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Come and support your<br />
wonderful Rooks!<br />
Next up at the Dripping Pan:<br />
Sat 2 Nov, 2pm: Chelsea<br />
Sat 9 Nov, 3pm: Hornchurch<br />
Sun 17 Nov, 1pm: Sheffield United<br />
Sat 30 Nov, 3pm: Folkestone Invicta<br />
And remember that anyone under 16<br />
gets free entry to all Lewes FC matches.<br />
JOIN THE CLUB:<br />
www.lewesfc.com/owners
VIVA<br />
B R I G H T O N<br />
EDITORIAL<br />
<strong>#81</strong> NOV <strong>2019</strong><br />
...........................<br />
.......................<br />
<strong>Viva</strong> Magazines is based at:<br />
Lewes House, 32 High St,<br />
Lewes, BN7 2LX.<br />
For all enquiries call:<br />
01273 488882.<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 />
What’s the most memorable piece of theatre that<br />
you’ve ever seen? I can still recall every detail<br />
of Before I Sleep – the unforgettable reimagining<br />
of Chekov’s The Cherry Orchard – expansively<br />
played out by masters of immersive theatre<br />
dreamthinkspeak in the shell of the grand old<br />
Co-op department store on London Road in May<br />
2010. Truly extraordinary! And, more recently,<br />
Kneehigh’s bawdy and brilliant adaptation of Tristan<br />
& Yseult; my personal highlight of the 2017 Festival.<br />
Wonderful, life-affirming stuff.<br />
There’s nothing quite like going to the theatre to<br />
transport you from the daily grind (and we live in<br />
grinding times). So, as the nights draw in and all<br />
about is gloomy, we’ve slipped behind the velvet<br />
curtain and sought out some of the dream weavers<br />
who make it all happen.<br />
Like <strong>Brighton</strong> People’s Theatre – the truly inclusive<br />
theatre company who are making sure that everyone<br />
gets to see (or be in) the show, regardless of<br />
their means. We meet the prop makers at Plunge<br />
Creations who can make just about anything you can<br />
dream of. (Or at least give it a very good go.) We go<br />
rummaging at Gladrags – a costume store that serves<br />
the whole community, as well as visiting the state-ofthe-art<br />
Production Hub at Glyndebourne. We look<br />
back fifty years to the opening of the experimental<br />
Gardner Arts Centre, celebrate its recent reinvention<br />
as ACCA and look forward to the imminent opening<br />
of a new performance space in Circus Street. And<br />
Adam Bronkhorst goes backstage at some of our<br />
smaller theatres for his 60th(!) instalment of The<br />
Way We Work.<br />
Now, places please everybody. It’s time to get on with<br />
the show.
OPENING...<br />
29 | 11 | <strong>2019</strong><br />
BRIGHTON SEAFRONT<br />
Follow @cyan.brighton now
VIVA<br />
B R I G H T O N<br />
THE TEAM<br />
.....................<br />
EDITOR: Lizzie Lower lizzie@vivamagazines.com<br />
SUB EDITOR: David Jarman<br />
PRODUCTION EDITOR: Joe Fuller joe@vivamagazines.com<br />
ART DIRECTOR: Katie Moorman katie@vivamagazines.com<br />
PHOTOGRAPHER AT LARGE: Adam Bronkhorst mail@adambronkhorst.com<br />
ADVERTISING: Sarah Jane Lewis sarah-jane@vivamagazines.com<br />
ADMINISTRATION & ACCOUNTS: Kelly Mechen kelly@vivamagazines.com<br />
DISTRIBUTION: David Pardue distribution@vivamagazines.com<br />
CONTRIBUTORS: Alex Leith, Alexandra Loske, Amy Holtz, Anita Hall, Anthony Peters, Ben Bailey,<br />
Charlotte Gann, Chris Riddell, Dexter Lee, JJ Waller, Jacqui Bealing, Jay Collins, Joda,<br />
Joe Decie, John Helmer, John O’Donoghue, Lizzie Enfield, Mark Greco, Martin Skelton,<br />
Michael Blencowe, Nione Meakin, Paul Zara, Robin Houghton and Rose Dykins.<br />
PUBLISHER: Becky Ramsden becky@vivamagazines.com<br />
Please recycle your <strong>Viva</strong> (or keep us forever).
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TIckETS AvAILABLE ONLINE OR ON DOOR @£7.50 OR EARLY BIRD @£5<br />
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CONTENTS<br />
...............................<br />
Joseph Ford<br />
Bits & bobs.<br />
10-29. Have your tickets ready, please.<br />
Anthony Peters opens the show with his<br />
theatrical cover. Actor turned Theatre<br />
Royal proprietor Ellen Nye Chart is on<br />
the Buses; Joe Decie has a dastardly plan<br />
and Alex Leith has a pint (and a singalong)<br />
at Bar Broadway. Meanwhile,<br />
Alexandra Loske is enthralled by<br />
an exotic timepiece; JJ Waller is<br />
mesmerised by the murmurations and<br />
Joseph Ford and Nina Dodd conjure<br />
illusions with knitwear. And much more<br />
besides.<br />
My <strong>Brighton</strong>.<br />
30-31. Historical tailor Zack Pinsent<br />
on dressing up and <strong>Brighton</strong>’s radical<br />
eccentricity.<br />
Photography.<br />
33-39. Adam Bronkhorst looks back on<br />
five years of photographing <strong>Brighton</strong>ians<br />
at work. What’s your favourite set?<br />
24<br />
Photo by Adam Bronkhorst<br />
73<br />
Columns.<br />
41-45. John Helmer is dropping names<br />
(and rubber rocks), Lizzie Enfield’s<br />
mum skips the show and Amy Holtz<br />
(begrudgingly) reflects on what might have<br />
been.<br />
On this month.<br />
47-59. Ben Bailey rounds up his pick of<br />
the gigs; Simon Yates of Touching the<br />
Void comes to Komedia; Glyndebourne<br />
hosts a fundraising gala for Homelink<br />
(complete with a singing Prison Governor)<br />
and Enter the Dragons is slaying taboos<br />
at Chichester’s Spiegeltent. There’s a<br />
lamentably timely play about football<br />
and racism at the Marlborough; Cinecity<br />
returns for its 16th round of adventures<br />
in World Cinema and <strong>Brighton</strong><br />
Philharmonic Orchestra is approaching its<br />
....8 ....
CONTENTS<br />
...............................<br />
centenary. Plus, Dyad Productions bring a<br />
one-woman adaptation of Virginia Woolf’s<br />
Orlando to Ropetackle and Tim Crouch<br />
puts the audience on stage at ACCA.<br />
Art & design.<br />
61-71. Lily Rigby’s Cornish coastal<br />
paintings at ONCA; Jane Fox and her<br />
exploration of the ‘human trace’ is at<br />
<strong>Brighton</strong> Art Fair (in Lewes!) and we meet<br />
the makers at Plunge Creations, who are<br />
game for just about anything. (A Dinosaur<br />
made from crumpets, you say?) Plus, a bit<br />
more of what’s on, art-wise, this month.<br />
The way we work.<br />
73-77. Adam Bronkhorst goes backstage at<br />
some of our smaller theatres for his 60th<br />
TWWW shoot.<br />
Food.<br />
79-83. A recipe from Riverford Organic<br />
Farmers that puts veg centre stage; Greek<br />
nosh at Nostos; a love letter to Pompoko<br />
and just a few edible updates.<br />
Features.<br />
85-95. We find an outfit for every<br />
eventuality at Gladrags community<br />
costume store; visit the state-of-the-art<br />
scenic workshops at Glyndebourne and join<br />
in a theatre workshop at <strong>Brighton</strong> People’s<br />
Theatre. We get an update on <strong>Brighton</strong>’s<br />
newest performance space, coming soon to<br />
Circus Street and the University of Sussex<br />
are celebrating 50 years since the Gardner<br />
Arts Centre opened at Falmer with a look<br />
back at the archive.<br />
Wildlife<br />
97. How Shakespeare’s starlings made it to<br />
California.<br />
Inside left.<br />
96<br />
98. From saltwater pool to casino: the<br />
many incarnations and mixed fortunes of<br />
75 East Street.<br />
Image courtesy of the University of Sussex<br />
Image by Alej ez<br />
69
THIS MONTH’S COVER ARTIST<br />
.......................................................<br />
This month’s cover artist, Anthony Peters,<br />
is interested in exploring how an artist’s<br />
background influences their work. In his<br />
podcast Know Ideas, he and co-presenter Dan<br />
Walters speak to illustrators, graphic designers,<br />
fine artists and film makers about their process,<br />
inspirational teachers and parents, or “how a<br />
negative childhood can generate a desire to<br />
create things.”<br />
Getting the opportunity to study fine art in<br />
Portsmouth was a pivotal moment in Anthony’s<br />
own life. “I was the last generation that got<br />
a grant to go to university in the late 90s. I<br />
wouldn’t have been able to go, were it not for<br />
that. I absolutely loved it. It was a space to<br />
learn, and to dream, and to think.”<br />
Anthony tells me that most of his heroes say<br />
things “in a very minimal way”. “When I was<br />
at art school I was obsessed with conceptual<br />
art, and I think I still am really. That’s where<br />
all of my ideas originally came from. People<br />
like Yoko Ono, Bruce Nauman, Joseph Beuys<br />
and then the YBAs [a group of Young British<br />
Artists in the late 80s]. In graphic design, I love<br />
people like Paul Rand, Anthony Burrill, Geoff<br />
McFetridge.”<br />
Anthony put a lot of thought into how he could<br />
represent this month’s theme in as minimal a<br />
way as possible. “The problem is that the theme<br />
of theatre is absolutely rammed with all kinds<br />
of tropes and clichés. From the comedy/tragedy<br />
masks – which is probably the biggest cliché –<br />
through to spotlights and scripts. It’s quite hard<br />
to avoid when visually trying to represent the<br />
idea of theatre.<br />
“I did an awful lot of research in trying to get<br />
around that. I just tried to distil everything<br />
down to what that one moment is. It’s the<br />
anticipation when you get there and when you<br />
get your ticket torn, or when you’re about to go<br />
in. That’s the part where you’re super excited<br />
and ready to go.”<br />
....10....
ANTHONY PETERS<br />
......................................................<br />
For some drafts of the cover, Anthony printed out<br />
tickets he had designed and photocopied them<br />
multiple times, “to make it look more grimy. A lot<br />
of tickets are digital now, but it’s so lovely when<br />
you’ve got a physical ticket – especially with a<br />
perforated edge that you can rip.”<br />
Anthony is co-curating Look At This <strong>Brighton</strong><br />
with arts consultant/curator Charlotte<br />
Parsons, a new festival of printmaking at<br />
Phoenix Gallery from 16th <strong>November</strong> to 15th<br />
December. “We got together and thrashed out<br />
a dream list of people we’d want involved. And<br />
everybody’s said yes. Stanley Donwood, who<br />
does all the Radiohead sleeves, Anthony Burrill,<br />
Michael C Place (who runs Studio.Build),<br />
Sophie Smallhorn, Hello Marine and more”.<br />
Three pieces by each artist will be on display<br />
in Phoenix’s main space as well as a range of<br />
events, including a Maker’s Store, Printmaker’s<br />
Tabletop Fair and a Printmaking Weekend for<br />
Families.<br />
Joe Fuller<br />
studioimeus.co.uk<br />
knowideaspodcast.co.uk<br />
phoenixbrighton.org<br />
Insta @lookatthisbrighton<br />
....11....
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if you’re quick, there’s still time to enter.)<br />
The shortlisted entrants will pitch their<br />
ideas at a ‘Dragon’s Den’-style event at the<br />
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The winner will receive six months free desk<br />
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BITS AND BUSES<br />
ON THE BUSES #55: ELLEN NYE CHART ROUTE 7<br />
Ellen met Theatre Royal manager Henry Nye Chart while working<br />
as an actress in 1865. They married in 1867, and she inherited<br />
the theatre after he died in 1876.<br />
An article on The Keep’s website explains that Ellen – in her<br />
thirties and with an eight-year-old child to care for – presented<br />
her first series of shows at the Theatre Royal ‘just weeks after her<br />
husband’s death’. She replaced the resident company with a series<br />
of popular touring productions (sound familiar?) and introduced<br />
matinee performances.<br />
Ellen was not only a popular theatre proprietor, but a canny<br />
businesswoman too. She programmed an annual pantomime, with performances every evening from<br />
Christmas Eve until early February. The success of the panto was a key element in turning the Theatre<br />
Royal’s deficit of £6,000 into a profit of £38,000 during her tenure. She was generous, however:<br />
staff and inmates of the <strong>Brighton</strong> Workhouse – more than 1,000 in total – were invited to a free panto<br />
performance every year.<br />
Ellen died unexpectedly in 1892. A report in the <strong>Brighton</strong> Herald concluded that ‘so busy and bustling<br />
a spirit should have been extinguished at so early an age… is a source of deep regret to all those connected<br />
directly or indirectly with the Theatre.’ Joe Fuller<br />
Illustration by Joda (@joda_art)
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...............................<br />
....15....
CURATOR’S CITY<br />
...............................<br />
Royal Collection Trust © Her Majesty Queen Elizabeth II <strong>2019</strong><br />
LANGUID THEATRICALITY<br />
MY FAVOURITE OBJECT OF A PRINCE’S TREASURE<br />
A Prince’s Treasure is now open, and some of<br />
the rooms in the Royal Pavilion look very close<br />
today to what George IV had envisaged and<br />
created in the 1820s. For me, the most wonderful<br />
object, and one of several that brought tears<br />
to my eyes, is one you may miss at first. Partly<br />
because it is so much part of the decorative<br />
scheme that surrounds it, it doesn’t jump out<br />
at you immediately. Look closer though and be<br />
amazed how one beautifully designed object<br />
can pull a whole room together and reflect<br />
everything around it, and more.<br />
The object of my affection is a gilt-bronze<br />
clock that sits on the mantelpiece of the north<br />
wall of the Banqueting Room. It was designed<br />
for this location by Robert Jones, who created<br />
the interiors of the Banqueting Room and Saloon,<br />
and made in c1819 by Benjamin Vulliamy,<br />
with gilding by Fricker & Henderson. In a way,<br />
it doesn’t matter much that it is a clock and its<br />
practical use pales into insignificance compared<br />
to what surrounds it.<br />
Two Chinese figures, one male, one female,<br />
flank the silver-faced clock with its serpent-shaped<br />
hands. Clad in shimmering, heavily<br />
decorated garments (created with enamel<br />
....16....
CURATOR’S CITY<br />
...............................<br />
paint), they lean against the clock, or time in general,<br />
in languid theatricality, exuding leisure, beauty and<br />
exoticism. On top of the clock sits a peacock, echoing<br />
the phoenix birds that appear to hold the four<br />
corner chandeliers in the room. Many of the motifs<br />
and colours you find in the Banqueting Room and<br />
elsewhere in the building, such as dragons, sunflowers,<br />
snakes, stars, figure groups, silver, gold, and deep<br />
blues and reds, you find on this object. In many ways<br />
it is both a reflection and a concentrated version of<br />
what is around it: the best of European Chinoiserie,<br />
an invented vision of Asia, a dream of otherness and<br />
distant worlds.<br />
As far as we know Jones never travelled to China, but<br />
he may well have been inspired by French Chinoiseries<br />
of the 18th century, such as François Boucher’s<br />
paintings, or by the spectacular gilt ‘Chinese’ figures<br />
surrounding the mid-18th century Chinese Teahouse<br />
in the park of Sanssouci in Potsdam, Germany. Seated<br />
and reclining figures are also present in decorative<br />
Chinese export ware, with which Robert Jones would<br />
have been familiar.<br />
The clock has a near twin on the opposite side of the<br />
room, a barometer with an integrated thermometer,<br />
similarly surrounded by figures and ornaments, but<br />
painted in different colours, with different motifs.<br />
The arrival of these two magnificent objects gave us a<br />
chance to look at some of the detail of the figures, and<br />
– unsurprisingly – we have found more that links them<br />
to the room, including starburst patterns and possibly<br />
masonic symbols that are also on the canopies above<br />
the fireplace. You will not learn much about Chinese<br />
robes from these figures, but a lot about how George<br />
IV and Robert Jones’ minds worked.<br />
I had seen and studied the clock and barometer before,<br />
at Windsor Castle, but seeing them back in the place<br />
they were designed for was a truly moving moment. It<br />
felt as if a final jigsaw piece had been slotted into the<br />
theatrical design scheme of the Banqueting Room.<br />
Alexandra Loske, Art Historian and Curator<br />
A Prince’s Treasure – From Buckingham Palace to the<br />
Royal Pavilion. The Royal Collection Returns to <strong>Brighton</strong>.<br />
Free with Royal Pavilion admission.<br />
Detail of the Banqueting Room clock.<br />
Photograph by Nicola Turner-Inman<br />
Chinoiserie figures at Sanssouci, Potsdam.<br />
Photograph by Stella Beddoe<br />
Banqueting Room painting by Robert Jones, 1817.<br />
Royal Pavilion & Museums, <strong>Brighton</strong> & Hove<br />
....17....
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BITS AND BOGS<br />
...............................<br />
MAGAZINE OF THE MONTH: BUFFALO ZINE<br />
Independent magazines are<br />
great for so many reasons,<br />
not least of which is that the<br />
people behind the magazines<br />
are inevitably enthusiastic<br />
about what they do. Another<br />
is that we have magazines in<br />
the shop that cover so many<br />
different interests in so many<br />
different ways. There are still<br />
some themes that don’t yet<br />
seem to be well-covered or, to<br />
put it differently to all hopeful<br />
magazine publishers out there, gaps to fill<br />
still exist. Theatre, the theme of this month’s<br />
<strong>Viva</strong>, is one of them.<br />
Before cinema (and still sometimes today)<br />
theatre was the place where the audience was<br />
amazed by the stage craft, the scenery, the<br />
lighting and the tricks of production as well<br />
as the acting. ‘Don’t be so theatrical’ came to<br />
mean ‘Don’t be so over the top’.<br />
In this sense, a number of our magazines are<br />
definitely theatrical. Because they are independent<br />
– ergo less restrained by budgets or a<br />
narrow imagination – they<br />
can do things other magazines<br />
can’t or won’t, often in<br />
ways that surprise us, like the<br />
theatre still can.<br />
Take Buffalo Zine, for example.<br />
There’s no point looking<br />
for that recognisable cover<br />
each time a new issue comes<br />
out because the size, format<br />
and presentation are always<br />
different. You’ll often hear<br />
us wondering what the next<br />
Buffalo Zine is going to look like.<br />
This new issue is no exception. It’s almost<br />
indescribable. Elise has just said that each<br />
spread feels like an experiment. She’s right. It’s<br />
colourful, unpredictable and sort of crazy. It’s<br />
very visual and has fashion as a component but<br />
definitely isn’t a fashion magazine. It covers so<br />
much ground and you won’t have seen anything<br />
quite like it. Come and have a look, sit down<br />
in our front-row seat and be prepared to be<br />
surprised. Let the curtain rise.<br />
Martin Skelton, Magazine <strong>Brighton</strong><br />
TOILET GRAFFITO #58<br />
We couldn’t agree more. Just in case you needed a<br />
reminder, you will always be enough.<br />
We’ve been spotting this heartfelt message on the back<br />
of bathroom doors across the city (and beyond) lately<br />
and get a little lift every time we do.<br />
But where did we find this lavatory love letter?<br />
Last month’s answer: North Laine Brewhouse<br />
....19....
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BITS AND PUBS<br />
...............................<br />
PUB: BAR BROADWAY<br />
I approach Bar Broadway, on<br />
the corner of Steine Street, just<br />
off St James’s Street, at about<br />
10pm on a Tuesday, knowing<br />
that an open-mic piano singalong<br />
will be in full swing. I’m<br />
not sure I’m particularly looking<br />
forward to the experience.<br />
From its name, and a glimpse of<br />
its glitzy exterior, you can guess<br />
what’s coming when you walk<br />
through the door: plush red<br />
walls, black ceiling and floor,<br />
framed posters and photos of<br />
musical stars of the stage: Liza<br />
Minnelli, Judy Garland, John<br />
Travolta. It’s full without being<br />
brimming, mostly with men,<br />
mostly of a certain age. On a<br />
mini-stage at the back, framed<br />
by red velvet curtains, a fellah<br />
in glasses, accompanied by a<br />
pianist, is singing A Spoonful of<br />
Sugar, from Mary Poppins.<br />
I’m ushered in by the compere<br />
of the night, who shows me<br />
a pile of songbooks (I spot<br />
Abba, and The Carpenters)<br />
and tells me I’m welcome to<br />
sing a song if I can find one<br />
that I like. I order a pint of<br />
Kozel lager from one of the<br />
two friendly young barmen,<br />
dressed identically all in black,<br />
in Bar Broadway-logoed polo<br />
shirts: it’s service with a smile,<br />
and a complimentary bowl of<br />
hot salted popcorn. I warm to<br />
the place… it’s impossible not<br />
to. The singer switches to Those<br />
Magnificent Men in their Flying<br />
Machines.<br />
I wonder how long some of<br />
these old fellows have been<br />
coming here. Bar Broadway was<br />
originally The Queen’s Head,<br />
which dates back to at least<br />
1849. Not surprisingly, given its<br />
name and location, it became<br />
one of <strong>Brighton</strong>’s foremost gay<br />
bars in the 70s – with a portrait<br />
of Freddie Mercury on its<br />
sign – before, after the turn of<br />
the millennium, converting to<br />
The Three and Ten, a bar/club<br />
which opened till 3am. A mini<br />
theatre was introduced upstairs,<br />
for intimate performances of all<br />
sorts of genres.<br />
The theatre’s not open tonight:<br />
all the action is on the stage<br />
downstairs. I’m not tempted<br />
to sing a song myself, but I do<br />
join in a couple of choruses,<br />
particularly when the compere<br />
launches into Anything Goes.<br />
I’ve only planned to have a pint<br />
here, but another beer is in<br />
order. I eventually leave after<br />
applauding a show-stopping<br />
performance, by a chap in his<br />
nineties, of Little Man You’ve<br />
Had a Busy Day, which I later<br />
learnt was released in 1934. Is<br />
that a tear in my eye? Alex Leith<br />
10 Steine Street<br />
....21....
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....23....
BITS AND BOOKS<br />
...............................<br />
INVISIBLE JUMPERS<br />
JOSEPH FORD & NINA DODD<br />
Have you ever wanted to disappear into the<br />
background? If you have, you might want to<br />
enlist the help of an unlikely and obsessive pair:<br />
Joseph Ford who loves creating and capturing<br />
optical illusions with his camera, and Nina Dodd<br />
who loves to knit peculiar things. Combine the<br />
two and you get Invisible Jumpers: a collaboration<br />
that began in 2014, when Joseph met Nina on<br />
a photographic assignment that called for some<br />
inventive knitting.<br />
Joseph was taken with a jumper that Nina had<br />
made to match the upholstery on a <strong>Brighton</strong> bus<br />
and suggested that they photograph it onboard.<br />
As expected, the carefully chosen model blended<br />
gratifyingly into the seat. One jumper led to<br />
another and the <strong>Brighton</strong>-based duo have collaborated<br />
on a series of increasingly challenging<br />
knitting illusions ever since. ‘I work on the principle<br />
that if it’s conceivable, it must be knittable!’<br />
writes Nina.<br />
The results are captured in a beautifully produced<br />
book, recently published by Hoxton Mini Press.<br />
While the 25 images look effortless, each took<br />
weeks, sometimes months in the making, with Joseph<br />
carefully scouting the locations and models<br />
before giving Nina a plan for the image. Together<br />
they matched yarns to the colour and texture of<br />
the backgrounds and Nina deftly knitted up the<br />
garments – some taking upwards of 90 hours to<br />
complete and incorporating 24 different colours.<br />
Finally, Joseph returned to the locations, meticulously<br />
positioning the models and knitwear and<br />
hoping that nothing too much had changed in the<br />
background.<br />
....24....
BITS AND BOOKS<br />
...............................<br />
The images are extraordinary. Graffiti artists<br />
become part of their paintings; a flame-haired<br />
hipster lays camouflaged against a tiled Tokyo<br />
stairway; a woman becomes part of a ragged cliff<br />
edge; teenagers merge into a messy bedroom<br />
floor, strewn with records and Rizla. There’s no<br />
computer trickery. No CGI (Joseph describes<br />
knitting as ‘the ultimate analogue process’); just<br />
the visual intrigue created by Nina’s meticulous<br />
knitting and Joseph’s careful camera angles.<br />
‘I love this kind of attention to the absurd,’ writes<br />
Norman Cook (aka Fat Boy Slim), who appears<br />
(or rather disappears) in the book, against a<br />
six-metre Acid House smiley face, ‘Right up my<br />
street.’ Ours too. Poring over the images offers a<br />
soothing diversion from our increasingly digital<br />
world: equal parts homespun labour of love and<br />
mind-bending marvel of patience.<br />
Lizzie Lower<br />
£12.95, hoxtonminipress.com<br />
....25....
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BITS AND BOOKS<br />
...............................<br />
HOME<br />
CREATIVE FUTURE WRITERS’ AWARD<br />
The Creative Future Writers’<br />
Anthology is fast becoming a<br />
fixture of literary life in <strong>Brighton</strong>.<br />
The anthology collects the<br />
winning entries from the Writers’<br />
Award Competition, which invites<br />
submissions from those who lack<br />
opportunities due to mental health<br />
issues, disability, health or social<br />
circumstance. The awards come<br />
under six headings – Platinum<br />
through Bronze to Commended<br />
– and comprise packages with mentorships,<br />
retreats, Faber Academy and Poetry<br />
School courses, and various books. There’s also a<br />
swanky launch in London, and a chance to meet<br />
judges and fellow winners.<br />
Matt Freidson, Deputy Director of Creative<br />
Future, outlines this year’s theme: ‘For <strong>2019</strong> we<br />
asked: what does ‘home’ mean?’ Out of over<br />
a thousand entries the winning pieces in their<br />
various categories are evenly divided between<br />
poetry and prose pieces, with a section of work<br />
from this year’s judges at the back of the book.<br />
The standard is high. Gary Evans’ Hefted is<br />
about a farmworker trying to get a ewe that’s<br />
lost her new-born lamb to accept another ewe’s<br />
lamb: ‘A rejected lamb’s only got a couple of<br />
hours.’ The language hurtles along: ‘Moka<br />
pot gurgles. Coffee’s done. Fetch Bunk and<br />
McNulty from the barn.’ The race against time,<br />
the brutality of the farm, are brilliantly done.<br />
Iqbal Hussain’s piece opens: ‘I was fourteen<br />
years old when my parents sold me into slavery.’<br />
This is the plight of the narrator’s mother, and<br />
what follows is a classic portrait of an immigrant<br />
family, held together by a matriarch who resents<br />
her early marriage, but not her<br />
family: ‘But look what I have now.<br />
I am the wealthiest woman in the<br />
world.’ Susan Hunter Downer’s<br />
piece also explores estrangement<br />
in The Space Between Words: ‘I were<br />
a woman once… I’m a rain cloud<br />
now.’ The device of woman-into-cloud<br />
allows Downer to convey<br />
with poetry and grim humour<br />
life in a ‘hostile environment’. I<br />
was also impressed by Michelle<br />
Perkins’ The Out, whose narrator’s<br />
alienation is conveyed in a striking idiolect of<br />
her own: ‘People all about and I an unseen.’<br />
This unorthodox syntax is skillfully sustained<br />
throughout the piece to moving effect.<br />
The poets are equally powerful. Sallyanne Rock<br />
uses the structure of a recipe to contrast domestic<br />
abuse with the contentment of home cooking<br />
in You Are Not Nigella Lawson: ‘Soften onions in<br />
oil on a low flame.../Reflect on the last time you<br />
felt scared.’ Natalia Theodoridou creates a little<br />
road movie of migration whose title is a little<br />
poem in itself: ‘After the Backdrop of Pale Men,<br />
Under the Fake Rain, After We Left For Good.’<br />
Sally Davis’s poem In my imaginary house, I’d have<br />
imaginary parents is a series of striking images<br />
that ends on the most beautiful image of all.<br />
And Lauren Robinson offers a prayer every poet<br />
will recognise: ‘Moon Be My Mother’.<br />
But what order, you might be asking, do these<br />
pieces come in? Which are the Platinum, Gold<br />
Silver entries? Reader, you’ll have to buy the<br />
book to find out.<br />
John O’Donoghue<br />
Home, Creative Future, £6 creativefuture.org.uk<br />
....27....
BRINGING<br />
THE HOUSE<br />
DOWN<br />
A CONCERT AT<br />
GLYNDEBOURNE<br />
IN AID OF THE MEATH<br />
EPILEPSY CHARITY<br />
Sunday 5 April 2020 at 3pm<br />
Book now at:<br />
meath.org.uk/glyndebourne<br />
A one-off charity concert featuring<br />
a stellar line-up of world-class<br />
British singers performing popular<br />
arias and ensembles from opera<br />
and musicals.<br />
Compère: John Suchet<br />
Louise Alder<br />
Barry Banks<br />
Sophie Bevan MBE<br />
Allan Clayton<br />
Dame Sarah Connolly DBE<br />
Yvonne Howard<br />
Painting by Amy Sherratt, a member of the Meath community<br />
Photo by Restyler/Shutterstock.com<br />
Jacques Imbrailo<br />
Sally Matthews<br />
Danielle de Niese<br />
Mark Padmore CBE<br />
Brindley Sherratt<br />
Sir John Tomlinson CBE<br />
All the performers are donating their<br />
services and the proceeds from the<br />
concert will go to The Meath Epilepsy<br />
Charity (registered in England and<br />
Wales no: 200359).<br />
Give the gift of song<br />
this Christmas with tickets<br />
to this stunning concert
BITS AND BOXES<br />
...............................<br />
CHARITY BOX #43: THE PURPLE PLAYHOUSE<br />
Photo by Paul Demuth<br />
If you’re not familiar<br />
with the Purple Playhouse<br />
in Hove, you’re<br />
not alone. But you are<br />
almost certainly missing<br />
out. Henry Bruce, its<br />
theatre and events manager<br />
talks <strong>Viva</strong> through<br />
the story of one of the<br />
city’s true hidden gems.<br />
We’re based on the<br />
first floor of the Grace<br />
Eyre Foundation, a four-storey converted<br />
church at the corner of Montefiore Road and<br />
Old Shoreham Road. There’s been a theatre<br />
here since the 50s. Historically it was used<br />
as part of Grace Eyre’s day service. But that<br />
meant it wasn’t being used in the evening or at<br />
weekends, which seemed a shame because it’s<br />
a cracking space. So in 2011 we spent a lot of<br />
money bringing it up to speed. It was at that<br />
point we started using it commercially to raise<br />
funds for the charity, which helps learning disabled<br />
people in <strong>Brighton</strong> and Hove with housing,<br />
employment and independent living.<br />
Now we put on a regular programme of<br />
shows. There’s a stand-up comedy night every<br />
third Thursday of the month featuring brilliant<br />
local acts such as Jo Neary, Victoria Melody and<br />
Hannah Brackenbury and we often have theatre<br />
on and sometimes live music too. Then there’s<br />
the monthly Purple Clubhouse, a nightclub for<br />
people with learning disabilities. We hire learning<br />
disabled DJs, who are paid to perform, and<br />
people with learning disabilities help to design<br />
and steward the club. We’re fully accessible and<br />
everyone is welcome.<br />
The Playhouse is definitely<br />
a hidden gem but<br />
once people discover it they<br />
come back again and again.<br />
It’s a beautiful venue, with<br />
a wooden floor and vaulted<br />
ceiling and a large stained<br />
glass window above the<br />
stage. Performers love it<br />
because it’s a really flexible<br />
space, with a full-width mirror<br />
and an excellent lighting<br />
and PA system. But it’s also quite intimate. We<br />
can only sit 60 – or 80 standing – so it’s a great<br />
place to see shows up close. There aren’t many<br />
venues of this size left in <strong>Brighton</strong> now.<br />
One of the aspects people really like is the fact<br />
that when they come to the theatre, whether as<br />
a punter or a performer, they’re contributing to<br />
our charity. Companies hire out the venue from<br />
us and then keep whatever they make in ticket<br />
sales. People often use the venue for parties and<br />
meetings too.<br />
We will run a bar where appropriate and even<br />
the profits from that go back to Grace Eyre. I<br />
think it’s one of the things that sets us apart from<br />
other small theatres that are commercially run.<br />
The easiest way people can support what we do<br />
is just to turn up for one of the shows we put on.<br />
Aside from the next Purple Comedy Night on<br />
<strong>November</strong> 21, I’m really looking forward to seeing<br />
Redwood Productions’ It’s A Wonderful Life:<br />
a live 1940s-style radio broadcast of the classic<br />
Christmas film that’s taking place on <strong>November</strong><br />
29th. Nione Meakin.<br />
Purple Playhouse, 36, Montefiore Road, Hove<br />
purpleplayhousetheatre.com<br />
....29....
INTERVIEW<br />
..........................................<br />
Photo by Adam Bronkhorst<br />
....30....
INTERVIEW<br />
..........................................<br />
MYbrighton: Zack Pinsent<br />
Period Tailor<br />
Are you local? Yes, <strong>Brighton</strong> born and bred. I<br />
was born in the Trevor Mann unit and grew up<br />
on Hartington Villas by Hove Park.<br />
What do you do? I’m a period tailor. Making<br />
men and women’s bespoke clothing from the<br />
1660s to the 1910s.<br />
What drew you to that? I’d always been interested<br />
in making things, and vintage clothing. I<br />
started making a few bits for myself, and then one<br />
or two pieces for friends.<br />
So the impulse for you to make your own<br />
clothes came first, and the business sprang<br />
organically from that? Exactly. Friends of<br />
friends were saying “can you make me such and<br />
such?” and I was going “yes I think I can!” It<br />
started off more as a hobby making the stuff, as I<br />
was researching and practising and learning my<br />
craft. To a point where it’s now a business, which<br />
is daunting. I have now got a global scope, where<br />
I’m going over to America to see clients and I’ve<br />
got clients specifically flying from other countries<br />
to see me. It’s nothing like I ever thought it<br />
would be.<br />
Did that popularity come from the BBC<br />
News video this summer? No, it was all sort<br />
of doing fine before then. The BBC piece has<br />
actually made me known more in this country,<br />
bizarrely. I was already known quite well in<br />
America. Now I’ve got more UK clients, which<br />
is wonderful. On just the BBC platforms, such as<br />
Facebook and Instagram, it’s had over 60 million<br />
views, which is a little bit mad. At one point<br />
apparently, I was trending on Japanese Twitter.<br />
It keeps astonishing me why people are so<br />
interested in all of this. I don’t see myself as necessarily<br />
doing anything special, I’m just being me<br />
and doing what I enjoy. I’m wearing something<br />
that I’m completely, 100% comfortable in. And<br />
truly myself in. And if you’re confident in yourself<br />
then you’re laughing really.<br />
Are you a theatregoer? I saw The Lover/The Collection<br />
by Harold Pinter with David Suchet and<br />
Russell Tovey. It was amazing, really wonderful<br />
pieces. I then hung around backstage and got to<br />
meet one of my absolute heroes, David Suchet,<br />
and Russell Tovey. I’ve always loved Poirot, and<br />
Tovey was also in one of the early episodes. It was<br />
funny thinking ‘ah, he’s there!’<br />
What do you like about <strong>Brighton</strong>? I love that<br />
<strong>Brighton</strong> is unapologetically itself, and not afraid<br />
to change. Some people say “<strong>Brighton</strong>’s not the<br />
same anymore”. Yeah, but that’s always been<br />
<strong>Brighton</strong>. <strong>Brighton</strong>’s never been the same, it’s<br />
always changed and evolved. I think that’s really<br />
important. When you think of its past, it started<br />
off as a fishing village and then became a royal<br />
playground. It’s always been open to change. It’s<br />
always been dressed up. I believe that <strong>Brighton</strong> is<br />
the Pavilion. It’s that whole madcap eccentricity.<br />
<strong>Brighton</strong> is a bit of a bubble. A wonderful<br />
bubble that I absolutely adore. 99.9% of people<br />
in <strong>Brighton</strong> are genuinely lovely. It’s fantastic.<br />
This atmosphere is completely different to other<br />
places I’ve been in the country. I can’t imagine<br />
going or being anywhere else: London’s great but<br />
it’s not <strong>Brighton</strong>. It’s not home.<br />
Interview by Joe Fuller<br />
pinsenttailoring.co.uk<br />
....31....
Sea differently<br />
BRIGHTON<br />
PHOTOGRAPHY<br />
Prints | Books | Cards<br />
brightonphotography.com | 52-53 Kings Road Arches | 01273 227 523
PHOTOGRAPHY<br />
....................................<br />
Adam Bronkhorst<br />
The way he worked<br />
Adam Bronkhorst has been <strong>Viva</strong> <strong>Brighton</strong>’s<br />
‘photographer at large’ since our fourth<br />
issue, March 2013. Back then<br />
he’d shoot our ‘My <strong>Brighton</strong>’<br />
portrait most months but,<br />
in <strong>November</strong> 2014, we<br />
asked him to photograph<br />
the first ‘The Way We<br />
Work’ series for the<br />
magazine. This month<br />
marks his 60th assignment<br />
on this, one of our<br />
most popular features.<br />
I’d always wanted to<br />
find a personal photography<br />
project – something to<br />
run alongside my commercial<br />
and corporate portrait work.<br />
‘The Way We Work’ presented<br />
an ongoing reason for people<br />
to have their photograph taken. I<br />
never thought it would last this long,<br />
but I could carry on indefinitely.<br />
We started with shopkeepers five years<br />
ago, and I haven’t missed a month. It’s a<br />
great document of <strong>Brighton</strong> and the jobs and<br />
careers that people have now. Say it did carry<br />
on for another 20 years, we might look back<br />
and realise that some of these jobs aren’t around<br />
anymore. It really is a documentary of the way<br />
people work.<br />
I’ve kept a spreadsheet of all of them: we’ve<br />
done everyting from adventurers to window<br />
cleaners so it’s not quite an A-Z of jobs, but<br />
almost. Most of them are a series of five, but<br />
sometimes we shoot six, so to date we’ve photographed<br />
326 local people for the project.<br />
I’ve got to see a whole side of <strong>Brighton</strong> that<br />
I wouldn’t have otherwise. We’ve been up in<br />
the power station, in the cutting room of the<br />
Duke of York’s, up in the dome of <strong>Brighton</strong><br />
Dome, and backstage at the Theatre Royal.<br />
And we’ve been in some fantastic<br />
homes and religious buildings.<br />
The logistics are taken care of<br />
by wonderful people at <strong>Viva</strong><br />
– first Rebecca Cunningham<br />
and now Kelly Mechen –<br />
who are instrumental in<br />
making it happen. Nothing<br />
is off limits so we could be<br />
going anywhere.<br />
I use a 50mm lens<br />
because it’s flattering<br />
and easy to use. I’ve<br />
had a loose set of rules<br />
since we started: I generally<br />
like to shoot the whole of<br />
the person, quite centrally<br />
framed, using the background<br />
to tell a story about who they are<br />
and what they do. That’s harder<br />
with some jobs than with others.<br />
Photographers often talk about ‘available light’,<br />
but I also like the idea of ‘available darkness’,<br />
so, sometimes, I turn off all the lights, and I try<br />
to get everything in camera, using very little<br />
editing. I’m really proud of the images. I like the<br />
uniformity of each set.<br />
I don’t really have a favourite. It’s a really<br />
exciting and interesting thing to do: going to<br />
a different industry or profession each month<br />
and meeting the people that work in them. I’d<br />
like to thank everyone who has agreed to be<br />
photographed so far. If it wasn’t for them, there<br />
wouldn’t be a project. As told to Lizzie Lower<br />
Visit Adam’s website to see the project in its entirety.<br />
adambronkhorst.com/the-way-we-work<br />
....33....
PHOTOGRAPHY<br />
....................................<br />
<strong>Brighton</strong> Racecourse July 2016<br />
....34....
PHOTOGRAPHY<br />
....................................<br />
Bakers October 2016<br />
....35....
PHOTOGRAPHY<br />
....................................<br />
Top row to bottom: Hair colourists February <strong>2019</strong>; Scientists at the Millennium Seedbank July <strong>2019</strong>; Head teachers September 2016; Shops in the arches June 2018<br />
....36....
PHOTOGRAPHY<br />
....................................<br />
Top row to bottom: Food producers October 2017; Florists July 2018; Religious leaders April 2017; Techies January 2017<br />
....37....
....38....
PHOTOGRAPHY<br />
....................................<br />
Body builders February 2017<br />
....39....
John Davis<br />
MA BACP(reg)<br />
Integrative Counselling & Psychotherapy<br />
Based at Coach House Clinic in the centre of Lewes,<br />
I offer therapy to those experiencing particular difficulties<br />
or individuals feeling somewhat lost in life.<br />
Please feel free to get in touch.<br />
Call: 0780 135 4803<br />
Email: jd-therapy@outlook.com<br />
www.johndavistherapy.co.uk<br />
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COLUMN<br />
...........................................<br />
John Helmer<br />
Rocks off<br />
Illustration by Chris Riddell<br />
“You fwoo my wock!”<br />
It’s 1994. I’m in the stalls at the Theatre Royal,<br />
<strong>Brighton</strong> for a performance of the panto<br />
Aladdin, and my two year-old son is furious with<br />
me. Earlier we were given a cuboid of foam<br />
rubber, to be hurled at the villain, Abanazar, on<br />
instruction. Come the critical moment, Freddy’s<br />
attention being distracted by a girl in the row<br />
behind us who was graphically and noisily being<br />
sick, I took it on myself to throw the rock,<br />
leading to this furious exclamation.<br />
“Freddy, I’m sorry I fwoo—I mean, threw your<br />
rock, but you weren’t really paying attention<br />
and if we hadn’t attempted to stone the villain<br />
to death just at that moment in accordance with<br />
the pantomime laws… look, life is all about<br />
timing, Freddy. You snooze, you lose. Especially<br />
in the Theatre.”<br />
Far from pacifying the lad, this inspires a<br />
paroxysm of rage that can only be kept under<br />
control with immense quantities of chocolate<br />
and ice cream. Hours later, when the grown-ups<br />
are drinking wine back at the mother-in-law’s,<br />
I catch Freddy darting furious glances in my<br />
direction, still.<br />
“If I’d known it would matter so much<br />
to him…” I say to my wife Kate, slightly<br />
exasperated.<br />
“Weren’t you ever two?”<br />
I think back to my first Panto, at the London<br />
Palladium in 1967. I was a fair bit older than<br />
Freddy and, Beatles/Stones fan that I was, had<br />
developed a certain pickiness about music. The<br />
star, Engelbert Humperdinck, played his current<br />
hit Dance to My Ten Guitars, which interrupted<br />
the dramatic flow somewhat, and even to my<br />
eleven year-old ears seemed not the strongest<br />
song in an oeuvre I was already beginning to<br />
consider a bit mouldy and crap all together. No<br />
rocks were given out at the performance, but if<br />
they were I would have flung one. Theatre itself<br />
was beginning to seem a bit mouldy and crap<br />
to me then. Heresy I know; but I was a child<br />
brought up on film, TV and rock music.<br />
Now, in <strong>2019</strong>, I feel differently as I slip through<br />
a side entrance at Oxford Circus tube into<br />
Argyll Street and pass the Palladium, recalling<br />
not only Engelbert’s panto but also a night<br />
in the 1980s when I performed on that stage<br />
myself. It was a charity benefit, with a big bill of<br />
comedians. I remember standing in the wings<br />
close to Rowan Atkinson and Peter Cook as they<br />
welcomed Frankie Howerd off the stage after<br />
his slot. Three generations of comedy royalty.<br />
It was Howerd’s comeback after years in the<br />
wilderness: a moment whose significance was<br />
impossible even for me to miss.<br />
Heavy names to drop. But the memory feels as<br />
weightless as that foam rock in my hand; so light<br />
it is impossible to get any force behind. I watch<br />
as it plunges uselessly into the stalls, three rows<br />
forward. How dared I fwoh his wock?<br />
....41....
THE BRIGHTON<br />
Waldorf School<br />
CHRISTMAS<br />
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SATURDAY 7 TH DECEMBER<br />
11.00am - 4.00pm<br />
Come along for a day of festive family fun<br />
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The Gnome’s Grotto<br />
Live Music<br />
Craft Activities<br />
The School Café will be serving<br />
delicious treats<br />
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COLUMN<br />
.........................<br />
Lizzie Enfield<br />
Notes from North Village<br />
Illustration by Joda (@joda_art)<br />
“Did you enjoy the play?” I ask my mother<br />
who had been to the theatre with a friend.<br />
“It was dreadful,” she replies. “We left<br />
during the interval.”<br />
My mother is able to do this. When my<br />
father was alive, they were forever leaving<br />
plays before they were finished – something<br />
I find hard to do.<br />
If I’ve paid hard earned cash for theatre<br />
tickets, I like to get my money’s worth.<br />
Even if the first half is bad, I reason, the<br />
second could be amazing. Plus, it seems<br />
rude. I imagine the lead actor looking out<br />
into the audience in the second half, seeing<br />
empty seats and being thrown entirely.<br />
My dad felt none of this.<br />
“If you leave before the interval,” I recall<br />
him gloating, “you save all that money<br />
having to buy a drink you don’t really want<br />
– and about two hours of your life!”<br />
“You can save even more of your time in the<br />
cinema,” he continued. “You can walk out<br />
after ten minutes and go home.”<br />
My mother has a different policy for films:<br />
“Wait until the film is shown on television,<br />
then you can switch it off more or less<br />
immediately and save the bother of even<br />
going in the first place.”<br />
I can only remember walking out of the<br />
cinema once and that was because the<br />
film was shot with a handheld camera. My<br />
husband and I had been out for dinner<br />
before the film and, about ten minutes in,<br />
began to feel queasy.<br />
“Do you think it was the fish?” we began<br />
whispering to each other.<br />
Turned out the whole of the front three<br />
rows were feeling queasy and they’d not all<br />
been to the same fish restaurant as us.<br />
“Cinema motion sickness” a friend said<br />
authoritatively some time later. “Your<br />
eyes think you are moving but your ears<br />
don’t. Your brain senses the incongruity,<br />
concludes that you are hallucinating and<br />
may have been poisoned and urges your<br />
body to get rid of the poison.”<br />
“It’s the content that makes me feel sick,”<br />
my Mum says of her cultural consumption.<br />
“Plays are full of obscenities or just banal,<br />
and modern actors can’t act and I can’t hear<br />
them. Most of the actors I like and can hear<br />
are dead now.”<br />
She has quite firm views about things, so,<br />
as a rule, going to the theatre is never a<br />
great idea, but one of her ninety-something<br />
friends had tickets for something in<br />
Chichester so I called to ask if she’d<br />
enjoyed it.<br />
“How was the play last night?”<br />
“I don’t know,” she replies. “We didn’t see<br />
it.”<br />
I wonder if, in her recently widowed state,<br />
she’s adopted a new policy of walking out<br />
before the play even starts.<br />
“When we showed them the tickets. They<br />
told us we should have been there the week<br />
before. So, we drove home again and saved<br />
three hours of our lives!”<br />
....43....
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COLUMN<br />
...........................<br />
Amy Holtz<br />
The truth is, I’m a Minnesotan<br />
There’s nothing like the heat<br />
of the lights, the cloying smell<br />
of hairspray and greasepaint.<br />
Excited, nervous laughter<br />
and the flamboyant running<br />
of scales by someone who is,<br />
today, only in the chorus,<br />
but knows their time is nigh.<br />
And in the blackness behind<br />
velvet, the hammering of your<br />
heart is a roaring train that<br />
drowns out the voices beyond<br />
the curtains. The word, your signal – a step,<br />
then two, a shower of light – and then... your<br />
parents... waving frantically at you from the<br />
fourth row.<br />
I was, dear reader, a theatre kid. In a long ago,<br />
faraway time, I had... moments... scuppered<br />
largely by one thing. And if you happen upon<br />
me now on a Saturday night, at Bar Broadway,<br />
there shimmers the only slightly bitter<br />
spectre of a once-grasped dream, like Norma<br />
Desmond, gin-soaked and wafting about the<br />
tiny stage with the residue of what once was<br />
coursing through her bulging, aged veins.<br />
It all started when I, attention-hungry and<br />
nudging actual ability, tried out for a talent<br />
show. Actually... no, now that I think about it<br />
that one didn’t turn out so well. Dressed as one<br />
of Annie’s orphan pals (basically, in a sack),<br />
I mounted the stage to give my two-voiced<br />
rendition of Maybe, alto saxophone dangling<br />
from my weedy 11-year-old neck and panicked,<br />
spotting my dad smiling broadly behind the<br />
show’s director, giving a discreet thumbs up.<br />
I faltered. I tried to shake the rising panic,<br />
but moments later broke into a fit of hysteria,<br />
shouting at my beaming father,<br />
“Stop it! You’re making me<br />
MESS UP! GAWD.” Or<br />
something to that effect, before<br />
clomping down the steps and<br />
galumphing into the bathroom,<br />
rage-weeping.<br />
Anyhow, they say this sort of<br />
experience makes or breaks<br />
you and it wasn’t the worst<br />
thing that ever happened to me<br />
onstage (probably top three).<br />
Things got better. Sophomore year, I was<br />
‘chosen’ to do the spotlight for Into the Woods<br />
(vital, but sweaty work; no one brought me<br />
flowers), but then, a year older, my box step<br />
and jazz hands widening, style and certitude<br />
settling, I finally made it: as a wood nymph<br />
– with a SOLO – in Camelot. I was a village<br />
wench the rest of the show but complain? Moi?<br />
Dad was allowed to come along and sit near the<br />
back. That’s where he sat too when I was Liesl<br />
in The Sound of Music and a window fell over<br />
the top of me (a few scratches/mild concussion)<br />
but I was told I carried it well.<br />
When I actually won something once and had<br />
to sing for my prize, I relented and let Dad sit<br />
nearer the front. He looked nervous, fidgeting<br />
with his hands, and I couldn’t help but think,<br />
‘Good gracious, here we go again…’ But of<br />
course, the show must go on. Midway through<br />
On My Own from Les Misérables, the mezzo<br />
opus us theatre nerds were wont to belt down<br />
the hallways between classes, I forgot all the<br />
words and had to improvise. (Really, though,<br />
who needs the right words when you have<br />
feeling?). I’m not saying it was his fault, but...<br />
....45....
MARINA<br />
Tue 5 Nov<br />
THE AUSTRALIAN<br />
PINK FLOYD<br />
Fri 22 Nov<br />
05.11 | The Greys<br />
Tiny Ruins<br />
08.11 | The Rose Hill<br />
Peter Broderick<br />
16.11 | The Rose Hill<br />
Mega Bog<br />
19.11 | Komedia<br />
Lankum<br />
22.11| Unitarian Church<br />
Erland Cooper<br />
26.11 | Komedia<br />
BC Camplight<br />
10.12 | Komedia<br />
Dawn Landes<br />
10.02.20 | The Old Market<br />
Anna Meredith<br />
26.02.2020 | Komedia<br />
Benjamin<br />
Francis Leftwich<br />
ST GEORGE’S CHURCH EVENTS<br />
23.11 | St George’s Church<br />
Kilimanjaro Live presents<br />
Rhiannon<br />
Giddens<br />
w Francesco Turrisi<br />
29.11 | St George’s Church<br />
Live Nation presents<br />
REN<br />
13.02.20 |St George’s Church<br />
DHP present<br />
Sam Lee<br />
Tickets for shows are available from your local record shop,<br />
seetickets.com or the venue where possible.<br />
meltingvinyl.co.uk<br />
WWE LIVE<br />
Thur 7 Nov<br />
DIDO<br />
Wed 4 Dec<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<br />
SUNDAY 10 NOVEMBER <strong>2019</strong> / 2.45PM<br />
Christian Garrick<br />
& Friends with<br />
the <strong>Brighton</strong><br />
Philharmonic<br />
Strings<br />
Programme includes Poldark<br />
theme tune, John Dankworth’s<br />
jazz Violin Concerto, Piazzolla’s<br />
Four Seasons and Libertango<br />
and more<br />
TICKETS £14.50-£42.50<br />
(50% DISCOUNT FOR STUDENTS/U18S)<br />
BRIGHTON DOME TICKET OFFICE<br />
01273 709709<br />
brightondome.org<br />
brightonphil.org.uk<br />
@BPO_orchestra<br />
/<strong>Brighton</strong>Phil
MUSIC<br />
..........................<br />
Ben Bailey rounds up the local music scene<br />
Photo by Rory Barnes<br />
YONAKA<br />
Fri 8th, Concorde 2, 7pm, £13.50<br />
The last<br />
time Yonaka<br />
appeared in<br />
these pages<br />
we said they<br />
wouldn’t<br />
be gigging<br />
at venues<br />
like the Green Door Store for much longer.<br />
Since then they’ve played at arenas and festivals<br />
around the country and are now coming back to<br />
<strong>Brighton</strong> to headline the Concorde 2. Indeed, the<br />
band’s anthemic electro rock seems purpose-built<br />
to fill big spaces, with all the bombast that<br />
implies. Smoothing out such quirks as Theresa<br />
Jarvis’ hip hop inflections and the spiky guitar<br />
lines, the album presents Yonaka’s music as a<br />
radio-friendly behemoth of hooks and power<br />
choruses. We wouldn’t be surprised if their next<br />
homecoming show was at the <strong>Brighton</strong> Centre.<br />
BEST OF BRIGHTON 2<br />
Sun 10th, Concorde 2, 6pm, £8<br />
Their first ‘mini-fest’ in July was such a success<br />
they’re doing it again, combining a bunch of top<br />
local music with street food vendors and beer<br />
tastings. Los Albertos are the main draw musically,<br />
providing an upbeat and raucous mix of ska,<br />
punk and klezmer for the Sunday night diehards.<br />
Throughout the evening the entertainment is<br />
pretty diverse with garage rockers The Bods<br />
sharing the bill with psych-folk duo Greenness,<br />
riot grrrls Pussy Liquor and guitar popsters<br />
Fragile Creatures. To top it off there’s live art by<br />
Cassette Lord and IOT, and even some comedy<br />
from local stand-up Charmaine Davies.<br />
Photo by Joel Smedley<br />
BLOOD RED SHOES<br />
Thu 14th, Chalk, 7pm, £13<br />
After years of incessant touring Blood Red Shoes<br />
came close to burn out in 2014. The duo parted<br />
ways for a time with singer Laura-Mary Carter<br />
escaping to the US while drummer Steven Ansell<br />
remained in <strong>Brighton</strong> on an extended bender.<br />
Somehow they managed to pull it back together,<br />
revive their friendship and forge a new sense of<br />
purpose. The result was this year’s album Get<br />
Tragic which features confessional songs about<br />
the band’s rift and unveiled a new electronic<br />
direction that was prompted by Carter switching<br />
to synths after breaking her arm in a motorbike<br />
accident. After all of that, they’re back on tour<br />
again.<br />
YAKUL<br />
Mon 25th, Komedia, 7.30pm, £7<br />
Having put out a<br />
couple of confident<br />
singles last year,<br />
Yakul released<br />
their debut EP this<br />
August to much<br />
acclaim from those<br />
with an ear on the<br />
neo-soul scene.<br />
James Berkeley, who<br />
leads the band on vocals and keys, is backed by<br />
three super-smooth musicians who help create a<br />
fresh blend of R&B, soul and jazz – with inevitable<br />
snippets of hip hop. Inspired by the likes of J<br />
Dilla, D’Angelo and Hiatus Kaiyote, the <strong>Brighton</strong>-based<br />
group are all about woozy summer<br />
vibes smothered in vocal harmonies. Though it’s<br />
bound to be a cold <strong>November</strong> night, Yakul might<br />
just convince you otherwise.<br />
....47....
TALK<br />
.........................<br />
Simon Yates<br />
A life in high places<br />
In 1985 a mountaineer called Simon Yates was<br />
forced to cut the rope on his climbing partner<br />
who was dangling helplessly over a cliff above<br />
a crevasse. Miraculously, both men survived.<br />
Their remarkable story was told in the awardwinning<br />
2003 documentary Touching the Void.<br />
After a lifetime of expeditions to far-flung<br />
peaks (most of which went perfectly to plan)<br />
Simon comes to Komedia this month to talk<br />
about the extraordinary places he’s been to.<br />
What’s the focus of your talk? It’s a blend of<br />
all sorts of things. The climbs I’ve done, the<br />
places I’ve visited and the people I climb with.<br />
It’s a presentation really, because I show a lot<br />
of photos and video footage of my climbs. You<br />
almost can’t fail to take good pictures on a<br />
mountain! There are some incredible images,<br />
and a lot of them are unique in that these<br />
mountains have never been climbed before.<br />
What were your best climbs? The things I’ve<br />
done in Pakistan I’ve been particularly proud<br />
of: the first ascent of a couple of mountains<br />
called Laila Peak and Nemeka. I was also<br />
involved on a huge climb on the Tower of<br />
Paine in Chilean Patagonia. That was a very<br />
memorable moment. There’s lots of things.<br />
I’m increasingly drawn to mountain wilderness<br />
now, places that are beyond the margins of<br />
human habitation.<br />
The stage adaptation of Touching the Void<br />
is in the West End now, have you seen it?<br />
Yeah, I went to the opening night. It’s very<br />
interesting and quite thought provoking. It’s<br />
really about why people climb. Why do people<br />
do this? What can you possibly gain from it<br />
that outweighs the risks involved? That’s a big<br />
question that people ask all the time. For me<br />
personally, as well as the technical and physical<br />
aspects, a lot of it is about place. Mountains for<br />
me are the most compelling landscapes, they<br />
are very special places.<br />
Most people would probably agree, except<br />
for the small matter of falling... I think that’s<br />
partly why people come and see me! The sort<br />
of stuff I’m involved in is very physically and<br />
mentally demanding. Your natural instinct in<br />
these places is to be scared. That’s a survival<br />
tool in all of us. In order to be in those places,<br />
and to do what you have to do, you have to<br />
manage that fear. In a sense that might be<br />
similar to the military or something like that.<br />
If you’re fully frightened you can’t function<br />
efficiently.<br />
What about stage fright? I did find it quite<br />
nerve-wracking when I first started doing<br />
this. But what’s the worst that can go wrong?<br />
People tell me they find the talks inspiring,<br />
which is quite nice if it gets them away from<br />
their phones and encourages them to go and<br />
do something. Hopefully they find it enjoyable,<br />
there’s quite a lot of dry humour in there as<br />
well. I don’t take what I do too seriously. At the<br />
end of the day they are only mountains, aren’t<br />
they? Interview by Ben Bailey<br />
Simon Yates: My Mountain Life<br />
Komedia, 11 Nov, 7pm<br />
....48....
GALA<br />
.........................<br />
The singing prison governor<br />
Homelink Gala at Glyndebourne<br />
What do comedians Eddie<br />
Izzard, Steve Coogan<br />
and Zoe Lyons, presenter<br />
Katie Derham, writer Simon<br />
Fanshawe, and actors Toby<br />
Stephens, Nimmy March<br />
and Sophie Okonedo have in<br />
common with the governor<br />
of HMP Lewes? The answer<br />
is they’re all appearing at Glyndebourne this<br />
month to help raise money for local charity<br />
Homelink.<br />
The charity, which is celebrating its 20th anniversary<br />
this year, works to provide permanent<br />
housing for those who are homeless or at risk of<br />
losing their homes. Liaising with Lewes District<br />
& Eastbourne Borough Councils – as well as with<br />
other organisations, such as job centres, women’s<br />
refuges, children’s services, the Sussex Rough<br />
Sleeper Prevention Project, and Southdown<br />
Housing in Lewes Prison – Homelink provides<br />
interest-free loans to hundreds of people<br />
each year who are homeless or facing eviction,<br />
enabling them to move into private rented<br />
accommodation in the Sussex area.<br />
The Homelink #homes4homeless Anniversary<br />
Gala takes place at Glyndebourne on Sunday<br />
17th <strong>November</strong> and will feature a host of homegrown<br />
talents, including the aforementioned<br />
celebrities (all of whom have links to the area)<br />
and Lewes Prison Governor Hannah Lane (pictured).<br />
She and a group of her colleagues have<br />
formed a choir, and, under the tutelage of local<br />
musical director and conductor John Hancorn<br />
(also pictured), are preparing to perform at the<br />
event.<br />
“When we were approached to get involved, I<br />
thought it was a great idea,” she says. “We’ve got<br />
strong connections with<br />
Homelink, as it’s a local<br />
charity and helps many of<br />
our residents who don’t<br />
have anywhere to go when<br />
they are released. Around<br />
30 per cent of our men are<br />
officially ‘of no fixed abode’<br />
when they leave here, and<br />
many end up staying with friends or family and<br />
‘sofa surfing’, so the service Homelink provides<br />
is vital. We wanted to support that – and I also<br />
thought it would be a good opportunity to<br />
mythbust what prison staff are like, as we’re all<br />
different and from different backgrounds. Then<br />
I got roped in to take part myself!”<br />
The Lewes Prison Staff Choir is made up of<br />
staff from a range of positions, Hannah adds,<br />
including officers, teachers, admin staff and<br />
chaplains. “We haven’t decided what to wear yet,<br />
but the consensus is it would be nice to wear our<br />
belts and chains, so that there’s the identification<br />
with the prison.”<br />
There’s something else unusual about the group.<br />
The members’ differing shift patterns mean that<br />
the choir won’t have the opportunity to sing together<br />
as a whole until the Gala itself, making the<br />
Glyndebourne performance truly a one-off.<br />
“Before this, I hadn’t sung since primary school!<br />
It’s a great opportunity – to be able to sing at<br />
Glyndebourne and to raise money for a really<br />
good cause. We’ve got our slot, plus the Grand<br />
Finale, when everyone will be on stage together.<br />
It’s going to be amazing. I just hope we don’t<br />
let anyone down, as the standard will be very<br />
high...” Anita Hall<br />
Glyndebourne, 17 <strong>November</strong>, 3pm. For tickets,<br />
see glyndebourne.com. leweshomelink.org.uk<br />
....49....
NOVEMBER<br />
HIGHLIGHTS<br />
01273 678 822<br />
attenboroughcentre.com<br />
Award-winning independent<br />
3 screen cinema<br />
Next to Lewes station<br />
Pinwell Road, Lewes BN7 2JS<br />
01273 525354<br />
lewesdepot.org
THEATRE<br />
.........................<br />
Bop against racism<br />
Getting the Third Degree<br />
“Every time he was late, he was fined. But he<br />
loved dancing all night, so was often still asleep<br />
when he was meant to be on the training field.<br />
Happily, he found a way round the problem…”<br />
Playwright Duncan Blaxland is telling me<br />
about the footballer Laurie Cunningham, one<br />
of the first black players to get a professional<br />
contract in England, with Leyton Orient in<br />
1974, when he was still just 16 years old.<br />
“He was such a good dancer he would win all<br />
the competitions he entered, and he used the<br />
prize money to pay the fines. In those days<br />
training was all about jogging around the pitch:<br />
he always saw the dancing as his real training,<br />
anyway.”<br />
Cunningham danced on the pitch, as well. He<br />
was often described, Blaxland continues, as<br />
the ‘English Pelé’. “He was an extraordinary<br />
player: elegant, elusive and electric. I first saw<br />
him playing against my boyhood hero, Bobby<br />
Moore. He made him look like a carthorse.”<br />
The young winger was transferred to West<br />
Bromwich Albion, becoming one of ‘The<br />
Three Degrees’. Professional black footballers<br />
in the 70s were a rare sight; there were three in<br />
that West Brom team.<br />
“Unfortunately, they were playing in a<br />
context of extraordinary racial abuse. Britain<br />
was in political turmoil and the National<br />
Front were taking advantage to foment racist<br />
hatred. There were monkey chants, bananas<br />
thrown onto the pitch. Laurie responded in an<br />
incredibly dignified way: he let his football do<br />
the talking.”<br />
In 1979 Cunningham became only the second<br />
black player to represent his country, but<br />
he was rarely called upon by the English<br />
management, who preferred more hardworking,<br />
physical players. He fitted the bill<br />
better in Spain, where he moved that same<br />
year, to play for Real Madrid. “They loved him<br />
in Spain, where he became known as ‘La Perla<br />
Negra’ [the black pearl].”<br />
Cunningham, by now a millionaire, embraced<br />
the new lifestyle. “There was a Renaissance<br />
quality about him. He loved good food,<br />
literature and philosophy. He painted, and<br />
wrote poems. He oozed graciousness and<br />
gentility. He really broke the mould.”<br />
Unfortunately, injury blighted the latter part<br />
of his career and in 1989, aged just 33, he was<br />
killed in a car crash in Madrid. His legacy,<br />
says Blaxland, is enormous. “So many of the<br />
black players who have followed him into<br />
professional football cite him as a role model.”<br />
Blaxland’s latest play, Getting the Third Degree,<br />
features three actors playing a multitude of<br />
roles to a backdrop of groovy seventies soul<br />
and disco music. It was commissioned by Kick<br />
It Out, the organisation – headed by one of<br />
Cunningham’s former team-mates Brendon<br />
Batson – set up to counter racism in English<br />
football. “Unfortunately, racism is on the rise<br />
again, in football and beyond,” says Blaxland.<br />
“Which means, I’m sorry to say, that the story<br />
of Laurie Cunningham’s struggle against racial<br />
abuse on the terraces has never been more<br />
relevant than it is today.”<br />
Alex Leith<br />
Marlborough Theatre, Nov 16th<br />
....51....
THEATRE<br />
.........................<br />
Enter The Dragons<br />
The Mighty Boosh meets the WI<br />
Image by Georgia Apsion<br />
Ahead of their debut at Chichester Spiegeltent,<br />
<strong>Viva</strong> talks to performers Abigail Dooley<br />
and Emma Edwards of A&E Comedy about<br />
confronting taboos via mythology, false<br />
moustaches and nudity.<br />
Enter The Dragons is a show about<br />
women and ageing; how do you tackle<br />
those themes? We chose to liken the process<br />
of ageing to an epic mythological quest!<br />
Banished from the land of the young, our<br />
protagonist sets out to defeat the God of Time,<br />
Kronos. We wanted to make a show that was<br />
empowering, joyful and celebratory, as the<br />
portrayal of ageing and the menopause is often<br />
so negative.<br />
You’ve put paid to the problem of older<br />
women not being cast by casting yourselves<br />
in a show you’ve written yourselves. That<br />
said, do you think things have got any<br />
better for women? It’s improving slowly as<br />
this generation of women over 50 grew up<br />
with punk and is simply not going to fade away<br />
quietly. But it’s still a battle to change people’s<br />
conceptions of older women. We made Enter<br />
The Dragons because we weren’t seeing this<br />
kind of work on stage and that’s the message<br />
we are taking to our audiences: empower<br />
yourselves, be the change you want to see.<br />
I love the description of the show as<br />
‘The Mighty Boosh meets the Women’s<br />
Institute’. What<br />
else has influenced<br />
this piece? Apart<br />
from The Mighty<br />
Boosh we are massive<br />
fans of Vic and<br />
Bob and we also<br />
channelled a lot<br />
of fabulous older<br />
women in the<br />
piece, from Patti Smith to Iris Apfel. We<br />
love surreal humour, strange costumes, false<br />
moustaches, wigs and ridiculous props! We’ve<br />
got everything from a giant dragon claw to an<br />
inflatable swan king – you know, the normal<br />
sort of menopause / ageing show…<br />
You’re not averse to getting naked in your<br />
shows; does nudity feature in Enter The<br />
Dragons too? We challenge a lot of taboos<br />
about how women are expected to behave and<br />
look, including nudity. Owning your body,<br />
showing it in the way you want, even making<br />
people laugh with it is incredibly empowering.<br />
Have you always been feminists? Has your<br />
definition of the word changed as you’ve<br />
got older? Absolutely we have always been<br />
feminists. Why wouldn’t you want everyone to<br />
be equal? But there is definitely a strength that<br />
comes with age and a feeling of ‘f**k it’ which<br />
is incredibly powerful. We are less willing to<br />
compromise and put up with bullshit. But we<br />
also know what we find joyful and we can say<br />
yes to new experiences without fear of what<br />
others think or expect of us.<br />
What do you love most about working with<br />
each other and what drives you mad? Writing<br />
alone is hard, but writing together is a joy and<br />
we laugh a lot. What drives us mad? We talk too<br />
much, spend too much time ‘researching’ funny<br />
things on YouTube, and turn up at meetings<br />
wearing the same<br />
outfit.<br />
Which famous<br />
double act are you<br />
most like? Statler<br />
and Waldorf from<br />
the Muppets. NM<br />
Chichester<br />
Spiegeltent,<br />
Nov 12<br />
....52....
FILM FESTIVAL<br />
.........................<br />
The Juniper Tree<br />
Portrait of a Lady on Fire<br />
Cinecity<br />
Around the world in 90 minutes<br />
Berlin Symphony<br />
Cinecity, which bills itself as ‘the South-east’s biggest<br />
film festival’, has been going for 16 years now,<br />
and with screenings on offer in seven different<br />
venues, including the Depot in Lewes and ACCA<br />
in Falmer, it’s never been bigger.<br />
But it’s the geographical range of the films on<br />
offer that’s really striking. Because, once again, the<br />
festival’s strapline is ‘Adventures in World Cinema’<br />
and it offers the chance to watch a carefully curated<br />
collection of fine movies from all over the world,<br />
from Palestine to Georgia, via Afghanistan and<br />
Australia. As well as the best of British, of course.<br />
One highlight – timed to coincide with the 30th<br />
anniversary of the collapse of the Berlin Wall – is a<br />
remastered version of Walter Ruttmann’s influential<br />
1927 documentary Berlin – Symphony of a Great<br />
City, a contemporary box-office success despite<br />
its avant-garde nature, which compresses a day in<br />
the life of the German capital into a beautifully<br />
composed hour. The film will be accompanied by<br />
a new score, performed by musicians Simon Fisher<br />
Turner, Klara Lewis and Rainier Lericlorais.<br />
East Side Story gives an interesting glimpse at pre-<br />
1989 Eastern Bloc culture, examining the world<br />
of big-budget Soviet musicals, with extracts from<br />
classics such as Tractor Drivers (USSR), Holidays<br />
on the Black Sea (Romania) and Stalin’s favourite<br />
movie, which he is said to have watched over 100<br />
times – Volga, Volga.<br />
Rather more enigmatic and serious is The Juniper<br />
Tree, based on the Brothers Grimm fairy tale, a little<br />
known but highly rated 1990 movie by the late<br />
American director Nietzchka Keene. This slowpaced<br />
black-and-white tale was shot in Iceland and<br />
features the screen debut of a 23-year-old Björk<br />
(pictured above).<br />
Portrait of a Lady on Fire, meanwhile, is a rich<br />
<strong>2019</strong> period piece by Céline Sciamma, set in the<br />
18th Century, with an all-female cast, that won<br />
the Queer Palm and the Best Screenplay at this<br />
year’s Cannes Festival. It stars Noémie Merlant<br />
as a young artist commissioned to secretly paint<br />
a portrait of an increasingly reluctant bride-to-be<br />
(Adèle Haenel).<br />
The festival is topped and tailed with local premieres<br />
of much-anticipated American films, which<br />
have made an impact at Cannes and other festivals,<br />
which you would otherwise have to wait till 2020<br />
to watch. The festival opener is Robert Eggers’ The<br />
Lighthouse, a black-and-white psychological drama<br />
starring Willem Dafoe and Robert Pattinson as<br />
two men who get to know each other rather too<br />
well while manning a lighthouse on a remote rock<br />
off New England. And the closing feature is Taika<br />
Waititi’s dark offbeat comedy Jojo Rabbit, about a<br />
lonely Hitler Youth cadet, whose best friend is an<br />
imaginary version of his Führer; the lad is faced<br />
with a number of choices when he discovers his<br />
mother is hiding a Jewish girl in the attic. Think<br />
The Producers meets Moonrise Kingdom. For the full<br />
schedule see cine-city.co.uk<br />
Dexter Lee<br />
....53....
PRISM<br />
CALENDAR GIRLS THE MUSICAL<br />
THE LOVELY BONES<br />
CHRISTMAS CONCERTS<br />
THE GRUFFALO<br />
THE WIZARD OF OZ<br />
THE SLEEPING BEAUTY<br />
SIX<br />
THE STRANGE TALE OF CHARLIE<br />
CHAPLIN AND STAN LAUREL<br />
MY COUSIN RACHEL<br />
A MONSTER CALLS<br />
OI FROG & FRIENDS!<br />
COMEDY, DANCE, MUSIC<br />
AND MUCH MORE<br />
Tickets on sale now!<br />
cft.org.uk 01243 781312
Photo by David Gerrard<br />
<strong>Brighton</strong> Philharmonic<br />
An interesting opener…<br />
For an orchestra to be approaching its centenary in<br />
these days of cuts to the arts is quite some achievement.<br />
And yet the <strong>Brighton</strong> Philharmonic Orchestra<br />
is doing just that. Founded 95 years ago, <strong>Brighton</strong>’s<br />
professional orchestra has been based for all but two<br />
of those in the Dome.<br />
As the <strong>2019</strong>-2020 season begins, Chairman Nicolas<br />
Chisholm is coming to the end of his five-year<br />
tenure, but it’s clear that optimism is high at the<br />
BPO. He admits their concerts regularly attract<br />
over 1000 people, but the aim is to “improve on<br />
that and be even more exciting and innovative.<br />
<strong>Brighton</strong> is vibrant and diverse. We want to present<br />
programmes that appeal to a wide audience.”<br />
This month’s concert, featuring jazz violinist<br />
Christian Garrick and Friends with the <strong>Brighton</strong><br />
Philharmonic Strings, promises to be an interesting<br />
opener to the season. It’s a programme of<br />
tango, jazz and gypsy-folk music and includes Astor<br />
Piazzolla’s ‘sizzling’ Four Seasons of Buenos Aires<br />
(billed as ‘Four Seasons of <strong>Brighton</strong> Aires’). It’s<br />
exciting stuff. But does that mean the orchestra is<br />
moving away from its classical roots? Chisholm<br />
says not at all. For example in December the<br />
programme includes two Haydn symphonies,<br />
Mozart’s Eine Kleine Nachtmusik and Vaughan<br />
Williams’ The Lark Ascending – “very much our<br />
core repertoire,” he explains, “and our New Year’s<br />
Eve Gala concert is practically a <strong>Brighton</strong> institution,<br />
pretty much selling out each year.”<br />
But alongside this there are distinct signs that the<br />
BPO is determined to stay ahead of the game.<br />
“We want to do unusual things.” Chisholm is<br />
enthusiastic about a new initiative to showcase the<br />
different sections of the orchestra. February’s concert<br />
is given over to <strong>Brighton</strong> Philharmonic Brass<br />
with music from the sixteenth century to the<br />
present, including Chris Hazell’s Four Cats Suite.<br />
Chisholm acknowledges that today’s audiences<br />
often appreciate, even expect a visual element<br />
to complement what they’re hearing, so that it<br />
becomes not unlike theatre. “We want people to<br />
go away thinking ‘wow, that was a real musical<br />
experience.’ Later in the season we have virtuoso<br />
piano duo Worbey and Farrell returning with one<br />
of their own programmes, Rhapsody, which they’ve<br />
performed all over the world. They’re showmen<br />
as well as fantastic musicians. Many audience<br />
members will have seen nothing like it.” This is<br />
true – look them up on YouTube!<br />
Things are looking good for a bumper centenary<br />
celebration in five years’ time. It’s clear<br />
that Chisholm is immensely proud of the BPO’s<br />
achievements and the quality of its programmes.<br />
“People often don’t realise this is the city’s professional<br />
orchestra – all the members play in other<br />
orchestras and come together as the BPO. It’s a<br />
real jewel in the crown for <strong>Brighton</strong>.”<br />
Robin Houghton<br />
Christian Garrick & Friends with the <strong>Brighton</strong><br />
Philharmonic Strings, <strong>Brighton</strong> Dome,<br />
Sunday 10th Nov, 2.45pm<br />
....55....
Offenbach’s favourite, sung in English<br />
La Belle Hélène<br />
Live opera fully staged: French fizz and foolery<br />
set to deliciously immortal music: outrageous fun<br />
NSO Chorus, St Paul’s Sinfonia, c.Toby Purser,<br />
d. Jeff Clark, with Hannah Pedley & Anthony Flaum<br />
Town Congress Chequer Old Bloomsbury<br />
Hall Theatre Mead Market Theatre<br />
Lewes Eastbourne East Grinstead Hove<br />
London<br />
Nov 13 Nov 17 4pm Nov 28 Dec 1 4pm Dec 5<br />
www.newsussexopera.org<br />
A collaboration with Opera della Luna. NSO charity no. 1185087
THEATRE<br />
.........................<br />
Orlando<br />
A Woolfian romp<br />
Actor Rebecca Vaughan of Dyad Productions<br />
talks to <strong>Viva</strong> about the company’s touring<br />
one-person adaptation of Virginia Woolf’s<br />
‘unstageable’ novel Orlando.<br />
Orlando is a bit crazy as a story. An<br />
immortal poet who’s male and then female?<br />
You definitely have to get an audience to go<br />
with you. A few years ago we created another<br />
adaptation of Virginia Woolf, Dalloway, and in<br />
some ways this show is the other side of that<br />
coin because Dalloway all takes place in one day<br />
and this takes place… over 400 years [laughs].<br />
But actually, although it’s a beast, once we got<br />
a handle on Woolf’s language and what we<br />
wanted to do with the piece it all started to fall<br />
into place.<br />
While a lot of people focus on the<br />
character’s gender transition – which Woolf<br />
does without any explanation – there’s a lot<br />
more to it than whether Orlando is male or<br />
female. It’s a device that allows Woolf to talk<br />
gloriously about the lot of women, especially<br />
in the 19th century, but the novel is also about<br />
Orlando becoming older and wiser. While the<br />
gender is shifting back and forth, they are just<br />
learning more and more about what it means to<br />
be human.<br />
One of the reasons we wanted to do it, apart<br />
from the fact we’re huge fans of Virginia<br />
Woolf, is that the novel feels so modern.<br />
It’s not just about gender fluidity and duality,<br />
but also about trying to find a place in the<br />
world whilst remaining true to yourself. These<br />
days, with social media and the public-private<br />
elements we have to manage with our personas,<br />
it felt like a show that would speak to an<br />
audience. It’s also a glorious romp, which isn’t a<br />
phrase people tend to associate with Woolf. It’s<br />
very funny.<br />
As a company, we are very interested in<br />
history told from a female perspective,<br />
mainly because it’s an under-represented<br />
viewpoint. We like the idea of clasping hands<br />
across the divide of time and finding new<br />
relevance in these classic novels. When we did<br />
Jane Eyre we didn’t want to just give people the<br />
adaptation they thought they would get, we<br />
wanted to offer something new – and it’s the<br />
same with Orlando. We didn’t want it to feel<br />
stuck in aspic. Woolf was forward-thinking in<br />
the way she wrote it, so without inventing too<br />
much, we wanted to bring it up to date to make<br />
it about the audience’s experience today.<br />
The show is more like the novel than even<br />
a film adaptation because you’re not sitting<br />
passively watching it, you’re actively engaged<br />
as you would be reading a novel. We’re using<br />
the book’s incredible, poetic<br />
language to really ignite the<br />
audience’s imagination so<br />
that when it’s over you<br />
feel you’ve experienced<br />
it rather than watched<br />
it. Nione Meakin<br />
Orlando, The<br />
Ropetackle,<br />
Shoreham,<br />
Nov 17<br />
....57....
THEATRE<br />
.........................<br />
Photos by Eoin Carey<br />
Total Immediate Collective<br />
Imminent Terrestrial Salvation<br />
Different every time<br />
Playwright/actor Tim Crouch is showing me<br />
a beautifully illustrated book, in Marwood<br />
Café. Some of Rachana Jadhav’s illustrations<br />
fill whole pages, while others are smaller comic<br />
book panels. In Tim’s new play, Total Immediate<br />
Collective Imminent Terrestrial Salvation, each<br />
audience member is sat on stage and given a<br />
copy of the book to read – which also features<br />
stage directions and dialogue – whilst also<br />
watching actors perform. “We spend time as an<br />
audience, collectively, studying illustrations.”<br />
The plot concerns “a group of people who’ve<br />
been led to a place in South America on the<br />
understanding that the world will end.” Tim<br />
performs as Miles, the leader of this group and<br />
the author of the book. Audience members are<br />
invited to read out loud if they choose to, but<br />
it’s not obligatory.<br />
“I wanted to make a play that invited the<br />
audience to share the reading. That was a formal<br />
beginning; the narrative beginning was me<br />
wanting to write a play about belief. Seeing<br />
parallels in the belief that exists in the theatre<br />
– where a group of people comes together<br />
....58....
THEATRE<br />
.........................<br />
and commits to the beliefs of a play – with<br />
groups of people coming together and<br />
contracting into sets of political or religious<br />
beliefs.”<br />
A lot of thought has clearly gone into how<br />
audiences will experience and enjoy the<br />
play. Tim explains that they are using sound<br />
design “to lift the stories off the page”,<br />
including the sound of ice cracking in a<br />
pivotal scene, to ramp up tension. “They<br />
could spend the whole show reading the<br />
book, or they could go from book to action.<br />
Sometimes the action will correspond with<br />
what’s described in the book, sometimes<br />
it won’t. So I’m asking the audience to fill<br />
in the gap, and square the contradiction<br />
between what they see in the book and what<br />
they see in the action. In a way, it’s another<br />
way of telling a story, one that gives an<br />
audience greater authority.<br />
“Some people really dig that… but<br />
somebody in Edinburgh said ‘this is not a<br />
library, it’s a theatre’.” TICITS has played<br />
at Edinburgh International Festival, Royal<br />
Court Theatre and Dublin Theatre Festival<br />
before its ACCA run. I ask Tim if the<br />
performances have varied much so far. “Well<br />
every time there’s a new audience, it’s like a<br />
whole new cast. The play can run longer or<br />
shorter depending on how people respond<br />
to the text.<br />
“I’m trying to question the notion of the<br />
virtuoso, and how we venerate performers.<br />
There is an element of cult in it, which I get<br />
very uneasy about. From people autograph<br />
hunting to worshipping celebrities… I’m<br />
trying to dismantle what’s in that. To give<br />
as much to the audience as possible. Every<br />
audience brings a different energy to it. So<br />
it’s different every time, even though every<br />
word is scripted.” Joe Fuller<br />
attenboroughcentre.com, 6-9 Nov<br />
....59....
01444 405250 | @NymansNT | @NymansNT<br />
www.nationaltrust.org.uk/nymans<br />
Credit: Quentin Blake: A P Watt at United Agents on behalf of Quentin Blake.
ART<br />
.............................<br />
Focus on:<br />
Tidal<br />
by Lily Rigby<br />
Oil on canvas,<br />
100cm x 100cm<br />
In April I did a ten-day<br />
residency in Manaccan,<br />
a very beautiful village on<br />
the south Cornwall coast.<br />
It was a very inspiring time<br />
and one I won’t forget. I will<br />
be exhibiting some of these<br />
works at my solo show What<br />
the Water Gave Me, this month<br />
at ONCA Gallery.<br />
I loved my time on the<br />
residency, and the chance to<br />
completely immerse myself<br />
in my work. But when I first<br />
got there, I found that I had a<br />
mental block, and the painting<br />
wasn’t coming naturally.<br />
After a couple of days, I went<br />
to the Tate St. Ives and I saw<br />
a painting by Peter Lanyon<br />
that I fell in love with. That<br />
unlocked something in me:<br />
I went back and produced a<br />
whole body of work.<br />
I didn’t spend my whole<br />
time in the studio, of course.<br />
I went for long walks along<br />
the coast, usually in the rain,<br />
and took photographs and<br />
created quick paintings in my<br />
sketchbook. These images act<br />
as a starting point for some of<br />
my paintings, triggering off a<br />
response, and influencing the<br />
colours and perspective.<br />
While I have been<br />
influenced by abstract<br />
artists, like Sam Lock and<br />
Mark Rothko, I’d say my<br />
work is somewhere between<br />
figurative and abstract. It<br />
isn’t always clear what my<br />
paintings are about, and I<br />
like that. I want people to<br />
have their own response and<br />
experience to each painting. I<br />
guess they are also about me:<br />
all my emotions, memories<br />
and experiences come out<br />
onto the canvas when I paint.<br />
I painted Tidal in one go,<br />
in a couple of hours. I had a<br />
lot of pent-up energy, which<br />
I needed to get out of me.<br />
It’s very much a spontaneous<br />
painting. However, other<br />
paintings can take a lot<br />
longer to form. I can spend<br />
months on a painting and they<br />
become built up with lots of<br />
layers. These paintings have a<br />
very different feeling.<br />
One of my most useful tools<br />
is a ladder! Since I came<br />
back, I’ve had a whole studio<br />
to myself, which I have loved.<br />
I have produced a lot of largescale<br />
work and I hope people<br />
will become completely<br />
absorbed in the paintings. I<br />
want my paintings to have an<br />
impact on people in the same<br />
way the landscape can.<br />
As told to Alex Leith<br />
ONCA Gallery, Nov 9th-17th<br />
....61....
ART<br />
.............................<br />
Jane Fox<br />
An artist who walks<br />
“I think of my practice as different pathways<br />
that I’m navigating,” says Jane Fox, a visual<br />
artist whose work also includes video, sound<br />
and performance. “I don’t plan the outcome<br />
so what emerges is often a surprise for me but<br />
it either makes sense or it doesn’t. I have this<br />
little compass that keeps me on track.”<br />
The theme of walking comes up a lot over the<br />
course of our conversation because while Fox<br />
is not a land artist, she is “an artist who walks”.<br />
She was tutored at what was then <strong>Brighton</strong><br />
Polytechnic by the land artist John Holloway<br />
– “So I was nurtured in that sensibility even<br />
though at the time I butted up against it and<br />
started making figurative work. It got into me.”<br />
When she graduated, one of her first paid jobs<br />
was working with rangers on the South Downs,<br />
clearing footpaths, cutting back trees and<br />
renovating ponds.<br />
Today, walking informs her work both directly<br />
– the bent-over hawthorn trees she noticed<br />
during a recent meander on the Downs appear<br />
in recent pieces – and indirectly. “I’m interested<br />
in the human trace. You touch something and<br />
it marks and it’s changed. That’s why I like<br />
walking on the Downs because you pick up<br />
chalk on your feet but at the same time you’re<br />
wearing away a path and that translates really<br />
directly to an etching plate, that process of<br />
leaving marks and erasing things.”<br />
Fox describes her artistic practice as “a real<br />
hybrid”. Her CV takes in everything from a<br />
faux fish-slapping festival during her years with<br />
<strong>Brighton</strong>’s Carnival Collective to “midnight<br />
processions, celebratory cake making,<br />
collaborative installations and drawing from<br />
....62....
ART<br />
.............................<br />
memory.” It’s an approach informed by her teenage years<br />
soaked in the DIY spirit of punk. “That period really<br />
radicalised me,” she says. “I felt I was on a conveyor belt<br />
to housewife boredom but I became politicised, I realised<br />
there was another way of living and I became massively<br />
industrious. It was really inspiring and set a steer for<br />
me around cracking on with the thing you want to do –<br />
whatever that might be.”<br />
For the best part of the last decade that has been<br />
printmaking – including Fox’s part-time job as a<br />
senior lecturer at <strong>Brighton</strong> University. She works<br />
predominantly from her base at <strong>Brighton</strong>’s Phoenix<br />
Studios, where she has been since the 90s when she<br />
was a member of artist collective Maze, who joined<br />
Red Herring artists at the Waterloo Place site. It’s her<br />
etchings, drawings and screenprints that will feature<br />
on her stand at this month’s <strong>Brighton</strong> Art Fair, many<br />
taking in motifs from the natural world and shadowy<br />
figures. “I’m interested in that sense of coming and<br />
going and nothing being permanent, so there’s been<br />
a lot of stuff recently about loss. I also like memories,<br />
ephemeral materials, poetry and fragments of text.<br />
My work is incredibly varied but certain ideas always<br />
remain.” Nione Meakin<br />
<strong>Brighton</strong> Art Fair at Lewes, Lewes Town Hall, <strong>November</strong><br />
30-December 1. <strong>Brighton</strong>artfair.com<br />
Cissbury (detail)<br />
....63....
Surf and Turf<br />
Artists Christmas Open House<br />
Renowned for a huge variety of Artists and<br />
Makers under one roof and a chance for<br />
coffee and cake. Amongst our sellers you will<br />
find Ceramics, Knitwear, Mosaic, Photography,<br />
Lino cut prints, quirky accessories and<br />
decorations, Perfume, Floristry and Plant<br />
terrariums, leather handbags and much more.<br />
Open Sat/Sun 23rd/24th/30th <strong>November</strong><br />
and 1st/7th/8th December, from 11-5pm<br />
FREE PARKING at 38 Braemore Road,<br />
Hove, BN3 4HB<br />
Contemporary<br />
British Painting and<br />
Sculpture<br />
We look forward to welcoming<br />
you to our gallery in Hove.<br />
Please visit our website for<br />
further details.<br />
CAMERONCONTEMPORARY.COM<br />
CCA_<strong>Viva</strong>Lewes_Advert_66x94_June2018_v1.indd 1 17/06/2018 09:08
ART<br />
....................................<br />
ART & ABOUT<br />
In town this month...<br />
Care(less) – the first VR work by Lindsay Seers – is currently<br />
on display at Fabrica. The six-minute, 360-degree film plays<br />
through a virtual reality headset, allowing visitors to experience<br />
what it might feel like to be in the body of an older person facing<br />
a gradual reduction in capacity. The artwork and accompanying<br />
programme of talks, film screenings and activities investigate<br />
prevalent attitudes to ageing, the nature of caring relationships<br />
and the care system. Continues until 24th <strong>November</strong>.<br />
Care(less) by Lindsay Seers, Fabrica, <strong>Brighton</strong>.<br />
Photographer Tom Thistlethwaite<br />
There’s big news this month. <strong>Brighton</strong> CCA – a new<br />
interdisciplinary arts organisation – has recently opened at<br />
the University of <strong>Brighton</strong>. Comprising two gallery spaces<br />
and a theatre (formerly the Sallis Benney) at Grand Parade,<br />
as well as research galleries and project spaces at Edward<br />
Street, <strong>Brighton</strong> CCA is free and open to all and will offer<br />
five exhibitions per year alongside a programme of film,<br />
talks, events and research. Inaugural exhibitions by Franz<br />
Erhard Walther and Dog Kennel Hill Project (pictured) kick off a programme of world-class<br />
shows from emerging and established international artists.<br />
MADE <strong>Brighton</strong> returns to St Bartholomew’s Church on the 22nd and<br />
23rd (10.30am-5.30pm, £5), with dozens of the best makers in the country<br />
showing their stuff. Whilst you’re visiting, drop in at Atelier 51, the home<br />
of Tutton & Young, just opposite the church. [madebrighton.co.uk]<br />
Cecile Gilbert<br />
Anthony Burrill<br />
Don’t miss Look at This – a Festival of Printmaking at Phoenix Art<br />
Space (16th Nov-15th Dec, Wed-Sun 11am-5pm). This month-long<br />
celebration of contemporary printmaking (co-curated by this month’s<br />
cover artist) features work by leading artists, illustrators and designers<br />
who together have shaped contemporary visual culture, exhibited<br />
across the UK and beyond and worked with some of the world’s biggest<br />
brands. All prints are for sale to raise funds for Phoenix. Events include<br />
a Printmaker’s Tabletop Fair (23rd-24th Nov) and a Printmaking<br />
Weekend for Families (7th-8th Dec). [phoenixbrighton.org]<br />
....65....
CHRISTMAS<br />
Artists<br />
Open<br />
Houses<br />
<strong>Brighton</strong> & Hove, along the Coast<br />
and over the downs to Ditchling<br />
23rd <strong>November</strong> ><br />
8th December <strong>2019</strong><br />
aoh.org.uk<br />
16 <strong>November</strong> - 15 December<br />
Open Wed – Sun, 11:00 – 17:00<br />
PHOENIX FESTIVAL<br />
OF PRINTMAKING<br />
A month long celebration of contemporary<br />
printmaking, featuring a curated exhibition of<br />
work by leading artists, illustrators, designers<br />
and printmakers from the UK and beyond.<br />
Plus FREE events including<br />
Printmakers Tabletop Fair - 23 & 24 <strong>November</strong><br />
Family Printmaking Weekend - 7 & 8 December<br />
lookatthisbrighton<br />
www.phoenixbrighton.org<br />
10 -14 Waterloo Place, BN2 9NB
ART<br />
....................................<br />
Alej ez<br />
On the Seafront, the West Pier Centre has an exhibition of works by Alej ez (the creator of our<br />
April cover). As well as his meticulously observed local vistas, the show also features new works<br />
depicting London landmarks. Continues until January 2020.<br />
Sitting in the Sun<br />
This year’s Christmas<br />
instalment of Artists’<br />
Open Houses gets<br />
underway on the<br />
23rd <strong>November</strong> and<br />
continues until the 8th December. Take the<br />
opportunity to visit artists and makers in their<br />
homes and studios and get creative with your<br />
Christmas shopping. Pick up a brochure or visit<br />
aoh.org.uk for details of this year’s trail.<br />
Also, in Lewes, from<br />
the 6th-24th, Chalk<br />
Gallery is home<br />
to an exhibition by<br />
Hove-based artist<br />
Emily Stevens.<br />
Featuring a collection<br />
of paintings, sketches<br />
and drawings inspired by her time as Artist<br />
in Residence at Lewes’ Pells Pool, the pieces<br />
capture Emily’s love of light and colour, outdoor<br />
swimming and the tranquillity of being by the<br />
water in both sunshine and rain. You’re invited to<br />
a ‘meet the artist’ event on Sat 9th (2-4pm).<br />
Jana Nicole<br />
Out of town...<br />
While<br />
refurbishments<br />
continue at the<br />
Dome’s Corn<br />
Exchange, Tutton<br />
& Young’s longrunning<br />
<strong>Brighton</strong><br />
Art Fair decamps<br />
to Lewes this year. On 30th of <strong>November</strong><br />
(10.30am-6pm) and 1st of December (10.30-<br />
5pm), upwards of 60 local and national artists<br />
will exhibit their work at Lewes Town Hall<br />
(see pg 64). Join the private view on Friday<br />
29th Nov (6pm, £20) or buy general admission<br />
tickets for £5 until Nov 14th (£7.50 thereafter).<br />
Purchase a Sussex Saver for £8.50 and gain<br />
entry to both days plus MADE <strong>Brighton</strong>.<br />
[brightonartfair.co.uk] FYI, trains to Lewes<br />
won’t be running, so a free vintage bus has been<br />
laid on for Art Fair ticketholders, departing<br />
from behind the station every other hour from<br />
10am. (Non-ticketholders can purchase tickets<br />
onboard and the regular 28 and 29 <strong>Brighton</strong><br />
Bus service will get you there too.)<br />
The Magical Wunderkammer pop up shop is at Lewes’ Paddock<br />
Studios with handmade festive curiosities by Samantha<br />
Stas, Emily Warren and Chiara Bianchi (30th Nov-1st Dec<br />
11am-5pm). Art 7 celebrate 20 years of promoting and selling<br />
Russian and Soviet paintings with an exhibition at Lewes House<br />
(5th–23rd). And Depot cinema host Women x Football = Art; a<br />
solo exhibition by Jill Iliffe of paintings and drawings celebrating<br />
women with a passion for football (16th Nov-1st Dec).<br />
....67....
Towner Art Gallery<br />
David Nash 200 Seasons<br />
29 September <strong>2019</strong> – 2 February 2020<br />
Devonshire Park, Eastbourne, BN21 4JJ<br />
www.townereastbourne.org.uk @townergallery<br />
#200Seasons #EastbourneAlive<br />
David Nash, Nature to Nature, 1985. © Jonty Wilde, courtesy David Nash. Tate Collection<br />
“Every time you spend money,<br />
you’re casting a vote for the kind<br />
of world you want.”<br />
Anna Lappé<br />
www.lewesfc.com/owners
ART<br />
....................................<br />
Out of Town (cont...)<br />
At Ditchling Museum of Art + Craft you’ll find Disruption, Devotion<br />
and Distributism, an exhibition drawn from a major acquisition of<br />
pamphlets and posters from St Dominic’s Press. The private press<br />
published a wide range of material including books and pamphlets for<br />
The Guild of St Joseph and St Dominic and other artists and thinkers<br />
sharing their philosophy of craftsmanship and life. Over 100 objects<br />
have been brought together, including never-before-seen pieces,<br />
that illustrate the underlying ideas and beliefs which led artists like<br />
Edward Johnston, Hilary Pepler and Eric Gill to Ditchling.<br />
Guild of St Joseph and St Dominic safe door,<br />
painted by David Jones. Image by Tessa Hallmann<br />
Deborah Manson<br />
Charleston hold<br />
their festive Designer<br />
& Maker Fair on 23rd<br />
& 24th <strong>November</strong><br />
(11am-5pm), with<br />
30 carefully curated<br />
stands selling a wide<br />
variety of goods<br />
from local and regional makers. Enjoy a<br />
warming winter lunch, boozy hot chocolate,<br />
hot toddies and mince pies at the café. (£4 in<br />
advance, £5 on the day.)<br />
BRINK: Caroline<br />
Lucas curates the<br />
Towner Collection<br />
opens on the<br />
23rd at Towner.<br />
Selecting from<br />
the 5000 works<br />
in Towner’s<br />
permanent collection, Caroline’s choices reflect and<br />
resonate with her passions and interests. Showing<br />
alongside 200 Seasons by David Nash, the two<br />
exhibitions have a shared environmental interest.<br />
Image: Tirzah Garwood, Hornet with Wild Roses, 1950. Towner Collection.<br />
© Estate of Tirzah Ravilious. All rights reserved, DACS <strong>2019</strong>.<br />
Inspired by the amazing botanic collection at<br />
Wakehurst, this year’s Glow Wild explores the<br />
resilience of trees. Wind your way through<br />
the winter treescape and willow tunnels, spot<br />
installations and seed shaped lanterns and be<br />
mesmerised by Jony Easterby’s arboreal-inspired<br />
projections. <strong>Brighton</strong>’s creative sound artists Ithaca<br />
provide an audio backdrop. Nov 21-Dec 22.<br />
[kew.org/Wakehurst]<br />
Nymans exhibits the work of Sir Quentin<br />
Blake, featuring illustrations from his<br />
self-penned stories, including The Story of<br />
the Dancing Frog and The Green Ship. Join in<br />
with a programme of creative events, visit a<br />
recreation of Sir Quentin’s studio, practise<br />
your drawing technique and follow a trail of<br />
frog sculptures into the gardens. Continues<br />
until April 2020.<br />
Photo by Jim Holden<br />
....69....
Images courtesy of Plunge Creations<br />
DESIGN<br />
.........................<br />
Plunge Creations<br />
You name it, they’ll make it<br />
“We’ve created a sculpture of a dinosaur<br />
using crumpets, a model of Buckingham<br />
Palace using Pimms & lemonade jelly and<br />
a costume for a performer<br />
so they looked like a<br />
giant turd,” says Sarah<br />
Mead, Director of<br />
Plunge Creations.<br />
“It’s quite difficult<br />
to surprise us these<br />
days.”<br />
Plunge started out<br />
as a Birminghambased<br />
theatre<br />
production company<br />
in 1997, before<br />
relocating to the<br />
Big Smoke to<br />
crack the West<br />
End theatre<br />
scene. After<br />
a few years – and a number of critically<br />
acclaimed productions – the company<br />
decided to move away from shows and<br />
broaden its horizons to create, well,<br />
anything.<br />
So now, Plunge apply their experience<br />
in theatre production to help PR,<br />
entertainment and advertising clients realise<br />
their creative visions. Problem solving is<br />
core to what they do. “Our clients come<br />
to us because they can’t get what they’re<br />
looking for elsewhere,” says Sarah. “It<br />
may be because of the scale of what they<br />
are trying to create or just the technical<br />
wizardry required to get what they need to<br />
happen to happen.”<br />
Plunge’s extraordinary design capability<br />
comes from collaboration between its highly<br />
skilled, imaginative workforce. The team of<br />
seven permanent makers come from diverse<br />
creative backgrounds: there are painters,<br />
....70....
DESIGN<br />
.........................<br />
sculptors, carpenters and welders. When<br />
approaching a new brief, each maker gives<br />
their ideas about which processes and materials<br />
will work best. “Depending on the specialism<br />
required for the job, in the busy months we<br />
can swell by around 20 to 30 freelancers,” says<br />
Sarah. “Sussex is a real hub for makers. I’m<br />
regularly blown away by the talented people<br />
who pass through our workshop and studio.”<br />
These days, Plunge Creations works its magic<br />
from the old brewery buildings of Portslade’s<br />
Old Village. As well as a sun trap of a courtyard<br />
(where the makers are partial to a sunny<br />
Friday beer at 5pm), here they have the space<br />
for metalwork, carpentry, sewing, fibreglass<br />
sculpting and more. “The workshops are<br />
sectioned off and there’s a work flow between<br />
them, starting with the fabrication and more<br />
messy work in the first two and finishing off<br />
with the fine finishing.”<br />
In the past, Plunge has conjured costumes and<br />
props for theatre shows. These have included<br />
masks and costumes for the stage production<br />
of Madagascar as well as costumes and props<br />
for Cartoon Network Live. Is it tricky to make a<br />
2D character materialise? “There are definite<br />
challenges in it – there are things a 2D<br />
character can be shown to do that are difficult<br />
to recreate in a 3D form,” explains Sarah. “The<br />
key thing is capturing that special something<br />
that makes the character feel correct. It could<br />
be a sparkle in the eye or the way it moves and<br />
behaves.”<br />
Back in <strong>Brighton</strong>, Plunge is the creative force<br />
behind the Snowdog and Snail sculptures for<br />
Martlets Hospice. They have to keep pretty<br />
schtum about projects in the pipeline, but<br />
Sarah says: “We’ve got a number of fantastic<br />
costumes in a TV series airing early next<br />
year…”<br />
Rose Dykins<br />
plungecreations.co.uk<br />
Jubba Ltd/Matt Alexander/intu<br />
....71....
28 September <strong>2019</strong> to 12 January 2020 • <strong>Brighton</strong> Museum & Art Gallery<br />
Royal Pavilion Garden<br />
<strong>Brighton</strong> BN1 1EE<br />
Free with admission<br />
Open Tue-Sun 10am-5pm<br />
Closed Mon, 25 & 26 Dec<br />
brightonmuseums.org.uk<br />
03000 290902
THE WAY WE WORK<br />
This month Adam Bronkhorst went behind the scenes at some of the<br />
city’s smaller theatres. He asked the people he met there:<br />
'What's the most outstanding piece of theatre you’ve ever seen?'<br />
adambronkhorst.com | 07879 401333<br />
Daniel Finlay. Lantern Theatre<br />
‘A performance of Eduardo de Filippo’s Filumena in the 80s.<br />
I think it was in Baltimore?’
THE WAY WE WORK<br />
Stephen Evans, <strong>Brighton</strong> Little Theatre<br />
‘The English National Opera production of Philip Glass’ Akhnaten<br />
at the Coliseum.’
THE WAY WE WORK<br />
Lauren Varnfield, Rialto Theatre<br />
'Scorched, performed by Robin Berry (Inside Number 9) at Greenside<br />
at the Edinburgh Fringe.’
THE WAY WE WORK<br />
David Sheppeard, The Marlborough Pub & Theatre<br />
'Taylor Mac’s A 24-Decade History of Popular Music performed<br />
at the Barbican as part of LIFT Festival.'
THE WAY WE WORK<br />
Ben Roberts, <strong>Brighton</strong> CCA (formerly Sallis Benney)<br />
'All That Fall. A rare production of the Samuel Beckett radio play<br />
performed at the Jermyn Street Theatre.'
FOOD<br />
.............................<br />
Nostos<br />
Greek hospitality in Hove<br />
My friend Joanne and I<br />
are seeking respite from<br />
the onset of Autumn,<br />
so one particularly<br />
wet and wild Monday<br />
evening we head for<br />
Nostos on Holland<br />
Road. The bright<br />
white walls and pared<br />
back contemporary<br />
furnishings are more<br />
in keeping with a slick<br />
city bistro than a Greek<br />
taverna, but the menu is<br />
full of traditional dishes<br />
that conjure memories of summer holidays.<br />
Moussaka, kleftiko and sea bream cooked in<br />
a salt crust all feature. There’s a catch of the<br />
day and plenty of vegetarian, vegan and gluten<br />
free options, too.<br />
We’re in the mood for sharing some meze, so<br />
we build our own from the starters, sides and<br />
mains. First to the table are lentil keftedes<br />
with tzatziki avocado (£6.50). The three<br />
generous falafel-type balls are crispy on the<br />
outside and soft on the inside. They are full<br />
of herby flavours which marry well with<br />
the smooth avocado and yogurt dip and are<br />
delicious. Next to arrive is the spanakopita<br />
(£6.50) – the classic spinach and feta filo pie<br />
is one of my favourite Greek dishes. This<br />
one is served as a large slice and the filling is<br />
certainly tasty, but I prefer my pastry with a<br />
little more crisp and crunch. Joanne orders<br />
kalamarakia (£7.50) and reports that the deepfried<br />
squid is perfectly cooked. It’s served with<br />
smooth aioli and a spicy chilli chutney to add<br />
a spike of heat. Add to this the plates of rich<br />
and garlicky tzatziki<br />
(£4.50), marinated<br />
olives (£3.50) and pitta<br />
bread (£1.90) and the<br />
table is getting busy,<br />
but we’ve ordered one<br />
more dish to share, and<br />
so make some room<br />
for the yemista (£11).<br />
The roasted peppers<br />
and tomatoes – stuffed<br />
with rice, pine nuts,<br />
raisins and herbs –<br />
are perfectly tender<br />
and a true taste of<br />
the Mediterranean. They’re surrounded by<br />
melt-in-the-mouth chunks of roasted potatoes<br />
which have soaked up the flavoursome juices.<br />
I wash it all down with a glass of Ionos – the<br />
very drinkable house white wine (£4.95) –<br />
which is crisp, dry and distinctively Greek.<br />
The service is attentive but relaxed and the<br />
atmosphere congenial and family friendly.<br />
The place is pretty busy for a wet Monday<br />
evening and there are several tables of what<br />
appear to be regulars, a young couple with<br />
a baby and a group of friends celebrating a<br />
birthday party (we all join in to sing ‘Happy<br />
Birthday’ in a moment of taverna-style<br />
bonhomie). Joanne and I haven’t seen each<br />
other for a while, so we take our time over<br />
our meal, enjoying some unhurried Greek<br />
hospitality in this busy corner of Hove.<br />
Too full for dessert, we pay up and head out<br />
into the distinctly British weather.<br />
Lizzie Lower<br />
63a Holland Road<br />
01273 713059<br />
....79....
RECIPE<br />
.............................<br />
....80....
RECIPE<br />
.............................<br />
Tasty kale, and minty carrot<br />
Stephen Spears from Riverford Organic Farmers,<br />
on how to make simple vegetables into seasonal stars<br />
At Riverford we’re mad about fresh, organic,<br />
ethically sourced, seasonal vegetables and<br />
other delicious produce. The company has<br />
grown over the last 30 years from one man<br />
with a wheelbarrow into a national concern;<br />
I serve the area from Hastings to Shoreham,<br />
from <strong>Brighton</strong> to Haywards Heath, and<br />
everything in between.<br />
What you can rely on, when you get a<br />
Riverford veg box, is that our produce is<br />
100% organic, that it has been ethically<br />
sourced (nobody has been exploited in its<br />
production), and that the varieties have<br />
been grown with flavour in mind, rather<br />
than how long the produce can stay on the<br />
shelf. Most of the vegetables have been<br />
picked and boxed on our own family-run<br />
farms in Devon, and delivered pretty much<br />
straight to your door, with no middlemen,<br />
and thus no time sitting in a warehouse,<br />
losing goodness. It will also compete,<br />
pricewise, with buying organic veg at your<br />
local supermarket.<br />
I’m a great believer in cooking vegetables<br />
in an imaginative way that makes them<br />
the stars of the plate, rather than just an<br />
accompaniment to the protein element.<br />
Kale and carrots are two staples of<br />
our autumn and winter boxes, and the<br />
wonderful taste they offer can really be<br />
brought out with the imaginative use of a<br />
few other simple ingredients. In the picture<br />
they accompany a mushroom tart, but they<br />
could go with anything, really: I often don’t<br />
bother with a fish or meat element, and just<br />
make four different vegetable dishes.<br />
Method (feeds four).<br />
Wash (don’t peel) and top and tail eight<br />
carrots, then chop them into irregular-sized<br />
chunks. Drop chunks into a pan with half<br />
a cup of boiling water, with a teaspoon of<br />
Bouillon (or other vegetable stock) mixed<br />
in. Add a drop of oil, too. Boil off the<br />
liquid, making sure the carrots don’t get<br />
too soft. Slightly caramelising and charring<br />
them will add taste. Meanwhile, chop up a<br />
handful of mint (coriander or parsley will<br />
do), and a clove of garlic, and mix up with<br />
a big squeeze of lemon juice and a slug of<br />
extra-virgin olive oil. Stir the carrots into<br />
this mix.<br />
In the meantime, cut the stems from twelve<br />
black kale leaves, and set them aside (these<br />
can be boiled or stir-fried in another dish).<br />
Finely chop two white onions, and gently<br />
fry till caramelised, adding a teaspoon of<br />
sugar if desired. Stir the torn-up kale leaves<br />
into the onions until wilted down – this<br />
should take three or four minutes. Just<br />
before bringing off the heat, add the magic<br />
ingredient – a slug of balsamic vinegar.<br />
That’s just two ideas! Our weekly<br />
boxes come with a newsletter from our<br />
inspirational founder Guy Singh-Watson,<br />
which always includes new recipes for the<br />
produce you’ll find in the box. There are<br />
also loads of ideas on our website. Getting<br />
imaginative with fresh organic vegetables<br />
can really make you change the way you eat<br />
and help ensure a healthy diet. Enjoy!<br />
As told to Alex Leith<br />
riverford.co.uk<br />
....81....
BUNS & BOWLS<br />
SMOKY<br />
Coal Shed have launched an all new £10 weekday lunch menu<br />
The<br />
FOOD<br />
.............................<br />
Pompoko<br />
An eternal flame<br />
This is both the hardest and easiest food review that I’ll ever have to<br />
write. Having dined at Pompoko hundreds of times – it’s perfect for<br />
a quick post-work meal before catching a show – I know the menu<br />
intimately, but baulk at the idea that I can possibly do the place justice in<br />
240 words.<br />
Alice goes for the eternally popular Tori Chilli Don (£5.50 inc. rice). The<br />
chicken in ‘spicy tangy’ sauce has just the right level of chilli kick, with<br />
tasty breadcrumbs too. I love their sweet katsu curries, and currently<br />
favour the breadcrumbed pumpkin option (£5.70 inc. rice).<br />
The affordability means that we cost-conscious diners can go sides-berserk in a way that we cannot<br />
elsewhere. We indulge ourselves with edamame (£2.50), delicious chicken and vegetable gyoza (£3) and<br />
some tender, sticky, honey bbq spare ribs (£2.80).<br />
There’s something comforting about the permanence of Pompoko. It feels like it’s open 24/7 – its hours<br />
are actually 11.30am to 11pm, seven days a week – and the exceptionally quick service means it’s one<br />
of the fastest options in town, even with a queue outside. I don’t recall any significant changes to the<br />
menu in the nine years I’ve been eating there, although there are rotating specials. The service is always<br />
friendly, the portions always generous, and we are always given a sweet before we exit: a sugar jolt<br />
before the curtains open. Pompoko, don’t ever change. Joe Fuller<br />
110 Church Street, pompoko.co.uk<br />
Photo by Joe Fuller<br />
See the full menu: www.coalshed-restaurant.co.uk | 8 Boyce's Street, <strong>Brighton</strong> BN1 1AN | 01273 322 998
FOOD<br />
.............................<br />
A-news bouche<br />
Congratulations to the team at Rathfinny<br />
Estate’s Tasting Room, who recently made it into<br />
the Michelin Guide. Open Monday to Sunday,<br />
11am to 5pm, go to rathfinnyestate.com to view<br />
menus and book. Taking over the space vacated<br />
by Silo, 640 East are launching their shipping<br />
container concept in <strong>Brighton</strong> this month, if all<br />
goes to plan. After successful openings in Canary<br />
Wharf and elsewhere in<br />
East London, the <strong>Brighton</strong><br />
branch will focus on coffee,<br />
brunch and small plates by<br />
day, and beers and wine in<br />
the evening.<br />
All the ingredients<br />
for a 100% organic<br />
Christmas<br />
<strong>Brighton</strong> & Hove Food Partnership recently<br />
ran a Veg City Challenge, where chefs and<br />
caterers were asked to create an innovative<br />
‘grab & go’ recipe that’s packed with veg, to<br />
appeal to <strong>Brighton</strong> teens. The competition<br />
will be settled at the Community Kitchen<br />
on 6 Nov, where an expert panel – including<br />
Michael Bremner from<br />
64 Degrees/Murmur –<br />
will pick a winner, judged<br />
on taste, ease of eating<br />
and portability.<br />
Veg, meat & all the trimmings<br />
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01953 859980<br />
riverford.co.uk<br />
Worthing FC are hosting Worthing’s first ever<br />
community craft beer festival: Brewition. A<br />
£5 ticket includes a festival glass you can keep,<br />
and a programme. Local craft breweries will<br />
be on show alongside national<br />
and international ales, and there<br />
will be a local pub team six-aside<br />
football tournament to<br />
keep you entertained whilst<br />
imbibing.<br />
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FEATURE<br />
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Gladrags<br />
Costumes galore<br />
Gladrags started 25 years ago, in Bristol.<br />
I was working in Community Theatre as a<br />
costume designer, always with the tiniest<br />
budgets. I never hired a costume because the<br />
costs were prohibitive, but I collected my own<br />
resources – mainly from charity shops and<br />
car boot sales – and started lending them out.<br />
I wanted to offer an affordable costume hire<br />
service for groups who would benefit, so – in a<br />
very pre-digital way – I started contacting local<br />
schools and community theatres and it grew<br />
from there. We moved to <strong>Brighton</strong> in 2005. At<br />
that time, it all fitted in a small lorry. Now it<br />
would be a different story.<br />
I estimate that we’ve got around 7000<br />
pieces. A whole range, though mainly<br />
historical outfits through the ages, from<br />
Stone Age through to modern day. We’ve got<br />
children’s sizes, uniforms, animals, fantasy...<br />
not the sort of costumes you would buy online,<br />
but everything you need to build your own.<br />
Our costumes from the 1930s onwards are<br />
largely made up of vintage pieces and we<br />
focus on authenticity. We supply to fringe<br />
and amateur theatres, community projects<br />
and school productions, as well as hiring out<br />
costumes to film companies and outfits for<br />
parties.<br />
Most of our costumes are gifted and we are<br />
making a special effort to preserve their<br />
stories. People donate sentimental things that<br />
are quite hard to let go of. One man donated<br />
his Grandmother’s Women’s Air Force uniform<br />
and, when he came in, he started telling me<br />
all about her. When this happens, we log<br />
the details, curating the stories to use as a<br />
reminiscence or teaching resource. The clothes<br />
then have a continued life, rather than being<br />
stored in the attic.<br />
We use costumes to put together<br />
curriculum resource boxes for local schools.<br />
Today, someone took a Henry VIII Tudorstyle<br />
jacket and some objects that will help the<br />
teacher to explore History in a sensory way. We<br />
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FEATURE<br />
.............................<br />
have evacuee suitcases if the topic is WWII<br />
and lots more. We also facilitate reminiscence<br />
workshops with a group of elderly local<br />
residents. Some are socially isolated or living<br />
with dementia, and the vintage costumes<br />
and artefacts trigger memories and start<br />
conversations. We’ve learned that you can have<br />
fun dressing up at any age. Costumes can be so<br />
transformative; we see that all the time.<br />
We’re a charity and we make it work<br />
thanks to our amazing team of around<br />
20 volunteers. Many of them have fashion<br />
or textile backgrounds and bring specialist<br />
skills, others just love being in a creative<br />
environment. We also offer work experience<br />
and supported placements for people with<br />
additional needs. The money we get from<br />
professional hires helps to keep costs really low<br />
for schools and community groups and we hold<br />
occasional vintage sales to thin out our stores<br />
and to raise funds. We’ve got one coming up<br />
in <strong>November</strong>. You can find the details on our<br />
Facebook page. As told to Lizzie Lower<br />
facebook.com/gladragscostumes<br />
....85....
PN-VIVA-AD-94x66-print.indd 1 08/08/<strong>2019</strong> 15:18<br />
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WE TRY...<br />
.............................<br />
<strong>Brighton</strong> People’s Theatre<br />
Theatre workshop<br />
I haven’t performed<br />
in front of people<br />
since I was at school<br />
and the very thought<br />
of it fills me with<br />
dread. But I keep<br />
hearing that it’s<br />
good to do things<br />
that scare you, so<br />
I’ve signed up for<br />
a workshop with<br />
<strong>Brighton</strong> People’s Theatre.<br />
Now I’m stood in a circle with 20 perfect<br />
strangers, at the Brighthelm Centre. I’d say<br />
the youngest of us is around 20 and the oldest<br />
somewhere close to 70. We all shift a little<br />
nervously.<br />
Facilitators Luan and Tanushka set out the<br />
rules of engagement: Be kind, be brave and<br />
be yourself. This is a safe space to play. Yikes.<br />
Holding eye contact with strangers and<br />
pretending to be chewing gum are outside<br />
of my normal comfort zone but we’re all in it<br />
together and the fun soon outweighs the fear.<br />
We play Grandma’s Footsteps, pass imaginary<br />
objects and cackle like witches. We weave<br />
around the room, responding to unspoken<br />
cues, sometimes moving in unison, sometimes<br />
not, falling into line, gathering together and<br />
splitting apart, moving in silent co-operation.<br />
I’m aware this all sounds pretty peculiar, but I<br />
recommend that you experience it for yourself.<br />
“We’re moving like starlings” someone<br />
observes, reminded of the seafront<br />
murmurations. I know what they mean. I think<br />
of my awkward morning ritual on the busy<br />
station concourse, eyes down, jostling and<br />
sidestepping the crowds. Watching this group,<br />
I’m struck by how beautiful the random flow<br />
of movement looks and how quickly it seems<br />
to tell a story. This<br />
group of strangers is<br />
starting to look like an<br />
ensemble.<br />
The workshops are part<br />
of a new programme<br />
for <strong>Brighton</strong> People’s<br />
Theatre: the brainchild<br />
of Naomi Alexander<br />
who started BPT in<br />
2015 with the intention<br />
of creating an inclusive and representative<br />
theatre company for the city. The programme<br />
– which includes play reading and writing<br />
sessions and a show-going theatre club – is<br />
open to anyone aged 18+ living in the BN<br />
postcode area who’s not a professional artist.<br />
And with a ‘pay as you can afford’ price scale<br />
and assistance with travel expenses on offer, it’s<br />
accessible to anyone with an interest in theatre.<br />
For the final exercise of the evening, we break<br />
into smaller groups and share stories from<br />
our lives. Then, together, we tell one of the<br />
stories to the wider group, taking it in turns<br />
to speak in the first person with the intention<br />
of carrying it off as our own. We’re not telling<br />
my story, so I find I’m far less nervous than<br />
I expected to be. In fact, I’m really enjoying<br />
telling someone else’s tale, feeling that I need<br />
to do it justice, to recall the detail and add<br />
nuance to make it more believable. There’s an<br />
exhilarating freedom in being someone else<br />
for a while but it also feels a little deceitful –<br />
trying really hard to pass for someone I’ve only<br />
just met. Then I realise that’s the whole point.<br />
Doing my best to be convincing is part of the<br />
gig. I’m acting. And it’s really good fun.<br />
Lizzie Lower<br />
Visit brightonpeoplestheatre.org for the full<br />
programme of events.<br />
....87....
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MY SPACE<br />
.............................<br />
Paul Brown<br />
Head of Props and Scenic Workshop, Glyndebourne<br />
I’ve been Head of Props for<br />
15 years. It’s a position you<br />
keep hold of – there have only<br />
been six of us since the Glyndebourne<br />
Festival started in<br />
1934. But until this year, there<br />
was a big problem we had to<br />
deal with: there wasn’t enough<br />
space to do all the things we<br />
needed to do.<br />
That’s not an issue anymore,<br />
because the company has just<br />
had a state-of-the-art production<br />
hub built on site, and the<br />
whole of the bottom floor is<br />
dedicated to our department.<br />
We now have more than three<br />
times the space we used to<br />
have and the whole process has<br />
become much more efficient.<br />
We make stuff. Or rather we<br />
make, source, adapt and buy in<br />
all the stage props and scenery<br />
needed for the shows. And<br />
with all the Tour shows as well<br />
as the six Festival operas every<br />
season, that’s up to nine a year.<br />
And it’s not just the current<br />
season we’re thinking of. As<br />
well as working on repairs and<br />
maintenance for current shows,<br />
we’re planning two years in<br />
advance for future events. Each<br />
one has a different director<br />
and different designers, and we<br />
have to adapt to their different<br />
ways of working. It’s a good<br />
challenge to have.<br />
There’s no end to the<br />
variety of props we deal<br />
with, from huge things like<br />
giant chandeliers, period cars<br />
or three-metre-high peacocks,<br />
to tiny details like sugar-tongs<br />
and plastic ice cubes. The main<br />
eye-catcher in the assembly<br />
room as we speak is a 1940s<br />
Photo by Alex Leith<br />
....89....
MY SPACE<br />
.............................<br />
Photo by Graham Carlow<br />
Photo by Graham Carlow<br />
....90....
MY SPACE<br />
.............................<br />
Photo by Sam Stephenson<br />
MG 1500 sports car which has been converted<br />
into an electric vehicle. That’s for Rigoletto.<br />
The assembly room is the central hub<br />
around which all the other studios radiate.<br />
There is a mould-making room, a fabric space, a<br />
woodwork studio for small-sized items, a wood<br />
workshop for bigger-sized items, a paint shop, a<br />
room for fibre-glass work and a metal workshop.<br />
Before, we had to perform most of these<br />
activities in the same space, which wasn’t ideal:<br />
sawdust flying into newly-painted props, and<br />
that sort of thing.<br />
It was important to choose a good, flexible<br />
architect to build the new hub. What we do<br />
here is very odd, when you think about it, so the<br />
process was extremely consultative: we all had<br />
a say in how it would look and work. Nicholas<br />
Hare Architects did a great job. The old building<br />
was demolished in December 2017, and we were<br />
back here in February of this year.<br />
Upstairs there are different departments,<br />
like the costume department and the wig<br />
department. It’s good to have them so close,<br />
as there’s a lot of crossover. For example, we<br />
recently had to make 400 rubber fish for the<br />
sleeves of a costume for Mozart’s Magic Flute.<br />
Including the dress rehearsals, I get to see<br />
each opera that’s performed four or five times.<br />
My favourite Glyndebourne Festival show, over<br />
the years? It’s got to be The Turn of the Screw.<br />
As told to Alex Leith<br />
glyndebourne.com<br />
....91....
BUILT BRIGHTON<br />
.............................<br />
The Dance Space<br />
A new performance venue for the city<br />
I’m a big fan of the Circus<br />
Street development. It’s very<br />
high density but it’s also<br />
transforming the east side of<br />
Victoria Gardens. There’s a<br />
new street you can visit right<br />
now to see the quality of<br />
the design and, when I went<br />
down it recently, I was really<br />
impressed. Yes, the street is<br />
narrow, but our city is full<br />
of narrow streets and lots of<br />
the accommodation here is<br />
student housing. Students<br />
have different needs compared<br />
to flat-buyers. They don’t<br />
need balconies and lots of<br />
light; they need to be close<br />
to town and the university.<br />
It’s already a quirky and<br />
interesting scheme and there’s<br />
a lot more to come. Combined<br />
with the new cycle lanes and<br />
re-organised roads around the<br />
area, things just seem to be<br />
getting better and better.<br />
Most of all, it’s pretty exciting<br />
to have a new performance<br />
venue in the city. I’m not<br />
sure when the last one was<br />
completed (maybe Komedia?)<br />
but it’s been far too long for<br />
a creative city like ours. The<br />
Dance Space – a central part<br />
of the development – is going<br />
to be a fantastic new asset<br />
and a new home for South<br />
East Dance. Alongside that<br />
it’s going to be the greenest<br />
performance space in town,<br />
sustainability being at the<br />
core of the design. Low<br />
energy fittings, taps that<br />
use a minimal amount of<br />
water, solar panels on the<br />
roof and a highly insulated<br />
building combine with a<br />
seriously green attitude to the<br />
interior. You will see recycled<br />
and upcycled products and<br />
equipment and no single-use<br />
plastic anywhere. Given these<br />
credentials, surely Caroline<br />
Lucas has to be lined up for the<br />
opening (currently scheduled<br />
for summer 2020), or maybe<br />
our new Duchess of Sussex?<br />
Cath James, Artistic<br />
Director at South East<br />
Dance, is eagerly awaiting its<br />
completion. “Our vision for<br />
a green and sustainable home<br />
for dance and dance artists<br />
that is accessible to everyone<br />
has been more than a decade<br />
in the making, so we are over<br />
the moon to see it taking<br />
shape. At South East Dance<br />
we know that dance makes<br />
life better – bringing people<br />
together and helping us to<br />
be healthier and feel better<br />
about ourselves. Every penny<br />
invested brings us closer to<br />
bringing dance to the heart of<br />
<strong>Brighton</strong> & Hove. We’ve got<br />
the bricks and mortar, now we<br />
need the equipment – we’re so<br />
close but we still need help to<br />
get us over the line!”<br />
South East Dance has just<br />
over £100k to go to reach its<br />
funding target of £6.6 million,<br />
and a seat sponsorship<br />
campaign has just been<br />
launched. So, if you want to<br />
be a part of this brilliant new<br />
venture, now’s your chance…<br />
Paul Zara<br />
southeastdance.org.uk/thedance-space<br />
Image courtesy of Shed KM Architects<br />
....93....
FEATURE<br />
.............................<br />
From Gardner Arts to ACCA<br />
Looking back with an eye on the future<br />
Fifty years ago this month, Britain’s first<br />
campus-based university arts centre opened<br />
its doors at the University of Sussex.<br />
From the outset the Gardner Arts Centre –<br />
now the Attenborough Centre for the Creative<br />
Arts – was intended to provide a more avant<br />
garde experience for audiences.<br />
Contemporary dance, edgy and political<br />
dramas, experimental music, international<br />
and arthouse film and other events that defy<br />
boundaries continue to inhabit the brick<br />
towers of the Basil Spence-designed building<br />
at Falmer.<br />
Laura McDermott, the centre’s creative<br />
director, was well aware of this history when<br />
she took on the job in 2016. The centre,<br />
which closed in 2008 when it lost regular<br />
funding from the local authority and from<br />
Arts Council England, had undergone a £8m<br />
refurbishment paid for by the university,<br />
grants and donations and was reopened<br />
and renamed in honour of film director Sir<br />
Richard Attenborough, the university’s former<br />
chancellor.<br />
“So many of the founding principles of the<br />
University of Sussex were about trying to<br />
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FEATURE<br />
.............................<br />
do things differently,” she says. “From the<br />
bold architecture, to the interdisciplinarity<br />
of the curriculum; it was about providing an<br />
alternative to the traditional forms of higher<br />
education.<br />
“The arts centre was fundamental to this<br />
experience. It recognised the arts as a<br />
key component in a rounded educational<br />
experience – nourishing your soul and<br />
developing your personal creativity. It was<br />
described as ‘the yeast in life’s solid dough’.”<br />
While it has certainly enhanced campus life,<br />
the centre has also been a boon to the wider<br />
community, not just as a venue for annual<br />
events such as <strong>Brighton</strong> Festival, Cinecity<br />
and <strong>Brighton</strong> Digital Festival, but as a space<br />
for local artists, performers and musicians to<br />
rehearse and develop new work.<br />
One of the towers that once housed an<br />
electronic music studio has been given a<br />
21st century makeover to become a new<br />
digital recording studio. Named after the<br />
late Professor of Music, Jonathan Harvey,<br />
the facility is for students during term time,<br />
but will be used for other projects during<br />
evenings and weekends.<br />
To celebrate the centre’s half century, Laura<br />
and her colleagues are devising a 50-day<br />
advent calendar featuring treasures from the<br />
archive – counting down from 12 <strong>November</strong><br />
to 31 December. “We’ll have photos of<br />
people who have appeared here, such as Doris<br />
Lessing and Nigel Charnock, recordings of<br />
past gigs (like Animal Collective in <strong>Brighton</strong><br />
Festival), and pictures of the space in its<br />
various states of construction and renovation<br />
through the years.”<br />
They are also recreating the first concert<br />
given by the University of Sussex Symphony<br />
Orchestra in 1969. The event on 7 December<br />
features novelist and former student<br />
Ian McEwan reading from his original<br />
programme notes, and international pianist<br />
and composer Shin Suzuma (also an exstudent)<br />
playing Beethoven’s Piano Concerto<br />
No 3 on the Steinway grand piano donated to<br />
the university by Tony Banks (the keyboard<br />
player from Genesis – another alumnus).<br />
“Bringing current students together with<br />
illustrious alumni in this way feels like the<br />
perfect way to celebrate – looking back but<br />
with an eye on the future,” says Laura.<br />
Jacqui Bealing<br />
attenboroughcentre.com<br />
....95....
WILDLIFE<br />
.............................<br />
Shakespeare’s Starlings<br />
Three Act Tragedy<br />
Illustration by Mark Greco<br />
Hey y’all, I’m mailing in this month’s <strong>Viva</strong> article<br />
from my vacation at Bodega Bay on the foggy<br />
Pacific coast of California. It may be all organic<br />
coffee, art galleries, surfer dudes and flip-flops<br />
but this quaint coastal community is notorious<br />
for being the location for a most sinister film:<br />
The Birds (1963). Alfred Hitchcock has long gone,<br />
but flocks of the film’s stars still sit ominously<br />
perched on telegraph wires as if unaware that<br />
the portly director yelled “cut” 56 years ago.<br />
But unlike the local hummingbirds, phoebes<br />
and chickadees these particular birds look<br />
reassuringly familiar to me. They are Sturnus<br />
vulgaris, the European Starling, the same species<br />
we see wheeling around <strong>Brighton</strong>’s West Pier<br />
in their dramatic amoeboid murmurations.<br />
And, like me, they don’t really belong here. The<br />
Starlings are here thanks to Henry IV. Well,<br />
‘Henry IV Part 1’ to be precise.<br />
Act I: London, 1597. William Shakespeare<br />
scribbles the word ‘Starling’ in his epic tale of<br />
power and treachery. With that feathered flourish<br />
of his quill Shakespeare would unknowingly be<br />
the author of an ecological catastrophe that would<br />
play out until the present day.<br />
Act II: New York, 1877. Enter stage right<br />
Eugene Schieffelin, a socialite who would<br />
later be remembered as “an eccentric at best,<br />
a lunatic at worst”. He chaired the American<br />
Acclimatization Society, a group which, despite<br />
their nationalistic sounding name, were very keen<br />
to welcome foreigners. In fact their aim was to<br />
import animals of economic or cultural interest<br />
from the Old World to the New. Schieffelin,<br />
a big fan of Shakespeare, had a dream: to<br />
populate America with every bird mentioned in<br />
Shakespeare’s writings. And so the bard’s birds<br />
were boxed up in England and brought to New<br />
York where Skylarks, Pied Wagtails, Bullfinches,<br />
Nightingales, Chaffinches and many more were<br />
‘liberated’ into Central Park. The majority of<br />
them died. But on March 6, 1890, 60 Starlings (a<br />
bird mentioned only once by Shakespeare) were<br />
released in Central Park and they fared better.<br />
Much better. Today there are around 200 million<br />
of them across the United States.<br />
Act III: United States, present day. The story<br />
of Schieffelin’s Shakespearian motivation may<br />
just be an urban legend but the legacy of his<br />
misguided American Acclimatization Society is<br />
very real. Today European Starlings are widely<br />
vilified by Americans as aggressive pests that have<br />
destroyed precious ecosystems and turfed out<br />
native species. Which is pretty rich coming from<br />
a bunch of invasive Europeans who have been<br />
doing just that for the past few centuries. And<br />
don’t start me on their current leader – a lunatic<br />
at best – who is busy dismantling environmental<br />
regulations that protect wildlife, the landscape<br />
and our planet. But sure, let’s blame the birds.<br />
As Mr Shakespeare (almost) once wrote, “The<br />
fault, dear Brutus, is not in our Starlings, / But in<br />
ourselves”. Michael Blencowe, Senior Learning and<br />
Engagement Officer, Sussex Wildlife Trust<br />
....97....
INSIDE LEFT: BRILL’S BATHS, 1929<br />
.......................................................................................<br />
It’s January 1929, and information pertaining to<br />
the imminent demise of this beautiful building –<br />
designed by Sir George Gilbert Scott, no less – is<br />
writ large on a billboard on the wall.<br />
‘Brill’s Baths’, reads the poster in the middle of<br />
the image, ‘this exceptional site to be let on lease’.<br />
Brill’s, at 75 East Street, had been open since<br />
1869, named after Charles Brill, who masterminded<br />
and funded the project. Its main feature<br />
was a circular ‘Gentlemen’s Bath’, at 20 metres<br />
in diameter the largest indoor pool in Europe,<br />
filled with seawater pumped in from Hove. There<br />
was also a reading room, a billiard room, a barber<br />
shop, and a viewing gallery seating 400 people.<br />
By 1929, however, leisure tastes had moved on<br />
and the baths were losing money. The site was<br />
bought by Associated British Cinemas, the building<br />
was demolished, and an art deco cinema – the<br />
Savoy Cinema-Theatre – was built in its place.<br />
The project cost £200,000 and the building<br />
wasn’t immediately popular, nicknamed ‘the white<br />
whale’. It was a top-spec operation with a Westrex<br />
sound system designed to showcase the new<br />
‘talkies’: the first films shown were Loose Ends and<br />
Not So Quiet on the Western Front. The complex<br />
also housed two restaurants, two cafés, a dance<br />
hall and an underground car park.<br />
The Savoy enjoyed mixed fortunes in its 69-year<br />
career as a cinema, as its plush Oriental-inspired<br />
interior gradually grew tatty and tired. It was hit<br />
by an incendiary bomb in the war (the show went<br />
on); it was smashed up by Mods and Rockers in<br />
1964; and it changed hands several times, being<br />
renamed, in turn, the ABC Cinema, the Cannon<br />
Cinema, the Virgin Cinema, and then the ABC<br />
again, before closing in 1999. The building is<br />
now run by Stadium Capital Holdings as a ‘mixed<br />
leisure development’ with a casino, a bar, a nightclub<br />
and a restaurant, mainly geared towards the<br />
tourist market.<br />
This photo, sourced by Kevin Wilsher from the<br />
James Gray Collection, shows a selection of interesting<br />
billboard posters, including a number for<br />
other <strong>Brighton</strong> theatres including The Regent,<br />
The Palladium and The Hippodrome. Top of the<br />
bill at the latter establishment is a show entitled<br />
26 Wonder Midgets; the Palladium counters with a<br />
screening of The Sinister Man, a German-directed<br />
silent movie adaptation of the Edgar Wallace<br />
story. Alex Leith<br />
With thanks to the Regency Society for letting us<br />
use this image from the James Gray Collection.<br />
....98....
The 20th and final <strong>Brighton</strong> and Hove Calendar<br />
The Original. Loved by locals, sent to friends around the world.<br />
£8.99 or 2 for £15<br />
With 67 images<br />
from the previous<br />
19 calendars<br />
and this year.<br />
Seasonal Sales Home<br />
Outside Waikikamookau<br />
11 Kensington Gardens<br />
North Laine<br />
BN1 4AL<br />
<strong>Brighton</strong> Photography Gallery<br />
West of the i360<br />
52-53 Kings Roads Arches<br />
BN1 2LN<br />
Please note: we do NOT<br />
have a stall in<br />
Churchill Square this year.<br />
www.brightoncalendar.com<br />
City Books<br />
23 Western Road<br />
Hove<br />
BN3 1AF
alistairflemingdesign.co.uk<br />
01273 471269