Edinburgh Fringe Report 2015 Part 2: The Final Reckoning

1143114837LOGO_ORANGE[1]The Edinburgh Fringe is over for another year, but how did our intrepid amateur companies get on performing plays licensed by Nick Hern Books? We hear from three of them as they recount the highs – and the lows – of mounting a production on the Fringe. (If you missed the first instalment, it’s available here).

pp posterPassing Places by Stephen Greenhorn
Great Child Productions

The fringe is an experience like no other.

3,314 shows competing for an audience over the 313 venues. It is a challenge to sell a show, regardless of whether you have a ‘name’ or a recognisable brand. So the process of promoting the show throughout the day to the throngs of potential audience members is tough.

With a show like Passing Places there is no issue with staying motivated. Our team came up with some fantastic ways to promote the show, including going out in character onto the famous Royal Mile to help tourists cross the busy road.

Passing Places cast members Andrew Dart, Ciaran Drysder and Brodie Cummins on the Royal Mile

Passing Places cast members Andrew Dart, Ciaran Drysder and Brodie Cummins on the Royal Mile

The show got respectable audiences each night of our six-night run and a decent 3★ review from the Edinburgh Guide.

We were lucky enough to be warmly welcomed by our wonderful venue, Greenside @ Nicolson Square. The venue’s staff and techs were monumental in helping us deliver every element of our production, particularly the Citroën Saxo which sat on stage throughout the performance. With a 10-minute get-in before each show, and a 20-minute get-out afterwards, it was no mean feat to assemble a car and full set within our slot. Staying to time was key, so it was crucial that everyone played their part to the full.

Director Tom Sergeant and castLiving together for a week, promoting a show and putting it on is an intense and draining experience, but I wouldn’t change anything about it at all. I’d fully recommend it to any theatre group thinking about broadening their horizons and exploring new audiences.

– Tom Sergeant, CEO of Great Child Productions


ff-posterprintresFoxfinder by Dawn King
Master of None

When performing at the Edinburgh Fringe, August can seem like both the longest and shortest month of the year. It’s weird. After the amount of planning that goes into a show (our own preparations for #EdFringe2015 began in 2014), it sometimes feels like you’ll never stop working on it.

However, 1st September sneaks up very quickly; it always seems premature (no matter how exhausted you or your company may be). This was certainly true this year. Despite having spent over a month rehearsing and performing in Scotland’s capital, we felt that we were interrupted mid-stride by the Fringe ending.

Promoting Foxfinder on the Royal Mile

Promoting Foxfinder on the Royal Mile

We’d had a hell of a month, though. Highs included receiving five-star reviews, climbing Arthur’s Seat, and our end-of-run party; lows involved some prop-based mishaps (our dead rabbits went missing in a smoking area one grizzly Wednesday evening), and being told to get a job while pitching the show on the Royal Mile. On a Tuesday morning. At 11am. By a man who wasn’t working either. And anyway, we were working extremely hard!

Foxfinder, with a running time of 90 minutes, is a big beast to perform, and we were competing with over 3,300 other shows for an audience.

Phil Jupitus lends a hand

Phil Jupitus lends a hand

In terms of generating audiences, though, we were fortunate to be working with an award-winning script already known to many; we had a strong base on which to build our production. We’re in no doubt that Foxfinder’s reputation was a great starting point for our marketing campaign, and contributed incalculably to the success of the production – as one reviewer stated, ‘The power of Dawn King’s script has already been recognised’. Putting our own stamp on it was another matter, but I think that,  ultimately, we succeeded.

The same reviewer went on, ‘theatre company Master of None add an exceptionally strong performance, and a haunting visual style. 5★’

– Hugo Nicholson, producer & cast member

Foxfinder Banner


PentagonForever House by Glenn Waldron
Pentagon Theatre

Well, we are all done!

Twelve amazing performances later and we have to say goodbye to this wonderful city and an awesome festival! Both cast and crew have really enjoyed bringing Forever House to life, and the feedback we received, both in person and on social media, was fantastic! All the hours of rehearsals, the workshops, trips and expenses have been more than worth it. And a massive thank you to ‘Phil’ – whoever you are – for our first 5-star audience review!

Transporting the set for Forever House through Edinburgh

Transporting the set for Forever House through Edinburgh

A demanding show like this was bound to have the odd hiccup or two. Our particular favourite is probably having to carry our red sofa along the Royal Mile and across town to complete our get-in on time! It’s fair to say it attracted a few odd glances!

Furniture seemed to be a recurring issue throughout the process: the production team had to stop itself laughing when our cupboard decided to fall apart during one of the performances! So huge thanks must go to our production team – I honestly don’t know what we would have done without Roisin and Claire. Staying up until 3am every night, sticking reviews to flyers, cleaning the apartment, fixing cupboard doors… there was an endless list of jobs, and our team always had it covered.

Cast and crew with author Glenn Waldron

Cast and crew with author Glenn Waldron (centre)

Forever House is such a clever play, both in that it maintains a simple structure, and yet says a lot about what identity means to people and the importance of ‘belonging’. All the actors worked incredibly hard to bring something fresh and new to each performance, always coming to myself or Freddie (my co-director) to ask how they could improve or what they could work on individually. The beauty of this play is that the awkwardness of its characters comes across so naturally, and a lot of our audience feedback reflected how much work had been put in by all of our cast.

The playwright, Glenn Waldron, who was incredibly helpful throughout the process, was kind enough to come and see our final performance in Edinburgh. It was lovely to hear how much he enjoyed our interpretation of his play, and he took the time to congratulate everyone involved. Forever House is a play we remain very attached to, and we will be keeping our eyes peeled for Glenn’s upcoming work. Working with Pentagon Theatre has been an absolute joy, and it has been a pleasure to direct this little gem of a piece.

– James Bowen, co-director


You might also be interested in…

indexUncaused Effects: Playwrights on playwriting. In this podcast sponsored by Nick Hern Books, Exeunt Magazine talks to nine playwrights at various stages of their career and at different points of the writing process.

The writers discuss all aspects of playwriting, from the first moment of inspiration to the inevitable struggles with the blank page and, finally, to the moment it all takes shape on the stage. Presenter Tim Bano asks what it means to be a writer, and discusses the state of new writing in the UK.

The podcast features interviews with: Tom Basden, David Edgar, Tim Foley, Catriona Kerridge, Rebecca Lenkiewicz, Dan Rebellato, Stef Smith, Jack Thorne and Steve Waters.

And don’t miss out on this special offer on books by some of the playwrights featured in the episode.

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Edinburgh Fringe Report 2015 Part I: cutting it at the fringe

Taking a show to the Edinburgh Festival Fringe can be daunting, exhausting, and about as financially sound as betting on the Chinese stock market. But it can also be a hugely rewarding experience for cast and crew, and even for audiences. Plus, if you’re really on top of your game, there’s a chance it might launch your career. In this first part of our Edinburgh Fringe Report 2015, four amateur companies performing plays licensed by Nick Hern Books give us a sneak preview as they prepare to take the plunge…

pp posterPassing Places by Stephen Greenhorn
Great Child Productions
Greenside at Nicholson Square, 10–15 August

A schizophrenic Motherwell gangster on a motorbike vs. two idiots in a Citroën Saxo en route to Thurso to flog a surfboard. Sounds ridiculous, huh? Well it has to be seen to be believed! Passing Places follows Alex and Brian on their journey through Scotland, meeting the real characters of Caledonia and beyond…

It’s truly the best play you could ever be involved in. I’m the show’s director and I still find it funny. Rehearsals have really differed from ones I’ve had in the past – we’ve improvised around the script and we’ve made lots of mistakes along the way, but it’s always been funny and fresh.

Passing Places by Stephen Greenhorn, performed by Great Child Productions

Passing Places by Stephen Greenhorn, performed by Great Child Productions

Despite the absurdity of the story and all the goofy action, it’s the characters that really stand out – and they’re brilliantly believable. Relationships are the real heart of the show, and Stephen Greenhorn has managed to make them genuinely touching. We’re a company of young adults so we feel a natural connection with the young characters in the play and their predicaments – and we’re looking forward to sharing that with audiences on the Fringe.

Plus, having a real car as part of the set is going to be exciting!

– Tom Sergeant, CEO of Great Child Productions


2015STRAWBE-ZR-300Strawberries in January by Evelyne de la Chenelière, in a version by Rona Munro
Gone Rogue Productions
C nova, 16–31 August

Strawberries in January seemed to us the perfect chance to stand out at the Fringe among the droves of dark, depressing student productions. Sitting just on the line between heartwarming and (dare I say it?) twee, Rona Munro’s adaptation of this brilliant romantic comedy has been a genuine joy to rehearse, and we hope that audiences feel the same way when they watch it in Edinburgh.

With a cast of just four (including me), plus a pair of directors, it means working together in a pretty intense way. It’s been a treat to be able to take the time to focus on details that might be missed in a larger-scale production. It’s had its challenges too – we’ve each got a lot of lines to learn, and I’d completely fallen out of the habit. Still, we’re getting there!

Strawberries in January by Evelyne de la Chenelière, in a version by Rona Munro, in rehearsal with Gone Rogue Productions

Strawberries in January by Evelyne de la Chenelière, in a version by Rona Munro, in rehearsal with Gone Rogue Productions

The show is completely driven by the characters’ relationships, so we’ve spent a lot of time workshopping and developing the all-important chemistry between us. We even played several rounds of the Newlywed Game in character to get to know each other’s characters better, and develop their relationships and the vocabulary they share.

We’ve just finished our preview season on campus, and audiences have told us they thoroughly enjoyed the show. Now we’re just tightening it up in a few places before we launch it on the Fringe!

– Caitlin Hobbs, co-producer and cast member


ff-posterprintresFoxfinder by Dawn King
Master of None
Bedlam Theatre, 5–30 August

“They want nothing more than our complete annihilation… Without Man, the Fox will rule.”

So states William Bloor, the Foxfinder after whom Dawn King’s dystopian parable takes its name. Reading the play for the first time, it was the impact of lines like these that made the play so irresistibly compelling. Replace ‘the Fox’ with any number of other supposed national threats within our own society, and the statement becomes an eerily familiar sentiment; one that could perhaps have been uttered by certain members of our own political class. Combine this parallel with the recent prospect of a repeal of the Hunting Act, and Foxfinder, along with the world of fear, blame and suspicion it presents, feels more relevant and exciting than ever.

As we would soon discover, this play is a big beast! However, we all recognised that staging it would be a worthwhile challenge, and as such our rehearsal process came in two distinct legs, separated by 4 weeks, 400 miles and 1 national border.

Foxfinder by Dawn King, in rehearsal with Master of None

Foxfinder by Dawn King, in rehearsal with Master of None

Our rehearsals began in London in June, when our main focus was to create a shared sense of what the England of Foxfinder is actually like. We were helped in this by considering dystopian civilizations within other works of fiction, such as Orwell’s 1984, along with comparably despotic and ideologically zealous regimes throughout history, such as those of Stalin’s Russia and modern-day North Korea.

However, the real crafting of the play’s action began in Edinburgh, two weeks before the Fringe began. We were able to rehearse at our venue, Bedlam Theatre, where it was full steam ahead with scene work, blocking and tweaking of characterisation. All the different elements of our production started to combine – our actors, original score, hand-crafted set and lighting design – as we sought to create the tense, paranoid and claustrophobic atmosphere of the play, and prepare ourselves for the month to come!

– Hugo Nicholson & Alexander Stutt, cast members


PentagonForever House by Glenn Waldron
Pentagon Theatre
Greenside @ Infirmary Street, 17–29 August

Pentagon Theatre is a theatre company based in the South West, so Glenn Waldron’s Forever House – which is set in Plymouth – seemed a natural choice for us. And it’s a fantastic, pitch-black comedy full of twists and turns, about three different sets of characters who unearth buried secrets just as they try to negotiate a fresh start to their lives. We’re very excited to be bringing the play up to the Edinburgh Festival Fringe!

We had an intense first four weeks getting the piece ready for Arts on The Move Festival in Exeter back in June. The performances took place in Poltimore House, a disused stately home and grounds which provided the perfect backdrop for our first showing of the play. As I write this, we are busy getting ready for our second round of performances, at the Old Red Lion Theatre in London on 29 July.

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Forever House by Glenn Waldron – a visit to the National Marine Aquarium, Plymouth, with Pentagon Theatre

Our favourite part of the preparations so far has been visiting some of the play’s locations in Plymouth, including the amazing Aquarium. It really helped the cast get a feel for the play’s natural setting. The excitement is definitely building now for Edinburgh. Many of our team have never performed at the Fringe before, so this is an amazing experience for them and we can’t wait to get up there and get started!

– James Bowen, director

Pentagon Theatre perform Forever House by Glenn Waldron

Pentagon Theatre perform Forever House by Glenn Waldron

 


1143114837LOGO_ORANGE[1]Look out for Part II of our Edinburgh Fringe Report next month, when we find out how our four companies fared on the Fringe.

And don’t forget to check out the exciting new plays we’re publishing alongside their Edinburgh premieres this year. Click here for all the details, plus a special discount code you can use to buy any of the playtexts.

Edinburgh Fringe 2015_website banner

See you in Edinburgh!