Brighton Fringe
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Brighton Fringe 2018
Do come if you want charm, unpredictable choruses and weather. And where else can you see a dancing bear not even brushed backwards in the making of this show?
"...just under 60 minutes of surprise, joy, sadness and fabulous dancing punctuated by a manic cheesy grin."
Many arts-driven people forced into the corporate world might well see this play answers their condition like few others.
"A poignant, contemporary, powerfully evocative play asking some uncomfortable questions"
It’s in NT’s best American vein. Forget Rehearsed Reading. It’s the real thing.
It’s a work with much to tell us: of the unlooked-for consequences of a buried war. Of elective affinities and choosing to adopt the war-bereft, whatever condition they’re in.
Jenner’s moved out of the comfort zone of his Coward years which suit him particularly, or straight acting. It’s a remarkable feat.
This is an outstanding production, one of the two or three finest amateur ones I’ve ever seen. It can hold its head amongst consummate professional ones.
Lana Trotovsek and Yoko Misumi
Lana Trotovsek and Yoko Misumi are a compelling duo, and I’ve not heard violin playing of that force and character for a long time.
Meera Maharaj (flute) and Dominic Degavino (piano)
One of the most exciting flute recitals I’ve attended. Maharaj is back on September 20th at All Saints.
If you decide on one storytelling piece of theatre in this half of the Fringe, I doubt you’ll do better than experience this.
Michele Roszak and Lynda Spinney: Music in May
Michele Roszak’s as ever a richly engaging singer pushing her range through the soprano register. Always pushing new repertoire too she ranges widely here. Lynda Spinney’s acute understanding maximises their impact.
"A passionate, storytelling show with live cinematic music about war and peace, acts of heroism, and the love for life."
I can predict that by the end of its run, this should be the most outstanding one-person show you’ll see in the last week.
Oskar's a lovable puppy, living out life in Switzerland with a myriad of other creatures and, of course, a grandmother.
Guardian obituary, 2008. ‘Ken Campbell was one of the most original and unclassifiable talents in British theatre of the past half-century.’ It just happens that his daughter Daisy is both that and far more. She’s one of the most cunning crafters of comedy and storytelling in the anti-business
Caroline Burns Cooke uses storytelling and physical performance to breath life into this true story of Munchausen by proxy.
So what did Harvey Weinstein and the fifteenth century European ruling classes have in common? Exactly. A lot. English has achieved a phenomenal amount. She co-ordinates everything as she directs and manages her own minimal props.
Shostakovich 24 Preludes and Fugues
Powell makes more of the interconnectedness of this music perhaps than anyone since Tatiana Nikolayeva, and more lucidly than anybody ever. Acclimatising himself to the St Michael’s acoustics he delivered something extraordinary.
A Plethora of Swashbuckling Heroes and Lovable Rogues in this endearing rendition of Robin Hood
The Fabulous Bäckström Brothers
An operatic clown show, first performed in Helsinki in September 2014.
A masterclass in storytelling using physical theatre, puppetry, song and dance, and audience interaction
The Morning After The Life Before
A perfectly rendered, heart-warming, necessary light in the darkest of moments.
The Odditorium Tribute to Ken Campbell
of you and won’t let go. Most theatre makers of whatever stripe are pretty clear Ken’s a game changer.
The Odditorium: Dr David Luke’s Breaking Conventions
A talk about exceptional human and transpersonal experiences.
The Sorrowful Tale of Sleeping Sidney
This is a gem of many colours. Do see it. The miraculous construction’s matched by Jordan’s storytelling and sense of dark mischief. In Jordan’s hands it’s a re-possession of lost innocence by a strange sleight of a knowing child.
A finely crafted set of interwoven monologues telling three women’s stories of love and loss
A show with a wise sweetness at its core; a brightness to cast the growing shadows out there.
An uninvited journalist knocks on the door of a Holocaust survivor, for an unexpected interview.
Susanne Crosby’s Waiting for is a four-hander with a social reckoning, and very unexpected plot point. The audience was packed. There’s a quietly sad magic to this low-key play; people recognize themselves in it. It speaks.
There’s first-class musical entertainment here, crouched under the disguise of a schoolboy plot. Irresistible.
BLT have produced in less than two weeks two outstandingly fine full-length productions. This latest offering confirms this theatre’s confidence in producing stark contrasts: an unfashionable yet horribly topical drop of silence into a bustling city.
