After the unpredictable fringe of 2017, when two key performance spaces were lost to a building development but a new pop-up venue came along, 2018 looked a lot more like a “no change” fringe. Underground Venues was still in its new home of the new clubhouse, Rotunda returned to the Pavilion Gardens, and the Green Man Gallery and United Reformed Church also carried out quite much as before. And the numbers for the fringe, and each of the venues, also held generally steady.
However, the steady figures are a little deceptive, because there’s been quite a bit of change within these figures. The most notable change was the Rotunda: last year, the programme was dominated by seven shows produced by Grist to the Mill; this year, with application to the Rotunda open much earlier, they had a considerably more diverse programme. Also – and there must a been a few sighs of relief – the Rotunda avoided a repeat of the spate of cancellations that marred an otherwise successful inaugural year. Meanwhile, if my unscientific assessment of their programme is correct, Underground Venues had a wider range of entry-level acts this year, possibly as a result of some fringe-wide rebalancing between the two big venues. They also seemed to have fixed last year’s problem of the fringe club bar never being open, with a drinks for tickets promotion seeming to have worked well. (Also, the Arts Centre has now managed to get the bar opened rather than have people queuing on the street.)
On the whole, however, 2018 has broadly consolidated the changes of 2017, with the unexpected rise in 2017 now looking to be permanent rather than an outlying year. But Buxton may not be settling down just yet – the last I heard, Underground Venues is still seeking another space to compensate for the net loss of one last year, and that could potentially increase the numbers further. Meanwhile, there’s talk of the Green Man Gallery taking on paid staff – at the moment, capacity there is seemingly constrained by volunteer time rather than availability of rooms, but if you’re paying someone who effectively becomes a full-time venue manager in July and and anything is possible. Continue reading →
The Edinburgh Fringe has barely been put to bed, but already people are thinking about what to do on the fringe circuit next year. And amongst these will be a lot of people who have never done this before. If you’re new to this, there are a lot of guides out there that will cover the practicalities of doing the fringe – I’ve indulged a little in this myself, but there are other more comprehensive guides out there. But this isn’t about how to do a fringe show. This is about a question I don’t think gets asked enough: should you do the fringe at all?
Performing on the fringe circuit is a great experience: it can bring you opportunities you can’t get anywhere else, and best of all, there’s no gatekeepers telling us who is and isn’t allowed to be given a chance. But even so – and I say this as one of the strongest advocates of open fringes – that doesn’t mean it’s a good idea for everyone. Far too often, the opportunities are over-sold, and the risks are downplayed. Even if you’re lucky enough to have no worries about money, a fringe venture that backfires is a huge setback, far worse than a local venture that flops.
The biggest danger of the Fringe, though, is how much people want to do it. I think I can speak for pretty much everyone to say that there’s nothing like the buzz of being part of it. It’s dangerous, because when you want to do something this badly, it’s very easy to make an optimistic assumption here and overlook a problem there, until you’re convinced it’s a good idea long after alarm bells should be ringing. So, in my effort to avert disasters in the making, I am putting together a list of questions you should ask yourself first. These should always precede a decision to take part at all. Only then should you proceed with deciding how to actually do it. Continue reading →
All right, Sam Slide, you can stop pestering me. I’ve allowed a bit of a backlog to build up again as a result of doing two plays at once, but I haven’t forgotten Buxton Fringe. As always, my list of what I recommend seeing. As the smallest of the three fringes I cover, this is a more comprehensive list than usual – at Brighton or Edinburgh, I’ve only heard of a fraction of the acts, but in Buxton I at least recognise the names of many of the groups, even if I haven’t seen them before. But even so, the usual disclaimer applies – this list should be seen as a cross-section of what’s worth seeing, not a complete list. As always, anyone who wants to see the full rules governing what goes in can come this way.
Last year’s Buxton Fringe was a very significant one for two reasons: Underground Venues relocated from the Old Hall to the Old Clubhouse, and the brand-new Rotunda set up in the Pavillion gardens. This year, however, there’s not much change in the headline figures. Fringe-wide numbers are about the same, numbers at Underground Venues and Rotunda are slightly up. However, it’s not quite a “no change” fringe and within these static numbers there’s a fair bit of difference. Last year, the Rotunda’s programme was dominated by shows produced, or at least backed, by Grist To The Mill themselves; but this time, it’s a far more diverse programme – a result, presumably, of the Rotunda advertising for applications much further in advance. Underground Venues, meanwhile, appear to have more entry-level acts this year – again, this might be down to the early addition of the Rotunda balancing up supply and demand on the managed venues. Whatever the reason, I am now less concerned over losing Buxton as a suitable starting fringe than I was last year. Continue reading →
Ah well, better late than never. At least I can get this out before the registrations open for Buxton Fringe 2018. Apologies for everyone waiting for a review. Usual excuse applies over my ridiculously busy summer. I have learnt my lesson.
So, I’ll leap into reviews in a moment, but before that, a few thoughts on how the fringe went as a whole. This was the most unpredictable fringe for years, firstly due to the delayed but expected loss of Pauper’s Pit and the Barrel Room, and the second unexpected twisted: the arrival of the 110-seat Rotunda. In my preview of Buxton Fringe, I had a look at the changing face of the fringe, looking at who was going to which venues. The headline is that in spite of the loss of a major performing space, the fringe has grown, through a mixture of the arrival of the Rotunda, smaller non-managed venues being stretched to the limit, and the shrinkage at Underground Venues mitigated with some very tight programming. I won’t repeat the details, all that remains is a postscript of how the two major venues fared. Continue reading →
Aaargh. I’m on my train to the Buxton Fringe launch and I still haven’t done my Buxton recommendations. Better hurry up. Apologies if you’re waiting for a review, that will have to come after this.
Anyway, Buxton Fringe 2017 is here. The most unpredictable for a long time, due to the loss of a key venue that formed a focal point for the whole fringe. For months, there were questions over whether a new venue would take its place. And when we found out the answer, the were there were questions over what this would mean for the fringe. But the development no-one saw coming was the arrival of an entirely new managed venue. Suddenly, all bets were off.
So, before I dive into recommendations, let us begin with this and look at what this could mean for the festival. Continue reading →
So Underground Venues lives on. After much speculation (well, much speculation from me), they have moved from their extremely popular site in the basement under the Old Hall Hotel to The Old Clubhouse, a pub just up the road outside the Opera House. This was always one of the hot favourites: plenty of venues work this way in Brighton, I gather Tom and Yaz used to run events at the Old Clubhouse prior to Underground Venues, and this option was seriously explored three years earlier when it looked like 2013 would be the final year.
Applications for Underground Venues were supposed to open two days ago, and from this I was supposed to glean more information from what this might entail. However, due to some gremlins in the system the old Pauper’s Pit information was still showing and applications had to be delayed a few days. However, from this blog post we can already work out quite a bit about what’s in store, and from this ask some questions of what happens from here. Continue reading →
So, it’s been six months since my Brighton Fringe escapades. This blog isn’t the place where I promote my own work – the short version is that I got my first four-star review but I had abysmal ticket sales. Still, it appears to have helped my efforts along back in the north-east, albeit in different ways to what I expected. If you really want to read all the cherry-picked ego-inflating quotes I’m using, you can read it here. But this post isn’t about promoting my work, it’s a list of lessons I’ve learned that might have other people.
As with my firsttwo “What I’ve learned” posts, this isn’t a comprehensive list of tips for taking part in a fringe, but rather a list of things I found in in the process of taking a show to Brighton, having previously only had experience of Buxton. Some things scaled up as expected, some things worked out differently. For anyone else trying this, your unexpected experiences will probably be different. Without further ado, here we go. Continue reading →