REVIEWS: Skip to: Scenes from an Urban Gothic, This is not Culturally Significant, Circle Line, Claustrophilia, Mars Actually, Blood and Bone, Ventoux, Three unrelated short plays
So Vault 2017 is on. This time last year, doubts were being raised as to whether there would be a Vault 2017 at all owing to financial worries. I was always a little sceptical of this worry, because realistically this space can’t be used for anything else, but whatever the worries, this year, it’s as busy as ever, with no sign to a casual observer that there was ever any trouble. So I found the time to get myself down to London and dip my toe for four days.
To repeat the same thing I said last year (and will probably repeat every year), the Vault Festival should not, as some in the arts press suggest, be considered London’s answer to the Edinburgh Fringe. The whole point of the Edinburgh Fringe is that anyone can take part. The Vault Festival, on the other hand, is a curated festival. I don’t like this blurring between the two kinds of festivals, because this encourages the practice of claiming your festival as a fringe then curating it (e.g. York, Ludlow), depriving entry-level performers of opportunities to get started that is so desperately lacking right now.
This is not in any way the fault of Vault – they never claimed to be a fringe themselves, it was other people who labelled them that way. It would help, however, if they were open about how they curate the festival so the difference is known and understood. I heard that a lot of acts this year was chosen based on a theme of “space”, but that could mean anything, and I always think it’s better to be open about this.
Anyway, enough of that. Let’s get on with covering the festival. Continue reading
The ongoing problem with my annual fringe fix is that after Edinburgh, there’s an eight-month wait before the next one at Brighton. So, partly in an attempt to curb my fringe withdrawal jitters, and partly because Virgin Trains East Coast sell stupidly cheap leisure tickets at this time of year, I thought I’d give the Vault Festival a try. This is an arts festival that takes place in the arches underneath Waterloo station, and in case you ever forget that, you’ll be reminded by the noise of a train passing over your head.
So with ten events attended in four days, that fix should keep me going until Brighton, where I’ll be jittery for completely different reasons. But how does it do as a festival. Here is my first ever round up of the Vault festival. I’ve already written about a Devoted and Disgruntled session that happened to be on whilst I was there, but for the plays themselves, read on … Continue reading
This is a post I am syndicating to both my theatre blog and the web page of Devoted and Disgruntled. For theatre blog regulars who don’t know what this is, Devoted and Disgruntled is a series of theatre networking events which broadly works as a free-for-all discussion forum where anyone can lead a discussion and anyone can go to any discussion they like. They do occasional forums across the country on an open theme, but there’s lots of these in London on specific themes. Last week there was one on artists with autism and learning disabilities at the Vault Festival. I was coincidentally in London for the Vault Festival that week, and I have an interest in this. Those of you who know me will already know why I have an interest. Those who don’t … well, you will know shortly.
It was an interesting afternoon, and the main lesson learned was how complicated this issue is. So many issues were interlinked to other issues about theatre in general. There’s plenty of other topics on the D&D site that’ll interesting reading; for now, I can say that the most surprising observation was that – even though the attendees were all supportive of inclusivity in theatre – there was little support for quotas. Anyway, enough of that. I need to got on with my particular topic, which was to ask if there’s a danger of creating a “can’t do” attitude. Confused? Let me explain. Continue reading