Here it comes again. Lumiere is coming back for its biannual festival. With this being ten years since the first festival in 2009, this festival has been billed as an anniversary celebration with many – but not all – of the installations being favourites from the last five festivals. Two months ago I came up with my own wish list, which lead to Artichoke’s social media team describing me as a superfan, which I though was a bit much until I realised that I’m probably one of very few people who not only goes over all four nights but also goes to Lumiere London every time it’s on, so I guess that’s fair enough.
One word of practicalities before we begin. Blog regulars will know I always say this, but for anyone new: unless you are bringing young children who can’t last into the later evening, you do NOT need a ticket to make the most of Lumiere. When the organisers say may sound like a platitude for anyone who didn’t manage to get one, but they are 100% correct: there is more than enough to keep you busy from 7.30. About two thirds of the festival takes place outside the penninsula, and there’s still a real festival feel. Although it’s true to say that most of the best stuff is inside the ticketed area, it’s an easy enough task to see this after 7.30 when the ticket restrictions are lifted. If you’re only coming on one night, you can make the centre your finale.
Anyway, as always, I’ve looked through the programme and come up with a list of highlights. This time I’ve had to be especially choosy – there’s a lot of things coming back that I liked, but I’ve already got a third of the festival listed here and that’s about the limit. So without further ado, here we go. Continue reading →
I’ve been meaning to write this for several months, but now I’d better get a move on. Next month the programme for Lumiere is revealed, and as this is a 10th anniversary Lumiere, they are going to give this a special theme I’m unofficially naming “Lumiere’s greatest hits”. There will be a few new installations coming, but most of them will be some of the most popular installations over the last five biannual festivals. In which case, here’s a good opportunity to give my own wish list for my dream Lumiere line-up.
Here’s the rules of this game. These installations are all personal favourites of mine, but I have taken into account popularity amongst other people too. I have, however, set myself a rule that it must be possible to put these all into one festival. I loved most of the centrepiece installations in the Market Place, for example, but the Market Place can only have one centrepiece at a time. Very occasionally, I will take the liberty of advocating moving an installation, but that is strictly reserved for cases where there’s two installations in the same place and I can’t bear to let either go.
Footnote: I’ve found out through my channels that one of these on the list is coming, but I won’t say which one because I respect embargoes. But it was already on my wish list before I knew it was coming.
Some people said that this installation was overused after coming back for a third appearance – but it would surely be unthinkable to leave out this iconic projection over the first three festivals. The images of the Lindisfarne Gospels projected over Durham Cathedral was the definitive image of Lumiere, and without this I doubt the festival would have catapulted the festival to national fame. As well as the images, the music used for the project – existing music though it may have been – was perfect for the setting. Nothing says Lumiere more than Crown of Light – surely surely surely this has to be in the 10th anniversary lineup.Continue reading →
At last! My reviews backlog is under one month long, and this means I can turn my attention to the one non-theatre event I cover every two years, and that’s the legendary Lumiere. Back for its fourth biannual appearance, it’s once again been every bit the popular event it was expected to be.
This year, I was in the fortunate position of holding a gold card pass with possibly the most piss-poor claim to be “an employee of a city centre business”. So I had a perfect chance to get a good look at most things several times over the four days. It’s now nearly a month later and attention’s turned to that ghastly thing at the end of this month, but let’s have a look back at the festival and give my thoughts on it. Continue reading →
This will mean nothing to everyone who follows this blog outside the north-east, but us Durham folk cannot possibly have missed the fact that the Lumiere festival of light is coming next week from Thursday and Sunday. I very rarely cover arts over than theatre on this blog, but as a Durham local, Lumiere is my one annual exception.
Lumiere is the brain-child of Artichoke, who manage lots of arts festivals including a lot of light-related ones. Prior to the first Lumiere in 2009, they organised a chain of beacons along Hadrian’s Wall, which I missed but heard a lot of good things about; and Viking-themed Odin’s glow in Newton-under-Roseberry and local landmark Roseberry Topping (not far from the Saltburn where I grew up), which I saw and was excellent.
But it’s the festival in Durham that has had the most enduring popularity, now back for its fourth biannual visit. So successful is Lumiere that Artichoke has even exported the format to Derry/Londonderry in 2013 (their capital of culture next year) and London proper in 2016. But, thanks to some very vigorous campaigning to keep arts council funding, Lumiere remains synonymous with Durham.
I’ll be reporting on Lumiere after the festival when I’ve seen things for myself, but here’s a preview of what I recommend we look out for. Continue reading →
The promenade performance of The House of Usher at The Empty Shop could easily have been a disaster. And yet, against these expectations, it came off rather well.
Blog regulars may have noticed I review very few student productions. When I’ve seen good student theatre, it’s been outstanding, but that’s a minority. Okay, I’m a strict marker, I don’t make allowances for not being amateurs, and at festival fringes I expect student theatre to compete with the professionals – but the fact remains that the good pieces of student theatre I see are considerably outnumbered by the mediocre, unfunny and horribly pretentious ones. So the only reason I went to see The House of Usher was curiosity. Ever since The Empty Shop got its souped up license in 2012, it’s hosted a few plays, a lot of it the overspill from the student Assembly Rooms. But so far, they’ve all used a single room as a performance space. With this one using the whole building, I thought I’d check this out.
Had this idea simply been pitched to me, I would have been sceptical. Devised theatre is hard. Student productions very easily get out of their depth. They are usually guaranteed a large appreciative audience from all their friends, but local enthusiasm can be a bad thing. As for a promenade performance as complicated as this one – going straight into the venue without an practice runs with a practice audience is extremely risky. On the whole, there’s so many things waiting to go wrong, the odds were stacked against them. And they, this lot have defied the odds, and put on a very ambitious play that, whilst not perfect, comes off rather well.
COMMENT: Durham is great for high-profile festivals but poor at supporting local talent. With a welcome funding boost coming, now is the chance to change.
Durham city has built up a good reputation for arts festivals. Underway is the popular annual Book Festival, with big names from all over the country. Earlier this year were Brass and The Streets, and next year the hugely successful Lumiere will return to Durham. The future of these festivals was in doubt, because they were heavily dependent on arts council national portfolio funding. But fears were quelled when funding was actually increased at a time when overall national funding is being cut.
So what’s not to like? Well, at the risk of being a party pooper, at the time the funding was announced, I pointed out that funding in the north-east is still vastly weighted towards Tyne and Wear, with over 80% of the funding going to a county with only 40% of the population. That raised the question of how much north-east talent is going to waste – a complicated issue that I will return to another day. But before we can solve that problem, I think there is another problem that needs addressing first, which is that there is next to no support for local artists with the funding that County Durham already gets. This is a pattern I’ve observed throughout the county council, city council (when it existed), arts organisations and funding bodies – they may even be doing more harm than good for the local talent.
The thing about Durham’s arts scene is that its support is almost entirely directed at its big festivals. And the big festivals almost entirely draw in their artists from outside the county: usually outside the north, often London, frequently international. That’s great if you’re trying to create a world-class international festival, and it’s great for the people of Durham to have these on their doorstep, but it’s hopeless if you’re trying to do something creative yourself. And then comes the really bitter pill. On virtually every occasion that a north-east artist is commissioned for a high-profile event in Durham – it won’t be Durham artist. It’s almost always someone from Newcastle. Even when it’s writing about events in County Durham. It almost feels like County Durham arts is more Newcastle-centric than Newcastle itself.
Still lots of questions up in the air. Probably the most pertinent one is: what’s happening to all the extra money that Durham County Council gets? I have some thoughts about that, but they can wait for another day. But today is a champagne moment. It’s good to have you back.