Brighton Fringe
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Brighton Fringe 2018
Many arts-driven people forced into the corporate world might well see this play answers their condition like few others.
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.
If you decide on one storytelling piece of theatre in this half of the Fringe, I doubt you’ll do better than experience this.
"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.
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
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 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 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.
