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.

Pitch: My Screenplay is About X and is Amazing Because of Z

Everybody knows that showbiz is all about luck. This time I do intend to produce an axiom, but I will moderate it: showbiz is about luck and you make your own luck – don't you?

Showbiz is not a meritocracy and fantastic writers, directors, actors, etc., graft away unrecognised and unrewarded because they have not had their stroke of luck, have not met the right people to spot, support, and guide them. So how do you get knowledge of your talent out there? The request to be given an opportunity to prove that you deserve the job, the call for help in realising the play lying unbound and dispersed across your desk, the word-of-mouth advertising of your short film – all that needs to be heard, supported, communicated, and celebrated. So what's a would-be actor, an up-an-coming writer, a small producer with big dreams to do? Quite simply, they go to First Monday drinks, advertised as 'networking for creatives'. I went for the first time back in September, having heard about it from a friend. This friend was then absolutely required to come and be there (before me) to be my leaning-post as I was overcome with terror at the thought of meeting new people – surely they were going to be glamorous and fabulous and guarded and secretive about doing well at what you love? Yes to the first two – wonderfully, fantastically so – and so very, very no to the second two. They are incredibly supportive, eager to help, and generous to a fault in the sheer amount of advice they offer. There are balloon artists, photographers, screenwriters, actors, and all manner of diverse and creative souls.

This Monday last, Monday 5^th November, was the most recent event. As is evident in the title, this happens on the first Monday of every month and all gather at the Coach and Horses pub at 1 Great Malborough Street, near Oxford Circus. It starts at 6.30pm and can go on until the pub shuts. Upon entering you'll be greeted by the very lovely Phil Lawrence, who having discovered the direction of your artistic yearnings, will immediately introduce you to the people already there most able to give you advice. He did this for me and I am deeply indebted to him for it. The wisdom received is invaluable and I hope I can be as useful to others some day.

I have met intriguing people (maybe I'll sketch a profile for you some time – or you can come along and meet them yourself) and heard all about their projects, be it new plays, playwriting societies, or comedy venues. I hope I can help by attending or even assisting.

You make your own luck when you are brave enough to put yourself and your dreams out there and to support each other mutually.

You can find First Monday drinks on Facebook. Or on Twitter at @First_Mondays. Or supporting each others' actvities. at the Coach and Horses on the first Monday of next month. Hope to see you there!

Don’t be Bitter, Be Better

This article – or rather the title thereof – is not setting the standard for this blog; it is not intended to be pithy or axiomatic nor do I intend to express my joy in rhetoric by bombarding you with labial alliteration. Rather, I just thought for my inaugural post I would share lessons learned from audition experiences in my (short) life. As a linguist and medievalist by academic discipline it can be daunting in essentially competitive situations to be faced with people who are currently studying or have recently completed degrees in drama and related theatre arts. Whether you are more intuitive or cerebral in your approach, training is a good support. In the spirit of perfect candour, I’ll tell you that more than once I have not progressed to the next stage, in University drama, ballet classes, and beyond. Happily, the feedback has never been such as to imply that I lack ability. Indeed, that ever clichéd and eternally reassuring phrase 'you definitely have something' has been bandied about and I cling to it as a panacea.

At times such as these I am aware that I did not perform to the best of my capabilities in the occasion presented; I acted superficially, I consciously remembered my preparation and put the appropriate emotional nuances across, I performed but I did not engage. Whether due to lack of practice or worry in these situations I have felt myself reverting to saying the words and hoping that that action would convey the sense. Whatever process works for you, a common point must be that action engenders feeling. Know what you are trying to do to the other person – questioning, convincing them of something, pleading – and carry out that action absolutely and from this the feeling with come and with it engagement. It brings you closer to that strange and wonderful point where actions and emotions are drawn from you without conscious thought and you begin to feel as if you are on the verge of flying.

Nonetheless, I can see where I am going wrong and I know what to work on to regain the level of capability I know I can demonstrate. This industry promises rejection and in a certain way, I am glad to have encountered it already , even at the most amateur of levels (a generic angel, not Mary, not even Gabriel and once – ONCE! - a daffodil, seriously ...) – it’s accelerating my skin-thickening process. Each time it occurs – and, let's be honest, it will occur again and again – I will not be bitter about what’s happened but approach it rationally and strive to be better next time.