The Disappearance of Sadie Jones [not] @EdFringe 2013

Stephanie Greer and Alan Humphreys. Photo: Eileen Long

Stephanie Greer and Alan Humphreys. Photo: Eileen Long

I would have liked to take The Disappearance of Sadie Jones to Edinburgh this year. I briefly entertained thoughts of doing so. But, I don’t believe in asking professional actors (or anyone else) to work for free, Arts Council doesn’t fund Edinburgh, there are no South West schemes I could work with, and I’m also in process of moving to Birmingham so would have been tricky anyway..

The problem is, EdFringe is the place to be when it comes to getting theatre seen and programmed.

So, here is what I suggest we do.

You are: A venue programmer/person in an interesting organisation/producer/friend/fellow theatre person/critic/writer/artistic director/interesting director I’d like to work with one day/other person I might like to work with one day…

I send you a link to this blog. I might do this via twitter so as not to clog up your inbox at this busy time of year. Thanks for following the link.

You have a look at this trailer:

If interested you might also have a look at this little documentary (or you might not have time, if so please scroll on please thank you)

You think, yes, I’ll check that out. You note down venue (let’s call venue ‘X’) in your chocablock EdFringe diary.

You miss the show for one of many possible reasons. Perhaps miscalculated the time between Traverse and X. Perhaps got lost in the rain (happened to me a lot). Perhaps you needed a drink (ditto). Perhaps you met someone interesting. Perhaps you’d had enough of theatre for that day. All very understandable.

However, all is not lost as you might be able to catch it on tour. You return to blog for tour dates. (Thank you very much please thank you) Alternatively, seeing as how you’re still in Edinburgh bubbletime, I (or Milan Govedarica – Associate Producer) send you tour dates via email in a couple of months.

You make it to one of the tour dates as Oct-Nov is slightly less choca than August-Edinburgh. If you like it, grand, do stick around for a drink after [seeing as you won’t be rushing off to an udderbelly dungeon]. If not, no problem. Maybe you’ll think it’s interesting enough to look out for the next one.

Same outcome, but I’m not 15K in debt.

Brilliant!

Seeing as the show isn’t actually at venue X in Edinburgh this summer, we can skip the trying-to-make-it-but-not-being-able-to prologue and get straight to the Autumn tour dates:

2nd October: Queen’s Theatre Studio, Barnstaple

8th &9th October: Lantern Theatre, Liverpool

10th – 12th October: The Lowry studio

23-24th October: Seven Arts, Leeds

25th-26th October: Upstairs at the Western, Leicester

20th November: Capital Theatre Festival MAC, Birmingham

21st November:  Peninsula Arts, Plymouth

26th-30th: Pleasance Studio, Islington

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6 Comments

Filed under Edinburgh Fringe, The Disappearance of Sadie Jones

6 responses to “The Disappearance of Sadie Jones [not] @EdFringe 2013

  1. Sounds like a plan. I’ve met several theatre-makers who were incredibly dismissive of anyone who wasn’t prepared to max out their credit card to take a show to Edinburgh. If people are in a position to take that risk, then good luck to them, but not everyone can – if you’re in a live-in relationship, if you have dependents, if you’ve got a mortgage to pay, it’s not possible to take that kind of financial risk (and let’s face it, the general advice is that you take a show to Edinburgh in order to be seen, not with the notion that you’re going to make money.) I don’t believe that financial risk equates to theatrical/artistic risk/bravery, nor does an inability to stump up the cash mean that you’re any less of a professional. Financially I’m not in a position where I could justify going to Edinburgh as a punter, never mind take a show. Good luck with the tour, it’s a piece that deserves a wider audience.

  2. I agree – & those theatre makers you allude to maxed out their credit cards quite some years ago – not at our age. My partner and I are still paying off credit cards from student days. We’re nearly there – it doesn’t seem right to ruin our next decades by getting into more debt than we can handle on the offchance the piece gets some kind of a break/award/guardian review etc. – Like Dan Baker recently said: http://burntarts.wordpress.com – it’s a false economy. With Mark Ravenhill telling artists at the fringe to stop imitating the bad economics of the business world it’s kind of ironic that the fringe is a place full of people playing with money they don’t have. The difference is, it’s the individual artists who take the hit, and artists (unlike banks) don’t affect wider economics, so of course don’t get bailed out. It’s not the even playing field it might appear as there are regions of England that offer support to some artists, other regions with no support etc. The experience is an experience, yes, and very wonderful&challenging for those who can [afford to] take part. I’d go if we had the support to make it work. But with this piece I choose to have a better, richer (in both senses of the word!!) experience making and showing my work on my own terms in contexts that are right for the piece itself. Oops- long sentences, possibly rant-like. We might take it next year….Thanks for reading Katherine!

  3. Zane

    Yes. Exactly.
    I can’t afford to go to Edinburgh even as a punter, too, but I do have many years of experience with the Grahamstown National Arts Festival in South Africa. Putting on a play was never about making money. Our focus was on simply trying to break even so as to avoid debt.
    It’s such a difficult situation, especially now when people have rapidly diminishing disposable incomes. If they’re lucky enough to have a disposable income in the first place!
    I will definitely try to get to your Islington show. From what I’ve seen of your work so far, it has been of such a consistently high quality, formally and substantially, that I now don’t want to miss anything you’re involved in.
    See you in November! 🙂

  4. katherinemitchellstories

    An excellent post about the increasing commercialization of Edinburgh fringe and how it’s negatively affecting artists: http://www.bidingtime.org/blog/reflections-fringe

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