Dissecting the Fringe
Wednesday 14th
Watching She Was
Probably Not A Robot, Stuart Bowden’s charming one-man show about the
apocalypse and a friendly (or at least helpful) robot, I wondered why more
shows like this don’t appear on the Free Fringe or Free Festival. The free show
revolution which has occurred at the Fringe in the last decade or so has been strikingly
dominated by comedy. There are obvious limitations to the kind of theatre that
could be staged at free venues, most of which are little more than airless cupboards
above dodgy drinking holes. But parallel to the increasing prominence of free
shows has been a burgeoning genre, shows which straddle theatre and stand-up
and which on the face of it would seem suitable (or at least more suitable) for
free venues.
This isn’t entirely true of She Was Probably... It has no set and minimal tech requirements,
and while Bowden does use a backstage area for costume changes, these are so
simple that it is easy to imagine them working in a more basic space. He does,
however, use the full extent of the wide Iron Belly stage, and such space is at
a premium in the free venues. Perhaps the most significant demand his show
would make, in order to achieve its naïve and slightly haunting atmosphere, is
to be insulated from outside noise and latecomers, problems which are
particularly acute at free shows.
Bowden’s show is towards the theatrical end of this genre:
it is a monologue with the characters acted out, with frequent comedy and some
audience interaction. The plays written and performed by Daniel Kitson are
closer to stand-up, unsurprisingly given his background. The theatrical
elements they use are more to do with the design of the set, lighting and music,
and in principle the script and performance itself would work reasonably well
(though not as well) without them. A number of performers have staged shows in
a manner clearly influenced by Kitson’s, from Stefan Golaszewski’s more
straightforwardly dramatic monologues to Terry Saunders’s indie musings. As basically straightforward monologues, any of these could transfer
relatively easily to a free venue.
The real reason why theatre has made such little use of the
free spaces may be more cultural; the feeling, rightly or wrongly, that free
theatre will not be of a high standard, and will not get the press or industry
attention focused elsewhere. The sheer volume of free comedy shows has meant
that some of these acts have become successful (witness, for instance, Cariad
Lloyd who was nominated for a Best Newcomer Award in 2011 on the basis of a
free show), and this in turn has made going free a more acceptable option for
established comedians. In addition, the financial pressures on comedians incline
them towards non-paying venues, whereas this is something from which theatre groups,
with more funding available from universities, arts grants and so on, are to
some extent insulated. It will probably take one or two
successful shows combining theatre and stand-up to lead the way and make at
least this form of theatre a respectable presence on the free fringe.
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