Viva Brighton Issue #81 November 2019

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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 />



VIVA<br />

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


<strong>#81</strong> NOV <strong>2019</strong><br />

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<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 />


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).



www.brightonartfair.co.uk<br />

BRIGHTON ART FAIR at LEWES POSTER.indd 1 14/10/<strong>2019</strong> 16:55





...............................<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 ....


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



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



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




Easy Design Workshops & Have-A-Go Garden Days<br />

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‘Plus X <strong>Brighton</strong> champions innovation and<br />

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Plus X. ‘Whether you think of yourself as<br />

an entrepreneur and innovator, or just an<br />

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simply a person with a good idea who wants<br />

to make a positive change, we are seeking<br />

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To that end, Plus X have been running a<br />

Disruptors competition, seeking local talent<br />

in the field of sustainable product design<br />

and the circular economy. (The closing<br />

date for entries is the 3rd of <strong>November</strong>, so,<br />

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 />

Unbarred Brewery & Tap Room on the 12th<br />

of <strong>November</strong>.<br />

The winner will receive six months free desk<br />

space, access to workshops with specialist<br />

equipment and a placement on the Plus X<br />

mentorship programme at their state of the<br />

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Local business leaders are invited to join the<br />

audience at the competition evening (beer<br />

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visit hub.plusx.space/disruptors and book<br />

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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 />

Royal Collection Trust © Her Majesty Queen Elizabeth II <strong>2019</strong><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 />



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


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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 />


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 />


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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 />




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‘The curtain is now up on <strong>Brighton</strong>’s greatest free show,’ writes JJ Waller.<br />

‘The annual evening starling murmuration is back in the skies over <strong>Brighton</strong>; an<br />

unpredictable, captivating experience that never disappoints. Pure theatre.’<br />



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



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



MAKE<br />

Waves.<br />

History.<br />

Your future.<br />





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

HOME<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 />




DOWN<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


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



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

Photo by Adam Bronkhorst<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 />


Sea differently<br />



Prints | Books | Cards<br />

brightonphotography.com | 52-53 Kings Road Arches | 01273 227 523


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



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

<strong>Brighton</strong> Racecourse July 2016<br />



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

Bakers October 2016<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 />



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

Top row to bottom: Food producers October 2017; Florists July 2018; Religious leaders April 2017; Techies January 2017<br />




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

Body builders February 2017<br />


John Davis<br />

MA BACP(reg)<br />

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



Waldorf School<br />


BAZAAR<br />


11.00am - 4.00pm<br />

Come along for a day of festive family fun<br />

and Christmas shopping<br />

The Gnome’s Grotto<br />

Live Music<br />

Craft Activities<br />

The School Café will be serving<br />

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Festive market stalls selling<br />

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Entry<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 />



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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 />


MARINA<br />

Tue 5 Nov<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 />


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 />



01273 709709<br />

brightondome.org<br />

brightonphil.org.uk<br />

@BPO_orchestra<br />


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 />


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 />


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 />


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 />


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 />




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 />



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



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



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


PRISM<br />







SIX<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 />


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


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



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



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


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 />


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 />


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 />


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 />


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 />



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 />



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 />


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 />


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 />


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 />


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 />


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


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?’


Stephen Evans, <strong>Brighton</strong> Little Theatre<br />

‘The English National Opera production of Philip Glass’ Akhnaten<br />

at the Coliseum.’


Lauren Varnfield, Rialto Theatre<br />

'Scorched, performed by Robin Berry (Inside Number 9) at Greenside<br />

at the Edinburgh Fringe.’


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.'


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 />


RECIPE<br />

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


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 />


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 />

delivered free to your door<br />

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 />



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

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 />



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


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 />


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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 />


MY SPACE<br />

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

Photo by Graham Carlow<br />

Photo by Graham Carlow<br />


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 />



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



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



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



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



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


The 20th and final <strong>Brighton</strong> and Hove Calendar<br />

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01273 471269

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