The Warren

The Warren run their venue hub  at St Peter’s Church.

In the safe hands of the Otherplace Productions team, its programme boasts a rich, diverse and impressive choice of theatre, comedy, cabaret and music. It calls itself a “festival within a festival”.


Essential Links

Visit the web site

View the 2017 brochure

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Find the venue

Contact The Warren

 


Show highlights and recommendations

This page is being updated as we speak!


PREVIEW

PATTI PLINKO RETURNS TO BRIGHTON FRINGE 2017 – two nights only

Patti Plinko returns with her dark and erotic songs, drunken fiddles and jumping guitars.

 

After an absence of five years Patti Plinko returns to The Warren: Main House as part of this year’s Brighton Fringe Festival with her infamous showmanship of dark, seductive music.

Patti Plinko has been winning audiences and critics throughout Europe, receiving five star reviews for her original song writing and showmanship. Songs inspired from Virginia Woolf, Joan of Arc to the whore houses of Paris. Drunken fiddles and jumping guitars mix original classical, eastern and European sounds. Raw and outstanding performances make for a mesmerising and exhilarating show from Patti and her top-class musicians.

With a new show ‘Dreadful Little Girl’, Patti performs a collection of new songs with a wonderful mix of old favourites.
Someone once described Patti Plinko’s voice as if it was a cocktail, it would be one part champagne, two parts absinthe, definitely shaken not stirred, then poured over the rocks and served drop-dead cool. And you’d have to drink it whilst smoking French cigarettes and wearing sunglasses.

When and where?

Tues 9th & Wed 10th May 2017
7.30pm
The Warren: Main House, St Peter’s Church North, York Place, BrightonBN1 4GU

Book here

 


THEATRE INTERVIEW

Alice Higginson, Co-Artistic Director at Scratchworks Theatre Company talks about Great Train Robbery

Great Train Robbery

What’s the theme of your show?

Great Train Robbery is a fun, fast and fierce adventure comedy bursting with live music, physical theatre and anarchic audience interaction.

 

What’s new or unique about the show?

We take the classic heist genre and turn it on its head.

The show has all the high-speed chases, elaborate plans and crafty characters you’d expect of a heist but without the male protagonists or tech-enhance special effects. With no set, lights or sound effects, our version of events subverts the storytelling tropes of the genre and smashes through the sexism of the sixties to celebrate the abilities of everyday women.

 

How did the show come into being?

We received a commission from New Model Theatre to develop a brand new show for a pop-up festival in Plymouth. With only two and a half weeks in the rehearsal room, we knew we wanted to make a stripped-back show suitable for rural touring.

The other major inspiration was the historical narrative of the Great Train Robbery itself – and more importantly, its gaps. We wanted to adapt the true events of 1963 and quickly discovered there were four robbers that never got caught – and there were four of us! We realised we could make these people whoever we liked, and what happened to them whatever we liked. So we let our imaginations run wild!

 

Describe one of your rehearsals.

Great Train Robbery has been on the road since 2015, but with each venue we go to we have to re-rehearse all of the physical set pieces of the show to ensure they work within the limitations of the performance space. We’ve toured to such a variety of venues including village halls, hospital wards and schools, so it’s always important to check we can do the physical sequences without falling off the stage!

In every performance there is an element of improvisation so we always finish a rehearsal with spontaneity games which force us to think quickly and creatively.

 

How is the show developing?

Since the first ever performance in 2015, we have undergone several re-development periods to enhance the characters, plot and structure of the piece. Last year we were lucky enough to partner with Beaford Arts and develop the show for rural audiences. We got to work with Dramaturg David Lane who helped us discover more about the characters we had created and been playing for a year!

Even now, we still make changes and update the script as we go, particularly when something goes wrong in a live show and actually we realise it works better than what’s scripted.

 

How has the writer been involved?

There is no writer! The show was created through an entirely collaborative process with all four members of the company.

 

How have you experimented?

Great Train Robbery was our third production (of four) we have created as a company. With each new project we aim to try something new. In our previous show ‘Nel’ (created in 2015) we used over 100 props to create sound effects live onstage. As Great Train Robbery was the next project, we decided to do the opposite and create a very stripped-back, highly tour-able show. Then in 2016 we began developing ‘The Snow Beast’: a Scandinavian folk tale for children using live science experiments and puppetry to tell the story.

Each production is linked by our distinct physical style and charmingly low-budget, highly inventive aesthetic. But we are always looking to explore new genres and push the limits of what we can use to tell a story.

 

Where do your ideas come from?

We were very much inspired by the true events which took place in 1963. Early on in the process we drew up a timeline of the factual events and then we let our imaginations fill in the gaps. We also took inspiration from famous heist movies such as The Italian Job and Mission Impossible. These films provided the formulae that every good heist story should have. We then had fun creating the chase sequences, fist fights and filmic stunts with just four performers and a bit of tongue-in-cheek artistic licence.

 

How do your challenge yourself or yourselves?

Our initial challenge we set ourselves was to create a story with as little as possible. With no set, lighting or sound effects and only a bucket full of props, we had to put greater emphasis on how we tell the story with our bodies and our voices. Every scene is tightly choreographed as we rapidly switch between characters and locations. The fast-paced, physical nature of the show makes every performance a challenge but one we all thoroughly enjoy.

 

What are your future plans for the show ?

We love rural touring! This is where we get to venture deep into the countryside and share our work with rural communities. The lo-fi nature of the show means it works perfectly in village halls and we don’t mind too much if the green room is a spider-filled shed in the car park. It all adds to the excitement of the adventure. We are often hosted by the community and spoiled with warm grub and beverages after the show. This always makes for a warmhearted and personal performance experience.

Luckily for us, we have plans for more rural touring in Autumn 2017 and into 2018 too.

 

What are your favourite shows, and why?

Recent shows we have seen and loved:  Eurohouse by FellSwoop Theatre for its clever and playful political exploration of Greece’s financial crisis.

We Are Ian by fellow Exeter-based company In Bed with My Brother. This show never fails to get us on our feet and in the party mood. You can catch them at the Brighton Fringe too (31 May-1 June)!

Hot Brown Honey by Black Honey Company for smashing the patriarchy where it hurts!

 

Show dates, times and booking info

Brighton Fringe 2017
The Warren (Main House)
11-14th May @ 18.15
Running Time: 70 mins
Tickets £11 (£9.50 conc, £8.50 student)
Family & Group Discounts available

Box Office: 01273987516
Book here

Company web site



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