Day One at Buzzcut Festival

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Actually, it’s the second day of the live art festival at the Pearce Institute in Glasgow but due to work, I couldn’t make the opening day. So in order to save travel time, I lost by Megabus Gold virginity and took the overnight sleeper coach. Unceremoniously dumped in Buchanan bus station at 6:30 am after an intermittent night’s sleep, I chugged a coffee (after being laughed at for attempting to order a flat white) in the station caf before heading to my digs, then navigating an unfamiliar city’s public transport across town to the Pearce Institute.

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Interview: Mark Brailsford on Staging Shakespeare’s Stories

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When Brighton Shakespeare Company’s press release for their Macbeth tour of historical churches in Brighton and Sussex landed in my inbox, I was sorry I couldn’t make it. Shakespeare productions in churches and cathedrals wonderfully hark back to the grandeur of private performances for noblemen and royalty in the 16th century. Shakespeare’s epic stories sit well in the sweeping architecture of these ancient buildings, and on a practical level it’s a great way for companies to save money on sets and reach audiences in rural locations.

Used to the plethora of venues that showcase small-scale, fringe and progressive approaches to Shakespeare in London, I was curious about BSC’s unusually traditional approach. I spoke to artistic director and founder of this new regional company, Mark Brailsford, about the company’s work.

Tell me a bit about Brighton Shakespeare Company and its mission.

The BSC’s ethos takes a character-led approach inspired by Ron Moody and Stephen Berkoff. The company’s aims are to bring individual, characterful actors to the classics in the style of the time the plays were written.

How do you approach Shakespeare? What concepts to you employ?

We are apparently called radical because we set our productions in the period, something not many companies seem to do these days and we’re happy with this label. Many companies, but not all, like to have directors impose their directorial vision onto the plays whereas my approach is to be true to the story and genius of the Bard himself. [I aim] to bring them to life by allowing the story to stand on its own terms. After all, it seems to have worked for 400 years.

Why stage Shakespeare for audiences today?

[The] story. The themes and narratives are as relevant today as they have ever been. Love and loss, pain and laughter, war and peace and the slings and arrows of outrageous fortune. These exist in day-to-day lives all over the world.

What are some of the obstacles you and the company face?

Lack of money! We’re unfunded and back our shows via crowdfunding and box office.

Shakespeare is known for not supporting diversity. What steps are you taking to redress the balance?

This is a myth as there was more diversity in Shakespeare than commonly thought, especially for his time. His women are very strong characters, Othello was black and one of the best take-downs of antisemitism was Shylock’s speech in Merchant of Venice. He also gave prominent parts to working class characters, not a theme of Elizabethan life at the time.*

What do you hope audiences take away from your productions?

Joy, a tingling spine and a thrilling comprehension of the play.

*These views are not representative of those held by The Play’s the Thing UK or its writers.

The Play’s the Thing UK is committed to covering fringe and progressive theatre in London and beyond. It is run entirely voluntarily and needs regular support to ensure its survival. For more information and to help The Play’s the Thing UK provide coverage of the theatre that needs reviews the most, visit its patreon.

Inkheart, HOME

rsz_js78563653Meggie (Katherine Carlton) and her bookbinder father Mo (Paul McEwan) love books. They also share a fantastical gift that’s causing them to be chased all over the world (or Europe, at least) by fictional characters that aren’t very nice at all. Cornelia Funke’s young adult novel Inkheart is adapted for the stage by director Walter Meierjohann in a high-spirited production with inventive staging. The mountain of books and projections that make the set effectively reinforce the importance of the stories that drive the action. The plot is rushed and over-complicated though, particularly for a family show. Books generally have way more content than will fit into a reasonable timeframe, and Inkheart feels like Meierjohann tries to fit the entire novel into two hours on stage.

This is a great play for villains: Will Irvine is Capricorn, a ruthless, Dr Evil-like pursuer who needs Mo to help him bring his assassin, The Shadow, into this world. His stooges Basta (Darryl Clark) and Flatnose (Griffin Stevens) provide excellent comic relief with a dash of audience interaction. Rachel Atkins is the intimidating, book collecting Great Aunt Elinor and the nonspeaking figure draped in black, Mortola. They all provide an excellent foil to the protagonists, even though Meggie is feisty and temperamental (a fantastic role model for young girls struggling to assert themselves). Mo is gentle and kind, with a warm heart and an inner secret – a complex, developed character that adults can relate to.

The pace in the first act ticks along nicely but after the interval, there seem to be leaps in time and space caused by huge chunks cut from the original novel. There are several twists and reveals, making the second act crowded with information. The character development from the first act is neglected in favour of chucking plot points at us, one after the other. Though, this is a story about a long love affair with books and their power, as well as the power we have to write the stories of our own lives. It’s an adventure, a love story and a coming of age tale with great performances, and a flawed, unexpected narrative. Much like our own lives.


The Play’s the Thing UK is committed to covering fringe and progressive theatre in London and beyond. It is run entirely voluntarily and needs regular support to ensure its survival. For more information and to help The Play’s the Thing UK provide coverage of the theatre that needs reviews the most, visit its patreon.