Viva Brighton Issue #63 May 2018

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VIVA<br />

B R I G H T O N<br />

<strong>#63</strong>. MAY <strong>2018</strong><br />


...........................<br />

.......................<br />

<strong>Viva</strong> <strong>Brighton</strong> is based at:<br />

<strong>Brighton</strong> Junction,<br />

1a Isetta Square, BN1 4GQ.<br />

For advertising enquiries call:<br />

01273 810 296.<br />

Other enquiries call:<br />

01273 810 259.<br />

Every care has been taken to<br />

ensure the accuracy of our content.<br />

We cannot be held responsible for<br />

any omissions, errors or alterations.<br />

Around this time of the year, I’m struck by a<br />

peculiar malady. The first symptoms come on<br />

in early February with an impatient longing<br />

to know what is coming. This develops into<br />

choice-overload anxiety and the attendant<br />

fear of missing out and, ultimately, around<br />

mid-April, frenzied anticipation sets in.<br />

I’ve self-diagnosed a bad case of festival fever<br />

and I doubt I’m the only sufferer. With so<br />

much happening in town this month (we’ve<br />

counted at least five festivals, but then<br />

there’s Charleston just down the road, too),<br />

I’m opting for immersion therapy: booking<br />

myself out every night in <strong>May</strong> and plunging<br />

up to the eyeballs in art.<br />

It’s a cliché to say that <strong>Brighton</strong> is an<br />

abundantly creative city: there’s art in the<br />

streets on any day of the year. It’s just that<br />

in <strong>May</strong>, that gets turned up to eleven. We’ve<br />

been poring over the brochures for months<br />

now and you’ll have to excuse us this one<br />

indulgent issue where just about every page<br />

somehow loops back to something you can<br />

see or do. It would be churlish not to.<br />

In these pages are just a few of our<br />

suggestions, but what we really recommend<br />

is that you get out and about this month.<br />

Whatever your festival strategy, you’re bound<br />

to see something extraordinary, challenging<br />

or entertaining. And don’t worry if you feel<br />

daunted. We can all have a long lie down<br />

under a cold flannel in June.

VIVA<br />

B R I G H T O N<br />

THE TEAM<br />

.....................<br />

EDITOR: Lizzie Lower lizzie@vivamagazines.com<br />

DEPUTY EDITOR: Rebecca Cunningham rebecca@vivamagazines.com<br />

SUB EDITOR: Alex Leith alex@vivamagazines.com<br />

ART DIRECTOR: Katie Moorman katie@vivamagazines.com<br />

PHOTOGRAPHER AT LARGE: Adam Bronkhorst mail@adambronkhorst.com<br />

ADVERTISING: Hilary Maguire hilary@vivamagazines.com,<br />

Sarah Jane Lewis sarah-jane@vivamagazines.com<br />

ADMINISTRATION & ACCOUNTS: Kelly Hill kelly@vivamagazines.com<br />

DISTRIBUTION: David Pardue distribution@vivamagazines.com<br />

CONTRIBUTORS: Alexandra Loske, Amy Holtz, Andrew Darling, Ben Bailey,<br />

Chloë King, Chris Riddell, Emma Chaplin, Hugh Finzel, JJ Waller, Jacqui Bealing,<br />

Jay Collins, Joda, Joe Decie, John Helmer, John O’Donoghue, Lizzie Enfield,<br />

Mark Greco, Martin Skelton, Michael Blencowe and Nione Meakin<br />

PUBLISHER: Becky Ramsden becky@vivamagazines.com<br />

Please recycle your <strong>Viva</strong> (or keep us forever).


beautifully imperfect since 2009



AT NIGHT,<br />




...............................<br />

Bits & Bobs.<br />

10-25. Is that a David Shrigley on the<br />

cover? Why yes, it is. Inside the mag,<br />

the Festival guest director and <strong>Brighton</strong><br />

resident gives us the lowdown on his<br />

busy <strong>May</strong>. Plus: Alexandra Loske finally<br />

gets inside a forgotten studio; BOAT<br />

dreamer, the late Adrian Bunting, on<br />

the buses; Joe Decie wanders round<br />

the city in a pair of art-filtered glasses;<br />

a <strong>Brighton</strong> charity promotes the music<br />

of refugees; the Groutfiti artist strikes<br />

again; we have a pint of ‘meaty’ chips at<br />

The Caroline of Brunswick, and <strong>Viva</strong><br />

<strong>Brighton</strong> does a flit across the Thailand-<br />

Laos border. And plenty more besides.<br />

My <strong>Brighton</strong>.<br />

26-27. Artists Open Houses festival<br />

director Judy Stevens on the world’s<br />

original art-snoopers’ paradise.<br />

60<br />

10<br />

Photography.<br />

29-35. Tony Tree snaps life on the steps of<br />

<strong>Brighton</strong> Unitarian Church in New Road.<br />

Columns.<br />

37-41. Lizzie Enfield raps on the art of<br />

abandoned trousers; John Helmer keeps a<br />

lycra-clad lid on a Life on Mars pub, and<br />

will it ever be warm enough for Amy Holtz?<br />

Photo by Victor Frankowski<br />

Alma Haser<br />

On this month.<br />

42-57. Ben Bailey’s picks from The Great<br />

Escape (from in town and out); Blake<br />

Morrison at the Charleston Festival; a<br />

beginner’s guide to being more Beyoncé;<br />

The Lives They Left Behind at BOAT;<br />

transgender traveller Adam at the Theatre<br />

....7 ....

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Buy direct from producers<br />

Talks by industry experts<br />

Free samples<br />

Artisan food stalls<br />

Live music<br />

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...............................<br />

Royal; Baba Brinkman’s Rap Guide to<br />

Climate Change; Mortified at The Warren;<br />

<strong>Brighton</strong> Film Quartet’s Soundscape<br />

at Spiegeltent, and Ezra Furman at<br />

<strong>Brighton</strong> Dome.<br />

89<br />

Art.<br />

59-71. Who will be best-in-show at<br />

Artists Open Houses? Plus the art of the<br />

everyday at the Museum of Ordinary<br />

People; Morag Myerscough’s Belonging,<br />

and a round-up of (just a tiny fraction of)<br />

what’s on, art-wise, this month.<br />

The way we work.<br />

73-77. All dressed up with nowhere to<br />

go… five Fringe performers go about<br />

their daily business in their festival finery.<br />

Photo by Adam Bronkhorst, adambronkhorst.com<br />

Food.<br />

79-83. Not one but two performances<br />

revolving around food, and The Rummikub<br />

Curry Club is a thing.<br />

Features.<br />

85-97. We get out and about: a yoga<br />

sanctuary in a converted church; the<br />

festival on the fringes of the city; a<br />

Photo by Adam Bronkhorst, adambronkhorst.com<br />

73<br />

97<br />

two-wheeled tour of <strong>Brighton</strong>’s street art<br />

with REQ, and an art-toting plinth in<br />

Hove. Plus Lewes composer Ed Hughes,<br />

orchestrating the Sussex landscape, and<br />

long live lichen! The original street<br />

artists, ready to invade Mars.<br />

Inside left.<br />

99. The <strong>Brighton</strong> Festival Chorus, 1970.<br />

....9 ....


.......................................................<br />

Photo by Victor Frankowski<br />

Over the years we’ve been<br />

privileged to feature the<br />

work of some incredible<br />

local talent on our covers.<br />

This month we’re especially<br />

excited to have been given<br />

this illustration, unmistakably<br />

the work of Turner Prizenominated<br />

artist David<br />

Shrigley, to introduce our<br />

festival issue.<br />

Kemptown resident David is,<br />

of course, the Guest Director<br />

for this year’s <strong>Brighton</strong><br />

Festival (5th – 27th <strong>May</strong>).<br />

“I was quite surprised to be<br />

asked,” he tells us. “I felt like<br />

I was in rather prestigious<br />

company.” He has curated<br />

a selection of events for the<br />

Festival, spanning visual<br />

arts, music and literature.<br />

“I had the opportunity to<br />

make a performance piece<br />

[Problem in <strong>Brighton</strong>, at The<br />

Old Market, 10th – 12th<br />

<strong>May</strong>] which is something<br />

I’ve always really wanted to<br />

do. I’ve done musical things<br />

© David Shrigley<br />

before, in terms of writing<br />

lyrics, but I haven’t really<br />

directed anything. I’ve also<br />

made the musical instruments<br />

– there are seven electric<br />

guitars that I’ve designed and<br />

some other instruments as<br />

well – so it’s going to be quite<br />

a curious piece, but hopefully<br />

it’ll be a lot of fun.”<br />

Another of David’s events,<br />

Life Model II (until 28th <strong>May</strong>),<br />

has seen Fabrica transformed<br />

into a life-drawing classroom,<br />

centred around a nine-foottall<br />

female mannequin. “She’s<br />

quite weirdly proportioned,”<br />

he explains, “which, as a<br />

person who studied life<br />

drawing at art college and<br />

wasn’t very good at it, is sort<br />



.......................................................<br />

© David Shrigley<br />

Still from A Shit Odyssey<br />

of my revenge, because even<br />

if you are good at life drawing<br />

the finished piece is still going<br />

to look badly proportioned.<br />

The joy of the exhibition is<br />

that it encourages people<br />

to make drawings, and not<br />

necessarily feel that they have<br />

to be good at drawing. It’s for<br />

everybody.”<br />

The Festival has always been<br />

an opportunity to open up the<br />

arts to audiences who might<br />

not usually take part, and to<br />

inspire young people to follow<br />

their creative passions. David<br />

talks about the importance<br />

of those early formative<br />

experiences in his own life:<br />

“My family was not interested<br />

in the arts at all,” he says. “I<br />

don’t think I even knew there<br />

was such a career as being an<br />

artist, but I remember going to<br />

see an exhibition at what was<br />

the Tate Gallery - I guess I was<br />

about 14. It was Jean Tinguely,<br />

a Swiss kinetic sculptor, and it<br />

was a really amazing show of<br />

all these machines that he’d<br />

made, which made sounds and<br />

drawings, and for me that was<br />

a real eye-opener. I wanted<br />

to do something like that and<br />

I wanted to make something<br />

like that. It was a real moment<br />

at which I decided, I was<br />

probably never going to be a<br />

professional footballer, I was<br />

going to be an artist.”<br />

“I think my parents were<br />

probably quite disappointed<br />

that I wanted to go to art<br />

school,” he says. “I’m from a<br />

fairly modest background, so<br />

they always felt that working<br />

hard and having a career and<br />

making a living was the most<br />

important thing, and they<br />

couldn’t see how I could<br />

do that as an artist. To<br />

be fair to them, it<br />

never really<br />

occurred<br />

© David Shrigley<br />

to me that I could make a<br />

living either. It turned out<br />

alright in the end.”<br />

So what advice does he have<br />

for this year’s graduating<br />

artists? “Do what you want to<br />

do. A lot of people will tell you<br />

that you shouldn’t pursue this,<br />

but if you’re an artist, whether<br />

you’re a musician or a writer<br />

or a filmmaker, you’ve just<br />

got to do it, and eventually,<br />

somehow, you’ll find a way<br />

of making a living out of it.”<br />

Rebecca Cunningham<br />

brightonfestival.org<br />


Wakehurst’s wonderful woodlands<br />

come alive this <strong>May</strong> bank holiday<br />

Family activities | tree climbing | storytelling | birds of prey<br />

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goats and chickens<br />

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David Elphick and his fiancé Amy took this shot a month into their<br />

travels through South East Asia at the Thai-Lao Friendship Bridge<br />

border crossing. They’ll be gone until June, missing all of this month’s<br />

festivities, so his sister slipped a copy into his case as a reminder of home.<br />

David asked us to say hi to all their friends, and to remind his sister not<br />

to wreck their place while they’re away. Keep taking us with you and keep<br />

spreading the word. Send your pictures to hello@vivamagazines.com<br />



...............................<br />


ROUTE 12, 12A<br />

Some people burn brighter (and faster) than<br />

others. This was certainly true of Adrian Bunting: a<br />

playwright, director, producer, construction manager,<br />

inventor and compère.<br />

Born in Woolwich in 1966, Adrian initially planned<br />

to study Law in Manchester but quickly switched<br />

to an MSc in Building at <strong>Brighton</strong> Polytechnic,<br />

where he threw himself into the local arts scene,<br />

regularly appearing with the Festival Shakespeare<br />

Company, founding the Upstairs Theatre Company<br />

and becoming master of ceremonies at the<br />

legendary Zincbar Cabaret at the Basement (the<br />

original, seedier version). It was described as ‘a<br />

gloriously unpredictable crucible into which both<br />

gold and rubbish were thrown’. More theatrical<br />

experimentation was to follow. Not least ‘the<br />

World’s Smallest Theatre’ in which Adrian – and<br />

actress Clea Smith – performed to a one-person<br />

audience in a<br />

custom-made<br />

wooden box,<br />

and the much<br />

acclaimed Kemble’s<br />

Riot, in which he cast the audience as rioters.<br />

Combining all of his talents, he was drawing up<br />

plans for an open-air theatre in the defunct bowling<br />

green in Dyke Road Park when he was diagnosed<br />

with pancreatic cancer in April 2013. Irrepressible<br />

to the end, he spent his last weeks sharing his<br />

plans with friends, urging them to see the project<br />

through to completion, and leaving his life savings<br />

to kickstart the project. He died just four weeks later.<br />

The brilliant BOAT, which opened in <strong>May</strong> 2015, is<br />

a fitting tribute to his memory (although he might<br />

have been disappointed with the lack of rioting in the<br />

audience). brightonopenairtheatre.co.uk<br />

Illustration by Joda (@joda_art)<br />

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...............................<br />



.........................................<br />



In 2012 I curated my first<br />

exhibition at <strong>Brighton</strong><br />

Museum, a display of<br />

around 50 works by the<br />

artist Robert Charles<br />

Goff (1837-1922), whose<br />

etchings and paintings<br />

earned him an international<br />

reputation during his<br />

lifetime. A fervent traveller,<br />

he found subjects for<br />

his art in Italy, Egypt,<br />

Japan, Holland and<br />

Switzerland, but he had<br />

a special connection with<br />

England’s south coast.<br />

He seems to have been<br />

particularly drawn to<br />

Sussex throughout his life<br />

and kept a place in Hove<br />

for the best part of 33<br />

years. His love of <strong>Brighton</strong> & Hove is reflected<br />

in some of his finest and most popular etchings,<br />

such as The Destruction of the Chain Pier (1896)<br />

and The Metropole Hotel (c1895). He painted and<br />

etched views of the sea, shorelines and waterways<br />

in every phase of his career, wherever he worked<br />

and lived. In one dramatic etching, The South<br />

Cone (c1896) Goff depicts waves crashing<br />

precariously around the end of the West Pier.<br />

Goff moved into a large house on the east side of<br />

Adelaide Crescent in or around 1889. He left the<br />

house in 1903 to move to Italy with his second<br />

wife Clarissa, but kept a studio, complete with a<br />

printing press, in Holland Road until his death in<br />

1922. ‘Wick Studio’ was purpose-built for him in<br />

1895, with more living and working space added<br />

Image courtesy of Alexandra Loske<br />

in 1907. It backed onto his<br />

home in Adelaide Crescent<br />

and was connected to it via<br />

some steps which are still<br />

there today.<br />

Even after he left to live<br />

in Italy, Goff remained<br />

involved with the <strong>Brighton</strong><br />

& Hove art scene by<br />

exhibiting his work here<br />

and as a member of the<br />

<strong>Brighton</strong> Fine Arts Sub-<br />

Committee. It seems that<br />

he got on very well with<br />

Henry Roberts, Chief<br />

Librarian and Curator<br />

of <strong>Brighton</strong> Museum.<br />

Shortly after Goff’s death<br />

in Switzerland in 1922,<br />

memorial exhibitions were<br />

held at <strong>Brighton</strong> Museum,<br />

Hove Public Library, and the Fine Art Society in<br />

London. <strong>Brighton</strong> & Hove Museums acquired<br />

the entire contents of this studio, a collection<br />

which gives a remarkable insight into the work<br />

and methods of an etcher in the late 19th and<br />

early 20th century.<br />

This image shows an etching from 1912 of<br />

Wick Studio and Holland Road. It is a lovingly<br />

composed view of a place that was clearly very<br />

important to him. The mother and child in the<br />

foreground may be significant: Goff’s first wife<br />

Beatrice and their young son Francis died a few<br />

years after they had moved to Hove. Goff also<br />

included a similar view of his studio in miniature<br />

as part of a large index plate for a catalogue of his<br />

work in 1898.<br />



.........................................<br />

Image courtesy of Alexandra Loske<br />

I once managed to visit Goff’s large house in<br />

Adelaide Crescent (converted into separate<br />

apartments after he left), and found a couple<br />

of large Moorish mirrors in the hall which he<br />

probably brought back from his travels to North<br />

Africa. As for Wick Studio, it, too, survives in<br />

the now-much-changed Holland Road. Until<br />

recently I thought that no trace of Goff remained<br />

there, but a few weeks ago I was contacted by<br />

Kim and Clive Bolton, who live in the house,<br />

now 4 Holland Road. They invited me to their<br />

home and were keen to find out more about Goff.<br />

It was a fascinating visit, as you can clearly see<br />

the original layout of a generous artist’s studio,<br />

complete with a gallery. In the loft there is even<br />

still an original light pendant for the studio.<br />

Kim and Clive have also discovered the original<br />

designs for Wick Studio at The Keep Archives. It<br />

was very moving to imagine the many hundreds<br />

of etchings and watercolours by Goff that are<br />

now in the collection of <strong>Brighton</strong> Museum being<br />

created in this space. We are now working jointly<br />

on applying for a Blue Plaque for Goff on his<br />

beloved studio in Holland Road.<br />

Alexandra Loske, Curator and Art Historian<br />

Image courtesy of Royal Pavilion & <strong>Brighton</strong> Museums<br />



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We started around 2008. I’d been<br />

noticing a lot of negative press<br />

towards refugees and migrants. I<br />

remember seeing a story on Channel<br />

4 News one day about a family that<br />

had been attacked – it was terrible –<br />

and there was a clip of this guy getting<br />

onto a bus with this accordion<br />

on his back. That gave me a thought: maybe we could<br />

do something positive to showcase the music and<br />

culture that people bring when they come here.<br />

We do recordings, gigs, and fundraising for musicians<br />

from refugee and migrant backgrounds.<br />

We work as a booking agent as well. At first, if I saw<br />

someone in the street with an instrument I would<br />

just go up and chat to them and tell them about<br />

what we do. There’s a great European Romany band<br />

called Gypsy Stars that I saw busking in <strong>Brighton</strong><br />

maybe eight years ago, and I went up to them and<br />

we had a beer and a chat.<br />

We’ve been doing gigs with<br />

them ever since.<br />

We were at Glyndebourne<br />

with a couple of Syrian<br />

musicians recently. There<br />

were all these different people<br />

– filmmakers and writers<br />

and opera singers – all collaborating together. We<br />

get a lot of generic emails from people asking for<br />

‘some refugees’ – it’s very dehumanising. But when<br />

we arrived at Glyndebourne it was like they weren’t<br />

refugees, they were just good musicians who had<br />

something interesting and valid to contribute.<br />

Rebecca Cunningham spoke to Phillip Minns<br />

Day & Night EP by Syrian musicians Jamal and Alaa is<br />

on sale now. Proceeds go to the Sussex Syrian Community<br />

Hardship Fund. Look out for Best Foot musicians<br />

at The Great Escape: info at bestfootmusic.net<br />

Protect your family’s future<br />

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OPEN<br />

HOUSES<br />

An unmissable part of <strong>Brighton</strong>’s<br />

festival season – over four weekends<br />

from 5-28 <strong>May</strong>, artists open their<br />

doors offering work from over 1,000<br />

artists, exhibiting in 200 venues<br />

across the city, out to Rottingdean,<br />

along the coast to South Heighton<br />

and over The Downs to Ditchling.<br />

aoh.org.uk<br />

Illustration: Melodie Stacey


...............................<br />


Happy <strong>May</strong> everyone.<br />

Warmth (hopefully), first<br />

swim in the sea, tons of<br />

Fringe and Festival events to<br />

go to and an overwhelming<br />

amount of art on the streets,<br />

on walls, in hairstyles, being<br />

worn, at exhibitions, by street<br />

performers and more.<br />

So, given that there is plenty<br />

of that, we’re not staying on<br />

theme this month. Instead,<br />

we are highlighting a magazine<br />

that mirrors the great<br />

big, fat gorgeousness that is<br />

Festival month in <strong>Brighton</strong>.<br />

Exhibition is huge. I mean,<br />

by magazine-size standards, it’s really, really big. If<br />

you come and buy it don’t come when it’s raining<br />

because we don’t have a bag big enough to keep it<br />

dry and you probably don’t either.<br />

It’s been interesting watching people look through<br />

the new issue. All you can hear is people saying<br />

‘Oh wow!’ or ‘It’s gorgeous’ or, of course, ‘A bit<br />

big, isn’t it?’<br />

Exhibition uses the large<br />

format so, so well. It’s a<br />

photographic, documentary,<br />

themed magazine (the<br />

theme this month is ‘Family’)<br />

with words and articles<br />

in English and French. It’s<br />

from Paris and comes out<br />

twice a year.<br />

If you like this sort of<br />

thing, it will simply blow<br />

you away. The quality of<br />

the paper is very high, the<br />

reproduction amazing and<br />

the quality of the images is,<br />

at times, sensationally good.<br />

At first glance, the images<br />

are so overwhelmingly stunning that you’ll skip<br />

the words. Don’t. Exhibition contains some really<br />

good reflective writing and interviews around the<br />

family theme.<br />

You’ll like it. We promise you. Some of you will<br />

like it as much as we do. But you’ll definitely like<br />

it. This month, enjoy the Festival and a great exhibition<br />

(or two). Martin Skelton, Magazine<strong>Brighton</strong><br />


This month we’re taking the advice on the lavatory<br />

wall and will be getting out and agrout on the city<br />

streets. With rock balancers, backward-facing buses and<br />

semi-intelligent talking seesaws in town, who knows<br />

what we’ll come across.<br />

But where is this toilet tour guide?<br />

Last month’s answer: Presuming Ed<br />


'Fantastic place, full of beautiful magazines. I just love this shop.’<br />

the world of great indie mags is here in <strong>Brighton</strong>.<br />

22 Trafalgar Street<br />

magazinebrighton.com<br />

@magbrighton<br />



...............................<br />

Our theme this month – art in the streets – particularly chimed with JJ<br />

Waller, who tells us that sometimes he views the streets as one huge film<br />

set. “When the light, the location and the human presence come together<br />

with a dramatic theatricality,” he says, “I find that the gripping storytelling<br />

potential of the ‘everyday’ can make for compelling street art.”<br />



...............................<br />

Painting by Jay Collins<br />


I walk into the Caroline of Brunswick straight after<br />

football practice in my red Lewes FC Vets hoodie,<br />

matching tracksuit bottoms, and trainers, worried that<br />

I’ll look weird. The COB, of course, is home to <strong>Brighton</strong>’s<br />

oddball tribes – the death metallers, the punks, the<br />

skateboard kids, the elfworld nerds.<br />

Nobody bats an eyelid. The first thing I notice – you<br />

can’t but – is the giant three-headed papier-mache<br />

Cerberus above the bar. ‘TWO PINTS OF STAR’<br />

I get across to the barmaid, above whatever genre of<br />

screaming rock it is that they have on. And a burger.’<br />

Then I have a pleasant chat with a clearly tanked up but<br />

extremely pleasant young man on a stool about the fact<br />

that we’re both with Lloyds Bank.<br />

I’m pointed out that there’s a menu, and I choose a classic<br />

burger with ‘meaty’ chips. My mate Tommy Tickle<br />

is doing the kitchen, and I know from what he’s told me<br />

that ‘meaty’ means that – just like the old days – they’re<br />

cooked in lard.<br />

Last year the Caroline – which, thanks to a space<br />

upstairs, doubles up as a comedy/live music venue,<br />

much loved by the likes of Zoe Lyons and Seann Walsh<br />

– was under threat because Punch wanted to renew the<br />

landlord Cliff’s licence and everyone was worried that<br />

it would become another chain pub and boot out all<br />

the oddballs. There was a campaign – Caroline Lucas<br />

got involved and thousands signed a petition – and the<br />

place was saved.<br />

It’s an old pub, listed in the directories since 1832. Said<br />

directories indicate that it used to be called The Brunswick<br />

Arms, which it remained until the nineties, when<br />

it was given the moniker ‘The Leek and Winkle’, which<br />

you might expect Martin Amis to call a Blair/Blur-era<br />

pub in one of his novels. It became The Caroline of<br />

Brunswick in November 2006, when it was reopened<br />

– after a big refurb – by Cliff, a man, I’m told, with<br />

interesting pinky-purple hair.<br />

I take the drinks into the garden (an unexpected<br />

surprise) and pretty soon Tickle arrives with the food.<br />

I don’t doubt it’s the best feed you can get in town for<br />

a fiver: the burger is plump and clearly home-crafted,<br />

and the chips are to die for, a Proustian path to the<br />

past. Needless to say – it’s that sort of place – we stay<br />

till we’re booted out. If you want three-word version<br />

of this review: ‘Great barmy boozer’. And I didn’t even<br />

mention the pool table. Alex Leith<br />


Photo by Adam Bronkhorst, adambronkhorst.com<br />



..........................................<br />

MYbrighton: Judy Stevens<br />

Artists Open Houses director<br />

Are you local? No. I’m from London. I moved<br />

to <strong>Brighton</strong> in 1992. In my previous life I was an<br />

illustrator and a printmaker (as I still am, when I<br />

have the time!) and it got to the point where you<br />

didn’t need to live in London. Everything was<br />

going online and it was easy to work from home.<br />

Why did you choose <strong>Brighton</strong>? To be honest,<br />

I really fancied going somewhere like Barcelona<br />

and my partner Chris really fancied Glasgow, so<br />

we chose <strong>Brighton</strong>. I haven’t missed London for<br />

a moment.<br />

How did you get involved with Artists Open<br />

Houses? The roots of it were in the 70s when<br />

a group of local artists opened their studios.<br />

Then, 37 years ago, Ned Hoskins had the idea of<br />

opening his house instead of his studio as part of<br />

the <strong>Brighton</strong> Festival. Soon more houses opened<br />

in Fiveways and more trails followed. The Artists<br />

Open Houses became part of the Fringe with<br />

each area also creating their own individual maps.<br />

By this time we had moved to <strong>Brighton</strong> and I was<br />

already participating in the Open Houses. Chris<br />

is a graphic designer, so we had the idea of creating<br />

a brochure that included all of the houses -<br />

150 at that time - and suddenly we had a festival.<br />

How has it changed over the years? It’s always<br />

been a really important showcase for established<br />

artists and makers - the quality of work is amazing<br />

- but now there are an increasing number<br />

of younger, emerging artists working in new<br />

ways, not necessarily making work to sell. It’s an<br />

opportunity to put their work in front of gallery<br />

owners and a massive public audience. There are<br />

also quite a few community venues showing work<br />

by excluded and outsider artists; artists who are<br />

marginalised maybe through learning difficulties,<br />

mental health, drug or alcohol issues, or others<br />

who have experienced homelessness. As far as<br />

we know it’s the biggest festival of its kind in the<br />

country. We have 200 venues with an average of<br />

8-10 artists in each. There are different things for<br />

different audiences and in any one trail you might<br />

experience them all. That’s a big part of it, the<br />

serendipity of not knowing what the next house<br />

will be.<br />

Do you still open your house? Not anymore,<br />

we can’t. It’s quite disruptive turning your house<br />

upside down and just at that moment when<br />

you’ve got to be preparing, we’re busy getting<br />

the brochures out. We want to be able to visit<br />

as many of the houses as possible, to see what<br />

everyone is doing.<br />

Aside from the Artists Open Houses, what do<br />

you like most about <strong>Brighton</strong>? It’s a really good<br />

size. You can get to know it well but there’s always<br />

a new bit to discover and so it never gets boring.<br />

You can get to grips with it.<br />

What don’t you like about it? Apart from it not<br />

actually being Barcelona… I occasionally hanker<br />

after being in the countryside and having a studio<br />

where I can get on with printmaking without<br />

having to worry about anything else.<br />

Where’s your favourite place in the city? We<br />

live just up from the station, so I have the Battle<br />

of Trafalgar (the best pub in <strong>Brighton</strong>), the Sussex<br />

Yeoman (the best place to eat) and my gym right<br />

there, so I very rarely have to go anywhere else.<br />

Where would you live if you didn’t live here?<br />

I quite like Lewes, or Lisbon. With everything<br />

that’s going in the UK at the moment, the rest of<br />

Europe does seem very attractive.<br />

Interview by Lizzie Lower<br />


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....................................<br />

Tony Tree<br />

Snaps on the steps<br />

I was invited by the<br />

Unitarian Church on<br />

New Road to take some<br />

photographs as part of the<br />

project to conserve and repair<br />

the historic portico. We<br />

wanted to cover the builder’s<br />

hoardings in photographs that<br />

reflect the life of the church.<br />

I started in 2016 and visited<br />

all through last year. I began<br />

photographing the ceremonies<br />

and the people who use the<br />

church, but we quickly decided<br />

to take it out into the street<br />

too. The portico is a natural<br />

auditorium, complete with<br />

proscenium arch.<br />

I’ve photographed all sorts of things on the<br />

steps: one-legged seagulls, buskers, rough sleepers,<br />

performances in the Fringe, marriages, one<br />

wedding with four people and a couple of dogs…<br />

it’s the very essence of the city. If it’s happening in<br />

<strong>Brighton</strong> it’s happening on New Road, from its<br />

rough edges to the polished.<br />

The street reflects the church and what<br />

happens in the church reflects the street.<br />

They suit each other. The eclectic stuff that<br />

happens in that church is extraordinary but<br />

hidden by those great red doors. There’s African<br />

drummers, baby yoga, meditation classes, tango<br />

nights, gigs, <strong>Brighton</strong> & Hove Gay Men’s Chorus<br />

and, on Friday afternoons, there are the most<br />

extraordinary concerts with first-class musicians.<br />

I’ve photographed all the different instruments<br />

over the year and have built up an entire orchestra.<br />

I remember New Road from way back. My<br />

early days were spent at my gran’s house in<br />

Upper Gardner Street and my first school was<br />

the Central School, now the<br />

site of Carluccio’s. My father<br />

was an antiques dealer and<br />

we regularly visited an art<br />

dealer where Pinocchio’s is<br />

now, and when I worked as a<br />

photographer at The Argus, the<br />

pubs there were a big part of<br />

our lives. One of my earliest<br />

memories is winning the baby<br />

show in the Pavilion Gardens<br />

in 1948. I was three!<br />

It’s always been a<br />

characterful street. It<br />

was originally called The<br />

Promenade and it is a<br />

promenade. There are posers,<br />

flâneurs, people drinking<br />

outside the pubs… It’s just the most wonderful<br />

thoroughfare. It was a gift of a job for me. I was<br />

always walking though there, not necessarily every<br />

day, but an awful lot. I can’t stop doing it now. I<br />

was walking past the Theatre Royal the other day<br />

and there was a beautiful image of a guy playing<br />

cello in the colonnade. I don’t think the project<br />

will ever end for me, but it’s on pause for now.<br />

The city will miss the portico whilst the work<br />

is completed. It’s a very social space. The world<br />

sits there to have its lunch and, when you do,<br />

people come to talk to you. It’s an engaging space,<br />

an amazing building and a really nice community<br />

that use it. The church doesn’t mind that the steps<br />

are so communal, they just put a sign outside<br />

saying; ‘No busking please. Service in progress.’<br />

As told to Lizzie Lower<br />

The renovations, funded by the Heritage Lottery<br />

Fund, are expected to be completed by November.<br />

Tony’s photos will be displayed both inside and<br />

outside the church for the duration of the project.<br />

Photo by Adam Bronkhorst, adambronkhorst.com<br />



....................................<br />

Photos © Tony Tree<br />



....................................<br />

Photos © Tony Tree<br />



Sunday 5th August, 1.30pm-Late<br />






CMYK : 0/100/0/0<br />


: 100/30/0/0<br />


CMYK : 50/0/100/0<br />













Advance Tickets (LIMITED CAPACITY - BOOK EARLY)<br />

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VIP Options Available<br />

<strong>Brighton</strong>-Pride.org<br />


Financial services in the heart of <strong>Brighton</strong>


....................................<br />

Photos © Tony Tree<br />



....................................<br />

Photos © Tony Tree<br />



....................................<br />

Photos © Tony Tree<br />


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Tel 01323 833816 www.herstmonceux-castle.com

COLUMN<br />

...........................<br />

Lizzie Enfield<br />

Notes from North Village<br />

A colleague recently returned from a press trip to<br />

Hamburg, where his tour guide left a trail of small<br />

creatures made with Hama beads. “Street art,” he<br />

informed my colleague, placing various pocketsized<br />

rabbits, cats and birds in public places. My<br />

colleague was dubious but I rather liked the idea.<br />

I once saw a comedian advocating a whole new<br />

pointless way of living: “see if you can get oranges<br />

to rhyme with sausages,” he cajoled, rousing the<br />

audience by asking them to chant lines ending<br />

with both words and the encouraging “If you try<br />

hard enough, you might find sausages and oranges<br />

do rhyme.”<br />

They never did. But we had fun trying.<br />

The same comic said he often left eggs in people’s<br />

gardens, as talking points.<br />

“Imagine Florence and Alfred at number 73<br />

haven’t actually spoken to each other for years.<br />

Then, Flo draws the curtains one morning and<br />

tells Fred to get out of bed and look at this.”<br />

He mimed Fred going to his wife, who he no<br />

longer had anything left to say to.<br />

“What is it?”<br />

“An egg!”<br />

Suddenly they are chatting away over breakfast.<br />

“How did it get there? Who left it? Why? Is it<br />

art?”<br />

A few months ago I woke to see a woman planting<br />

a series of small crosses at apparently random<br />

intervals across the grass in the local park.<br />

I toyed with the idea that it was some sort of<br />

memorial, the fallen of Blaker’s Park during the<br />

war perhaps? Or the #MeToo women of the North<br />

Village? Or perhaps an art installation?<br />

Turned out she was highlighting the amount of<br />

dog’s mess in the park. But still, it did look pretty.<br />

And now there’s a new installation that’s being<br />

talked about almost as much as if it were a Banksy:<br />

a pair of maroon corduroy flares, abandoned on<br />

the footbridge crossing the railway line.<br />

Suddenly all the neighbors are chatting about<br />

them.<br />

“Have you seen the trousers on the railway<br />

bridge?”<br />

“What size are they?”<br />

“Best place for them.”<br />

“If there was a burgundy tank top with them, then<br />

they’re mine.”<br />

“Marooned!” Boom boom.<br />

And then mysteriously, the trousers moved from<br />

the south to the north side of the bridge where<br />

they were arranged, rather than dumped: slung<br />

over the railings in a suggestive way, if maroon<br />

corduroy flares can ever really be considered<br />

suggestive.<br />

“Perhaps they’re part of the festival?” suggested<br />

someone standing at the foot of the bridge where<br />

there’s a little stenciled cat – like an actual Banksy.<br />

“More likely the owner was stripped and arrested<br />

by the fashion police.” This, from one of the ubercool<br />

teens in the street.<br />

I told her that I used to have a very similar pair<br />

myself in the 70s.<br />

She replied, coolly: “A lot of things happened in<br />

the 70s that society no longer condones.”<br />

This seems like a good title, for a street art exhibit.<br />

Illustration by Joda (@joda_art)<br />


COLUMN<br />

...........................................<br />

John Helmer<br />

Traffic<br />

Illustration by Chris Riddell<br />

The carpet is swirly, the walls half-timbered.<br />

The ceiling has a honeycomb-coloured patina<br />

that dates the interior as pre-smoking-ban;<br />

pre-the relentless tide of gastrofication that<br />

has swept through pretty much every pub in<br />

<strong>Brighton</strong>. You have to come deep into the sticks<br />

for this. There is a plate rail, horse brasses. An<br />

outside gents with a leaky roof. It is the pub<br />

that time forgot, and penetrating its portals our<br />

exposed middle-class knees go weak.<br />

I’m out for a spin with some MAMiL friends<br />

(Middle-Aged Men in Lycra), one of whom<br />

pulls out his phone and asks the landlady if<br />

it’s OK to take a photograph of the hallowed<br />

interior.<br />

“All right, but I’ll have to keep me mouth shut,”<br />

she says, assuming he’ll want her in it; “me<br />

plate is off at the dentist being fixed—I’ll never<br />

eat a Double Decker straight out of the fridge<br />

again…”<br />

Priceless. We order drinks and huddle in<br />

the back bar, admiring the wall display, an<br />

inexplicable juxtaposition of antique guns and<br />

Dinky cars.<br />

A local couple come in, nod to us and strike up<br />

conversation. We mentally brace. Will the talk<br />

turn to Brexit? Please God don’t let the talk<br />

turn to Brexit. But all they want to talk about is<br />

traffic.<br />

“I was on that coast road for twenty minutes.<br />

They had some show or something going<br />

on. And then up by the Pavilion there was<br />

something causing a jam. And other stuff near<br />

the Town Hall… they ought to think about<br />

it before they book these things all at once,<br />

oughtn’t they..?”<br />

“Nice guy,” I say to Simon later as we saddle up,<br />

“but it’s as if he doesn’t get how a festival works.<br />

Like the council just made this terrible series of<br />

scheduling errors - ‘d’oh how did we do that?’ -<br />

you imagine them whacking their foreheads in<br />

disbelief - ‘booked a whole year’s-worth of arts<br />

events in one month! What were we thinking!<br />

The traffic problems! If only we’d spaced the<br />

shows out through the year...’”<br />

We resume our ride full of nostalgic longing<br />

for the ideal, the platonic pub; the pub of lost<br />

content that we have found. We know this place<br />

is unique. To call it a waystation on our ride<br />

would be to traduce an itinerary that always<br />

centred on it, right from the very beginning.<br />

The point of the whole day, really, was to visit<br />

The—<br />

But I’m not going to tell you its name, or where<br />

it is. If I did you might go there, and like it (on<br />

Facebook, even) and tell your friends… and<br />

within six months the floors would be sanded,<br />

the walls stripped, and they’d be serving linecaught,<br />

beer-battered cod with a minted pea jus<br />

and thrice-cooked hand-cut chips in a stupid<br />

wire basket and it would all be over.<br />

Over.<br />

In the words of the great Frankie Valli, let’s hang<br />

on to what we’ve got.<br />


We also run<br />

regular fused<br />

glass workshops -<br />

dates for <strong>2018</strong><br />

now available.

COLUMN<br />

...........................<br />

Amy Holtz<br />

The truth is, I’m a Minnesotan<br />

It’s official – we can stop<br />

being so angry now, because<br />

apparently it’s spring. Cats,<br />

even the feral ones, are being<br />

stroked in the street. Babies<br />

look cuter. Faces emerge<br />

tentatively from tightened<br />

hoods with just a flicker of<br />

an upturned lip. The runners<br />

are out, making the rest of<br />

us look bad. We are spring,<br />

spring is us.<br />

Stoicism is one of this<br />

country’s most admirable qualities and so I’m<br />

sitting outside a drinking establishment with a<br />

friend, practising fortitude, and shivering. Let’s<br />

be honest, it’s a stupid thing to do and everyone<br />

knows it, but we’re all desperate to pretend it’s<br />

not that cold out. Two girls walk past in what<br />

my grandma used to purchase in pastel bulk<br />

and call ‘pedal-pushers’ (not sure why) and<br />

I have a chuckle to myself while shaking out<br />

my numb fingers. Their ankles are a mosaic<br />

of goosebumps and for a second, one of them<br />

breaks the ice of this absurdity, absently tugging<br />

up the useless elastic of her retro gym socks.<br />

It’s kinda beautiful, this suffering. But then a<br />

man saunters past, leans against the stoplight,<br />

waiting for the green guy. He’s wearing shorts<br />

and Birkenstocks and walking a chihuahua (who<br />

is also shivering).<br />

“I can’t wait till <strong>May</strong>, when it’s warm.” My friend<br />

leans back against the pub as I stare at her,<br />

incredulous.<br />

“Where on earth have you been <strong>May</strong>-ing?<br />

Bermuda?”<br />

Because, honestly, I can’t remember a Great<br />

Escape without wet clothes, every underground<br />

venue in <strong>Brighton</strong> smelling like a poodle<br />

drenched in stale Red Stripe<br />

seasoned with patchouli. Or<br />

gamely attempting to be the<br />

first person to rush the mud<br />

to those exposed lawn chairs<br />

at the Spiegeltent, playing our<br />

collective favourite game of<br />

looking smug while bracing<br />

the merciless, icy whip of<br />

20mph winds. The thing<br />

that really gets me, though,<br />

is that outdoor beers, much<br />

anticipated all winter, are<br />

somehow always lukewarm, despite the arctic<br />

temperatures. It’s a special knack we seem to<br />

have here in <strong>Brighton</strong>, like juggling, or pebblewalking.<br />

“Naw, seriously. It’s always like mega-hot in<br />

<strong>May</strong>.”<br />

This is a truly astounding claim.<br />

“No, it’s really not. You must be in some sort<br />

of denial because for as long as I’ve been here,<br />

a massive dark cloud monster with a soggy<br />

bottom sits on top of <strong>Brighton</strong> for the duration<br />

of <strong>May</strong> and then gets up to do something else<br />

as soon as June rolls around. But by then all<br />

the fun stuff’s been packed away – the crazy<br />

Fringe shows with amateur magicians in cattle<br />

boxes, the over excited pre-pubescents with<br />

fireworks, the over excited, drunk adults with<br />

fireworks, the circus, the mimes, the copious<br />

street drinking.”<br />

“Well, it was warm last week.”<br />

Ah yes. The old ‘it was balmy for two minutes in<br />

April’ argument. That one never gets old.<br />

“It was, you’re right.” My pint glass is freezing,<br />

but the beer inside – just as I suspected – is as<br />

tepid and flat as my false hope. “But I’m not<br />

gonna hold my breath.”<br />


MUSIC<br />

..........................<br />

Ben Bailey’s Great Escape picks<br />


Photo by Charlotte Patmore<br />


The trajectory of Kojey Radical’s move from artist<br />

and poet to musician has propelled him into a unique<br />

place in hip hop. Emerging at a tangent from a scene<br />

dominated by grime, this East London rapper has<br />

forged a wholly unique sound and the beginnings<br />

of an intriguing career, almost entirely on his own<br />

terms. The fact he lost out on a Mobo award (twice!)<br />

might have even helped. As a socially conscious lyricist,<br />

Radical made a big impact with intelligent and<br />

searching tracks like Kwame Nkrumah and Bambu,<br />

but has since sidestepped the political pigeonhole.<br />

His most recent release, If Only, combines jittery<br />

spoken word with a strident chantable chorus. He’s<br />

an inventive maverick, but a crossover hit can’t be<br />

far away.<br />


Humble, a little<br />

weary and defiantly<br />

lo-fi, Goat Girl<br />

are an all-female<br />

four-piece with silly<br />

stage names and<br />

songs so short they<br />

rarely hit the three-minute mark. The band’s debut<br />

album came out last month and featured 19 tracks<br />

across 40 minutes, each a curious blend of retro<br />

styles and of-the-minute sensibilities. Hailing from<br />

the same South London scene that gave us bands<br />

like Shame, Sorry and Fat White Family, Goat Girl<br />

offer a hazy musical snapshot of life in a city on the<br />

skids. Lead singer Clottie Cream delivers her wry<br />

lyrics with a kind of Lou Reed fatalism, occasionally<br />

tipping into real anger on songs about burning Tories<br />

and wanting to smash the heads of guys filming her<br />

on the train. Musically, it’s a mix of post-punk and<br />

60s garage, with sisterly harmonies and sassy tunes.<br />


Alex Lynn’s musical<br />

career took off when<br />

she was studying maths<br />

and physics on a football<br />

scholarship at Long<br />

Island University. Having<br />

returned home to Australia,<br />

her plans to do a PhD<br />

in astrophysics have now been put on hold due to the<br />

unforeseen popularity of her breezy and upbeat folk<br />

pop. That this 23-year-old can succeed as a sportswoman,<br />

an academic and a musician might make<br />

some of us feel a little inadequate, but luckily her<br />

precocious talents are matched by humble charisma<br />

and disarming lyrical honesty. Alex The Astronaut’s<br />

simple storytelling style taps into a tradition of frank<br />

female songwriters from Suzanne Vega to Courtney<br />

Barnett, while her ‘coming out’ hit Not Worth Hiding<br />

became an unofficial anthem for the ‘Yes’ campaign<br />

in the Australian gay marriage vote.<br />


Comprised of three ‘very nice, polite young people<br />

from a picturesque market town in rural East Anglia’,<br />

Gaffa Tape Sandy know they are ‘a publicist’s nightmare’,<br />

yet the trio’s upfront music is capable of doing<br />

the work of a thousand press releases. A set on the<br />

BBC Introducing stage at Glastonbury last year was<br />

a turning point for the self-effacing band from Bury<br />

St Edmunds, and they’ve since received rave reviews<br />

for their fuzzed-up and frenetic alt rock. The group<br />

provide all the ingredients you need for a good indie<br />

gig: top tunes, a great sound and faintly disturbing<br />

yet tongue-in-cheek lyrics. In short, the trio offer the<br />

adrenaline rush of early Ash singles, the mischievous<br />

melodies of Violent Femmes and the satisfying guitar<br />

crunch of The White Stripes.<br />

Thursday 17th - Saturday 19th <strong>May</strong><br />


MUSIC<br />

..........................<br />

Ben Bailey’s Great Escape picks<br />



Grace Carter’s ex<br />

boyfriend must be<br />

feeling kind of weird<br />

right now. The<br />

<strong>Brighton</strong> singer has<br />

seen her star rise<br />

sharply this year on<br />

the back of a handful of singles, all inspired by personal<br />

heartbreak. The straight-up honesty of songs<br />

like Silhouette and Ashes gives her soulful vocals a<br />

real emotional punch, depicting relationship fallout<br />

with an intensity you no longer expect from R&B<br />

ballads. Having grown up listening to the likes of<br />

Nina Simone and Lauryn Hill, the 20-year-old<br />

singer also knows her way around a lyric, making<br />

her troubles relatable with hooks to boot. Carter<br />

has toured with Dua Lipa and Rag‘n’Bone Man<br />

and has a summer of festival appearances, and much<br />

more besides, ahead of her.<br />


Anyone after some unadulterated grunge rock<br />

should listen out for this thrashy guitar band from<br />

<strong>Brighton</strong>. Though their name suggests they might<br />

be a riot grrrl group, Gender Roles are actually a<br />

trio of lads inspired by a slightly different vein of<br />

American alt rock. If we’re talking 90s touchstones,<br />

let’s just say they owe more to Kurt than Courtney.<br />

Other influences include Tubelord and Wavves and<br />

you can tell they probably listened to their fair share<br />

of hardcore and emo back in the day. Though they<br />

only got going two years ago, the band have already<br />

bagged plenty of radio play as well as support slots<br />

with Jamie Lenman. Gender Roles’ second EP<br />

came out last month, and they’ve just got back from<br />

a ‘free entry’ headline tour of the UK. They’re off<br />

again with Touché Amoré later in the year.<br />


With a jangly and shimmering guitar tone that<br />

wouldn’t seem out of place on a Sarah Records<br />

compilation, Breathe Panel sound more relaxed<br />

than most current indie bands, even when the music<br />

is rounded out with soaring vocals and pulsing<br />

motorik beats. It’s a little bit shoegaze, a little bit<br />

garage. The sort of thing you’ll ease into and fall for<br />

without noticing. Started by two childhood friends<br />

who moved here for uni, the band was forged<br />

through a shared love of West Coast Americana,<br />

krautrock and drone music. Their debut album<br />

is due in July and was produced by Hookworms’<br />

MJ, to be released on local label FatCat Records.<br />

After sharing stages with Big Moon, Quilt and<br />

Honeyblood, this year’s Great Escape could be the<br />

moment when Breathe Panel’s vista really opens up.<br />


A string of top festival slots<br />

put White Room on the<br />

map for many last year,<br />

though they were also<br />

helped along by a glowing<br />

recommendation from Paul<br />

Weller. In fact, Weller was so impressed he booked<br />

the band to support him and even gave them time<br />

in his studio. This <strong>Brighton</strong> five-piece have certainly<br />

nailed their style, borrowing from 60s guitar pop<br />

(The Kinks, The Beatles) to make an anthemic and<br />

danceable modern version of what they call ‘surrealist<br />

psych-pop’. White Room have a great frontman<br />

in Jake Smallwood and some suitably kooky ideas<br />

(their debut release was a double concept EP based<br />

on the number 8). Their recent single, Twisted Celebration,<br />

comes with a video of the band frolicking<br />

on the carousel on <strong>Brighton</strong> beach. Warning: may<br />

contain paisley.<br />

greatescapefestival.com<br />


Photo : Billy Merson as ‘Idle Jack’ at <strong>Brighton</strong> in 1910


....................................<br />

Blake Morrison<br />

at Charleston Festival<br />

You’re appearing at<br />

Charleston Festival this<br />

month to talk about<br />

your latest novel, The<br />

Executor. What do you<br />

make of the rise of<br />

festivals? In general they’re<br />

a good thing – a chance<br />

for writers to meet their<br />

readers and vice versa. The<br />

smaller the festival, the<br />

greater chance there is of<br />

that happening. Charleston<br />

is one of the best organised<br />

and most congenial.<br />

The Executor tells the<br />

story of Matt Holmes,<br />

who is asked by Robert<br />

Pope to oversee the<br />

terms of his will. When<br />

Pope dies suddenly Matt has to negotiate<br />

the rather contradictory terms of the will<br />

and the concerns of Pope’s widow, Jill. Do<br />

you have experience of being an executor<br />

yourself? I haven’t appointed a literary executor,<br />

and though I’ve agreed to act as one, for a<br />

friend, he’s younger than me, and with luck I’ll<br />

never be called on. Many writers leave behind<br />

contradictory instructions in their wills. Often<br />

they’ll ask for work that embarrasses them, but<br />

which deserves to be preserved, to be destroyed.<br />

If wills were followed to the letter, then we<br />

wouldn’t have Kafka’s novels. Executors have to<br />

weigh up how best to serve the author’s interests.<br />

Sometimes they’re loyal, paradoxically, by<br />

betraying them. After all, if writers really want<br />

things they’ve written to be destroyed, why not<br />

do it themselves?<br />

A lawyer briefs Matt on the law concerning<br />

literary wills in the novel.<br />

How did you research this?<br />

At an academic conference<br />

on ethics and life-writing<br />

at Goldsmiths a few years<br />

back, I heard a very good<br />

talk by a lawyer. Afterwards<br />

I followed up some of the<br />

cases he’d alluded to as well<br />

as finding a few more – all of<br />

them relating to the eternal<br />

war between the right to<br />

privacy on the one hand, and<br />

freedom of expression on the<br />

other.<br />

Robert Pope’s will sets<br />

off the action of the<br />

novel. You make him a<br />

poet, not a novelist, a<br />

playwright, or a memoirist.<br />

What was it about making Pope a poet that<br />

appealed to you? It wasn’t a deliberate choice,<br />

more serendipity. I wrote the poems first, over<br />

a number of years, didn’t feel they were really<br />

‘mine’, began to see how they could form part<br />

of a novel, and then developed the character of<br />

Robert Pope – revising the poems and adding<br />

new ones as I went along.<br />

At one point Matt reflects on what makes<br />

a great writer. Have you thought about this<br />

yourself? I think about it all the time, but I don’t<br />

have any answers beyond the obvious. Style,<br />

subject matter, intelligence, a responsiveness<br />

to the zeitgeist that also addresses the eternal<br />

verities – all play their part.<br />

Interview by John O’Donoghue<br />

Blake Morrison is in conversation with Hermione<br />

Lee at the Charleston Festival, 5.30pm, 20th <strong>May</strong>.<br />

charleston.org.uk/festival<br />


Photo © Julia Willms<br />

COMEDY<br />

.............................<br />

How to Be Yoncé<br />

A beginner’s guide<br />

Times are hard and yet Beyoncé seems to have it<br />

all. Stephanie van Batum and Stacyian Jackson are<br />

bringing their easy guide to being more Bey to the<br />

Fringe. Stephanie tells us how to get started.<br />

It came about as kind of a joke. I was thinking<br />

about my graduation piece from theatre school and<br />

I actually wanted to make Romeo and Juliet, then I<br />

said to my friends ‘or we could just make a show<br />

about Beyoncé’ and then we were like, ‘maybe we<br />

do make a show about Beyoncé...’<br />

What would it be like if we made a YouTube<br />

tutorial? You know these things, ‘ten steps to do<br />

your makeup like Kim Kardashian’, where everything<br />

can be self-taught through a tutorial. We<br />

thought, ‘if Beyoncé is such an icon, the example of<br />

a woman who has it all - mother, wife, singer, dancer,<br />

sexy, feminist, business woman - then maybe<br />

we could make a tutorial on how to become her’.<br />

It’s an ironic take on the idea that you can become<br />

anything as long as you work hard enough.<br />

We thought, ‘what are the bits and pieces that<br />

Beyoncé is made of?’ When you break it down<br />

it’s not that hard. The basic things come first, like<br />

the voice, the moves, then at a certain point we<br />

realised that everywhere she goes, there’s wind<br />

blowing in her hair. So, we were going to need a<br />

wind machine.<br />

The whole thing is presented as a seminar.<br />

We explain the essential dance moves, how to be<br />

a feminist (but a sexy one), and how you need an<br />

alter ego of course (like Sasha Fierce or Yoncé).<br />

The audience can dance and sing along and we<br />

give them assignments for homework. By the end<br />

of it, they are all in the Beyhive.<br />

Of course, the deeper lying meaning of the<br />

piece has to do with feminism, identity, gender<br />

and race. Me and my friends talk about how it’s<br />

not easy being a woman these days. You have to<br />

have everything and if one piece is missing you’re<br />

clearly a failure. We have to make a joke about it.<br />

Be a feminist… but you also have to get married<br />

to Jay-Z? It’s also a piece about appropriation art.<br />

Beyoncé copied and borrowed from a lot of other<br />

artists and everything that we do in the show is<br />

copied from things that she did. So, it’s a copy of a<br />

copy of a copy, which is an interesting artistic idea.<br />

We performed in Berlin and Cologne and it<br />

was a spectacular hit with the LGBTQ community<br />

but it’s also for straight men, 80-year-old<br />

grandmothers, teenagers… It doesn’t matter if<br />

you’re a man, woman, black, white, old, young, fat,<br />

skinny, rich or poor; this is the most democratic<br />

way of becoming more Beyoncé. It’s about celebrating<br />

who you are, embracing your flaws. You<br />

don’t have to have it all. But you can pretend that<br />

you do… As told to Lizzie Lower<br />

Don’t Worry be Yoncé. The Warren, 1st-3rd June,<br />

£8.50/£11<br />



....................................<br />

Before Willard<br />

The Lives They Left Behind<br />

Suitcases full of photographs, books of poems,<br />

unmarked graves; this is the secret and tragic world<br />

of Willard State Hospital. Director Laura Holland<br />

talks about bringing forgotten histories back to life,<br />

in the open air.<br />

Lucy Flack, my co-director, came to me and<br />

said, ‘I’ve found the most fascinating thing, The<br />

Suitcase Exhibit.’ The exhibit’s online, but there’s a<br />

book with the same name which chronicles patients<br />

at the Willard State Hospital in New York. Some<br />

were there for up to 75 years – until their death.<br />

We were so intrigued by these people’s lives<br />

and by what was in their suitcases, and we thought<br />

their histories would make captivating theatre. So<br />

we got our detective heads on, piecing together<br />

clues, trying to imagine what their lives were like<br />

before the asylum. One patient, Irma Medina, had<br />

over 150 pages of sheet music in her suitcase! Irma<br />

was a songstress who lived during the Depression.<br />

Her landlady accused her of ‘queer behaviour’, like<br />

hearing voices; she also struggled to pay her rent. It<br />

feels like a minor thing, but it lead to institutionalisation.<br />

She spent 40 years at Willard.<br />

One of our biggest challenges was putting together<br />

stories that didn’t cross over the same span<br />

of time; the asylum opened in 1869 and closed in<br />

1995. So we know more about some patients than<br />

others, and there are conditions we know so much<br />

more about now: one patient was a photographer<br />

who was epileptic, but they didn’t understand seizures<br />

at the time. He underwent a trephine – where<br />

they drilled into the right side of his skull, to try to<br />

improve things. But it made him worse and they<br />

couldn’t cope with his condition. That’s why he<br />

was put in the asylum. He lived his whole life there,<br />

with no hope of going back out into the world.<br />

The Lives They Left Behind is quite a dark,<br />

haunting piece, but there are moments of light.<br />

Patients were buried in unmarked graves and lived<br />

their whole lives in an institution, completely forgotten<br />

about; we wanted to give them an identity.<br />

The gravedigger, Lawrence Marek, was paid a<br />

couple of dollars to wrap the bodies so the staff<br />

wouldn’t have to do it; he buried over 900 patients.<br />

When he died, tragically, he was buried in the same<br />

cemetery, in an unmarked grave.<br />

We introduced the actors initially to the exhibit<br />

itself, with small excerpts of people’s histories.<br />

They have an emotional connection to the stories<br />

now – a responsibility to shed some light on these<br />

people’s lives. At the end of the piece they wanted<br />

to become themselves and talk honestly about the<br />

people’s stories.<br />

Our company is made up of people aged 16-19<br />

and we have a cast of 50 – which might be unheard<br />

of at the Fringe! And we’re nervous about performing<br />

outside. But we’re excited – just hoping the<br />

weather holds out...<br />

As told to Amy Holtz<br />

<strong>Brighton</strong> Open Air Theatre, 9th <strong>May</strong>, 7.30pm<br />




28 APRIL TO<br />

2 SEPTEMBER <strong>2018</strong><br />

Gilbert & George EXISTERS 1984.<br />

ARTIST ROOMS Tate and National<br />

Galleries of Scotland. Acquired<br />

jointly through The d’Offay Donation<br />

with assistance from the National<br />

Heritage Memorial Fund and Art<br />

Fund 2008. © Gilbert & George.<br />

Admission payable<br />

Free for young people (under 26) & members<br />

brightonmuseums.org.uk<br />

The ARTIST ROOMS touring programme is delivered by the National Galleries of Scotland and Tate in<br />

a partnership with Ferens Art Gallery until 2019, supported using public funding by the National Lottery<br />

through Arts Council England, by Art Fund and by the national Lottery through Creative Scotland.


.............................<br />

Photo by Sally Jubb<br />

Adam’s journey<br />

Egypt to Scotland, woman to man<br />

Director Cora Bissett discusses Adam, the remarkable<br />

true story of a young transgender man’s journey<br />

from Egypt to Scotland to find hope, honesty and<br />

himself.<br />

Sometimes you don’t know why something<br />

affects you so deeply. I saw Adam give this<br />

monologue about his life – an endearingly humble<br />

teenage kid, telling this incredibly brave story.<br />

He grew up up in Egypt, where people barely<br />

recognise homosexuality, let alone transgender<br />

people, so he simply had no awareness of it. He<br />

travelled to the UK out of fear, and he didn’t even<br />

know he could claim asylum – he just knew he had<br />

to get out. There’s something extraordinary about<br />

a young, transgender male, landing in Scotland of<br />

all places, in this little flat in Glasgow, and, through<br />

his laptop, discovering who he is.<br />

We’re so used to hearing about violations of<br />

people’s rights and cruelties through the internet<br />

– more so right now than ever. But on the<br />

flip side, Adam accessed a worldwide community<br />

of people like himself, just by typing ‘I feel like I’m<br />

going mad, I feel like a boy in a girl’s body’ and<br />

receiving an ocean of responses from all over the<br />

world. I don’t know how Adam would have found<br />

those people in everyday life – or a way to describe<br />

what he was, but watching other people go through<br />

it online gave him the confidence to do it himself.<br />

It feels like a story of our times, in a crucially<br />

urgent, original way.<br />

There’s an incredible TED talk by Eric<br />

Whitacre, an American classical composer,<br />

about creating a virtual choir. I wanted a theatrical<br />

way to reflect how Adam was supported and<br />

strengthened by all these people when he met on<br />

the internet, so I asked Eric if he minded doing<br />

something similar for Adam. We connected with<br />

over 150 people from as many far flung places<br />

as we could – Norway, Nigeria, Portugal, North<br />

America. Jocelyn Pook created a beautiful piece<br />

of music, so singers just put their headphones on,<br />

sang along and sent it back to us. Everyone in the<br />

choir is transgender or non-binary – some from<br />

places where it’s very dangerous to be out. We’re<br />

bringing out a book charting the stories of each<br />

singer as part of the Mental Health Arts Festival in<br />

Scotland in <strong>May</strong>.<br />

Many people don’t realise that Adam plays himself;<br />

there’s power in the fact that he’s onstage<br />

sharing his life with you. Adam was initially happy<br />

for me to use his story, but I just couldn’t find<br />

the right person to play him onstage. But then he<br />

called me and asked if I would consider auditioning<br />

him. He had real raw talent, so much emotional<br />

authenticity. We were concerned that it would be<br />

too difficult for him to keep reliving his life. But<br />

Adam’s in such a good place now, happily married<br />

and settled in Glasgow. He’s gone on an extraordinary,<br />

honest journey – both in life and as an actor.<br />

People can see he’s a beautiful human being, trying<br />

to live well and be happy. As told to Amy Holtz<br />

Theatre Royal, 9th-12th <strong>May</strong><br />


4.6 | Green Door Store, <strong>Brighton</strong><br />

Rival Consoles<br />

9.6 | St. George’s Church, <strong>Brighton</strong><br />

Neat Neat Neat present<br />

Julie Byrne<br />

11.6 | Komedia, <strong>Brighton</strong><br />

Laura Veirs<br />

22.6 | St. George’s Church, <strong>Brighton</strong><br />

Eric Bibb<br />

17.7 | The Hope & Ruin, <strong>Brighton</strong><br />

Fazerdaze<br />

29.8 | Komedia, <strong>Brighton</strong><br />

The Freewheeling<br />

Yo La Tengo<br />

17.9 | Komedia, <strong>Brighton</strong><br />

Lost Horizons<br />

23.10 | Komedia, <strong>Brighton</strong><br />

Tunng<br />

9.11 | The Old Market, <strong>Brighton</strong><br />

Gruff Rhys<br />

27.11 | Ropetackle, Shoreham<br />

LAU<br />


Sat 5 <strong>May</strong><br />


Sat 8 & Sun 9 Sep<br />


Sat 1 Sep<br />


OF DARTS<br />

Sat 22 & Sun 23 Sep<br />

Tickets for shows are available from your local record shop,<br />

ticketweb.co.uk or the venue where possible.<br />

meltingvinyl.co.uk<br />

box office 0844 847 1515 *<br />

www.brightoncentre.co.uk<br />

*calls cost 7p per minute plus your phone<br />

company’s access charge

COMEDY<br />

.............................<br />

Baba Brinkman<br />

Rap scientist<br />

There can’t be many rappers<br />

who focus on the science<br />

of evolution and global<br />

warming, and probably even<br />

fewer who perform at climate<br />

conferences. Canadian<br />

rapper Baba Brinkman does<br />

just that in his Rap Guide to<br />

Climate Chaos.<br />

Rap and science are unusual<br />

bedfellows – do you ever<br />

have trouble explaining<br />

what it is you do? It’s easy to explain what I do: I<br />

communicate complicated scientific ideas through<br />

rap songs (and comedy). Done. The trouble comes<br />

from the inability of most people to imagine how<br />

that could possibly work, until they see it. Recently<br />

Adrian Baker tweeted ‘I was skeptical about rap-science…<br />

but wow was I wrong!’ and I tweeted back<br />

‘Skepticism of science rap may turn out to be one of<br />

the fundamental elements of the human condition.’<br />

So yeah, I’m swimming upstream, but it’s good<br />

exercise.<br />

What a does a Rap Guide to Climate Chaos<br />

contribute to the public debate? The big mystery<br />

about climate change isn’t what’s causing it, or how<br />

dangerous it is. The real puzzle is the social psychology<br />

of it: the way most people are able to fully<br />

accept the threat and continue with their lives unperturbed,<br />

with no plans to change their behaviour.<br />

And I include myself in this assessment. At its heart,<br />

climate change is a collective action problem, also<br />

known as a tragedy of the commons. So what’s the<br />

solution? Finding ways to move the crowd. That’s<br />

where rap comes in.<br />

How did you come to perform at the Paris<br />

Climate Conference? An organization called the<br />

Coalition for Rainforest Nations invited me to join<br />

their team at the conference.<br />

My main job was to attend<br />

daily meetings, listen to the<br />

substance of their negotiations,<br />

and write a custom rap<br />

summary (a ‘rap up’). The<br />

response was initial skepticism,<br />

followed by disorientation,<br />

realization, and finally<br />

elation. It was awesome.<br />

How much progress has<br />

been made since then?<br />

The cost of renewables is falling, but as long as the<br />

underlying incentive structure rewards polluting,<br />

we’re on a direct path to stunning sea level rise<br />

and increasingly extreme weather. The biggest<br />

obstacles? Donald Trump, followed closely by<br />

Scott Pruitt, Ryan Zinke, Rick Perry, human greed,<br />

apathy and tribalism.<br />

Tell us about your other shows… My Rap Guide<br />

to Consciousness is running off-Broadway in New<br />

York all spring and Canterbury Tales Remixed was at<br />

the Edinburgh Fringe in 2014. I also have a new<br />

show about learning and culture as a Darwinian<br />

process that’s complementary to and continuous<br />

with genetic evolution. How else can you explain<br />

the worldwide dominance of hip-hop, which blew<br />

up entirely in my lifetime?!<br />

Why is hip-hop such a powerful medium?<br />

Hip-hop as an art form wasn’t invented by any one<br />

person. It’s a product of cultural evolution, with<br />

small variations accumulating - norms, technologies,<br />

ideas, styles - based on the outcomes they<br />

produced, which in the beginning was all about live<br />

performance and competition. Hip-hop has the<br />

power it has because of what it went through to get<br />

here. Where it evolves next is up to us. Ben Bailey<br />

Komedia, 21st <strong>May</strong>, 7.15pm/9.15pm, £10<br />

Photo by Olivia Sebesky<br />


Dv8 Artist Open House<br />

A selection of work from staff and students<br />

Central Trail - House 8 12 Queen Square, <strong>Brighton</strong>, BN1 3FD Weekends and Bank Holidays in <strong>May</strong>, 10am - 4pm

Photo by Thomas Allison<br />

Photo by Liz Grossman<br />


.............................<br />

Mortified<br />

Share the shame<br />

For the uninitiated, Mortified is the ‘cultural<br />

phenomenon’ in which adults take to the stage to<br />

share embarrassing artefacts from their childhoods<br />

– diary entries, short films, poetry – with<br />

both the live audience and the online community<br />

of podcast listeners and Netflix viewers. Since<br />

the first stage shows in LA in 2002, Mortified has<br />

spread across the US and Europe. This month,<br />

the first ever <strong>Brighton</strong> shows take place at The<br />

Warren as part of the Fringe. We speak to Reuben<br />

Williams, one of the show’s producers.<br />

Sometimes people don’t know that something<br />

they’ve written is funny, or they don’t know<br />

why it’s funny. What we do is between us we will<br />

go through the material with them and pick out<br />

the best bits. We work very hard to make sure the<br />

person going on stage can be confident that it’s<br />

going to work and it’s going to be entertaining.<br />

Sometimes when you understand something<br />

better it’s a lot funnier, so we ask them, ‘why were<br />

you doing this? What kind of kid were you?’<br />

One woman came to us with a lot of poetry<br />

she had written as a teenager, but she hadn’t<br />

realised that so much of it was about a crush she<br />

had on one of her teachers. She had basically<br />

written a whole anthology of love poems. It<br />

wasn’t until we started probing her that she<br />

realised that was what it was.<br />

A big theme is obviously romance and sexuality<br />

– finding the perfect partner, first crushes,<br />

or sometimes discovering that your sexuality isn’t<br />

what you thought. But it’s also a time when relationships<br />

with your family become more stressful,<br />

you have more independence, and so you’re<br />

redefining those relationships. And self-identity:<br />

wanting to be cool or wanting to be an artist or<br />

a poet or a lad. Your teenage diaries are basically<br />

you chronicling your attempts to change into the<br />

person you want to be.<br />

What makes people want to do it? I wish we<br />

knew. Most people have seen the show or listened<br />

to the podcast and think it’s a really funny<br />

premise. A lot of people have said that it’s quite<br />

cathartic, quite therapeutic. It’s self-deprecating,<br />

but it’s acknowledging the ways that you’ve<br />

changed and grown. It’s a tool of self-enquiry. In<br />

some ways it’s completely nerve-wracking. But<br />

on the other hand, the audience are so warm, so<br />

lovely. It’s a celebration of our frailties and our<br />

shared humanity.<br />

We always finish the show with the closing<br />

line: ‘We are freaks, we are fragile, and we all<br />

survived.’ As told to Rebecca Cunningham<br />

The Warren, 30th-31st <strong>May</strong>, brightonfringe.org<br />


Photo Courtesy of The Leonard Bernstein Office, Inc.<br />

£10<br />

ONLY<br />

£<br />

Tickets available from<br />

brightonfringe.org<br />

St Paul’s Church,<br />

West St, <strong>Brighton</strong><br />

BN1 2RS<br />

(between Clock Tower<br />

and Odeon Cinema)<br />

Producer: Norman Jacobs<br />

WED 9 MAY 7.30pm – Anna Litvinenko<br />

Bernstein, Britten, Copland for cello & piano<br />

WED 16 MAY 7.30pm – Rachel Gorman,<br />

Steve Dummer, Norman Jacobs Bernstein,<br />

Stravinsky, Feldman for violin & clarinet<br />

WED 23 MAY 7.30pm – Rebecca Griffiths,<br />

Daniel Lauro, Norman Jacobs Bernstein,<br />

Messiaen, <strong>May</strong>uzumi for flute, piano,<br />

percussion – Premiere of VLUG<br />

by Stephen Montague<br />

WED 30 MAY 7.30pm – Mehreen Shah,<br />

Zhanna Kemp Songs by Bernstein,<br />

Sondheim, Weill<br />

Songs from Syria<br />

©Gerard Collett<br />

iyatraQuartet with the Saleh Brothers<br />

<strong>Brighton</strong> Open Air Theatre<br />

Thu 3 rd <strong>May</strong> 6pm doors/7pm start<br />

£12/£10 conc./£8 group(10+)<br />

An extraordinary musical journey through traditional songs<br />

from Syria and brand new collaborations<br />


MUSIC<br />

........................<br />

<strong>Brighton</strong> Film Quartet<br />

Factotum musician Penny Loosemore<br />

So you’re director, composer, pianist… I wear<br />

a huge number of hats! Too many sometimes. I’m<br />

website manager, I write music by hand for all<br />

instruments, sell CDs, put up posters. It’s a lot. But<br />

I love what we do.<br />

How did you become a composer? There were<br />

many years of incubation. My dad got me a piano<br />

out of a skip when I was four. I should have gone<br />

on to study music, but I became a journalist instead<br />

and ran a fashion business. I moved to Hove<br />

aged 36, and moved house so often I switched the<br />

piano for a keyboard. Although initially unsure,<br />

this led to me teaching myself about technology.<br />

I went to see a Ludovico Einaudi concert at the<br />

Dome and was bowled over. He performed with<br />

a few musicians and a VJ, and it was cutting-edge,<br />

minimalist and mesmerising. There was an exceptional<br />

atmosphere.<br />

Where did you go from there? I started composing<br />

music for short films then got a job as a pianist<br />

at the Grand Hotel, but realised I wanted to compose<br />

as well as play. Five years ago, I advertised for<br />

musicians. We’ve been a female quartet for most of<br />

that time – Emma on clarinet, Sophie on cello, Abi<br />

on violin. We performed acoustic gigs for three<br />

years, and audiences told us that our music created<br />

mental images. So we began combining live music<br />

with film as the <strong>Brighton</strong> Film Quartet.<br />

What is SOUNDSCAPE? Our own live cinematic<br />

compositions in front of a screening of a series<br />

of short films, made by Sussex filmmakers.<br />

What would be your dream venue? SOUND-<br />

SCAPE lends itself to different venues. We’ve<br />

played at <strong>Brighton</strong> Pavilion and the Duke of<br />

York’s, as well as lots of festivals. What we love is<br />

somewhere dark and intimate. Ideally, in the audience,<br />

you need to feel completely cocooned so you<br />

can be taken on a ‘journey’ of the senses.<br />

What do you feel about women composers<br />

in the 21st century? It’s easier for me because<br />

I work under my own steam, I’m not competing<br />

with male composers. But women who do, say it’s<br />

very difficult. We want to bring these concerts to<br />

youngsters who experience very little live music,<br />

so we’re looking for local businesses to sponsor<br />

our SOUNDSCAPE 4 Schools project. But part<br />

of it is about demonstrating that women can be<br />

successful composers as well as performers. Music<br />

can cut through barriers, and our use of technology<br />

makes it more accessible for young people.<br />

They need to be inspired to get into music, and we<br />

can help do that.<br />

What’s a great night out for you? Going to Jazz<br />

Jam at the Brunswick. After six years hiding in the<br />

shadow, I now get up and sing.<br />

What’s next? World domination! We’re stalking<br />

an agency called Serious. We’ve set our hearts on<br />

being represented by them. Emma Chaplin<br />

Spiegeltent, 6th <strong>May</strong>, 7pm, £8-10<br />

brightonfringe.org / brightonfilmquartet.com<br />


YOUR<br />

MUSIC<br />

CAREER<br />

STARTS<br />

HERE<br />









MUSIC<br />

..................<br />

Ezra Furman<br />

A leap into the great unknown<br />

I had to be talked into coming to perform in<br />

England. There was so little interest in the States<br />

that I’d decided to quit. I’d been doing it too long.<br />

Then five years ago this guy I know in England,<br />

who had booked us before, said ‘you gotta get over<br />

here. Something’s happening, it’s time to strike!’<br />

I didn’t really believe him, but he talked me into<br />

coming. When I saw the audiences at the shows,<br />

then I believed him.<br />

There’s a change of mood on the new record.<br />

The aim was to make music that’s a little less about<br />

having a good time. It’s more concerned with saying<br />

something real and vital and challenging. I wanted<br />

the new record to be a leap into the great unknown.<br />

I’m really good at ignoring everyone’s advice. I<br />

don’t think much about how music will be released<br />

while I’m working on it and I try to block off most<br />

input from anyone else. There’s a private world that<br />

I inhabit where the good stuff comes from.<br />

I always write about what I’m obsessed with.<br />

Right now, it’s fear and solidarity. Reading the news<br />

aggravates my childhood fears of white supremacy.<br />

I’m descended from refugees on one side of<br />

my family, and it’s a story that goes straight to the<br />

Holocaust. It’s a story I’ve been hearing about<br />

since I was a child. So to have a white supremacist<br />

president really scares me. And it also awakens this<br />

urgent need to show solidarity with people who are<br />

frightened and threatened.<br />

I’m not totally sure what identity politics<br />

means. People sometimes take a conversational<br />

tone with each other that divides them. I don’t<br />

think that’s the way it needs to be, or should be. For<br />

instance, if you’re trying to advocate for the poor,<br />

that goes across a bunch of different identities. It’s<br />

shocking to me that somehow a lot of people are<br />

convinced that it’s white men versus everybody else.<br />

I don’t like to divide it that way.<br />

I’m not comfortable with labels and I often<br />

float between them. There’s a few that I do<br />

claim as my own: I’m comfortable with queer,<br />

I’m comfortable with Jewish, I feel like the word<br />

male applies to me... pretty much. I feel a little bit<br />

wobbly on that one, but I’ll take it because it seems<br />

arbitrary to me. I’m sort of like, well, you can call<br />

me what you want, but if you get to know me you’ll<br />

see that it’s a little more complex.<br />

But I’m definitely an American. I’m influenced<br />

by a lot of American music and imagery, but in the<br />

past five years we’ve probably played more shows<br />

in the UK than we have in the US. We still have<br />

a rock’n’roll garage band set-up, but we’ve also<br />

incorporated some unusual elements. If I told you<br />

more it wouldn’t be a surprise. It’s good to retain<br />

the ability to surprise. As told to Ben Bailey<br />

<strong>Brighton</strong> Dome, 26th <strong>May</strong>, 8pm £17.50/15<br />


ART<br />

....................................<br />

Focus On: Museum of Ordinary People<br />

Curators Lucy Malone and Jolie Booth<br />

What is the Museum of Ordinary People? The<br />

idea is to tell stories that have been left out of<br />

history books by using everyday objects and collections<br />

and presenting them in a museum space. We<br />

want to represent real people and who we are now.<br />

Our first exhibition is happening this month, with<br />

the creation of a pop-up museum in The Spire.<br />

How did it come about? Jolie opened a squat near<br />

the clock tower in 2003 and discovered a whole<br />

woman’s life untouched; everything left behind.<br />

She began to uncover the story of Anne Clarke,<br />

who had been immersed in the counter-culture of<br />

<strong>Brighton</strong>. Jolie made a theatre piece about her, and<br />

a walking tour, which is where we met. I had just<br />

made an archive and exhibition of my late mother’s<br />

artwork, and Jolie and I realised that there were<br />

parallels in the way we worked. We both used<br />

objects to tell stories of women whose lives would<br />

not necessarily have been recorded or written into<br />

the history books. Then Jolie had an idea to do it<br />

on a bigger scale.<br />

Who and what will be in the show? We selected<br />

ten local participants, aged between 20 and 65, who<br />

all have incredible collections. One woman is working<br />

with a collection of personal letters written to<br />

her by her late father. Another participant found a<br />

collection of diaries at a car boot sale which tell the<br />

story of a woman’s life and her struggle with MS.<br />

We’re also working with RISE (the domestic abuse<br />

charity), the youth group Miss Represented and<br />

PACT (Parents and Children Together).<br />

How did you decide what to show? We held<br />

workshops over the course of six weeks prior to<br />

the exhibition, teaching about archival theory,<br />

museums, curation and display and also creative<br />

sessions to help the participants develop a piece of<br />

work with their collections. We had no idea what<br />

the participants would produce in response.<br />

What’s been most interesting about working<br />

in this way? The model for these workshops came<br />

from our own work, and, for me, that work was a<br />

really therapeutic process. There is connection and<br />

belonging built through everyday objects. We’re<br />

working with people on how to express that. It’s<br />

healing and reparative and we’re meeting more and<br />

more people who want to work in this way.<br />

Our goal is to have a permanent space, preferably<br />

in <strong>Brighton</strong>. <strong>Brighton</strong> people are extraordinary<br />

even when they are ordinary, and there is a need to<br />

record that. As told to Lizzie Lower by Lucy Malone<br />

The Spire, Eastern Road, 29th <strong>May</strong> – 3rd Jun.<br />

museumofordinarypeople.com<br />


ART<br />

....................................<br />

Ian Mowforth<br />

The Dog Show<br />

Artists Open Kennels<br />

The Artists Open Houses festival returns for its<br />

37th year but, with over 200 venues and upwards<br />

of 1,000 artists to choose from, where do we begin?<br />

It being the Chinese Year of the Dog, we thought<br />

we’d start with The Dog Show, the canine-themed<br />

open house of Joanna Osborne (co-author of the<br />

fabulous Best in Show - Knit Your Own Dog, amongst<br />

other titles).<br />

Why a dog-themed open house? For many,<br />

many years I’ve had a knitwear business with Sally<br />

Muir, my greatest friend and co-author. We’ve just<br />

finished our tenth book together. Sally has become<br />

a very successful painter of dogs. Of humans and<br />

landscapes, too, but she has a particular empathy<br />

with dogs. I’ve always loved dogs, too, and have<br />

started to make clay sculptures of them. They’ve<br />

been a part of my life forever and ever. The very<br />

first thing I knitted when I was eight was a dog coat.<br />

Where did you find the other artists? Because<br />

of what we do, we meet a lot of other artists, not<br />

only from <strong>Brighton</strong> but from all over the place.<br />

The ones we’ve selected for the show work in lots<br />

of different styles, but they all make dogs. We’ve<br />

got the fabric sculptures of ‘Holy Smoke’, who we<br />

met doing Selvedge fair about fifteen years ago, and<br />

we have the photographer, Alma Haser, taking dog<br />


ART<br />

....................................<br />

Sally Muir<br />

Alma Haser<br />

portraits. I’ll be showing my clay dog sculptures<br />

and Sally is doing her portraits. We’ve got work by<br />

‘Felted Fido’, who has thousands and thousands of<br />

followers and lives in Ayrshire with her eight dogs,<br />

and Bridget Baker and Robin Parker who both<br />

make wire sculptures. There are others too, we’ll<br />

be showing around 200 pieces by twelve of the best<br />

dog artists. Most of the work in the show is beautifully<br />

restrained and realistic, they’re not cartoon<br />

versions of dogs.<br />

How do you go about planning the show? It’s a<br />

huge undertaking, starting about six months before<br />

with collecting the artists together. Then it’s a case<br />

of completely clearing the downstairs of our house<br />

(I have a very willing husband), which reveals a<br />

great deal of yellowing paintwork, so we paint and,<br />

this year, we’ll take up the carpets and have the floor<br />

sanded so it’s more like a gallery. It’s a great impetus<br />

to clear out the room and get rid of all the old junk.<br />

How many visitors are you expecting? I think<br />

we had around 3,000 people last year. There is<br />

never a moment when there’s not somebody in the<br />

house and, most of the time, I absolutely love it.<br />

We do teas in the kitchen and there are loads of<br />

dogs. My husband, Orlando, makes dog biscuits to<br />

give out. This year we’ll have a real dog show in my<br />

neighbour’s garden (on the 20th of <strong>May</strong>). I’m slightly<br />

panic stricken about it… I’ve never done one<br />

before. The prize for Best in Show is a sitting with<br />

Sally. Interview by Lizzie Lower<br />

33 Silwood Road, venue 10 on the Brunswick Town<br />

Trail. Weekends from the 5th-27th <strong>May</strong>, plus Monday<br />

7th. 11am-6pm. thedogshowbrighton.com<br />

Felted Fido<br />


ART<br />

....................................<br />

ART & ABOUT<br />

In town this month...<br />

If you don’t like art, you’d best leave town.<br />

Between the Festival, the Fringe and Artists<br />

Open Houses, you’ll not be able to walk<br />

a hundred yards without tripping over an<br />

exhibition. Here are just a few to get you started.<br />

The Children’s Parade, the biggest arty party<br />

of them all, kicks off the <strong>Brighton</strong> Festival on<br />

Saturday the 5th from 10.30am. Around 5,000<br />

school children from across the area will be<br />

waving their creations as they process through<br />

the streets. This year’s theme is ‘Paintings’ so<br />

expect papier-mâché Mona Lisas, poster-paint<br />

Picassos, and ten-foot-tall walking sunflowers.<br />

Photo by Victor Frankowski<br />

Joshua Uvieghara at Phoenix Open Studios<br />

Photo by Manel Ortega<br />

The Artists Open Houses festival is back for its 37th<br />

year (!) with 200 venues, on 14 trails, showing the work by<br />

upwards of 1,000 artists and makers over the four weekends<br />

during <strong>May</strong>. What to pick? How about a festival within a<br />

festival with over 100 artists, designers and makers under<br />

one roof: Phoenix <strong>Brighton</strong> are holding their Open Studios<br />

on Saturday the 19th and Sunday 20th of <strong>May</strong> (11am-5pm).<br />

Or maybe The Stanley Road Store, holding their last<br />

Open House at their Stanley Road home! (Don’t worry,<br />

the Stanley Road Shopette continues in the North Laine<br />

Bazaar). Weekends from the 5th until the 27th. [aoh.org.uk]<br />

Solid State, a collection of new work by the<br />

hugely popular Ryan Callanan (aka RYCA), is<br />

at Whistleblower Gallery from the 3rd of <strong>May</strong>.<br />

Producing artwork that he refers to as ‘poptorian’:<br />

a combination of his Victorian signage style and<br />

his fascination with pop art, Ryan is best known<br />

for his distinctive lush typography and his 3D acid<br />

house smileys. For this solo show he has produced<br />

a brand-new body of abstract work that looks at<br />

landscape, still life and portraiture. Until the 4th of<br />

June (14 St John’s Rd).<br />

Ryan Callanan<br />


ART<br />

....................................<br />

In town this month... (cont)<br />

Naked Eye Gallery hosts The Italian Job: works from five acclaimed<br />

contemporary Italian artists, brought to <strong>Brighton</strong> by Stefania Dal<br />

Ferro and Dada Projects, whose aim is to promote social and cultural<br />

integration through the arts. See works in a variety of different mediums:<br />

Massimo Ballardini creates prints and glass structures; Fabio Guerra<br />

combines archaeological fragments into modern ceramics; Piero<br />

Martinello takes a (much) closer look at money; Nicola Tessari explores<br />

the beauty of the raw material in his carved wooden objects, and Paolo<br />

Polloniato uses ancient shapes to create contemporary ceramics.<br />

Piero Martinello<br />

Brett Goodroad<br />

From the 5th, US artist,<br />

Brett Goodroad has<br />

his UK premiere at<br />

Phoenix <strong>Brighton</strong> as<br />

part of <strong>Brighton</strong> Festival.<br />

Growing up in Montana,<br />

he has driven combines<br />

through the Breadbasket,<br />

wrangled buffalo in<br />

the Gallatin Valley, and<br />

delivered organic vegetables through America’s Southwest. Now he<br />

lives and paints in his San Francisco backyard. (Wed-Sun, 11am-5pm.)<br />

Perdita Sinclair<br />

From the 10th, Farewell<br />

Seapig is at 35 North in<br />

North Road. Well used to<br />

collaborating with scientists<br />

(she was the first artist in<br />

residence at The Millennium<br />

Seed Bank and has undertaken<br />

residencies in human<br />

dissection laboratories), artist<br />

Perdita Sinclair presents<br />

paintings inspired by an<br />

invasion of black sea snails<br />

in this multidisciplinary art<br />

installation. (Until 3rd June.)<br />

[perditasinclair.com]<br />


Contemporary British<br />

Painting and Sculpture<br />

We look forward to welcoming<br />

you to our gallery in Hove.<br />


Mon—Sat 10.30am—5pm<br />

Sunday/bank holidays 12pm—5pm<br />

Closed Tuesday<br />

1 Victoria Grove, 2nd Avenue, Hove BN3 2LJ<br />

TELEPHONE 01273 727234 EMAIL info@cameroncontemporary.com<br />

A Woman Ahead of Her Time<br />

5 <strong>May</strong> - 31 December <strong>2018</strong><br />

nationaltrust.org.uk/petworth<br />


MOTHER<br />

ElizabethIlive<br />

WIFE<br />




PATRON<br />

To mark the 1918 Act that<br />

gave the first voting rights to<br />

women, this interactive<br />

exhibition explores the life<br />

and achievements of<br />

Elizabeth Ilive who lived at<br />

Petworth House from the late<br />

1780s. Discover more about<br />

her intellectual interests in<br />

science with a re-imagining<br />

of the laboratory she<br />

established in the house.<br />

Petworth House, Petworth, GU28 0AE<br />

Registered charity no. 205846<br />

<strong>Viva</strong> <strong>Brighton</strong>.indd 1 13/04/<strong>2018</strong> 17:17

ART<br />

....................................<br />

Expect to see the paintings of Helsinki-based street artist Jussi<br />

TwoSeven popping up around the city. Together the works in All<br />

City Movement make up a tribute to the natural world and act as<br />

a clarion call to protect and conserve the environment, including<br />

the urban sphere. Presented as part of <strong>Brighton</strong> Fringe’s Finnish<br />

Season <strong>2018</strong>. Don’t forget that the ‘living sculptures’ and Royal<br />

Academicians Gilbert & George are in town at <strong>Brighton</strong> Museum<br />

and Art Gallery. ARTISTS ROOMS: Gilbert & George comprises a<br />

selection of works from their 50 years living and working together,<br />

on show in the city for the first time. And, if you’re feeling inspired,<br />

add your own mark to the festival at David Shrigley’s draw-alongyourself<br />

installation, Life Drawing II, which continues at Fabrica until the 28th of <strong>May</strong>.<br />

Jussi TwoSeven<br />

Out of town...<br />

Dreaming oneself awake, an exhibition of work by Eileen Agar RA, is<br />

at Farleys House & Gallery in Chiddingly from the 20th. She was<br />

the only British woman to be invited to exhibit her work at the 1936<br />

International Surrealist Exhibition, and there began a lifelong friendship<br />

with Roland Penrose and Lee Miller and, a number of subsequent visits<br />

to their Sussex farmhouse home. The exhibition (open on Sundays<br />

only) continues until the 15th of July. Join leading authority on British<br />

Surrealism, Michel Remy, for a discussion on her work on Sunday, 20th<br />

<strong>May</strong> (7pm, see farleyshouseandgallery.co.uk/events for tickets).<br />

Courtesy of Redfern Gallery<br />

Claude Cahun, Self-portrait (as weight trainer), 1927, exhibition print from monochrome<br />

negative, Jersey Heritage Trust © Jersey Heritage Collection<br />

Agar’s work also features in Virginia Woolf: An Exhibition<br />

Inspired by her Writings, a major touring exhibition arriving<br />

at Pallant House in Chichester on the 26th. Featuring<br />

80 female artists from 1854 to the present day, this<br />

timely exhibition ‘seeks to show how her perspectives<br />

on feminism and creativity have remained relevant to a<br />

community of creative women across time: visual artists<br />

working in photography, painting, sculpture and film who<br />

have sought to record the vast scope of female experience<br />

and to shape alternative ways<br />

for women to be.’ Expect<br />

works by Winifred Nicholson,<br />

Vanessa Bell, Sandra Blow,<br />

Gluck and many more besides.<br />

Unmissable. (Until September<br />

the 16th.)<br />

France-Lise McGurn, Your Daughter’s Daughter, 2017<br />

© Frances-Lise McGurn<br />


16/17 June<br />

23/24 June<br />

30 June & 01 July<br />

<strong>2018</strong><br />

POWDER, a stylish salon on Duke Street, will<br />

be showing work by local artists as<br />

well as their own t-shirt designs.<br />

For more information visit<br />

worthingartistsopenhouses.com<br />

or find us on<br />

LA SHUKS: multi-media artist creating<br />

landscapes of reimagined future nature<br />

LOIS ORCHARD: punk-inspired,<br />

hand-drawn cut and paste pop art<br />

AIMEE LAMB: detailed and abstract<br />

fashion and beauty illustration<br />



ART<br />

....................................<br />

Morag Myerscough<br />

Belonging<br />

In divided times,<br />

it makes us happy<br />

that designer Morag<br />

Myerscough’s<br />

touring bandstand is<br />

bringing the theme<br />

‘Belonging’ to the<br />

fore at this year’s<br />

<strong>Brighton</strong> Festival.<br />

The bandstand-cumart<br />

installation is part<br />

of Your Place, Kate<br />

Tempest’s legacy<br />

that puts elements of<br />

festival programming<br />

into the hands of the<br />

community.<br />

Co-commissioned by<br />

<strong>Brighton</strong> Festival and<br />

Ditchling Museum of Art + Craft, this summer<br />

the bandstand will host a bespoke line-up of acts<br />

in a total of nine locations and as many different<br />

guises. The project is inspired by the work of<br />

Corita Kent: an artist, educator, social activist and<br />

nun who ran with the likes of Charles and Ray<br />

Eames in mid-century LA. Morag has wanted to<br />

create a bandstand connected to ‘belonging’ for a<br />

long time, and when she heard Ditchling Museum<br />

of Art + Craft were holding a Corita Kent<br />

exhibition, their commission presented the perfect<br />

opportunity to bring the two together.<br />

“[Kent’s work] was about empowering people<br />

through creativity,” says Morag. “She believed<br />

you can give people a voice through making<br />

things.” To similar ends, the striking typographic<br />

placards that adorn the bandstand are made<br />

in response to a series of workshops held with<br />

community groups<br />

across the county,<br />

from Hastings to<br />

Hangleton.<br />

Morag used<br />

assignments from<br />

Kent’s posthumously<br />

published book<br />

Learning by Heart<br />

to help each group<br />

discover and<br />

communicate their<br />

own interpretation<br />

of belonging.<br />

Words generated<br />

during these<br />

exercises furnish the<br />

bandstand, evoking<br />

‘belonging’ as each<br />

group feels it relates to their neighbourhood.<br />

The Hangleton group imagined the landscape<br />

and sunrise. Crawley thought of ‘Family, Friends,<br />

Love and Rice’.<br />

“We’re in this total moment of change,” Morag<br />

explains, on a break from painting placards<br />

with <strong>Brighton</strong> University’s Graphic Design<br />

department. “Everything is upside down; nobody<br />

really knows what the future is.”<br />

The hope is that if we take time to stop, to think<br />

about what it is to belong, we can connect with<br />

where we are in the present. “If everything just<br />

trundles along, you don’t question it”.<br />

“It’s really important to question things, and<br />

bring people together, different groups together,”<br />

she says. “The danger with now is the individual:<br />

only belonging to yourself, and forgetting the<br />

other things.”<br />

>>><br />



An Exhibition Inspired by her Writings<br />

26 <strong>May</strong> – 16 Sep <strong>2018</strong><br />

pallant.org.uk<br />

Organised by Tate St Ives in association with<br />

Pallant House Gallery, Chichester and<br />

The Fitzwilliam Museum, Cambridge<br />

Dame Laura Knight, The Dark Pool, 1908–1918, Laing Art Gallery, Newcastle<br />

© Reproduced with permission of The Estate of Dame Laura Knight DBE RA <strong>2018</strong>. All Rights Reserved<br />

1-3 June <strong>2018</strong><br />

10am – 5pm (last entry 4pm)<br />

Live arts and crafts • Shopping • Exhibitors<br />

House Opening • Hands-on workshops<br />

www.westdean.org.uk<br />

West Dean College of Arts and Conservation, Chichester, West Sussex PO18 0RX<br />

Ann Bruford<br />

BOOK NOW SAVE 20% *<br />

Adults £10 (Gate £12)<br />

Children free<br />

Students 16+ £5 (Gate £6)<br />

*ends 25 <strong>May</strong> <strong>2018</strong>

ART<br />

....................................<br />

Photo by Ben Stenning<br />

Open Studios<br />

Phoenix <strong>Brighton</strong><br />

@Phoenix<strong>Brighton</strong><br />

phoenix_brighton<br />


phoenixbrighton.org<br />

Over 100 artists/<br />

designers/makers<br />

under one roof<br />

Preview<br />

Fri 18 <strong>May</strong> 6–9pm<br />

Open<br />

Sat 19 <strong>May</strong> 11am–5pm<br />

Sun 20 <strong>May</strong> 11am–5pm<br />

Phoenix <strong>Brighton</strong><br />

10–14 Waterloo Place<br />

<strong>Brighton</strong> BN2 9NB<br />

>>> Kent taught that you can’t change the world,<br />

but making effort in small ways can have positive<br />

effects far greater than we might expect. “I think<br />

it’s just great if people can come together in a<br />

small, not over-romantic way,” says Morag.<br />

“What participants said they loved most was<br />

just somebody else making them a cup of tea,<br />

somebody having a chat, and even though those<br />

things are simple, they’re more complex to make<br />

happen than you think. Belonging is about the<br />

everyday: the here and now.”<br />

The sum of all this is, when we feel we belong, it’s<br />

harder to feel bad. “I’m not the happiest person<br />

in the world,” says Morag, “but… I know that if I<br />

put art into spaces, it can really uplift people and<br />

change their spirit. To be able to make work that<br />

does that, makes me happy.” Chloë King<br />

Enjoy Belonging on Hove Lawns (12th &<br />

13th); at Your Place Hangleton (19th &<br />

20th) and Your Place East <strong>Brighton</strong> (26th<br />

& 27th). ditchlingmuseumartcraft.org.uk |<br />

brightonfestival.org<br />

Photo by Ben Stenning<br />


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㈀ 㜀 アパート 㘀 㤀 㜀 㤀 圀 圀 圀 ⸀ 嘀 䔀 䔀 䈀 䔀 䔀 ⸀ 䌀 伀<br />









11AM-6PM<br />

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40 TRAFALGAR ST,<br />


01273819779<br />

www.neomadesign.com<br />

dolores@neomadesign.com<br />

Hope Springs Chairs<br />

presents...<br />



SUMMER <strong>2018</strong><br />

Set in beautiful ancient Sussex<br />

woodland, near <strong>Brighton</strong>, a wonderful<br />

opportunity to learn all the skills you<br />

need to make a strong and characterful<br />

Windsor chair using classic hand<br />

tools and traditional techniques.<br />

The course is suited to beginners<br />

and also those wishing to expand<br />

and hone their existing skills.<br />

Taught by professional chair<br />

maker Jason Mosseri.<br />

All materials, tools, and a simple<br />

vegetarian lunch included, £490.<br />

To book, check availability,<br />

or to ask a question, email:<br />

hopespringschairs@gmail.com<br />

Or phone: 07795114982<br />

Instagram: @hopespringschairs<br />

For dates and further information:<br />



This month, Adam Bronkhorst photographed five <strong>Brighton</strong> Fringe<br />

performers, going about their daily business in their festival get-up.<br />

We asked them: ‘What do you do before you go on stage?’<br />

adambronkhorst.com | 07879 401333<br />

Beth-Louise Priestley, Shit-faced Shakespeare (The Warren, 10th-13th <strong>May</strong>)<br />

“I take an anti-anxiety tablet about an hour beforehand. Either that or I drink a beer.<br />

The sober cast are all allowed one drink at the ‘Drink-Up’ – after all, no one likes drinking alone!”


Mark Brailsford<br />

The Treason Show (Horatio’s, 10th-12th <strong>May</strong>)<br />

“I’m usually backstage writing new material!”


Alfie Ordinary<br />

Help! I Think I Might Be Fabulous (Spiegeltent, 6th, 27th & 29th <strong>May</strong>)<br />

“I sing a Queen song, usually Don’t Stop Me Now or We are the Champions.”


Nick Van Vlaenderen<br />

South Coast Soul Revue (The Brunswick, 4th <strong>May</strong>)<br />

“We just sit backstage and have a beer.”


Chi Chi Revolver<br />

The Revolver Revue (Spiegeltent, 27th <strong>May</strong>)<br />

“I learnt that standing with open body language boosts your confidence, so I always do that before I go on.”


We offer incredible new versions of food<br />

and drink that you might find familiar.<br />

We have sodas made in house with some<br />

help from our centrifuge machine. They<br />

have around one tenth of the sugar of<br />

regular sodas.<br />

Our cocktails are crafted with loving care<br />

using house made essences, bitters and<br />

artisanal spirits.<br />

Some of our cakes have no added sugar.<br />

Some are completely dairy free.<br />

We are really proud of our velvety, house<br />

made, organic cashew and tiger nut milk<br />

blend.<br />

Our coffee has to be tasted to be believed.<br />

We only use the best butter, virgin coconut<br />

oil (for our many non dairy/vegan<br />

creations) and extra virgin olive oil for<br />

dressing.<br />

Our tea is brewed in clean glass, to the<br />

perfect temperature.<br />

Everything we have is completely free of<br />

gluten. That's right, everything. Even our<br />

house made sourdough, sweet bakes and<br />

our buttermilk fried chicken.<br />

Our aim is excellence as standard.<br />

We make super food for super people.<br />


99 Trafalgar Street, <strong>Brighton</strong>, BN1 4ER<br />

01273 620 036<br />

www.doughlover.com<br />


FOOD<br />

............................<br />

Café Plenty<br />

The Rummikub Curry Club<br />

Earlier this year I went<br />

to India. It was suitably<br />

restorative, with mornings<br />

spent doing yoga, lazy<br />

days passed on the beach,<br />

and evenings spent<br />

playing Rummikub, an<br />

unremarkable looking<br />

but highly addictive<br />

game. The holiday<br />

is already a distant<br />

memory but Rummikub<br />

remains an obsession.<br />

I’m on a constant, almost<br />

evangelical, quest to<br />

recruit new players, and<br />

I’m willing to use bribery<br />

if necessary.<br />

To this end, I invite<br />

a couple of friends to<br />

dinner at Café Plenty one Wednesday evening on<br />

the condition that we can play a few rounds after<br />

we eat. I’d recently passed by late one night and<br />

enviously eyed the delicious-looking thalis on the<br />

tables inside: this formerly-just-daytime hotspot<br />

has started opening on Wednesday to Sunday<br />

evenings, offering Bengali street food, whilst the<br />

Good Things Tap Bar serves up a dozen carefully<br />

curated craft beers.<br />

It’s inexplicably quiet on the evening we visit<br />

and there is, admittedly, a bit of a wait for our<br />

food but, when it arrives, the reason becomes<br />

apparent. If ‘street food’ conjures up images of<br />

handheld portions dispatched in a couple of bites,<br />

think again. The table is soon laden with dishes:<br />

two generous bowls of curry; one spicy fish with<br />

whole, huge, red chillies, the other a creamy,<br />

coconut vegan option, full of plantain and okra.<br />

A great bowl of fragrant<br />

rice is set down. There<br />

are huge pieces of honeyroasted<br />

paneer with pan<br />

fried shallots - glazed<br />

and utterly delicious,<br />

crisp bhajis the size<br />

of cricket balls, and a<br />

dozen golden samosas,<br />

six each of the lamb and<br />

vegan options. Last to<br />

the table are dishes of<br />

roti, mango chutney,<br />

and thick yoghurt spiced<br />

with cloves and laced<br />

with mint. It’s more feast<br />

than finger food and the<br />

flavours are superb. We<br />

agree that it’s one of the<br />

best curries any of us<br />

has had in a long time. It’s nicely washed down<br />

with pints of lychee-fragranced Lost Pier ‘Fruit<br />

Machine’ IPA, and glasses of organic Spanish<br />

wine, but we appear to have ordered food for eight<br />

and eventually have to admit defeat.<br />

Finally, it’s payback time and we set about the<br />

serious business of Rummikub. Tiles dealt, rules<br />

explained and three rounds in, Rummikub refuser<br />

Tristan is hooked and I’m thinking the Rummikub<br />

Curry Club might become a thing. Not only is<br />

the food delicious, it’s incredibly good value at<br />

£47.50 for the three of us (including the first<br />

round of drinks). But I do suggest that you come<br />

with six, order for three and, if you want to play<br />

Rummikub… we’re recruiting. Lizzie Lower<br />

Café Plenty, 3-4 Circus Parade, New England<br />

Road. Bengali street food available 6pm-10pm,<br />

Wednesday - Sunday<br />

Photo by Lizzie Lower<br />


RECIPE<br />

..........................................<br />


RECIPE<br />

..........................................<br />

Yomi’s tomato stew<br />

Yomi Sode performs a show on identity and belonging,<br />

while cooking up a traditional Nigerian stew<br />

My grandmother has died. My mother has<br />

come round to my new flat to tell me that we’re<br />

travelling to Nigeria to go to her burial. She<br />

already knows that I’m not too keen on going<br />

because the last time I was there I didn’t have<br />

the best experience…<br />

I was nine when we moved to England, but I’ve<br />

been raised to think of Nigeria as home. When<br />

I was there, though, that was the last feeling<br />

that I got. I am Nigerian, but I’m also very<br />

much British: I very much have this style, I very<br />

much talk in this way. In Nigeria I was made to<br />

feel very aware of myself and I think it’s natural<br />

for any person who goes into a situation where<br />

they don’t feel wanted or feel welcomed to build<br />

some kind of resentment towards it. It can be a<br />

country, it can be a person’s home, it can even<br />

be work.<br />

My show, COAT, deals with some of these<br />

ideas of displacement, belonging and identity.<br />

I don’t feel that resentment now, far from it,<br />

but there’s a very interesting intergenerational<br />

conversation that comes out of it in terms of<br />

how much we really need to know about the<br />

people who are close to us. I’m a father now<br />

– I’ve got a three year old, soon to be four –<br />

and I’m thinking about what things will be<br />

in his best interest to know, to ensure that he<br />

grows up without any stress or anxiety. Will I<br />

consider not necessarily being as free with the<br />

information as I thought I would? This is what<br />

this battle is about between me and my mum:<br />

on one side, she is protecting me from certain<br />

things, and on the other side, I’m holding<br />

things back from her. So here we are; we love<br />

each other to bits, but we’re hiding things from<br />

each other at the same time.<br />

So my grandmother has died. My mother has<br />

come round to my new flat to tell me that<br />

we’re travelling to Nigeria, and all of these<br />

conversations are coming up. Meanwhile,<br />

I’m preparing this lovely meal for her, a nice<br />

traditional dish from Nigeria, from scratch…<br />

Ingredients*: Oil, 1 tin of plum tomatoes, 1<br />

red sweet pepper/tatashe (chopped), 1 medium<br />

onion (chopped), 2-3 Maggi cubes, 1 chicken<br />

stock cube, thyme, half scotch bonnet pepper/<br />

rodo (optional), fresh garlic (optional), tomato<br />

purée, boiled water.<br />

(*There might be a secret ingredient. You might<br />

have to come to the show to find out what it is.)<br />

Method: Put pepper, onion and Scotch bonnet<br />

into a blender with a little water and blend until<br />

smooth. Heat oil in the pan and boil the kettle.<br />

Carefully add the blended ingredients into your<br />

pan. Use a small amount of water to rinse the<br />

blender and add this to the pan also. Leave it<br />

to fry off for between 5-7 minutes or until it<br />

has settled and pour the plum tomatoes in. Add<br />

your seasonings. Add some purée (depending<br />

on how thick you want it) and add some more<br />

water if desired. Stir all of the ingredients to<br />

ensure that it is mixed well and leave to simmer,<br />

checking on it from time to time. Taste as the<br />

stew is cooking and add more seasoning if<br />

needed. Once all of the oil has risen to the top<br />

(approximately 45-60 minutes), your stew is<br />

ready. As told to Rebecca Cunningham<br />

COAT, <strong>Brighton</strong> Festival. Brighthelm Centre,<br />

10th & 11th <strong>May</strong>, 7.30pm, £12.50<br />


CNM<br />

Training Successful Practitioners<br />





Train to become a…<br />

Nutritionist<br />

Herbalist<br />

Postgraduate Courses & Short Courses also available<br />

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Acupuncturist<br />

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London, <strong>Brighton</strong>, Bristol, Birmingham, Manchester,<br />

Edinburgh, Belfast and Ireland<br />

01342 410 505 www.naturopathy-uk.com<br />

Attend a FREE<br />

Open Evening<br />

Naturopath<br />

Natural Chef<br />

NEW<br />

FOOD<br />

....................<br />

Three-cheese toastie<br />

With a hint of Terminator 2<br />

It’s not every day you have a toasted cheese sandwich<br />

prepared with a plumber’s blowtorch. And that’s not<br />

the only thing that sets this sandwich apart. This<br />

toastie is made with three cheeses, flame-grilled<br />

cauliflower pieces, cauliflower purée, pickled golden<br />

sultanas and a sprinkling of rosemary. It’s prepared for<br />

me by George Egg, aka the ‘Anarchist Cook’, who’ll<br />

be pitching up with his workbench/test kitchen at<br />

The Warren this month.<br />

George explains the new show, DIY Chef (part<br />

stand-up comedy, part play, part subversive cookery<br />

course and a total sell out at Edinburgh 2017), as<br />

he assembles my sandwich, first heating a metal<br />

Terminator 2 DVD case (“it’s the perfect size for a<br />

toasted sandwich”) with the plumber’s blowtorch.<br />

He then spreads two slices of sourdough with butter<br />

churned by strapping a pot of double cream to a<br />

power sander (“four minutes on full-power should<br />

do it”). The assembled ingredients are melted with<br />

a hot air gun (“it provides a gentler heat than the<br />

blowtorch”) and clamped firmly between the DVD<br />

case covers with long-handled pliers. “It’s all a bit<br />

Wallace and Gromit” shouts George over the roar of<br />

the blowtorch as he blasts the case, before flipping out<br />

the perfectly toasted sandwich with a paint scraper.<br />

I can’t tell if it’s the smoked cheese or the DVD case<br />

that’s giving it the depth of flavour but it’s definitely<br />

more Heston Blumenthal than Heath Robinson. LL<br />

The Warren, 24th and 26th <strong>May</strong>, 8pm, £10.50-12.<br />

Cutlery will be supplied.<br />


Fringe Special<br />

20% Off<br />

with ticket for any<br />

upcoming show<br />

Edible Updates<br />

First off, welcome to The Ivy, scheduled (as we<br />

go to press) to open on the 2nd. We’re excited<br />

to see that fantastic Grade II-listed building on<br />

Ship Street finally restored and up and running<br />

again. And if you haven’t been along to Circo<br />

by Señor Buddha we’d recommend going on<br />

a ‘Planta Wednesday’: one tapas,<br />

two raciones (slightly bigger)<br />

and a dessert from their<br />

vegetarian/vegan menu for<br />

just £20. Perfect to get you in<br />

the mood for summer.<br />

Open for Lunch and Dinner<br />

10 Manchester Street, Kemptown, <strong>Brighton</strong><br />

bluemanrestaurant.com<br />

吀 䠀 䔀 嘀 䔀 䜀 䔀 吀 䄀 刀 䤀 䄀 一 刀 䔀 匀 吀 䄀 唀 刀 䄀 一 吀<br />

On Saturday 12th, the College of<br />

Naturopathic Medicine are holding an open<br />

morning for anyone interested in studying<br />

nutrition or natural therapies. The free event<br />

takes place at <strong>Brighton</strong> Aldridge Community<br />

Academy, 10.30am-12.30pm. [naturopathyuk.com]<br />

Those looking to boost their own<br />

wellbeing might enjoy Josephine<br />

Cobb’s free talk on Nutrition<br />

for Fatigue and Stress,<br />

Thursday 3rd at <strong>Brighton</strong><br />

& Hove Therapies on Fleet<br />

Street. [josephinecobb.com]<br />

Finally, Foodies Festival will be pitching their<br />

tents on Hove Lawns from the 5th to the 7th.<br />

There’ll be street food to sample and cocktails<br />

to sip, as well as plenty of piethrowing,<br />

cheese-stretching and<br />

chilli-eating fun. Don’t forget to<br />

check out the new Musicians<br />

Against Homelessness music<br />

stage, featuring Toploader<br />

on the Saturday and The<br />

Hoosiers on the Sunday.<br />

[foodiesfestival.com]<br />



WE TRY<br />

...........................................<br />

SPACE Yoga<br />

Don’t diss the Yin<br />

St Augustine’s Centre, the magnificent former<br />

church on the corner of Stanford Avenue and<br />

Florence Road, opens its doors this month as a<br />

hub for spirituality and wellbeing. The building<br />

has been divided into a number of units, housing<br />

therapy rooms, workshop spaces and, now, a brand<br />

new yoga studio.<br />

SPACE Yoga Studio is run by partners John and<br />

Catia, who have offered me a free class to get<br />

a taster of what’s on offer. I’ve done a few yoga<br />

classes before, but I don’t know much about the<br />

different types, so John suggests trying Yin Yang,<br />

a combination of slow, restorative ‘Yin’ poses and<br />

more dynamic, strengthening ‘Yang’ movements.<br />

Catia leads the class at 11.30 on a Monday<br />

morning. I find my way up to the studio, which<br />

is on the first floor of a built structure inside the<br />

church. It is a stunning place to do yoga: the<br />

studio itself feels warm and contained, but looking<br />

through the windows you get a sense of the height<br />

and the space outside. I take a place on one of the<br />

mats and wait for the class to begin.<br />

We start by lying on the mats and doing some<br />

breathing exercises, and then it’s into the Yang part<br />

of the session. We work our way through various<br />

different poses at quite a fast pace, with Catia<br />

leading through gentle instruction from the front<br />

of the studio. The movements are challenging but<br />

I can just about keep up. Catia walks around the<br />

room and offers some adjustment when we need<br />

it. Feeling more out of breath than I’ve felt doing<br />

yoga before, I’m relieved when it’s time to move<br />

onto the Yin section.<br />

“Anybody who has told you that the ‘Yin’ is easier,<br />

is lying to you,” Catia says. So it isn’t time for a<br />

break just yet. Each pose is fairly simple, but rather<br />

than moving from one to the next, she explains,<br />

we will hold each for anywhere between three and<br />

five minutes. The challenge is in staying with it<br />

and allowing gravity to push your body deeper into<br />

the stretch. “The Yin allows you to notice which<br />

is giving up first: your body or your mind.” Catia<br />

explains that boredom and frustration are common<br />

during this type of practice, which is encouraging<br />

to hear because I feel them both. It is a very<br />

different challenge to the first half of the class, but<br />

it proves, ultimately, to be immensely satisfying.<br />

The session draws to a close, and on the way out<br />

of the studio I stop to speak to John and Catia<br />

about the other types of yoga they offer. “We divide<br />

the classes into four types: restorative, dynamic,<br />

beginner and experienced,” John explains, “so we<br />

try to offer something for everybody.” If you’ve<br />

been thinking of trying yoga but you’re not sure<br />

which is right for you, they’re offering 30 days of<br />

yoga for £30 – or as part of the Fringe they’ll be<br />

running free yoga classes all day on Saturday 19th.<br />

I’d highly recommend the Yin Yang. Just don’t<br />

underestimate the Yin. Rebecca Cunningham<br />

spaceyogastudio.uk<br />



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...........................................<br />

Your Place<br />

The people at play<br />

I think one of the best things about the <strong>Brighton</strong><br />

Festival is the great number of free events. It’s<br />

like the city is saying, ‘Forget the grind: come<br />

and see the people at play’. Of course, for all<br />

the accessibility there will still be shows that are<br />

beyond the pockets of a great many. Last year’s<br />

Guest Director, Kate Tempest, had this to say on<br />

the matter: ‘The arts should be social, not elitist.<br />

They should be part of our everyday life.’ But she<br />

didn’t just make worthy pronouncements – she<br />

set up the means to ensure the Festival enshrined<br />

these notions.<br />

And so on a grey Monday in early April I take the<br />

bus from <strong>Viva</strong> <strong>Brighton</strong> HQ all the way over to<br />

the Hangleton Community Centre, where <strong>Brighton</strong><br />

starts to run out and the Downs loom into<br />

view. I’m off to find out about Your Place, a kind of<br />

festival within the Festival, Kate Tempest’s legacy<br />

to those who live on <strong>Brighton</strong>’s fringes.<br />

Last year Your Place featured a packed programme<br />

including: award-winning poetry slam champion<br />

Tommy Sissons; Appalachian folk artists Anna and<br />

Elizabeth; a new <strong>Brighton</strong> Festival commission<br />

from Three Score Dance and Ceyda Tanc Youth<br />

Dance company, as well as workshops and performances<br />

from Kate Tempest herself.<br />

I’m curious to know what local people make of<br />

this, of having arty-farty literati types come to<br />

their neighbourhood, and whether the dynamism<br />

of last <strong>May</strong> has carried through to this <strong>May</strong>. I<br />

arrive at the community centre just as a planning<br />

meeting is breaking up. Rhianydd Summersett<br />

from Hangleton tells me she’s grateful to all<br />

those artists and performers who are willing<br />

to be involved in Your Place. ‘It’s lovely having<br />

the opportunity to bring all this into the local<br />

Photo by Caitlin Mogridge<br />

community. A lot of local families can’t access<br />

some of the events in <strong>Brighton</strong> due to the cost of<br />

the ticket’. Rhianydd also mentioned the cost of<br />

getting into town, how for a family of four much<br />

of the Festival would be beyond them.<br />

Jacqui Somers from the Manor in East <strong>Brighton</strong><br />

tells me what the Festival’s continued commitment<br />

means to her. ‘We weren’t just dumped.<br />

They’re just very interested in what we’ve got to<br />

say. It’s lovely to be heard and appreciated.’ Last<br />

year she got to meet Kate Tempest. ‘She was sat<br />

on the ground with a couple of her mates. I made<br />

her a cup of tea and that was it. And then she got<br />

up on stage and it was Boom! Boom!’<br />

I ask about events this year. ‘I am looking forward<br />

to the David Shrigley talk,’ says Jacqui. ‘The artist<br />

in residence,’ says Rhianydd, ‘Kate McCoy.’ Then<br />

the conversation takes off in a flow of excited<br />

mentions of other events and artists, The Ragroof<br />

Players, Culture Clash, Joanna Neary. Yes, I think,<br />

as I come away. Boom! Boom! John O’Donoghue<br />

19th - 20th <strong>May</strong>, Hangleton Community Centre;<br />

26th - 27th <strong>May</strong>, Manor Gym, East <strong>Brighton</strong>.<br />

brightonfestival.org<br />




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MY SPACE<br />

...........................................<br />

<strong>Brighton</strong> street art<br />

A two-wheeled tour<br />

I think I’m becoming blind to street art.<br />

It probably happens to a lot of people<br />

who live in <strong>Brighton</strong>. So many of my daily<br />

journeys are spent dashing through the side<br />

streets of North Laine, dodging past groups<br />

of gazing tourists, it’s only when I stop and<br />

look at what they’re gazing at that I see it.<br />

I’m determined to find out more about the<br />

city’s street art scene, so I enlist the help of<br />

long-standing local graffiti artist REQ to<br />

show me some of the best spots. He offers<br />

to bring me and photographer (and street<br />

art enthusiast) Adam Bronkhorst on one of<br />

his tours.<br />

So the following Friday afternoon I meet<br />

Adam at the BTN Bike Share dock by<br />

our office to pick up our rides for the day.<br />

Neither of us has been on one before, so<br />

there’s a bit of pressing of random buttons<br />

to be done before we figure out the system.<br />

It turns out to be incredibly straight-forward<br />

(as long as you can remember your<br />

PIN number).<br />

On first ride the bikes take a bit of getting<br />

used to: the frame is much heavier than a<br />

normal bike, which makes the steering feel<br />

heftier, but you soon adjust. Adam gives<br />

them bonus points for being able to hold<br />

his DSLR safely in the front basket.<br />

We meet REQ (pictured pg 91) in front of<br />

the Icons mural on the side of the Prince<br />

Albert, which he painted (in its second<br />


MY SPACE<br />

...........................................<br />

Photos by Adam Bronkhorst, adambronkhorst.com<br />

incarnation) last autumn. Icons is, of course,<br />

one of the most iconic pieces of street art in<br />

<strong>Brighton</strong>. He tells us about the special transparent<br />

paints he uses to achieve his almost<br />

photo-realistic portraits, and about some of<br />

the women who helped him paint the piece:<br />

graduates of his Spraypaint Academy for Girls.<br />

But there’s plenty more to see, so we have to<br />

move on.<br />

We zigzag up and down the North Laine,<br />

taking in more stunning pieces by REQ<br />

himself, as well as big local names Sinna One,<br />

SNUB and Minty. I’m a bit wary cycling up<br />

the hills to begin with, given how heavy the<br />

bikes are, but the eight-speed gear system<br />

makes it a breeze. One of my favourite places<br />

he takes us is the carpark at the end of Jew<br />

Street: what had previously seemed like just a<br />

mess of graffiti suddenly becomes a lot more<br />

interesting with REQ there to tell us about<br />

the different artists, where they’ve come from<br />


MY SPACE<br />

...........................................<br />

and the techniques they’ve used.<br />

We finish up on Trafalgar Lane, where there’s<br />

some new street art being made. REQ introduces<br />

us to Mazcan, one of <strong>Brighton</strong>’s only<br />

female graffiti artists, who is in the middle of<br />

painting a stunning portrait, and then Sinna<br />

One drives past and stops for a chat.<br />

“The tour normally only lasts an hour…” says<br />

REQ. The trip timer on the back of my bike is<br />

reading ‘3hrs 44mins’ so we decide we’d better<br />

call it a day. We say our goodbyes and pedal<br />

back to the bike dock. Even after nearly four<br />

hours, I’m a little disappointed that our tour<br />

had to come to an end. But I guess the best<br />

thing about street art is, if you come back next<br />

week, it will all have changed. RC<br />

To book a street art tour with REQ, visit<br />

fb.com/<strong>Brighton</strong>StreetartTours<br />

To find your nearest BTN Bike Share dock and<br />

download the app, go to btnbikeshare.com<br />

Photos by Adam Bronkhorst, adambronkhorst.com<br />








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...........................................<br />

Hove Plinth<br />

‘A new cultural landmark’<br />

Walk along the<br />

Kings Esplanade<br />

and at the foot of<br />

Grand Avenue you<br />

will come to Hove<br />

Plinth, our recently<br />

unveiled answer<br />

to the Fourth<br />

Plinth at Trafalgar<br />

Square, and a<br />

nod to <strong>Brighton</strong>’s<br />

reluctant sobriquet:<br />

‘London-by-thesea’.<br />

By the time this magazine goes to print, the<br />

first sculpture will have been unveiled, towering<br />

2.5 metres above the plinth and casting mesmerising<br />

shadows onto the surrounding promenade as<br />

it moves silently in the breeze coming off the sea.<br />

This is Constellation, by Jonathan Wright, a giant,<br />

3D-printed orrery (or model of the solar system)<br />

that substitutes orbiting planets for examples<br />

of ‘what makes Hove, Hove,’ putting it at the<br />

centre of this metaphorical solar system. The<br />

features have been suggested by local residents<br />

at workshops over the past year and include a<br />

model of one of the pastel painted beach huts<br />

that line Kings Esplanade and frame the plinth<br />

itself, one of our ubiquitous seagulls, and, mysteriously,<br />

‘something first recorded in Sussex in<br />

1150.’ Wright has described the piece as being<br />

‘part made by the local inhabitants and part<br />

made by the location itself.’<br />

Constellation is only a temporary fixture, though.<br />

Much like its equivalent in Trafalgar Square,<br />

Hove Plinth will play host to a rolling line-up of<br />

sculptures, including original works and pieces<br />

on loan from major sculpture foundations. This<br />

is the first step of Hove Civic Society’s plan to<br />

introduce new<br />

public sculpture<br />

to the city. Hove<br />

Plinth will complete<br />

a continuous<br />

‘U’ circuit of<br />

sculpture both<br />

old and new,<br />

running from the<br />

statue of Queen<br />

Victoria further<br />

up Hove’s Grand<br />

Avenue, to the<br />

one in Victoria Gardens, <strong>Brighton</strong>.<br />

The new plinth stands over two meters tall and<br />

features connectivity technology, allowing for a<br />

more interactive experience, and up-lighting of<br />

the kind that makes the grand appear yet grander.<br />

Funded by donations from local businesses<br />

and residents, this has been the flagship project<br />

of Hove Civic Society since February 2012, and<br />

is intended to remedy the complaint that Hove’s<br />

‘rich culture of Victorian sculpture has had nothing<br />

much added in the last hundred years’.<br />

As well as the public involvement through crowd<br />

funding, the first three sculptures scheduled to<br />

feature on the plinth have been chosen by the<br />

votes of some 1,500 <strong>Brighton</strong> & Hove residents.<br />

Major pieces will remain on the plinth for 12-18<br />

months, after which time some will be moved to<br />

permanent sites currently being sought around<br />

the city, with others becoming part of a growing<br />

back catalogue of locally relevant sculpture.<br />

Hove Plinth promises to be a cultural landmark<br />

for the city, brought to completion by the people<br />

of <strong>Brighton</strong> & Hove, for the people of <strong>Brighton</strong><br />

& Hove. Hugh Finzel<br />

hovecivicsociety.org<br />

Artist’s impression of Hove Plinth with ‘Constellation’<br />


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...........................................<br />

Ed Hughes<br />

A moment in a river’s history<br />

How do you capture landscape in music? For<br />

Lewes composer Ed Hughes, it’s a process that<br />

involves what he sees as much as what he hears.<br />

The colours, contours and edges of the physical<br />

world can all, through Ed’s eyes, be translated into<br />

a musical score.<br />

His latest composition was inspired by one of East<br />

Sussex’s most famous land features. Cuckmere: A<br />

Portrait, a <strong>Brighton</strong> Festival commission that premieres<br />

this month, is a collaboration between Ed,<br />

who is Head of Music at the University of Sussex,<br />

and acclaimed music documentary filmmaker<br />

Cesca Eaton.<br />

Ed’s live orchestral score and Cesca’s 25-minute<br />

silent film will give audiences a visual and sonic<br />

experience of a year in the life of Cuckmere,<br />

including the Haven, an area of flood plain<br />

between Seaford and Eastbourne where the river<br />

Cuckmere meanders to the English Channel.<br />

“For years I’ve loved walking in that area with<br />

my family,” says Ed. “It’s a place of great beauty<br />

and fragility, which has inspired so many artists.<br />

Its special light, space, shapes and colours were<br />

famously captured by the artist Eric Ravilious in<br />

his 1939 watercolour, Cuckmere Haven.”<br />

It is these qualities that Cesca and aerial cameraman<br />

Fergus Kennedy have captured in her film,<br />

and which Ed has used to create the four musical<br />

movements of his piece to represent autumn,<br />

winter, spring and summer.<br />

“I’m fascinated by how Cesca’s film creates drama<br />

through connecting different views - whether<br />

that’s the meandering of the river, or the flinty cuts<br />

in the chalk landscape, or the gradual curves of the<br />

Downs,” says Ed.<br />

“These all have geometrical, almost rhythmic<br />

aspects, which can translate into shapes in music.<br />

A sinuous pattern in the river could connect to a<br />

weaving motif in a particular instrument, such as a<br />

flute or a glockenspiel. The music and the picture<br />

are creating different languages side by side.”<br />

Ed and Cesca began the project two years ago,<br />

helped with funding from the Arts Council,<br />

and held workshops at local schools, including<br />

BHASVIC and East Sussex Academy of Music, to<br />

encourage young musicians to respond to Cesca’s<br />

film footage.<br />

What makes the project all the more urgent and<br />

poignant are the challenges to the area posed by<br />

rising sea levels and the cost of protecting it, adds<br />

Ed. “This is a portrait of the Cuckmere River<br />

through a year of seasons, but it is also a moment<br />

in its history. The fact that Cuckmere Haven<br />

will change has a powerful effect on us, perhaps<br />

because we long for an experience of beauty that is<br />

somehow permanent.”<br />

The premiere, which will be at the Attenborough<br />

Centre for the Creative Arts at the University of<br />

Sussex on 5th <strong>May</strong>, will be followed by a discussion<br />

on the future of the environmental movement<br />

between <strong>Brighton</strong> Pavilion MP Caroline<br />

Lucas and author Tony Juniper, whose new book,<br />

Rainforest, draws on his many years’ experience as<br />

a frontline campaigner.<br />

A second performance, on 6th <strong>May</strong>, will include<br />

compositions played by schools that took part in<br />

the Cuckmere Project. Jacqui Bealing<br />

brightonfestival.org<br />



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...........................................<br />

Lichens<br />

To your health<br />

I’ve reached that age where my local GP has<br />

offered to give me a free health check to see if it’s<br />

worth me making any long-term plans. Next week<br />

I’ve booked in to be weighed, measured and prodded.<br />

Meanwhile the health of <strong>Brighton</strong> itself can<br />

be monitored by a group of amazing organisms<br />

which, though they’re all around us, largely go<br />

unnoticed: lichens.<br />

Lichens are the Banksys of the natural world, bringing<br />

their anarchic wildlife graffiti into our unnatural<br />

urban landscape, disrupting the dull uniformity<br />

of brickwork and concrete with a dazzling diverse<br />

range of patterns, shapes, textures and colours.<br />

Considering that lichens cover 8% of the land’s<br />

surface it’s amazing that we hardly notice them,<br />

but next time you’re out, stop and look around.<br />

You’ll be overwhelmed – lichens are everywhere.<br />

Luminous yellow and orange crusts radiate<br />

across roofs, walls, benches and fences. The bare<br />

branches and bark of trees are festooned with<br />

green lichen lobes. Even the concrete and the<br />

clay beneath your feet is covered with the white<br />

splodges of lichens which resemble trampled<br />

chewing-gum. Once you start looking, an invisible<br />

world of lichens will materialise and you’ll feel<br />

like grabbing the nearest person by the lapels and,<br />

wild-eyed, yelling: “they’re everywhere – can’t you<br />

see? We’ve been invaded!”<br />

The secret behind their success is that each lichen<br />

is made of two different organisms – a fungus and<br />

an alga. The alga can photosynthesise and provides<br />

the food that fuels the fungus while the fungus<br />

gives the structure and protection which allows<br />

the alga to function. The fungus is the Lennon<br />

to the alga’s McCartney; working together they<br />

create something amazing and enduring.<br />

Because lichens absorb their water and nutrients<br />

through their surface they don’t require roots.<br />

This gives them the freedom to simply anchor<br />

themselves to any firm foundation; rock, wood,<br />

bone, concrete, glass, canvas, metal. They can also<br />

withstand severe desiccation. In periods without<br />

water they simply switch off. When re-hydrated<br />

they spring back to life like the Wicked Witch of<br />

the West in reverse.<br />

This versatility and resilience means lichens can<br />

survive anywhere on our planet – and experiments<br />

have shown they’d probably do alright elsewhere<br />

too. They recently achieved remarkable results in<br />

the Mars Simulation Laboratory and some folk<br />

claim that lichens could be the key to the human<br />

colonisation of the Red Planet. Back on Earth<br />

their reliance on rainwater means that lichens are<br />

famously sensitive to air pollutants dissolved in<br />

rain. The presence or absence of certain lichens is<br />

a good indicator of pollution levels: what’s good<br />

for their health is good for ours, too.<br />

Michael Blencowe, Sussex Wildlife Trust<br />



.....................................................................................<br />

This picture, printed with kind permission of The<br />

Argus, is of the <strong>Brighton</strong> Festival Chorus practicing<br />

prior to the <strong>Brighton</strong> Festival of 1970. It was<br />

taken in the JMS Lecture Theatre at the University<br />

of Sussex on April 18th of that year, and the<br />

chorus are busy rehearsing Bach’s B Minor Mass.<br />

The picture really brings a flavour of the times.<br />

These may have been classically-trained singers,<br />

but judging by the knees of the girls and ladies<br />

in the front row, every one of them is wearing a<br />

mini skirt. There are a couple of priceless hair-dos<br />

on show as well, not least that sported by the<br />

sun-tanned lady in the third row up, who, by dint<br />

of the fact she is the only person looking at the<br />

camera, becomes the punctum of the picture.<br />

The ladies are silent at this point; look at the men<br />

behind and you can see that they are busy singing.<br />

<strong>Brighton</strong> Festival Chorus was founded two years<br />

before, by Hungarian director Laszlo Heltay, specifically<br />

to participate in the second-ever <strong>Brighton</strong><br />

Festival, during which they performed Belshazzar’s<br />

Feast, conducted by the composer of the piece,<br />

William Walton. They have gone on to become<br />

one of the country’s most respected choirs, regularly<br />

performing in London and further afield,<br />

and collaborating with orchestras of the highest<br />

calibre. Guest conductors have included André<br />

Previn and Simon Rattle.<br />

In the 1970 Festival this bunch performed two<br />

concerts at <strong>Brighton</strong> Dome. Bach’s B Minor Mass<br />

was conducted by the formidable German maestro<br />

Karl Richter on the 9th <strong>May</strong>; the Chorus sang<br />

in conjunction with the Sussex University Choir,<br />

accompanied by the English Chamber Orchestra.<br />

On the 17th, in the same venue, the then-just-25<br />

Daniel Berenboim – now Music Director of the<br />

Berlin State Opera - conducted the choir, along<br />

with the New Philharmonia Orchestra, performing<br />

two Beethoven pieces, Fantasia and the<br />

spectacularly rousing Symphony No 9.<br />

The modern-day version of the Chorus still<br />

rehearse in the same lecture theatre; this year<br />

sees their 50th birthday, and to celebrate they<br />

are going to reprise their first-ever performance,<br />

with what should be an exuberant rendition of<br />

Belshazzar’s Feast on the 27th, accompanied by<br />

the Royal Philharmonic Orchestra, no less, and<br />

conducted by Sir Richard Armstrong. This follows<br />

a performance of Britten’s War Requiem, with Britten<br />

Sinfonia, and the Orchestre de Picardie. Both<br />

take place in the Chorus’ spiritual home, <strong>Brighton</strong><br />

Dome Concert Hall. Alex Leith<br />


14–16 JUNE <strong>2018</strong><br />

lEWES<br />


MUSIC<br />


EXPLORING Vienna<br />


Performed by some of today’s most exciting musicians<br />








box-office@leweschambermusicfestival.com | 01273 479865<br />


VENUES: Depot Cinema | Trinity Church, St John Sub Castro<br />

St Michael’s Church | All Saints Centre

Kronos<br />


In a unique double bilL<br />

Part 1 with<br />

Sam Green<br />

live documentary<br />

performance<br />

of Sam Green<br />

and Joe Bini’s<br />

A Thousand<br />

Thoughts<br />



‰ ‰ ‰ ‰ ‰<br />

FROOTS<br />

Part 2 with<br />

Trio da Kali<br />

SUN 20 MAY, 7.30PM | BRIGHTON DOME<br />

brightonfestival.org 01273 709709 #brightOnfestivAl<br />

∏Lenny Gonzalez

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