Review: Simon Russell Beale Puts on a Song and Dance in Michael Grandage's 'Privates on Parade'

There is singing. And dancing. And drag. Oh my. Michael Grandage's production of Privates on Parade is a mascara-eyed feel-good farcical wonder and is coming to the end of its run. Buy the tickets now and then, once done, return and read our full review here.

Fifty Shades of Grey? Try Seventy-Five Shades of Black and White. Philip Pullman Talks Morality and Simplicity in Grimm's Fairy Tales

When I was at Uni we were handed a German language copy of Grimm's Fairy Tales, hot on the heels of having studied Freud, Schnitzler, and other fin-de-siècle psycho-analytic texts from Austria and Germany. The indication was that we should apply some of the interpretative technique communicated by this to the Tales. I find something anachronistic in this method, like applying Marxist theories to medieval lais. Consequently, I was dissatisfied with the Tales because I struggled with the assignment and felt that perhaps I had missed something fundamental because I was trying to make the simple complicated. I had. I had missed the fact that black-and-white morality, although not realistic, is acceptable in fairy tales and I had missed the fact that simple, two-dimensional characters can be a vehicle for narrative excellence.

These are the lessons that Philip Pullman taught us when he spoke at the National Theatre about his new book, which re-tells 75 of the original Tales. Perhaps I should say he re-taught us – whilst the adults, who made up the majority of the audience, asked questions about the modern sanitisation of fairy tales and the necessity of teaching children about real-life morality, a young girl at the front of the audience simply asked why he wanted to write the fairy tales. A simple question which cuts to the heart of the matter. Why did he want to write the fairy tales? Because he likes them. Because he likes that the good are rewarded and the evil are punished. The characters are simple because they do not need to exist as fully rounded personalities – they just need to be figures who are rewarded or punished accordingly. In the spirit of democracy, he did include one tale which he didn't like, precisely due to the fact that the evil, incestuous father was left forgotten and unpunished.

Having been accustomed to over-interpretation and practising it ad nauseum, I cannot wait to approach the Tales once more with the simplicity of a child. There's a lot to be gained from that perspective. Perhaps I'll read his book. Or, perhaps, I'll go to the National's production of Hansel and Gretel, and see if the cast had been listening in, too.

Capturing Transience: The V & A Relaunches its Programme of NVAP Screenings

Last year marked the 20^th anniversary of the National Video Archive of Performance (NVAP). The NVAP is the unique result of a collaboration between the V&A Theatre and Performance Department and the Federation of Entertainment Unions, which has allowed the creation of an archive of theatrical performances from across and beyond the West End for the last 20 years. Although established as a research resource, last year the V&A hosted two programmes of free screenings every Sunday in the first two quarters of the year as a celebration of the NVAP's 20^th anniversary.

It was, in a word, brilliant. To have access generally to this resource is a wonderful thing for all involved in the industry, but to put together a programme which allowed free viewings of past performances felt like a gift, especially to those among us who cannot afford to indulge their passion for the theatre as regularly as we should like. Although initially worried that the unique atmosphere generated by live performances would be lost and to lost to the detriment of the pieces, I soon realised that this was not the case. The productions chosen were so strong in casting and direction that they transcended this boundary and remained strikingly impressive and relevant even in a medium for which they were not created. Even Waiting For Godot, a piece that – and I'm sure this admission will engender some horror – I cannot normally abide, was engaging and entertaining. No small feat, to be sure. From The Alchemist to Polly Stenham's second play Tusk, Tusk to John Osborne's era and generation-defining Look Back in Anger, we were shown familiar classics and new writing, plays that had been produced in the mid-nineties and plays that had been played only the previous year.

The V&A and NVAP returns this year with another programme of screenings, including both major successes from last year (the hugely popular Hedda Gabler with Eve Best and Benedict Cumberbatch and Butley with Dominic West) and new productions, such as The Recruiting Officer, starring Mark Gatiss and Mackenzie Crook, which played just last year at the Donmar Warehouse. With a programme as strong as this, it is bound to be just as successful a venture – and as rewarding – as last year. Entry is free but seats are on a first-come, first-served basis, so arrive in time to avoid disappointment. Screenings, unless otherwise stated, are held in the Hochhauser Auditorium at the V&A at 2 p.m. every Sunday 6^th January - 24^th March (excl. 17^th & 24^th February).

For the full programme of events click here.

Happy New Year!

A very happy new year from Breaking a Leg Hurts! 2012 was a great year for West End theatre with Matilda walking away triumphant from the Oliviers with 7 gongs, the new play Constellations (starring Sally Hawkins and Rafe Spall) set to make its own mark across this awards season, and Alan Bennett's new play People sold out at theNational's Cottesloe until April this year. We saw tiumphs of engineering, composition, music, and dance come together under the ever audacious and exciting direction of Danny Boyle to create certainly one of the most unique and intimate Opening Ceremonies recorded at the Olympic Games. Equally, whilst shops languished due to the mixed keep-off-the-streets-go-shop-shop-shop messages put forth in the run-up to the Games, the theatres made a killing; Yours Truly tried to go see a number of plays quite spontaneously over this period only to find that there were no tickets available for love or money. I found myself unable to resent this situation; it just goes to show that when it comes to attracting the tourists, our West End truly is the goose that lays the golden egg, as the mayor of London recently mentioned in defence of the arts.

This brings us, briefly, to the downsides of 2012. Cuts in the arts budget throw into uncertainty the future of smaller galleries, arts spaces, centres, and theatres. Provincial theatre, such a valuable aide in the continued education of actors young and old, has been struggling with this situation for years. Whether or not the shortfall really can be covered by private donations (or maybe, who knows, a revival of patronage) is something which remains to be seen. At the end of the day, however, what we have to remember is this: London may have been considered to be Europe's financial centre - perhaps it still is - but it is also the centre for world-famous theatre. To experience such a quantity and breadth of theatrical productions, styles, genres, and innovation in one place, the only alternative would be Broadway. People fly from other continents to see one show in London. That's what we as a country and community can do, have done, and will continue to do: world-leading theatre and culture for poorer for richer. Bring on 2013!

Review: A Chorus of Disapproval, Harold Pinter Theatre

Funny and touching, Trevor Nunn's production of Alan Ayckbourn's A Chorus of Disapproval is one to catch before it finishes on January 5th 2013. Read our full review here.

Budgets to Basics: Random Realisations of the Week

• Boris Johnson has a better understand of the value of Arts & Culture to the capital than the Minister of said sector herself. Stock trading isn't the only type of trade for which the capital is renown and it does not take a financial mind to realise this ...
• Central has gained a royal title and shall henceforth be known as the Royal Central School of Speech and Drama
• I'm still an incurable woos when it comes to anything supernatural, including the BBC's nicely paced and well acted #TheSecretofCrickleyHall
• The Stage 100 Award nominations are about to close, so if you want to see your preferred producer/regional theatre/school etc., recognised you had better hurry up and submit your choices
• The young Oxford-London theatre company Reverend Productions has a website, which is particularly useful for simultaneously bolstering my self-esteem - cast lists - and keeping me up-to-date with their productions
• The concept of an email signature is still foreign to many creative types, unaware that this is the simplest way of communicating to someone every possible means of getting in touch with you - always important in this industry

Brighton Rocks the Fringe

Edinburgh's not the only show in town. The Brighton Fringe, which will from 4^th May to 2^nd June next year, is the ideal place for acts to cut their teeth, show off their skills, and make an impression. Like Edinburgh, it is an opportunity for people to take advantage of that rare-in-Britain camaraderie which actually makes it okay – more than okay – to talk to strangers; you may entice them to your shows, ask after theirs, and revel in a curious sense of kinship. 2012's Fringe saw around 743 shows in 191 places, making it not only an amazing hub of creativity for performers but an amazing source of revenue for the town; the acts and the audiences of over 200,000 brought an estimated £10 million to the local economy.

I spoke to Julian Caddy, the Managing Director of the Brighton Fringe, to see how such a feat in these economically difficult times is possible and how young performers can still get involved.

When did you get involved in the Brighton Fringe and what makes it special for you?

Julian Caddy: I joined Brighton Fringe at the end of October last year but had been following Brighton Fringe as an observer, spectator or participant for several years before that. To me, Brighton Fringe represents both a genuine alternative and perfect complement to Edinburgh Fringe and there is a huge cross-over in terms of shows that go to both Festivals. The big difference however is that Brighton Fringe consists so much of home-grown local work, compared to much of Edinburgh Fringe being imported from elsewhere.

How long has the Fringe been running?

JC: There has been a Fringe in Brighton whether part of or independent from the “official” Brighton Festival since the late 60s. Brighton Fringe in its current incarnation became independent from Brighton Festival in 2006. In that time it has grown immensely and is now the largest arts festival in England.

Edinburgh has a lot of acts from abroad – do you find many international companies come to take part in the Brighton Fringe?

JC: There are a small, growing number and I’ve been out to South Africa and the Netherlands this year to invite more. We’re also speaking to many foreign embassies about developing this further [...]Of course, there is a continual increase in work coming to Brighton from all across the country and indeed the world, but there does still remain that strong local core which I think is great.

Given the cuts in arts funding and the state of the general economy, are there particular challenges involved in running the Fringe now?

JC: We aren’t a core funded arts organisation so as such have had to stand largely on our own two feet from day one. We’ve had to rely almost entirely on commercial partnerships in addition to the registration and box office fee income in order to offer the services that we do. We have a small core staff team and barely make ends meet but somehow we manage to spring a festival out of nowhere every year – that is what makes it so exciting. And Brighton Fringe grew by 14.5% in 2012 so hopefully we’re doing something right in this period of economic doom and gloom.

What are the opportunities available to young creatives who want to put on a show but are strapped for cash?

JC: There are bursaries and awards available. Information is available on our website (http://brightonfringe.org/participants/funding). We’re particularly excited by the new partnership with Ideas Tap who are offering ten £500 awards to young companies presenting new work. Otherwise, the barrier to entry at Brighton Fringe is very low anyway so you’d be surprised how little you actually need. Hurry though as the discount deadline is 10th December – final registration deadline is 4th February.

Interviewer: Thank you, Julian!

Comedy, Shakespeare, musical improv – there's a place for all at the Brighton. Book your places now as a performer or start looking for hotels as an observer. For young performers, don't forget to check out the Brighton Fringe – Ideas Tap award scheme.

Brighton not only has a pier and teeth-breakingly good rock but it also has a damn fine arts festival, one which this blogger is determined not to miss.

Review: The Snow Spider

The Snow Spider at Ovalhouse is fearless, energetic, and utterly engaging. Check out the full review here

Close Your Eyes, Make a Wish

I want to take a moment to write a note about something rather different in nature from my usual posts. Today I came across the charity RTCW - Round Table Children's Wish. Its aim is to fulfil the wishes of children aged 4-17 inclusive who have life-threating illnesses. Wishes range from meeting football teams to going to Disneyland. Severe illness in anyone is a horrid thing but in children it takes on an extra dimension because it seems so acutely unfair. These are people who have not only got too little time on this earth but also who have not even had the chance to take ownership of their lives, to fail or succeed at anything, to make a life choice. If the one choice they can make is to pick a wish then I want to help them do that. Find out more information about the RTCW on its website here.

Review: Damned by Despair

Recently returned and review in hand. Read all about my reactions to Damned by Despair on now at the National here.