yes, if you’re a new company it’s a struggle to get any kind of review at all, and yes, it sucks if you get no reviews, but trust me, a paid-for review is worse than useless. So steer clear.

Right, back to the awards. Some interesting ones here. Last year there was not name I recognised in the awards, but this time there’s too. Quintessence got the FringeReview Award for Outstanding Theatre – this was not a big surprise because this was already one of the top reviewed plays on FringeGuru and Emily Carding already has an excellent reputation in Brighton. So a little more significant is the New Writing South Award, which went to Sam Chittenden with Clean. As I reported yesterday, she’s already been getting good reviews for all three of her plays – with this added, she looks set to be one of the most looked out-for names next year.

Audience choice of venue wasn’t what I expected – but this might be significant too. It’s gone to Nether Regions, which isn’t a normal venue as such – instead, it’s a pop-up location for one theatre company doing two site-specific/immersive pieces. It’s not even clear if this venue will exist next year. But it does mean that the theatre company behind it is doing something right. That company is 2headedpigeon, who apparently are Brighton regulars. So it looks like it’s worth checking out what they do next year, either in Nether Regions again or another site-specific space. This review is worth a read for some idea of what they do with the space – another group to watch out for next year.

But you want to hear what my pick of the fringe is, don’t you? Come back tomorrow, and I’ll have a decision.

Saturday 1st June: So, here’s the schedule of the remainder of the fringe coverage. Tomorrow (I think) is the fringe awards. After that, I will announce my pick of the fringe. But I’m going to keep the coverage going until Wednesday for one last announcement of indirect relevance to Brighton but major relevance for anyone following festival fringes: Edinburgh Fringe announces its programme- and with that, the number of registrations. There has been a lot of talk over whether Edinburgh has reached its limit, but so far, all predictions of that fringe finally hitting its ceiling have been wrong. Will the prominent discussion of the cost of Edinburgh make things different this time?

Before then, let’s get back to something I’ve not been looking at for ages, and that’s reviews. I’ve given my verdict, but what do other people think. I won’t look again at plays I’ve already checked for reviews (if you want to know my previous findings and can’t wait for the roundup, you know how to use Ctrl-F), and I don’t pay much attention to reviews where they don’t matter (such as shows with long-standing fanbases who will succeed whatever the reviewer think). Eliminating all of that, there’s one thing that’s stands out, and that’s Sam Chittenden’s plays.

She directed Sary and Clean for Different Theatre, and Ross and Rachel for Pretty Villain. Getting a reliable pattern over Brighton is difficult – you’ll rarely have more than two reviews to go on for a single play – but overall the reviews have been pretty good. With one exception, the reviews across the plays have been four or five stars (or, in the case of FringeReview’s ratings system, ratings that imply four or five). In the interests on completeness, I do need to mention there was a two-star review on Ross and Rachel from Broadway Baby, which appears to be mainly about the use of a single actor for both halves of a couple. However, given the level of success the same script had at Edinburgh Fringe for its original run, my guess is this is an outlier – still a valid view, but an outlying one. What is does mean is that Sam Chittenden has probably secured her place as one of Brighton’s best-known names for future fringes.

How Disabled Are You? also seems to be doing well in the reviews, although the caveat that applies to all political theatre is that it’s difficult to tell whether the good review is approval of the play or the cause the play is promoting. The most interesting read is from Disability Arts – this covers both the play and the issue, so it’s only a sort-of review, but it’s a thoughtful examination of both that is worth the time. This could a front-runner in the awards tomorrow, so this is the one to watch out for.

Next update will be after the awards are announced.

Friday 31st May: There’s only one thing at Brighton left to look out for during the fringe, and that’s the awards. The significance can vary from year to year – often it comes down to chance whether I’ve heard about the winners. One thing that may be of interest is the winner of best venue. Junkyard Dogs expanded to a three-space venue after winning the award two years running. Will this award this year be a forerunner of the next emerging venue? Or will Junkyard Dogs make it a hat trick.

But it’s time to turn my attention back to the north-east. I need to have a look at what’s coming up, and over this weekend I hope to get the next season’s recommendations written up. But the thing that is on now is A Thousand Splendid Suns at Northern Stage. This story is one of two very famous novels by Khaled Hosseini (set in Afghanistan, much of it under the rule of the Taleban. I don’t know this story but I do know The Kite Runner, which is excellent, so I’m confident the same astute observations will work here. Northern Stage’s new writing is about as hit-and-miss and you’d expect any new writing theatre to be, but Northern Stage has an excellent track record with adaptations on the main stage, whether producing along, or co-producing as it is i with Birmingham Rep this time. This runs until the 15th June

The other thing coming up soon, however, has just been to Brighton, and it’s #BeMoreMartyn. The tribute to Martin Hett comes to Live Theatre from Thursday to Saturday next week. I have a rule that tours that take in Brighton are still eligible for the Brighton Fringe roundup if I catch it elsewhere on the tour, so maybe this will be joining the roundup.

Speaking of which, I’d better start deciding on my own pick of the fringe. No decision yet – expect a lot of deliberating tomorrow. Continue reading