FULLY FORMED HILARIOUS

arts & current issue events around Brighton & Hove in the next 7 days plus Reviews
Fri 27 May - 2 June
FULLY FORMED HILARIOUS
LOVE & FRIENDSHIP, (U) 2016 FR/IR/NE 93 minutes, written, directed and produced by Whit Stillman, with Kate Beckinsale
and Chloë Sevigny, based on the novella, Lady Susan, by Jane Austen, in cinemas nationwide, Friday, 27th May
The problem here is that this review is all about
Jane Austen (the ubiquitous) and Whit Stillman
(who, what?). How to make this gripping?
Is it possible?
herself feels about her characters. (The ambiguity is, of course,
what’s so great about Austen.)
In the first place, who is Whit Stillman? (Everyone knows who Jane
Austen is.) Whit Stillman is from a very prominent, very rich, but
dysfunctional, American family. His first film, Metropolitan, concerns
a character, Tom Townsend, somewhat like Stillman, living with his
mother in straitened circumstances, while his father still inhabits
the rarified atmosphere of the Upper East Side of Manhattan. We
never see his father, but we do see a box of toys, discarded on a
pavement, which we subsequently discover were Tom’s. His father
has moved away without telling him. It’s not such a wonderful life.
This film is his fifth in 26 years. Looked at one way, this is probably
not entirely his fault. Looked at another way, it is absolutely his fault.
I think his films are terrific, but they don’t exactly match up to the
kind of product placement that the modern multiplex demands. He
seems to make no apology of this.
It may be interesting at this point to say, in case you didn’t know,
that Whit Stillman films are part of the reason that I like the cinema.
It wouldn’t be an exaggeration to say that Whit Stillman could be
held responsible for our opening a single screen, art house cinema
in Kent 10 years ago, though we never actually showed a Whit
Stillman film. (It’s still going actually, the cinema, thanks for asking.)
Back to the review:
So, do we really need another adaptation of Jane Austen, especially
of a book no one has heard of, let alone read? Even if she might
have written part of it in Worthing? (What else was there to do in
Worthing, in 1805, than write a book?)
Jane Austen is a cultural icon. We don’t have to have read her
books to have an opinion about her. Conversely, adaptations can
be somewhat decorous, deferential, solemn. Jane Austen is like
Shakespeare - this is who we are, judge us by our literary canon.
Austen’s novella, Lady Susan, isn’t counted as one of her five major
novels. It’s fairly short, but dense, in the form of a series of letters.
Two of the correspondents, Lady Susan herself and her friend, Mrs
Johnson, are a racy pair, up to all sorts of intrigues with husbands
and lovers. The scandal isn’t easy to disentangle from the formal
language, and it’s open to interpretation just how Jane Austen
Austen seems to have tried to get Lady Susan published, but
without success. Her now famous novels were published later,
substantially re-worked from earlier versions. Perhaps if she had
lived beyond her 42 years she may have done the same with
Lady Susan.
So this is the opportunity Whit Stillman has seized. He hasn’t
attempted a faithful adaptation, but has created a kind of
conversation with the book, and with Austen. In fact, if you know
your Whit Stillman, there is as much of him in this film as there is
of Austen.
But don’t let that put you off!
Two things about Jane Austen are unarguable - her control,
especially of what her characters are privy to, and her understated
irony. Sometimes, just sometimes, her books can impart a sense that
she is perhaps a little too judgemental, that some of her characters,
and this could include Lady Susan herself, are performing for
Austen’s benefit rather than their own, that as a writer she walks a
fine line between cruelty and honesty. (Though given the material
desperation of her own situation at times in her life, a satirical cast of
mind is entirely understandable.)
Being in the form of letters, written with the luxury of reflection,
Austen can show the characters giving events the best possible cast
from their own point of view. She can allow the writer to have one
interpretation and we, the readers, another. She can play the game
of ‘how do we all deceive ourselves?’; the cruelty thing again. She is
giving her readers licence to laugh at her characters expense.
Stillman, presenting the story as film, as drama, has to have the
characters interacting directly. They don’t have time to go away
and work out the best way to put things. They have to live in
the moment. How is it possible, then, to retain Austen’s control,
her irony, when the characters appear before us, speaking for
themselves?
He does a very clever thing. He makes the two friends, Lady Susan
and Mrs Johnson, Whit Stillman characters. This without their
losing any of their essential Jane Austen-ness, even with the added
complication of Mrs Johnson being transformed into an American.
THIS WEEK
How exactly would you describe a Whit Stillman character? They
are big on: ‘on the one hand this, on the other hand that’; they look
at things in contrasting ways, they like to say things twice, slightly
differently: ‘that’s irrational, that’s not rational at all’; Lady Susan uses
the word ‘pretext’ often; one situation can be the pretext for another
imperative. They can deliver long and complex speeches without
moving their hands.
Lady Susan, who can see two sides to everything,
who can give any event any number of different
interpretations, finds herself surrounded by
people who are incapable of seeing anything in
any way except to their own advantage, who are
trapped by their own prejudices. It is almost as if
Jane Austen is unwittingly and unwillingly starring
in her own story.
Ultimately this is very funny. Sir James Martin, little more than a
shadow in the book, is fully formed hilarious in the film.
From the very tall husband to the very short curate, to the
people we’re accustomed to seeing in costume dramas, such
as Stephen Fry or James Fleet, there are many subtle spoofs of
the Austen oeuvre to enjoy.
I wish I could go on. I love this film. Go and see it. Please.
Paul Corcoran.
Screening from Fri 27 May Duke of York’s Picturehouse
Preston Road Brighton BN1 4NA
SOMETHING really
DANGEROUS
I Capuleti e i Montecchi by Vincenzo Bellini, Popup Opera, The Spire, Brighton, 30th April, 7pm.
So much is spoken about the state of the housing market as
the ultimate indicator of the current state of social and financial
inequality, lovingly expressed in every real estate window,
photos of the heist that the older generation is inflicting on the
younger.
something new so settled on a theme which it’s a safe bet he
knew from his homeland, organised crime.
For much of the action, either one or other of Romeo or Juliette
is a captive in some insalubrious cellar of the palace of Juliette’s
father. The actual setting, a decaying church, coincidentally built
not long after the opera was composed, is a perfect setting. It’s
freezing and the floor is actually stone.
But if you really want to get a good look at inequality in action
then opera with a capital O is your metaphor.
How hard can Popup Opera have made this for themselves?
Go to the Royal Opera House: in the foyer, expensive perfume,
designer frocks, on the stage, amazing sets, moving floors, every
toy money can buy; go to Popup Opera in Brighton: a decaying
old church, a slight mouldy smell, fluorescent lights lying in the
ground, plastic chairs.
There is an orchestra of one, on electric piano. No chorus; those
bits are swiftly passed over by a couple of lines of text, projected
on a wall, as part of the English captions. The opera is performed
in Italian.
Love in a cold climate. In Italian. Isn’t this kind of thing
meant to be entertaining?
Where would I rather be?
And Bellini? Associated in my mind at least with tricksy runs in the
highest notes, the kind of thing that Joan Sutherland was good at,
needing big sets and big dresses and big choruses to make it at
all palatable. Beautiful yes, but let’s just stream it. You can choose
from Joyce DiDonato playing Romeo (a ‘trouser role’) or Anna
Netrebko as Juliette, though sadly not together. Opera is full of of
such arcane detail. You don’t know who Roberto Abbado is? You
poor, sad thing.
Why have the rich colonised opera? I suspect a lot of them sleep
through it. It’s a good place for a nap, your secretary can’t get hold
of you. And if you go to Glyndebourne your grandchildren are
forced to wear something decent for once in their lives.
Such audiences are literally dying. An excess of wealth is as
corrosive to opera as it is to housing; its purpose is distorted,
corrupted, undermined.
Opera has a purpose? You have to be joking. Isn’t that why the
rich like it? Looks and sounds good but is completely useless, like
a Lamborghini?
Then they started singing. And all doubts disappeared.
Granted, the purpose can be hard to discern when it’s disguised
under layers of luxury, put as far away as possible beyond an
orchestra pit full of more and more musicians, but opera is the
greatest expression of dramatic art so far invented. The rich have
corrupted, defiled, perverted, debauched and distorted it, made it
expensively and artificially useless, precisely because of its power.
They know something really dangerous when they see it.
Bellini’s Romeo and Juliette isn’t from Shakespeare but from an
Italian play written early in the 19th Century, only a decade or so
before this adaptation. The pair are already in love, are older than
the Shakespearean lovers, more worldly and very much involved
in the violent interactions between the families.
Vincenzo Bellini was born in Catania, Sicily. For this opera of
feuding families he recycled some of the music from an earlier,
unsuccessful opera, Zaira, based on a play by Voltaire, in which the
heroine, a Christian, is in love with the Muslim Sultan of Jerusalem.
A theme for today perhaps, but Bellini had only six weeks to write
At a simple, visceral level, hearing opera singing close up is a
wonderful experience. That is real.
That the singing, the music, the commitment of the performers,
the situation, rather than the setting, was also real, made the
performance work in a wholly unexpected way.
Opera is usually a byword for fake, culture as lie, music
masquerading as drama, a Fabergé egg created just to be
expensive and exclusive.
This production made clear that for Bellini, the subject mattered.
He made something beautiful and moving from violence and
ugliness.
Popup Opera is a genuine re-imagining of what opera can and
should be.
Paul Corcoran
Popup Opera perform their current production Rossini’s Il Barbiere di
Siviglia (The Barber of Seville) Sat 25 Jun 7.30pm Court Gardens Farm Barn
Orchard Lane Ditchling BN6 8TH
note: Paul - can you tie the colour of the wording in with this - I can’t get the right
yellow/green colour and they only have the image? thanks
h
FILM
Fri 27 May 3.30pm & 9pm: LOVE
& FRIENDSHIP (U) 2016 IR/NE/FR/
US 93mins. Directed by Whit Stillman,
starring Kate Beckinsale and Chloë
Sevigny. Adapting Jane Austen’s novella
Lady Susan, writer-director Stillman
has wrought a delicious, gorgeously
staged comedy of romantic manners,
with Beckinsale and Sevigny – who also
starred in another of Stillman’s razorsharp, female-centric amusements, The
Last Days Of Disco – a particular joy to
behold. ‘Mr. Stillman is perfectly at home
in Austen’s world.’ The New York Times.
Continuing daily. DUKE OF YORK’S
PICTUREHOUSE Preston Road Brighton
BN1 4NA picturehouses.com/cinema/
Duke_Of_Yorks
year period to convince a Polish pen-pal
to set foot in Brixton, and how this was
impossible due to its bad reputation.
‘Fast-paced stories and observations
as he tackles urban myths.’ Time Out
London. Also Fri 27 & Sat 28. Free,
non-ticketed. LAUGHING HORSE@
CAROLINE OF BRUNSWICK 39 Ditchling
Road Brighton BN1 4SB
brightonfringe.org
offers three differing meanings which
perfectly sum up Textile Artist Holly
Rozier and her bizarrely beautiful body
of work; an exploration through the
mediums of textiles, soft sculpture
and installation. Open Tue-Sun. THE
CORRIDOR GALLERY 28 York Place
Brighton BN1 4GU
corridorgallery.co.uk
HOMEWARE. GIFTS. COOL STUFF.
“one of my faveHOMEWARE
shops….they
always have the most
. GIFTS . COOL STUFF .
amazing things in here. If you ever need to buy a gift for
someone and don’t know what to get them you will for
sure find it in here. They just have everything.”
Zoella - vlogging sensation
“one of my fave shops….they always have the most amazing things in here. If you ever
need to buy a gift for someone and don’t know what to get them you will for sure find it in
here. They just have everything.” Zoella - vlogging sensation
Open 7 days a week and 24/7 online
22 & 59 Ship Street Brighton BN1 1AD
Open 7 days a week and 24/7 online
22 & 59 Ship Street Brighton BN1 1AD
THEATRE
Mon 30 May 7.50pm: SOMETHING
ROTTEN. In his ‘one-man’ production
Robert Cohen re-tells the tale of Hamlet
from the viewpoint of the Prince’s
murderous Uncle Claudius – examining
the motives of a man who kills his
brother, marries his former sister-in-law,
assumes the crown of Denmark, and
thus excites both the homicidal and the
famously procrastinatory instincts of
Shakespeare’s most famous character.
‘Cohen’s skill is truly masterful.’ Northern
Echo. Until Sun 5 Jun. £8/6.50. SWEET
WATERFRONT 2 King’s Road Brighton
BN1 2GS brightonfringe.org
EXHIBITION Thu 2 Jun 11am-5pm: PRESS &
RELEASE 2016 - TECHNOLOGY AND
THE EVOLUTION OF THE ARTIST’S
BOOK. An exhibition of boundarybreaking bookworks featuring the work
of notable contemporary artists from
across the world who approach the
book as an art form. Curated by Maddy
Rosenberg, director of New York’s
Central Booking art space, the work is
brought together by Brighton based
exhibition designers Curious Space.
Until 12 Jun. PHOENIX BRIGHTON
10–14 Waterloo Place Brighton BN2 9NB
phoenixbrighton.org
Beautiful, fresh, new season Extra Virgin Olive Oil
direct from the farmers in Crete. Find us locally at
Shoreham, Steyning, Hove & Florence Road Farmers’
Market (see website for dates) or in store at hiSbe,
Seed n Sprout and Fin and Farm.
#Directtrade #Fairtrade. Cultivated with Love.
www.mesto.co.uk
THEATRE
Sat 28 (& Fri 27) May 7.30pm:
1972: THE FUTURE OF SEX. An era
of possibility, polyester and pubic hair.
Ziggy Stardust is on Top of the Pops,
Penny is writing an essay on Lady
Chatterley’s Lover and Christine is
watching Deepthroat. Brian is confused.
The Wardrobe Ensemble tell the story
of the class of ‘72 with a handsome
funk guitarist and some space hoppers.
Was it easier back then? Where did we
go wrong? Winner The Stage Awards
for Acting Excellence in 2015. ‘Funny
and true and a little bit heart-breaking.
★★★★The Guardian. £12.50/10
Conc. THE OLD MARKET 11a Upper
Market Street Hove BN3 1AS
theoldmarket.com
FILM
Tue 31 May 6.30pm: THE DIVIDE
(12A) 2015 US/UK 78mins. What
happens when the rich get richer? The
story of 7 individuals striving for a
better life in the modern day US and
UK - where the top 0.1% owns as
much wealth as the bottom 90%,
creating a lyrical, psychological and
tragi-comic picture of how economic
division creates social division. The
film is inspired by the criticallyacclaimed, best-selling book The
Spirit Level by Richard Wilkinson and
Kate Pickett. ★★★★The Guardian.
★★★★Total Film. ★★★★City AM.
★★★★Time Out. Also Wed 1 Jun
11am. DUKES AT KOMEDIA 44–47
Gardner Street Brighton BN1 1UN
picturehouses.com/cinema/Dukes_
At_Komedia
COMEDY
Sun 29 May 7.45pm: AMADEUS
MARTIN: GOD CREATED BRIXTON.
The comedian takes you on a journey
through Brixton urban legends,
anecdotes and observations, from the
failed Viking Invasion of 885AD, the
Victorian Era of 1885, and his Godfearing mother’s villainy in the 1985
riots. The story of his quest over a 30
EXHIBITION Wed 1 Jun 11am-6pm: UNHEIMLICH
a site specific solo exhibition by
Holly Rozier. “Unheimlich” is a slightly
perplexing German word with no direct
English equivalent, the translation
FILM Coming Soon!
DEPARTURE When a marriage
deteriorates, an English family prepares
to sell its holiday home in France.
picturehouses.com/cinema/Dukes_
At_Komedia
MUSIC
Fri 27 & Sat 28 May 8pm: BETH ORTON, plus
support. One of the country’s most unique and
beguiling voices in contemporary music for the
past two decades, Beth Orton returns to the UK for
two shows at Brighton Festival premiering highly
anticipated new material exploring her electronic
roots. Her debut LP Trailer Park pioneered the
synthesis of electronic beats and acoustic
songwriting. ‘A voice of seemingly effortless
expression’ Pitchfork. £17.50 standing. Festival
Standby £10. ATTENBOROUGH CENTRE FOR THE
CREATIVE ARTS University of Sussex
Brighton BN1 9RH
sussex.ac.uk/acca
CONCERT
Sat 28 May 7.30pm: PHILHARMONIC
ORCHESTRA with ART MALIK narrating a special
concert marrying traditions of East and West. The
Philharmonia Orchestra will perform some of the
best-loved English works of the period, alongside
violin virtuoso Kala Ramnath’s own traditional
music scored for violin, orchestra and Indian
folk instruments. Both Vaughan Williams and
Butterworth volunteered for military service and
alongside their music will be readings from letters
and diaries written by the Indian servicemen
recuperating in Brighton. BRIGHTON DOME
CONCERT HALL Church Street, Brighton, BN1 1UE
brightonfestival.org
Fri 27 May - 2 June
VISUAL ARTS Continuing daily until Sun 5 Jun: PLASTIC IS FOREVER MISS MOSKI CURATES. What lies beneath the ocean? What is
most dangerous to us in the ocean? Exactly how much plastic is
there in our oceans? Are we doing enough to control our waste?
Can we be part of the solution? This exhibition uses art, design
and moving images to increase awareness of how the ocean
environment is affected by what we throw away. Free, nonticketed; various running times. SILO 39 Upper Gardner Street
North Laine Brighton BN1 4AN brightonfringe.org
The Best of All
Possible Worlds
WHERE TO INVADE NEXT (15) 2016 US 120mins,
produced and directed by Michael Moore, Zoo Palast
Berlin, Thursday 18th February, 12.30pm.
As you see above, we all, our family that is, went this year to the
Berlin Film Festival, where we saw this film on the main screen
at the gigantic Zoo Palast Cinema, in English with German
subtitles. This was sometimes difficult as those in the audience
who were reading were often ahead of those listening, which
occasionally meant 750 or so people laughing over a punchline.
What I’m getting at is that this is a very funny film. Funny, and
gentle, and humble. But it packs as big a punch as any of his
other documentaries.
The Daily Mail has it that this is Michael Moore’s least successful
film so far. Maybe his earlier films had a more specific subject,
something spelled out, the shootings at Colombine School
for example, which made them an easier sell. The subject of
this film is really American exceptionalism, that the USA stands
for the best in the best of all possible worlds, but this isn’t
made explicit. Perhaps he was concerned that this topic was
absolutely off limits. The only way he could discuss it was by
simply not mentioning it.
In fact, it is entirely shot in Europe, though tellingly not the UK,
with one detour to Tunisia in North Africa, with archive footage
from the US. He picks a number of social issues, education,
prisons, drug laws, women’s rights, workers’ rights, among others
and travels to different places which do these things differently
from his home country.
His basic message is that America’s relentless focus on
competition, on individual achievement at the expense of social
good, is corrosive. Much of the humour, especially early in the
film when he visits Italy, France and Finland, is the clear concern
that his interviewees have for his American ideas and naiveté.
The Finnish Minister of Education’s look of pity when he says
that schools no longer teach poetry is a wonderful image. As
are the looks of horror on the French children when they see
photos of school lunches in Boston.
But as the film progresses the message becomes darker. The
cinema went very quiet when he discussed how Germany
teaches its recent history to school students, but the double
whammy of the War on Drugs and a prison system which
is run for financial profit in the US, compared to total decriminalisation of drug use in Portugal and a humane system of
incarceration in Norway, made a clear point about a slave trade
in all but name for black Americans.
The message isn’t the superiority of Europe, God knows
there are problems here, but that in these individual cases, in
small ways, a focus on ways to improve peoples lives, by free
university education for example, or by looking after their
health, can have larger repercussions.
EXHIBITION Sat 28 May 10am-4pm: THE STORY IN ART. From the
allegorical to the Shakespearean and on into the realms of
concept The Story in Art presents a touching, moving, sometimes
domestic, as well as humorous look at the stories of us all. The
exhibition has been curated to show how artists explore, interpret
and tell a visual tale with works by Ron King, Alice Kettle, Lorenzo
Belenguer, Šárka Darton, Isobel Egan, Pippa Blake, Chitra Merchant
and Chris Orr RA. The Gallery is open Tue - Sat 10am-4pm.
CANDIDA STEVENS FINE ART 12 Northgate Chichester PO19 1BA
candidastevens.com
AUTHOR EVENT Sun 29 May 2pm: PAUL McVEIGH: THE GOOD SON. This year,
people across the city have been reading, sharing and discussing
Paul McVeigh’s astonishing debut, The Good Son. Set during
the Troubles in 1980s Belfast, it’s an astute, assured and achingly
funny novel about the complex nature of innocence and guilt.
‘revelatory and stunning’ Huffington Post. Paul McVeigh has
written plays, comedy and short stories – he is also co-founder
of London Short Story Festival. Join him in as he discusses
his inspiration for the novel in this final event marking the
culmination of City Reads 2016. £8 BRIGHTON DOME STUDIO
THEATRE New Road Brighton BN1 1UG brightonfestival.org
SCREENING Fri 27 May 8pm: LOVE & MERCY (15) 2015 US 121mins. A
superbly entertaining film about Brian Wilson of the Beach Boys,
following the singer-songwriter at two periods in his life. Paul
Dano plays the younger Wilson, while John Cusack portrays
the older, damaged man. Paul Giametti is excellent as the
manipulative psychotherapist in an insightful and ultimately
uplifting story. ‘You gotta love a biopic that shakes things up.’
Rolling Stone. Doors 7.30pm. Tickets £6/4(members). HURST
VILLAGE CINEMA 18 Cuckfield Road Hurstpierpoint BN6 9SA
hurstfilms.com
SCREENING
Fri 27 May 7.30pm: SELMA (12A) 2014 US 128mins. Selma
draws inspiration and dramatic power from the life and death of
Martin Luther King, Jr. as it chronicles the tumultuous period in
1965 when he led the campaign to secure equal voting rights in
the face of violent opposition. Intelligent, moving and beautifully
shot, this film doesn’t ignore how far we remain from the ideals it
embodies. Directed by Ava DuVernay. Oscar for best Achievement
in Music Written for Motion picture, Nominated best picture 2015.
Tickets £6/5/3.50. SEAFORD CINEMA Saxon Lane Seaford BN25
seafordcinema.org
OPEN AIR THEATRE
Sun 29 May 11am: THE TWO GENTLEMEN OF VERONA by
William Shakespeare. Presented by Shakespeare’s Globe and
Liverpool Everyman & Playhouse, directed by Nick Bagnall.
Valentine loves Silvia and Proteus loves Julia – but Proteus is fickle,
and falls for Silvia too.
This film is a plea to Americans to look again, that an idée fixe
is destructive, that there just might be something valuable in
social good, in something simple like school without homework
so children have time to play for example, that can help
everyone.
The issues put like this can sound a little well-meaning, but as
always, Michael Moore’s treatment is never not entertaining. This
is a genuine feel good film. See it if you can. And on the biggest
screen you can find.
Paul Corcoran
UK Premiere including Q&A with Michael Moore live via satellite
from Sheffield Doc/Fest. Fri 10 Jun 6.15pm DUKE OF YORK’S
PICTUREHOUSE Preston Road Brighton BN1 4NA
This riotous new production is led by a joyful ensemble of
players who will delight with songs, romance and chaos, and hurl
Shakespeare’s anarchic comedy into the 21st-century. Remember
to bring a picnic and dress for the weather. £17.50, Under 19s £10,
Family £50. BRIGHTON OPEN AIR THEATRE (B.O.A.T) Dyke Road
Park, Dyke Road Brighton BN3 6EH brightonfestival.org
THEATRE Fri 27 & Sat 28 May 8pm: A GOOD JEW written and directed
by Jonathan Brown, presented by Brighton Fringe award
winning Something Underground Theatre Co. 1938. Sol and
Hilda play in the Frankfurt Sinfonietta. They’re in love. So what?
Well, Hilda’s father is a Nazi Official, and Sol is, of course, a Jew.
As Sol’s family is decimated by deportation & Nazis, his mother
gives him fatal advice: “Survive. At all costs!” £10/£8 & under 16s
£4. EXETER STREET HALL 16-17 Exeter Street Brighton BN1 5PG
brightonfringe.org
EXHIBITION Until Sun 5 Jun 11am: STAGE, SCREEN AND TRENCH. It was
Brighton Hippodrome’s ebullient manager, Billy Boardman, who
took the first concert party of stars to entertain the troops on the
Western Front, and it was Hastings-born cameraman Geoffrey
Mailins who filmed in the trenches. Discover forgotten stories of
Sussex’s Edwardian film and entertainment personalities who
were the real life inspiration for Oh! What A Lovely War and who
were behind the camera for the groundbreaking 1916 movie The
Battle of The Somme. Also Wed 1 - Sun 5 Jun. Free, non-ticketed.
BRIGHTON FISHING MUSEUM 201 Kings Road Arches Brighton
BN1 1NB brightonfringe.org
DANCE Tue 31 May & Wed 1 Jun 7pm: COLLECTIONS - ECLECTIC
DANCE WORKS from The Swallowsfeet Collective. An
international group of 8 artists, performers and choreographers
of 5 nationalities, living and working in 6 different cities make
up the creative minds behind Swallowsfeet Festival, an annual
international dance and performance festival. The programme of
dance performance will include their ensemble choreographic
work together, alongside the work of individual members.
Tickets £8/7 conc. THE SPIRE St. Mark’s Chapel Eastern Road
Brighton BN2 5JN brightonfringe.org
PERFORMANCE
Tue 31 May, Wed 1 & Thu 2 Jun. 8.45pm: CATHEDRAL
Conceived and devised by Fye and Foul. Freely inspired by
Raymond Carver’s short story, ‘Cathedral’ is an audio-based
performance taking place in subtle states of low lighting
that exposes the audience to the ambiguity of memory and
doubt in recollection. Conceived and devised by Fye and Foul.
‘Powerfully intense, engaging and brave’ The New Current. Tickets
£8.50/7/5.50 conc. THE WARREN: STUDIO 2 St Peters Church
North, York Place Brighton BN1 4GU distriktbrighton.co.uk
Tue 31 May - Sun 5 Jun 21.10pm:
INVOLUNTARY NOISES: THE SONGS OF JODY TREHY.
‘Cracking good songs in the style of Brecht, Bowie and Brel’ Irish
Times - Jody Trehy plays Brighton with a sublime international
band as part of his ‘Involuntary Noises’ tour 2016. ‘An Irish soul
poet in the tradition that produced Van Morrison and Paul Brady
but with an added flavour of European theatre that hints at
Bertolt Brecht and Jacques Brel.’ Herald, Scotland. £8/6.50.
SWEET DUKEBOX 3 Waterloo Street Hove BN3 1AQ
brightonfringe.org
WE WANT TO HEAR FROM YOU!
OnRequest is an online space for spreading the word! Enter
‘JUST in time’ - select ‘explore’ and any suggestions or listings
added will be included in the weekly JUST in time email out &
paper where possible.
DISCOVER KEMPTOWN’S ALL ORGANIC HIDDEN GEM
SEED N SPROUT
OPEN 7 DAYS
PAUL IS ALWAYS GOOD FOR A CHAT & WILL ORDER IN! 82 St Georges Road Brighton BN2 1EF
Information is as supplied or sourced and while every effort is made to ensure it is correct please
check websites for further information and updates. The views expressed in reviews, editorial
and advertising are not necessarily those of the editor and publisher. General distribution &
advertising enquiries please contact The Editor justintime@theatresouth.org.uk. To contribute
content: add your suggestions to onrequest.org or contact the editor. Subscribe to the JUST in
time weekly email at: theatresouth.org.uk Design: A Stones Throw. Printing: Sharman & Co.
Publisher: Theatre South. Editor: Helen Jones.