 The Brighton Fringe is here again! Running throughout May, England's largest arts gathering is going from strength to strength, drawing together the city's already-vibrant cultural scene and cementing its position among the leading Festivals of the world. Informal and manageable, all events are within easy striking distance of London - or if you're coming from further afield, Gatwick's a short train ride away. The Brighton Fringe is four weeks long this year. In a change from previous festivals, events run from 4 May right through to 2 June - taking in both May's bank holidays, as well as school half-term.
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Published on Tuesday, 28 May 2013 |
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Hove Lawns
Theatre
14-17, 22-24, 29-31 May, 7:30pm-9:30pm; 18, 25, 27 May, 1 Jun, 2:30pm-4:30pm, 7:30pm-9:30pm; 19, 26 May, 2 Jun, 3:00pm-5:00pm Reviewed by Richard Stamp |
Parental Guidance. Under-17's must be accompanied by an adult.
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I thought I was bored of circus. At least, I was bored of the sort of circus I’ve so often seen at the Fringe: urban, grungy, and just that little bit too serious to be properly fun. But Bianco isn’t like that. Filled with treats for both the eyes and the ears, it manages to feel both resolutely modern and delightfully vintage – and it’s performed up-close, for a standing audience, which the artists often weave their way right through. |
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Published on Sunday, 26 May 2013 |
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Marlborough Theatre (venue website)
Theatre
14-15 May, 9:15pm-10:15pm; 17-18, 23-25 May, 10:30pm-11:30pm Reviewed by Richard Stamp |
Family-friendly. Suitable for all ages.
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It’s called Stuperstition because he’s Stuart Lightbody, and he’s the South African conjurer taking this Brighton Fringe by storm. In front of a packed-out audience at the Marlborough, he plucked coins from the air, cards from the deck and secret words from the audience’s minds – and with his charming manner and faultless showmanship, it’s easy to see why he’s so popular. |
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Published on Saturday, 25 May 2013 |
What do you when you’re waiting for someone to help you die? If you’re British, you have a cup of tea, and squabble about whether mid-afternoon means three o’clock or the hours between two and four. |
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Published on Saturday, 25 May 2013 |
Before the start of the show, performer Mary Pearson spent a few minutes talking to us about our health, and whether we’d spoken to our parents recently. As we climbed up the stairs to the theatre she asked us to each take a handful of beans to symbolise our failures. If I’d known in advance, I would’ve taken the lot; but I thought I’d go light and took two. |
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Published on Friday, 24 May 2013 |
James is a father of twelve, a widower, and a senior manager at the Guinness brewery in Dublin, circa 1930. Son Tom is working at a pawnshop and is in the habit of pinching his father’s black pudding. Son Jimmy has jumped ship (so to speak) and is living precariously in New York as an émigré, and with James’ wife six-feet-under, local chancer Nellie is all too ready to take on the family burden of inheriting ten properties. There’s a wake, a will, a car-crash, and skirmishes are two-a-penny. Breakfast at Dalkey is high-cholesterol stuff. |
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Published on Thursday, 23 May 2013 |
There are some plays I admire much more than I enjoy. Cold Comfort is squarely in that category: there’s impeccable acting, strong production values, and a more-than-competent script. But the concept, I think, has a serious flaw, which drags the whole performance down. A one-man play, Cold Comfort features a confirmed alcoholic holding a vigil beside his father’s coffin – and imagining a conversation with both the deceased dad and other missing members of his family. |
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Published on Thursday, 23 May 2013 |
A blinded man, eyes symbolically covered by a bright red cloth, sits alone on the stage. He’s a king, we discover, who seized power from a one-time ally – paying the price of his sight, plus an unknown cost to his soul. It’s a striking opening, which promises much from this new devised play. But, I’m afraid, it was largely downhill from there. |
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Published on Thursday, 23 May 2013 |
Vesta is an act of violence. It is a series of surreal vignettes that when added together make a grotesque poem. It is a poem which troubles the very idea of theatre; a poem that defies expectation, laughs at convention, destroys politeness. It is very queer indeed, and all the better for it. |
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