Brighton Festival 2017Public booking opens: Fri 24 Feb, 9am

Showing 1 to 10 of 12 items

5 minutes with... Daniel Morden

Leading storytellers Daniel Morden and Hugh Lupton will tell the story of Odysseus’ ten-year journey from Troy, a terrific adventure story shot through with moments of insight, humour and horror, in a Brighton Festival event for both young people and adults.

I knew I wanted to be a performer when… a tie company transformed my junior school hall into a jungle by saying, ‘We're in a jungle!’

My first public performance took place at… The King's Stomach Ache, Llanyrafon Primary School, 1970. No, I wasn't the king. I was a tree.

The first book I ever bought was… Silly Verse for Kids - Spike Milligan

The last book I read was… Seven Miles of Steel Thistles by Katherine Langrish. Articles on fairy tale and myth from her blog of the same name.

The proudest moment of my career to date was when… my kids ask to come to my shows.

If I wasn’t performing, I’d probably be… teaching. A noble profession.

People would be surprised to learn that… The Odyssey is a gripping adventure story.

The Odyssey is at Sallis Benney Theatre on 13 May.

5 minutes with... Nick Sharratt

The illustrator of more than 250 books for children, including the best-selling You Choose, Shark In The Dark and Pants, as well as Jacqueline Wilson’s Tracy Beaker series, will be sharing some of his favourite books, showing how he creates his characters and handing out his drawing tips at a special Brighton Festival event.

I knew I wanted to be an illustrator when… I was nine and one of my pictures was pinned up in the school hall.

The first book I ever bought… would have been bought with a book token. It might well have been a Professor Branestawm book.

My favourite writer/illustrator…  pairing is that of Janet and Allan Ahlberg, both of them absolute masters of their craft.

The last book I read was… Love by All Sorts of Means, the biography of Beryl Bainbridge by Brendan King. I’m a sucker for biographies.

The proudest moment of my career to date was when I… was presented with a gold Blue Peter badge – there is no higher accolade as far as I’m concerned!

People would be surprised to learn that… being a children’s illustrator can sometimes be a very taxing work ( see - you don’t believe me ) and that when it’s not going smoothly I can get quite grumpy!

Nick Sharratt: Sausages, Spaghetti and Sharks in Parks is at Sallis Benney Theatre on 15 May

Interview: Tim Crouch on Jeramee, Hartleby and Oooglemore

Brighton-based theatre artist Tim Crouch has a longstanding relationship with Brighton Festival (The Complete Deaths, I Malvolio). This year, he returns as director of Jeramee, Hartleby and Oooglemore. Uniquely, the names of the three characters are the only words spoken in the play.

Can you tell us what your show is about?

We’re working with a script by an amazing playwright called Gary Owen, but Gary has been incredibly generous in the process in that he is aware, and we are aware, that we will discover things in rehearsal. So he’s given us the characters of Jeramee, Hartleby and Oooglemore, the setup, and the events of the story, and our job in rehearsal has been to give flesh to those things, to find humanity, physicality and play in those things.

I think there’s a really good conversation to be had about subtexts, what’s being said underneath the words, and what do we get off people’s body language and facial expressions. Because that’s all these three characters really have to go on, they just have the energy of their expressions, the volume and the tone of their expressions, and the energy of their physicality, to communicate. That’s a really interesting subject for someone to take away from this show, really: if we remove language from the equation, how detailed we can still be in our levels of communication.

Can you tell us more about the characters?

So what we kind of have is three clowns, really. They’re not clowns like circus clowns, but they’re clowns in the European tradition of openness and idiocy and glorious stupidity and being in the present moment. We have a fantastic physical variety: we have a clown who is tall and lanky; and we have a clown who is short and bouncy; and we have a clown who is lovely and large and slow and cuddly.

Who will enjoy the play?

Well anyone who feels that sometimes their vocabulary is not as expansive as they would want it to be. It’s about trying to come to grips with the complexities of the world and having very few words with which to do it. And that’s a pretty clear state for a three or four-year old, five-year-old or even someone my age really – particularly for young people who are struggling because they have so much to say but they don’t yet have the words to say it with.

How do you hope audiences will react?

I think the thing to say above all else is it’s a really funny thing, a really funny play, it’s a play unlike any play I know, really. And when I first read it I was just aware of the hugeness of it, the scale of what it communicates. So, there’s lots in it, even though there is that limitation, there’s a huge amount in it about status, about how we coexist with each other, how we get on with our friends or our siblings, or mates that we love and sometimes hate and have difficulties with and sometimes can’t do without. It’s a joyful play, it’s a play in the true spirit of the word ‘play’. It’s not a piece of literature but it’s a piece of live theatre and I think it’ll be very responsive to the audience, to the children in the audience, to the laughter of the audience. With that kind of clowning you always play off the audience, you don’t pretend there’s a wall in front of you and the audience, you’re completely with them, in them; they affect, infect, change, influence what you do and you then have that same effect on them.

Jeramee, Hartleby and Oooglemore is at Theatre Royal Brighton 8-9 May

Boys Don't - Interview with Rosemary Harris

What’s a boy to do? From the playground to the classroom, from home to the uncharted waters of online, boys learn that displaying their feelings is a no-no. But what happens to emotion that can’t be let out? Boys Don’t explores through spoken word what happens when boys show their feelings, written from real-life experiences of the diverse male cast.

Boys Don’t is the latest work from Papertale, following on from the Suitcase Trilogy of spoken word performances about migration for young audiences, directed by Rosemary Harris. We spoke to Rosemary to find out more about the show, its inspiration, working with performance poets and her thoughts on why boys don’t share their feelings.

Tell us a little about Boys Don’t. What’s the show about?

The show is a spoken word piece for young audiences, exploring cultural prohibitions on boys expressing their feelings, particularly around the act of crying. It also explores the mental and social cost to everyone (boys and girls alike) when boys feel they can’t fully express their feelings, and hopefully offers a different, more positive way of thinking about the issue.

What was the original inspiration for the story?

Working a lot with young people you become very aware of the gender structures that still persist, and how keenly they are felt by young people. Boys and girls really suffer because of this, and for boys a lot of the expression of distress goes into anger, which is a major problem for schools and for our culture as a whole. As a company committed to delivering issue-based work for young audiences, we identified a real need for further exploration of the subject.

Boys Don’t was written using the real-life experiences of the cast. How much of a cathartic experience was this for them?

Writing and performing together has been a rich opportunity for the male cast to engage with the bigger issues around this subject, drawing on the personal (which is so central to spoken word) and then moving into the bigger social and political discussions. Of course, the work is for young and family audiences, so the writing was also about trying to make the piece accessible, fun and above all real, to take the real-life experiences and make them speak to young people now.

The production features a diverse male cast. Did they find a common bond in their stories?

Definitely. One of the key points was for us all to examine how these ideas of what boys and men should be are often really central to cultural identity, which can be why they are so persistent and entrenched. And then although they may be culturally specific, there is also a great deal of common ground across cultures about notions of ‘manning up’ and what that entails. Finding common ground is key, not only to Boys Don’t, but to all of Papertale’s shows.

You’re working with some of the UK’s leading poets and performers. What’s that been like?

A total joy and privilege, because you are working with the full package when you work with artists who write and perform their own work. One of the real delights is in bringing a team of spoken word artists together who are open to collaboration, who are keen to collaborate, because spoken word is often a very solo activity. Casting people who are enthusiastic to share and engage with a team in developing their own work is a really thrilling process, because everybody’s work impacts on everyone else’s – and you end up with something so much greater than the sum of its parts! And of course all of these poets bring their own unique approach to language with all sorts of influences, including poetry, rap, stand up, dramatic monologue, and so you get a wonderful cornucopia of wordplay.

Why do you think boys have problems sharing their feelings?

That’s a huge question with a complex answer. We’ve been very clear that this is a feminist piece about boys and men, because one of the things people often fail to fully comprehend within our culture is that inequity damages everybody. In 2017 boys are still handed these antiquated, unhelpful, unwritten rules about what is permissible for them as human beings expressing emotion, and that has a serious effect on their mental health, with a knock-on effect to the wider community.

What do you think can be done to combat this and let them express their emotions?

The issue of boys’ (and young people’s) mental health is currently being spotlighted more within the media, and it is imperative to see government funding supporting initiatives to tackle these issues. It’s incredibly helpful to see more men especially, challenging the stereotypes within their own lives and work. Seeing people like Barack Obama, David Beckham, cry on TV, these are helpful role models – and Papertale’s aim with Boys Don’t is to offer role models of male performers closer to home, exploding some of the myths, and sharing their feelings. Cultural change happens slowly and we all have a part to play. We have a responsibility to young people to offer ways out of mental distress, through accessible stories and examples that entertain as well as inform.

What can audiences look forward to?

Something engaging, current, accessible and diverse, that has humour as well as meaning, that provokes discussion and speaks to young people’s lives now. Oh yeah, and great language, rapping and poetry.

Describe the show in three words.

Real, important, entertaining.

And finally, what would you like audiences to take with them after seeing the show?

An increased understanding of the issues involved, a sense that they’ve shared some great contemporary writing and performing – plus a greater sense of shared communication around the emotions we all feel, young, old, male, female, all of us!

See Boys Don't on Sun 21 May.

Fat Boy Slim, Prince Regent, and the Palace Pier among those celebrated in the Children’s Parade 2016

Celebrating the great and the good of Brighton, 20,000 people packed the streets today Sat 7 May as the 50th Brighton Festival launched with the Children’s Parade

The theme for the 2016 Children’s Parade, the largest of its kind in Europe, which is jointly produced with award-winning community arts organisation Same Sky and supported by local businesses Class of their Own and Riverford, was ‘Brighton celebrates’, and around 5,000 children from 67 schools and community groups from across the region took part.

Participants took inspiration from the people, places, ideas and innovations that shape the city’s unique character and identity. Featuring in the parade were three Fat Boy Slims, Prince Regent on his throne, Duke of York’s Cinema, the Palace Pier, Children’s Laureate Chris Riddell, David Bowie, Beach Huts, Afternoon tea at The Grand, and dozens of other iconic Brighton figures and landmarks.

Jointly produced with award-winning community arts organisation Same Sky and supported by local businesses Class of their Own and Riverford, the annual Children’s Parade officially launches Brighton Festival and has delighted participants and spectators for over 25 years.

Previous themes have seen children dress up as everything from letters of the alphabet and Brighton street names to books, mermaids and even slices of cake for the annual Children’s Parade.

One of the most spectacular community events in the UK, Same Sky spends six months working behind the scenes to create the event, with creative teams instructing teaching staff how to teach dance and parade chants, run free masterclasses, help develop design ideas and encourage imagination to flow.

John Varah, Artistic Director, Same Sky says: ‘It is great to see Brighton and Hove's schools once again embracing the themes of the parade with amazing imagination and ingenuity. The theme “Brighton celebrates” has brought to life sections celebrating the people, places and ideas that have made the city so exiting, innovative and funky. We are all looking forward to the next 50 years and hope the Children's Parade will continue to thrill and astound. We had The Prince Regent, Fat Boy Slim and Rudyard Kipling brushing shoulders with the I360 and the West Pier whilst traveling through a flutter of starlings and taking Tea at the Grand only here can all these ideas coexist in the maker city where we all create, celebrate and strut our stuff.

In pictures: The Children's Parade 2016

Brighton Celebrates!
A few photos from an incredible Children's Parade. What an amazing and wonderful way to mark the start of the 50th Brighton Festival.

The theme for the 2016 Children’s Parade, the largest of its kind in Europe, which is jointly produced with award-winning community arts organisation Same Sky and supported by local businesses Class Of Their Own and Riverford, was ‘Brighton celebrates’, and around 5,000 children from 67 schools and community groups from across the region took part.

Participants took inspiration from the people, places, ideas and innovations that shape the city’s unique character and identity. Featuring in the parade were three Fat Boy Slims, Prince Regent on his throne, Duke of York’s Cinema, the Palace Pier, Children’s Laureate Chris Riddell, David Bowie, Beach Huts, Afternoon tea at The Grand, and dozens of other iconic Brighton figures and landmarks.

A heartfelt thank you to everyone involved. Thank you all for your magnificent creations and for your enthusiasm and to Same Sky Brighton and our sponsors for making this an epic Children's Parade to remember!

Find out more about our sponsors: Riverford Brighton & Sussex and Class Of Their Own

Danny Wallace’s Hamish and the Worldstoppers chosen for Young City Reads

Collected Works CIC and Brighton Festival - which celebrates its 50th edition in 2016 - are delighted to reveal that Danny Wallace's Hamish and the Worldstoppers has been chosen as the 2016 'Big Read' for children across Brighton & Hove. The concept is simple: one book, by one author is selected for the whole community to read, explore, discuss and creatively engage with.

‘Everyone knows that Brighton has the funniest, coolest, stinkiest children in Britain - and when I heard that they’d all be reading my book, my feet fell off in delight. Brighton Young City Reads is a brilliant thing, and for Hamish to be at the centre of it this year is a real honour. Jamie and I can’t wait to see what the kids think. Now excuse me while I put my feet back on.’ Danny Wallace, Young City Reads author, Jan 2016

About the book

What would YOU do... if the whole world just stopped? Yes the WHOLE WORLD. Birds in the air. Planes in the sky. And every single person on the planet - except you. Because that's what keeps happening to ten-year-old Hamish Ellerby. And it's being caused by The WorldStoppers and their terrifying friends The Terribles! They have a PLAN. They want to take our world for their own . . . Oh, and they hate children. Especially if you're a child who knows about them. Hang on - You know now, don't you? Oh dear. Can Hamish save us from the WorldStoppers? Only time will tell…..

Sarah Hutchings, Artistic Director, Collected Works CIC, commented, ‘Young City Reads is all about the pure pleasure of reading. It inspires children to take time over the reading a book and then encourages them to discuss it with friends, teachers, parents or grandparents. It’s a celebration of words and pictures. And did I mention it’s also great fun!’

Andrew Comben, Chief Executive of Brighton Dome & Brighton Festival said: ‘Young City Reads is always a highlight of Brighton Festival; young booklovers, en masse, discussing and sharing one story before meeting the author themselves… it’s a unique event and something we’re very proud of. One theme we’ll be exploring at our 50th Brighton Festival is the future of art - who are the new voices, what will the next generation make and what role might they play? That Danny Wallace’s adventurous tale sees the fate of the world in the hands of one plucky youngster is, to me, a very fitting and apt choice for the whole city to enjoy.’

How can local primary schools get involved?

• Primary school teachers and classes are being invited to register online (for FREE) and agree to read Hamish and the Worldstoppers together in class between (3 March – 19 May 2016). The Class Teacher or Head Teacher can complete a sign-up form on the City Reads website at:

• Throughout the project, participating classes will receive FREE weekly e-bulletins which will include bite-size Hamish quizzes, puzzles and fun activities to complete.

• This is a great way for classes to get excited about a book and to experience the benefits of shared reading and the fun it brings.

Find out more on the Young City Reads page

Young City Reads 2016 - Key Dates

• 3rd March 2016 (World Book Day) Young City Reads launches at Jubilee Library

• 19th May 2016 (Brighton Festival Event) Special Young City Reads event at Brighton Festival featuring the author and illustrator LIVE.

Brighton Festival 2015 soars to a close

Brighton Festival 2015 - with award-wining author Ali Smith at the helm as Guest Director - came to a soaring conclusion this weekend.

Over the three-week Festival - the biggest and most established in England - many of Ali Smith’s ideas, interests and passions were explored in a thrilling selection of events which spanned music, theatre, dance, visual art, film, literature and debate featuring artists and performers the world over from Ukrainian ‘ethnic chaos’ band DakhaBrakha to the newly Palme d’Or honoured filmmaker Agnès Varda.

Three central themes - Art and Nature, the Crossing Places between art forms, and Taking Liberty - provided a fascinating jumping off point to explore some of the key ideas and issues of the moment as well as a memorable visual image of a swift in flight which proved a fitting and popular emblem for the 2015 Festival.

The opening weekend asked audiences to ‘take flight’ for the annual children’s parade, the largest of its kind in Europe. Supported by regional businesses Class of their Own, Gatwick Airport and Riverford, the annual parade traditionally marks the start of Brighton Festival and was attended by almost 5,000 children from 83 schools and community groups from across the region; each dressed in costumes they had specifically designed and made for the event. Taking inspiration from Brighton Festival 2015 Guest Director Ali Smith’s deep fascination with birds and other migratory patterns, costumes included bird life in all its forms as well as flying machines, creatures from fantasy and fable, bugs, bees and butterflies.

The Children's Parade. Photo by Jordan Hughes

During the ensuing 23 days it wasn’t just the kids who took flight – with more reviews praising the artistic excellence of this year’s programme than ever. One of the Festival’s biggest hits was the European premiere of Tony award-winning playwright Richard Nelson’s highly acclaimed four play cycle The Apple Family Plays from The Public Theater, New York which was lavished with 5 stars across the board. Glowing reviews in The Guardian, The Stage and the artsdesk amongst others described them as “exemplary”, “extraordinary”, “profound” and “faultlessly directed”. This was swiftly followed by the top accolade going to violinist Isabelle Faust’s amazing feat of solo virtuosity, Paine’s Plough’s poignant exploration of love and relationships in Lungs and Nina Conti’s extraordinary tour de force of improvised comedy amongst others.

Fleeting on Brighton Beach. Photo by Chris Bethall

At just under 400 performances across 150 events, including 34 that were entirely free to the public, Brighton Festival 2015 featured the highest number of exclusives, premieres and commissions to date including a sizeable proportion of events that cannot - and could not - be experienced anywhere else outside of Brighton Festival, from Sam Lee’s intimate Nightingale Walks on the Downs to Laurie Anderson’s one-off concert All the Animals and Festival finale Fleeting, the spectacular installation over the West Pier by And Now in which hundreds of individual points of fire created shapes and swathes of glowing light and shade.

In a continuation of the Festival’s dedication to making the arts accessible for all, 2015 saw a plethora of shows - including high profile events such as physical theatre show The Spalding Suite which takes as its subject the UK's basketball sub-culture and Jess Thom’s inspiring and uplifting exploration of her experience of living with Tourette’s, Backstage in Biscuit Land - live-streamed to audiences around the world, for free. Brighton Festival also reached out beyond the centre more than ever before, working with Without Walls to present a number of family-friendly performances in Saltdean and Woodingdean for the first time as well as the enthralling 451 at Preston Barracks and playful Ear Trumpet in Queen’s Park. This was complemented by a fantastic response to community driven events such as a new children’s birdwatching trail which was generously embraced by the business community, and the return of the Guest Director’s Guests, the Peacock Poetry Prize and the Young City Reads schemes.

Backstage in Biscuit Land. Photo by Victor Frankowski

Other Festival highlights included a one off live screening of Peter Strickland’s daring masterpiece The Duke of Burgundy; the English premiere of Vanishing Point & National Theatre of Scotland’s The Beautiful Cosmos of Ivor Cutler, a homage to one of Scotland's most likeable, most individual and most unexpected 20th century figures; a new lecture specially commissioned for Brighton Festival by acclaimed author Jeanette Winterson OBE on the practices and craft of writing; and the UK premiere of The Forgotten / L’Oublié(e), the directorial debut of Raphaëlle Boitel, one of the most remarkable performers on the European visual and physical theatre scene.

Brighton Festival 2015 featured 396 performances across 150 events including 45 exclusives, premieres and commissions and 34 free events.

Andrew Comben, Chief Executive of Brighton Dome & Brighton Festival says: “From the 5 stars across-the-board success of Richard Nelson’s extraordinary Apple Family Plays to the headline-grabbing performance of Kate Tempest and a very special personal appearance by newly Palme D’Or honoured Agnes Varda - this year really has been a Festival to remember. Ali Smith, as Guest Director, has been an absolute pleasure to work with and a wonderful inspiration to us all. Her remarkable sense of possibility, wonder, imagination and excitement at anything that she encounters has been evident every step of the way, from her invaluable input during the programming process to her lively and engaging presence throughout the month. The Festival’s continued ability to not only bring such an eclectic range of artists onto one bill but to make it a resounding success, is testament to the extraordinary support we have from funders, sponsors and from audiences themselves. It’s an exciting time for Brighton Festival as we look towards our 50th birthday next year. I cannot wait to lift the lid on what surprises we have in store for the city and beyond.”

Behind the scenes... on GLOW

With the highly anticipated children’s show GLOW opening today, Professor Anna Franklin from the Sussex Baby Lab discusses how their studies on infant vision, colour perception and what babies find most stimulating helped theatre company Flying Eye create the show

What have you found out so far in the Baby Lab?

The Rainbow Project, which is investigating how babies see colours, is still ongoing but we’ve just analysed the data from the first phase.

So far, we’ve found that babies can categorise colours and our analysis of recent data shows that they use the basic channels of colour vision to divide up the colour spectrum. So it suggests that when we group colours into categories such as green and blue that there is some kind of biological underpinning for how we do that; it’s not just random. And that’s been debated for a long time. People have argued that colour categories are random because there are different terms in different languages but it turns out that babies actually use the biology of their colour vision to do it, which provides some constraint on how languages can then divide up colours into different terms.

Babies have got some colour vision when they are born but it’s limited. It develops quite rapidly over the first couple of months of life and they’re trichromatic by the time they’re three months old, so three types of photo receptors are functioning. We work with babies at four months old upwards, once we are sure that they have got colour vision.

Colour perception gets a lot better as the baby develops. It actually gets better up until adolescence and then it actually starts to get worse. In toddlers we are looking at how they learn the words for colour but also how they keep colours constant in their mind when the lighting changes – something called colour constancy, which means that if you look at a banana under any colour light, you still see it and think of it as yellow. It’s basically because our brain factors out the illuminant so it can keep the surfaces constant so we’ve got a more constant world. We’re looking at that in toddlers and seeing how it develops.

Why is it important to understand these things?

It’s important for several reasons. First of all, from a scientific viewpoint, it’s important to know how the brain develops and how the brain learns to process the information in the world around it. And colour is a good way of testing questions around that - it’s a good testing ground for looking at the effect of environment on brain development and processing of stimuli. So, basic, fundamental questions about our cognition can be addressed using colour.

And there are practical implications. For example, we’ve done consultancies with toy companies on products related to infants, talking about what infants can see and what they prefer to look at and what will grab their attention.

Also, potentially there are implications down the line for how you educate children and what kinds of educational materials they respond well to. For example, if you’ve got colour vision deficiency, how would that impact on your learning in the classroom and your use of coloured education materials?

As a group, we’re most interested in the scientific questions - the goal of understanding the human brain and how we learn. But there is also practical, commercial application as well.

A huge guiding principle is that to understand how adults do something, or how the adult brain works, you need to understand how that process develops. So, for example, if you want to understand memory, then, by researching how memory develops, you can understand a lot about it in its adult form. And so the same goes with vision and with colour. Seeing things develop and seeing that development in action, you can actually understand the mechanisms much more.

How do you find your baby subjects?

We have a research assistant in the lab, Gemma, who advertises the Baby Lab studies on Facebook, and Alice keeps Baby Lab followers updated about our latest studies on Twitter. And then basically anywhere where there’s a baby in Brighton or Lewes or Eastbourne we try to get our postcards, which advertise what we’re about. A lot of people we get coming in have been told about the Baby Lab by friends who have also bought their babies in. It’s something fun that parents can do, something interesting, and they learn something about their baby in doing it.

Has anything you’ve found particularly surprised you (eg. gender differences)?

We’ve not found any gender differences before. There’s some evidence in the literature that male babies might be less good at one of the subsystems of colour vision; the red/green one. But we’ve not found any evidence of that ourselves.

The most surprising thing to me has been that infants tend to look longer at the colours that adults like. You tend to think of colour preference as being something fairly idiosyncratic – it’s just a personal choice – but actually the fact that adults’ colour preferences map on to infants looking suggests that there’s some kind of early origins of something about those colours that make us like them but also make infants look longer.

Colour is an interesting stimulus because it’s always there in everything that we look at and it can have quite subtle effects on us and our behaviour, how we process things and our emotional response. But we’re rarely really aware of that happening – it’s almost like an invisible vapour or something that you don’t really know is there but it does affect you. So it’s quite interesting from that viewpoint.

How did the Brighton Festival show come about?

Sachi and Kristina, who are the directors, just contacted me; they found the Baby Lab on the web. They wanted a play that was going to resonate with babies and that would fit with babies’ abilities in understanding and seeing. They came to the lab and we showed them some babies taking part in our research. We talked about infant vision and cognition, gave them some things to read and we just had ongoing discussion really about that so they could feed it into their play.

It was really interesting to see how science could be drawn upon in art. They’re such creative women and it was really interesting to see how they took the scientific findings and used them. I went to a couple of the shows where they were developing the different components of the play - to see how you get from the scientific work to putting it in action was really interesting for me.

Was the process quite different to how you approach things as a researcher?

Absolutely, yes. There is definitely creativity in research but their creativity has got a different goal.

I was surprised when I watched the test show how engaged babies were and how much enjoyment they got from it and also how it led to this bond between the baby and the parent. It seemed quite a rich experience for the parent to have their baby engage with something so much. When we were having conversations talking about the science and talking about their ideas, I didn’t realise that it was all going to knit together so effectively.

There’s certainly a need for more things that are directed towards infants. The GLOW show sold out on the first day that it was released and that really shows that we should be producing more things for babies. Especially because early experience is really important for shaping visual development and cognitive development, so we want to give young minds a rich experience.

Glow plays on Wednesday 6 and Thursday 7 May. For tickets, click here.

To find out more about the Sussex Baby Lab and how babies can take part in Baby Lab research, click here.

Fancy A Spot Of Bird Watching? Do The Brighton Festival Big Bird Trail

We are twitching with excitement about our Big Bird Trail! Take your bird-watching on the move – gather stickers from local businesses and venues, for a chance to win some amazing prizes.

Enjoy a luxurious Lunch for 2 at local bistro, The Manor. Grab some sweet treats from Cybercandy for the sugar enthusiasts. Appendage and Pussy Home Boutique are offering a selection of quirky goodies. Pamper yourself with a range of hair-care prizes from the North Laine Hair Co. Get your hands on a £50 Brighton Dome voucher to spend on the upcoming shows of your choice. Plus, no respectable bird-watcher’s life would be complete without a Bird Feeder from the RSPB! See the full list of prizes

The shops participating are:

• Cybercandy
• Oxfam Books
• Fidra Jewellers
• North Laine Hair Company
• Appendage
• Pussy Home Boutique
• Whirligig Toy
• The Manor
• RSPB Shop for Nature
• Gauge
• Ticket Office- Brighton Dome

For more info and the shops addresses head this way.

Grab a copy of the trail in our Family Festival Guide, available at the Brighton Dome Ticket Office to get started.