One
likely reason for the expansion of comedy on the Fringe over the last
few years, to the point where it has overtaken theatre as the biggest
section in the programme, is brute economics. It is simply far cheaper
to transport and accommodate one person and a microphone than even a
small cast of four or five plus the accoutrements of staging. This
tendency towards solo-hood is now making itself felt in the Theatre
category as well.
Favourite Fringe actor David Calvitto appears this year in
The Silencer (Pleasance Courtyard).
A gradually darkening monologue about a failed affair, it is less sharp
and complex than we are used to from Calvitto; at the performance I
saw, this supremely assured performer also seemed unusually uneasy...
unless it was a super-subtle
portrayal
of uneasiness. (Players of one of the many Fringe drinking games should
also down a stiff one on spotting, in its Fringe programme blurb, that
the piece is “darkly comic”.)
St Stephen’s, former home of adventurous international work under the
Aurora Nova banner, is back as a venue this year, being cannily run by
Northern Stage with one eye to the cutting edge of that Newcastle
theatre’s programming and one to St Stephen’s’ own place in the Fringe
ecology. Daniel Bye’s mid-afternoon presentation there,
The Price Of Everything, is in his
words a “performance lecture” rather than a theatre piece. Whilst
appearing to be doing little more than chatting amiably (mostly about
milk, for reasons too abstruse to go into here), Bye smartly and subtly
plays with our ideas about value and its relation to ideology, and also
about theatre; after one admitted fib, he notes our “disappointment
because you came to a theatre and a man made up a story.”
Comedian Les Dennis has appeared as an actor in some stinkers, but he
never whiffs himself, and moreover in
Jigsy
(Assembly Rooms) he has a play that fits him like a glove. It veers
perilously close to typecasting, as a jobbing Scouse comic regales us
with tales both comic and touching about the business and the city;
however, Dennis is in easy command of both the material and his
old-school, hard-drinking characterisation.
In contrast, former
Daily Star
journalist Rich Peppiatt appears blissfully ignorant of just how little
he is escaping the values he supposedly condemns in
One Rogue Reporter (Pleasance
Courtyard). However delicious it may be to see the likes of Paul Dacre
and Kelvin Mackenzie stitched up as they and their papers have
previously done to others, Peppiatt’s implicit justification is that
invasive and humiliating treatment is all right in a good cause… which
is exactly the tabloids’ plea of defence.
Written for the Financial
Times.