November 2010 Archives

It’s been a pretty glum couple of weeks for yours truly personally, however Doctor theatre, a brief spell in the sun and the prospect of Jingling Bells and mince pies have restored my spirits. Enough for a good old rant anyway.

Mother always said that if you can’t say anything nice then you shouldn’t say it at all. Fiddle that.

Over the course of the last year I have done my fair share of fringe productions, from Theatre Delicatessen, to the 503 and have had the pleasure of working with some incredibly imaginative, insightful directors, some exceedingly resourceful, focussed producers, and techies and actors that wouldn’t be out of place at the National/Royal Court/(insert theatre of choice).

I feel so proud of the fringe productions I have been a part of, and truly believe that the vibrant off-west end scene gives recent graduates the stage time they need to keep learning their craft, helps us to form those initial contacts and gives us the exposure that will lead to the next job. Plus, if you are acting, it is much easier to think, “I am an actor,” rather than, “I am going to be an actor one day.”

The pros being made clear, I have now come to a point where each unpaid or profit-share (and for ‘profit-share’, read ‘unpaid’) acting job I get now has to be carefully considered. Actors, or for that matter directors and crew, give up their day jobs, which not only costs them the expenses but their day’s wage. I don’t begrudge this all too much. Obviously I’d rather be raking it in, but you make the decision if you feel you are in the position to. Before committing yourself to a project you weigh up the pros and cons; the learning experience, the exposure and the quality of work you anticipate being produced. And, if you say yes, you commit yourself.

The distinction between fringe and amateur is not talent, but attitude (who was it that said that?) If we do not exact the same standards on ourselves as we would given a wage, then we are not professionals, we are amateurs and hobbyists. At the very least we can be courteous and respectful of those that treat such ventures as a serious enterprise.

So we come to this week’s bugbear, which I’ve been harbouring for a while…

When darkly looms the day, and all is dull and grey it’s probably time to invest in a few extra up-lighters but it also means that Christmas is fast approaching, bringing with it the annual theatrical awards season. And it seems there are more than ever this year what with the already popular Whatsonstage Awards, the industry decided Evening Standard Awards and the Olivier shortlists being announced soon, we’re now faced with the The Offies - to recognise and celebrate the excellence, innovation and ingenuity of independent theatres across London- and the somewhat more bizarre Broadway World: UK Awards; as to what they’re trying to recognise is anyone’s guess!

The Offies seem to have a found a rather marvellous niche in the awards market and by choosing to focus on the masses of work being produced in London’s off west end theatres they hope to give greater exposure to fringe productions; and not a moment too soon as there are several productions/venues on the long list that I’d never heard of. And unless ‘off West End’ stretches to the Butlin’s Skyline pavilion in Skegness, perhaps they’ve opened the floodgates one notch too far.

A short break to celebrate 25 years of merriment but I’m back — and it’s been two weeks of wonderful theatre, both on and off stage.

Last week I went to see Company, the second of the Donmar Sondheim at 80 concerts to be staged at the Queens theatre, having seen Merrily We Roll Along the week before. And how lucky we were to see many of the original casts of both shows return to what must be two of the greatest musical scores in existence.

With divine musical direction and accompaniment from Gareth Valentine and his exquisite band, favourites thrilled all over again and songs that have previously been shaken to skip on the iPod really shone - Sorry, Grateful being particularly touching and beautifully sung, proving Sondheim’s work truly glows when sung live.