Tagged: festival

The Sick of the Fringe

imageThis August I went to Edinburgh as a writer for a project called The Sick of the Fringe. Commissioned by the Wellcome Trust and conceived by artist Brian Lobel, it’s a month-long programme that aims to inspire collaboration between science and the arts. I was writing ‘diagnoses’ of the festival performances I went to see, not straightforward reviews, but more issues-based articles exploring how things like human health, the brain, the body and medicine permeate our cultural consciousness. There’s a great article about last year’s programme on the Contemporary Theatre Review, and one about this year’s project on the British Medical Journal blog.

It was a fantastic, if intense, experience. I absolutely loved being at the Fringe, the wide-ranging types of performance I got to see, and the issues each show pushed me to consider. Our brief was to write about what we saw in a completely objective way, not to judge it on whether it was an artistic success, but to consider the issues it was trying to start conversations about. I found myself writing on all kinds of topics, including ageing, alcoholism, anxiety, childhood trauma, criminality, consumerism, climate change, dementia, depression, even why women fall in love with men on death row.

I was one of a team of writers, all of us with the shared mission to see and diagnose as many performances that were tackling health-related issues as we could. Links to my diagnoses on The Sick of the Fringe website are below, and my fellow writers’ diagnoses can also be found on The Sick of the Fringe website, under the ‘Diagnoses’ tab.

Bubble Revolution
Don’t Panic! It’s Challenge Anneka
Doubting Thomas
Empty Beds
Finding Joy
Perhaps Hope
The Magnetic Diaries
The Marked
The Road to Huntsville
This is Your Future

Review | La Meute

LaMeute_credit BEN HOPPER
This review was written for the Londonist

“Just watch out if you’re in the way of the Russian swing”, warns the man on stage before the lights go out. Russian swing. Sounds like it might be some kind of dance music, or perhaps a parlour game popular with married oligarchs. No? Maybe a military manoeuvre, a new tool for annexation?

It’s actually a type of circus. And it’s a suitable starting sentence, heralding as it does the beginning of Circus Fest’s five week programme of dare devil acts. Circus is, after all, partly about performers taking risks that make audiences squirm, that make them “watch out”.

Take the classic apparatus you’d find in a playground, then imagine something much more solid and able to host six men at once. Sometimes it’s strapped to the floor, sometimes it’s unnervingly loose. In full swing, it’s able to propel a person at high speed some distance into the air.

Compagnie La Meute (The Wolf Pack), dressed in nothing but precariously placed towels, are currently showing audiences how Russian swing is done in the main space at the Roundhouse, London’s very own big-top of bricks.

Their show – also called La Meute – is loose, shifting nonchalantly in pace and mood. Sometimes it’s slow, silent and even comes to a worrying halt (we’re unsure if this was planned or not). At other points it’s frenetic, slapstick, loud. Music is important, with the all-male cast able to sing and play sax and guitar, as well as perform acrobatic feats. Sometimes they do both at once.

The men, in their rather bemusing towel nappies, use the Russian swing to full and comic effect, blending ease with nerves of steel. They are careful to make sure we realise its power, letting it smash cups out of their hands and landing with thumping force when they fly off it.

The swing is, of course, a focal point but only half the action takes place on it. The rest is floor-based tumbling and balancing acts. Clearly a close knit group of friends, the performers enjoy playing tricks on each other, plus inflicting a certain amount of pain – from toying towel slaps to the face, to some eye-watering handstands resting on each other’s groins.

La Meute isn’t breathtaking or flashy; the company lay their effort bare to an extent. A quiet moment towards the end, where one performer carefully applies chalk to his hands under the warm glow of an anglepoise lamp, has a welcome intimacy and honesty. Overall, it’s an interesting start to a festival that promises an exciting array of circus shows over the next few weeks.