Edinburgh49 won’t be operating during the festivals (the hint is in the name, 52 weeks of the year minus 3 weeks of the Fringe), but that’s not because we follow the tiresome Edinbugger affectation of being tired by the Fringe.
Every year the greatest show on Earth rolls into town, bringing in its wake the most creative and determined talent imaginable. A popular saying of one of the City’s most famous literary sons rather sums up what the besuited burgher should remember when he’s done with his daily round of toil.
“A lawyer without history or literature is a mechanic, a mere working mason; if he possesses some knowledge of these, he may venture to call himself an architect.”
– Walter Scott –
But what to see? It’s a fair question given the thousands of shows on offer.
One of the most interesting Fringe-related developments of recent years is the rise of Kickstarter. The crowdfunding platform allows independent producers to finance their play about corrupt micro-financing practices in the Adriatic region without ending up like the Merchant of Venice.
Kickstarter’s use of video trailers means that audiences are able to preview as never before, AND can even put their hand in their pocket to support a show which takes their fancy. Click on the ‘K’ in the top left corner of each video to visit each show’s Kickstarter page.
There can be no doubt that Kickstarter works and is already highlighting some fantastic fringe theatre.
A case in point is Something There’s That Missing, Anh Chu’s very personal account of a first-generation Chinese-Canadian, who moves to London to write her first play. The reviewers (especially me) loved it. Click here to find out why.
Over the coming weeks we will be helping to highlight some of the shows looking for a Kickstart. We begin with 2 projects.
In Kat Woods’ Belfast Boy Martin flees Belfast for England, where he discovers his sexuality, parties, drugs, love and tragedy.
Woods’ first piece Skintown was placed on the longlist for the Bruntwood Royal Exchange award and successfully premiered at The White Bear Theatre in Kennington. Her second play Dirty Flirty Thirty has had sell out runs in London’s off west end Theatre scene and across Northern Ireland. Belfast Boy is her third piece of writing.
Alba; A Scottish Musical
Writer and producer Finn Anderson bills Alba as an exhilarating, heartwarming story of a young man whose reluctant return to rural Scotland sparks an emotional roller-coaster of adventure and self discovery, triggering him to rekindle his love for his home country.
Anderson’s recent work includes Streets (with Interval Productions), which transferred to the Hackney Empire and was nominated for two Off West End Awards including Best New Musical and a Broadway Word Award for Best New Musical in Fringe or Regional Theatres.