In This Issue :

Paul Roff shares his experiences at the Edinburgh Festival
What the BBC can do for you!
Members successes


THE EDINBURGH FRINGE FESTIVAL
by Paul Roff

Once again, it was time to get the equipment ready for a trip to Scotland. Reliable waterproofs, an up-to-date map and a pair of stout walking boots. No, they are not for scaling the highlands, but essentials for a week at the Edinburgh Fringe Festival.

OK, so treks up and down steep hills (Edinburgh is conveniently located around a volcanic plug), queuing in the pouring rain and dodging all and sundry trying to thrust flyers into your hand may not sound like the ingredients for a relaxing break. But they are the periphery to what is a fantastic week of entertainment at the Festival. As this was my fifth consecutive visit, I knew what would be in store and was well prepared.

In 1947, while the first Edinburgh International Arts Festival was underway, some uninvited theatre companies were determined to put on their own shows in the city. They succeeded and thus pioneered what has now become the much larger Fringe Festival. This year more than 600 companies presented over 14,000 performances of comedy, theatre, music and dance.

Visitors have different methods for picking what to see. Some book tickets once they arrive in Edinburgh after reading the newspaper reviews or the rain-soaked notices outside each venue. However, one should exercise caution with this approach as the more popular shows often sell out. I cheat by booking my tickets in advance, within a week of receiving the programme in July. Catching a range of shows from seasoned professionals, upcoming talent and some also-rans is the only way to taste the real flavour of the Festival.

The venues have their own appeal in their diversity. They range from the grand architecture of the Edinburgh Playhouse, through a dusty room above a pub, to a street corner on The Royal Mile. One different and increasingly popular venue is a delicatessen called Valvona & Crolla where Mike Moran and his accomplices alternate between biographical and fictional yarns. Pure storytelling is a rare treat, and Mike Moran's team use a gentle humour, minimal sets and few props to share tales of R.D. Laing or Private Angelo accompanied by live music. While I enjoyed this year's performances, I did not feel quite the same enthusiasm behind them as in previous years. In 1999, their pre-film presentation of Captain Corelli's Mandolin was told with such passion that it could not fail to grip the imagination.

Two venues you cannot help but visit in the search for comedy would be The Assembly Rooms and The Pleasance. Both offer a range of rooms that can take audiences from fifty to several hundred. A larger space at the Assembly Rooms was required for the excellent Rich Hall as Otis Lee Crenshaw, last years Perrier Award winner. Rich Hall combines some pre-written material and songs - uneasy listening classics such as "Asses On Seats" and "Kill George Bush" - with some tunes improvised around the life of audience members. However, the man is fallible. He had a second show this year, a spoof benefit gig with Dave Fulton. Unfortunately, this show seemed hastily slung together and while entertaining, lacked professionalism and occasionally missed the comedy target. If there was a motive to introduce Dave Fulton to a wider audience by using Rich Hall's name, that at least succeeded as he provided the best observational comedy of the evening.

A new collective to appear at the Pleasance this year was Collins, Maconie and Quantick. At least one of the trio contributes to each of the 'Top 10...' and 'I Love 1980' style programs on BBC2 and Channel 4. Their Edinburgh show took a similar retrospective approach as it was about the time they shared as journalists and critics for the NME. The opening night had an air of dedicated amateurism, betrayed by the sound effects disk being left in the hotel room. They lost five minutes of the show, which made a supposedly heroic punch line die on it's feet. The wooden Quantick gave the impression he was just waiting for the stage to open up and swallow him. The anecdotes were fun and the sketches had their moments, but it proved that these guys are writers, not performers.

Comedy awards, love 'em or hate 'em, always provide a talking point at Edinburgh. This years Perrier Winner, Garth Merenghi's Netherhead, was hilarious to watch, but the concept felt a little familiar. Garth Merenghi, the worlds leading horror author, was gracious enough to share a play of his latest book, Netherhead. We were most fortunate see the show as he feared the tale too terrifying to stage. The resulting play was almost a spoof of local am-dram affairs with incorrect emphasis, cheapo props and failed timing. A well-worn concept, evocative of the plays within Radioactive (Radio 4 show that became KYTV), but when combined with an increasingly ridiculous tale, bold self-importance and bouts of slapstick, it took on a life of it's own.

The Daily Telegraph Open Mic Award contestants cannot have performed stand-up for money, making this the place to spot the newest talent. As the heat winners have to perform at universities around the country, they have to be dedicated to take on audiences not known for their compassion. This year's winner, Karl Minns stood head and shoulders above the other finalists. He exuded confidence, had solid material and used his five minutes on stage to the full, winning over the judges, including Mark Lamarr, and 'Nasty' Nigel Lythgoe.

A number of the Fringe shows are currently touring in the UK, including Priorité Ŕ Gauche, France's leading musicians. Ahem. They were not used to being in such a small room or having to sell their own CDs out front but they still did their best to perform their rock opera ending without a revolving stage. And what was the rock opera about? The French Revolution. I am not sure how, but Didier and Jean-Francois (aka Ben and Arn) managed to keep away the girls with "un baton de merde".

If you have yet to take a trip to the Edinburgh Fringe Festival, give it a go. There are so many shows and even more reviews to help you pick, you cannot fail to find something you will enjoy. Just don't forget the walking boots.

For more information, see:
www.edfringe.com
www.openmicaward.co.uk
www.perrierawards.com
www.edinburgh.org


BBC WRITING SUPPORT

Are you getting the most out of your licence fee? Did you know about the initiatives available to encourage, guide and support writers trying to work for the BBC? Probably not, as they don't seem very well publicised, but you'll be pleased to know that writing support is there.

The BBC offers a Writer's Newsletter, free of charge. Contact Claire Bartlett to be added to the mailing list - 02077654869 or claire.bartlett@bbc.co.uk. The recent edition included introducing some new producers, some internal changes, advice on contacting local radio, BBC Radio Entertainment contacts, and off course details on the current Huddlines run (see last April's E-zine for the BSCW's interview with Hudds producer Carol Smith.) Also on offer is the chance for a BBC producer to come and chat to you... all you need is a venue and five friends (preferably interested ones!) The BSCW are hoping to arrange a meeting with someone in BBC radio during next year.

The newsletter also outlines submitting your work for a PDG (production development group? Ken - please clarify this bit!) meeting, to increase your chance of their interest. They also suggest e-mailing Sarah Wright (sarah.wright@bbc.co.uk) for full information on PDG guidelines.

As if that wasn't quite enough for the up-and-coming writer to be studying, the BBC website includes a "Writer's Room" for articles and discussion. This can be found at www.bbc.co.uk/writersroom.


MEMBERS SUCCESSES

Simon Warne reports "I'm pleased to be able to tell you that one of my scripts 'Arrested Development' is being showcased at the TAPS London Writers Festival next week at the Riverside Studios."

He continues "It's one of three scripts being showcased on the Tuesday evening (25th September) and is being directed by the BBC's Gareth Carrivick."

The TAPS Festival included a TV comedy writing course by invitation only - there were 30 on it, of whom Simon was one.

Gill Smith won 2nd prize in a Writers' News poetry competition with a palindrome poem - on a theme about as far from comedy as you can get!