SKIP TO: April, Auntie, Police Cops
A new thing for the blog. I’ve been doing recommendations for Buxton, Brighton and Edinburgh Fringes as long as I’ve been doing this blog, but the Vault Festival (not a fringe as it isn’t open-access, but the closest thing you’ll find to one until sprint comes round) I’ve always done as a footnote for my general winter/spring recommendations. That’s not because I’m giving the Vault a lesser status, but because, up to now, there were very few acts I recognised. But this time, my knowledge of what’s there is big enough to do an article in its own right.
And it’s not, I might add, based on who I’ve seen in previous Vault festivals. I’d heard of a couple of them from the Vault Festival first, but all of these artists I’ve previously seen in Buxton, Brighton or Edinburgh Fringes. Most of the artists in the Vault line-up I’ve never heard of so, as always, please treated this as a cross-section of what’s worth seeing rather than a comprehensive list. But a recommendation of something I’ve seen is not automatic – if it’s in this list, it’s in for a reason.
Normally, to get into safe choice – meaning something that I’m confident anyone who likes the description will enjoy, and has a wide appeal – a play either has to be one I’ve seen before and loved, or a group doing something new with a strong track record. This time, however, we have two entries in Safe Choice from solo performers I’ve only seen once before, but they are playing to their strengths so much I’m prepared to go with a safe bet.
I should declare a bias here. Part of the reason I loved Bothered About Dungeons and Dragons so much was how much it appealed to my anti-censorship sentiments. A long-standing tactic of censorship is to paint the thing that offends your moral purity as harmful, and make sure there’s enough public hysteria to prevent anyone actually watching/seeing/reading/play it themselves and making up their own mind. In the 1980s, one popular target was Dungeons and Dragons. Carrie Marx played Pam, a Christian busybody who’s so obviously only done cursory research and didn’t properly understand what she was talking about. But this play appealed on many levels and if you don’t relate to being on the receiving end of these scare campaigns, you might relate instead to Pam’s quietly tragic quest to find a purpose in her life. Continue reading
REVIEWS: skip to Bump!, Margaret Thatcher, Queen of Soho, You, The MMORPG show, Storytelling: London, Doktor James’s Bad Skemes, Elsa, The Great Gatsby
Apologies for putting this off – there were a couple of exceptional Ike-winning plays that jumped the queue, but let’s round up what I saw in the Vault festival. Unlike previous festivals, I won’t do any lengthy preamble, because there’s not much change from 2017. The Network Theatre and Waterloo East continue to be satellite venues, and the box office has still sorted out the organisational issues from 2016 (in fact, the venue as a whole runs pretty smoothly). Not quite the same number of Trump jokes this time (I guess last year exhausted the plentiful supply out there), and nothing dominating the buzz the way that immersive Gatsby did last year, but the one change I am so pleased to see is that finally the Vault Festival has installed wi-fi that actually works. Lord be praised.
Seriously, however, one notable change is that Vault 2018 ran for eight weeks, up from six. The good news from this is that they must be confident with the financial state of the Vault to expand like this (and my anecdotal observation is that numbers seemed to hold up fine over the longer period). It does mean, however, that we could reach the point where the Vault could become too powerful and turn into the gatekeepers of who can make it on the London fringe circuit. I don’t think we are at this point yet, and I have no reason to believe the managers of the Vault want to misuse their power, but keep asking questions. With great power comes great responsibility. Continue reading
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