Spotlight: The Gabriels
Richard Nelson and actors discuss Nelson's landmark series of plays The Gabriels.
Richard Nelson’s The Apple Family Plays was the theatrical highlight of the 2015 Brighton Festival. Now the Tony Award-winning playwright and director follows up with The Gabriels: Election Year in the Life of One Family, a landmark series that follows in real time, tracking their lives throughout the turbulent election year of 2016. History, money, politics, art and culture are all on the table in this moving three play cycle about a family celebrating, remembering and waiting for the world to change.
The UK Premiere of The Gabriels is at the Attenborough Centre for the Creative Arts (ACCA) at the following times: Sat 20, Sun 21 & Sat 27 May, 1.30pm, 4.15pm and 7.30pm (all three plays). Tues 23 May, 8pm (Hungry), Wed 24 May, 8pm (What Did You Expect), Thurs 25 May, 8pm (Woman of a Certain Age).
See more Spotlight films where we cast a spotlight on some of our Brighton Festival 2017 events.
Audio courtesy of Radio WNYC
UK premiere of topical play cycle set during the US election year are first shows announced for Brighton Festival 2017
The UK premiere of The Gabriels: Election Year in the Life of One Family - an acclaimed trilogy of plays by Tony Award-winning playwright and director Richard Nelson set during the turbulent US Election year - are the first shows to be revealed as part of Brighton Festival 2017 (6-28 May) ahead of the full programme announcement next month.
Particularly topical with the inauguration of Donald Trump as the next US president taking place this week, The Gabriels is the acclaimed follow-up to Nelson’s The Apple Family Plays which was the theatrical highlight of the 2015 Brighton Festival. The landmark series from New York’s leading theatre company, The Public Theater, follows one American family in real time, tracking their lives throughout the election year of 2016. History, money, politics, art and culture are all on the table in this moving trilogy about a family celebrating, remembering and waiting for the world to change.
The first play Hungry places us in the kitchen of the Gabriel family of Rhinebeck, New York. The family discusses their lives and disappointments, as they fight the fear of being left behind and attempt to find resilience in the face of loss.
What Did You Expect? brings us back to the kitchen of the Gabriel family, with the country now in the midst of the general election for President. In the course of one evening in the house they grew up in, history (both theirs and America's), money, politics, family, art and culture are chopped up and mixed together, while a meal is made around the kitchen table.
The Gabriels gather once again in Woman of a Certain Age to await the result of the election. As they consider the future of their country, town and home, they compare notes on the search for empathy and authenticity at a time when the game seems rigged and the rules are forever changing.
On his intentions behind the piece, Richard Nelson has said: 'In troubled and troubling times, theater has not only an opportunity, but the responsibility, to portray this confusion, and articulate the ambiguities, doubts, and fears of its time. Of course, it is a great temptation, in troubled times, to try and use the theater as a weapon… but….as a playwright, I try not to be co-opted by arguments and agendas. In other words, my theater is not a place to shout in, or be lectured at, nor where we go to be incited; rather a place to come together, sit among strangers in the dark, and recognize the complexity of the world before us.'
One of the nation’s most prolific playwrights, Nelson wrote the book for the musical James Joyce’s The Dead, which earned him a Tony Award in 2000. Among his other works are Franny’s Way (Drama Desk Award nominee), Goodnight Children Everywhere (Olivier Award), Two Shakespearean Actors (Tony Award nominee), Some Americans Abroad (Olivier Award nominee) and Principia Scriptoriae (London Time Out Award). Nelson also won the 2008 PEN/Laura Pels Master Playwright Award and a 2008 Academy Award from the American Academy of Arts and Letters, both for his career. He is an honorary artistic associate of the Royal Shakespeare Company, which has produced ten of his plays.
The Gabriels Marathons (all three plays): Sat 20, Sun 21 & Sat 27 May, 1.30pm, 4.15pm and 7.30pm. Hungry: Tues 23 May, 8pm, What Did You Expect: Wed 24 May, 8pm, Woman of a Certain Age: Thurs 25 May, 8pm
The full programme announcement is on 15 Feb 2017. Members' Priority Booking opens Thurs 16 Feb 2017. Public booking opens Fri 24 Feb 2017.
Brighton Dome & Brighton Festival international programme is kindly supported by Gatwick Airport and The Gabriels: Election Year in the Life of One Family by University of Sussex.
Digging for Shakespeare cast to go under the hammer
The knitted cast of Brighton Festival 2016 commission Digging for Shakespeare are to go under the hammer as part of the Big Heart Auction next month, a partnership between Brighton Dome and Chestnut Tree House children’s hospice, which aims to raise valuable funds for the two organisations.
The twelve Shakespearean characters were immortalised in wool by Welsh knitter Annie Hardy as part of the acclaimed theatrical production which made its world premiere at the 50th edition of Brighton Festival in May. Devised by artist Marc Rees, Digging for Shakespeare took as its subject eccentric Brighton character James Orchard Halliwell-Phillipps, a 19th-century joker and world-renowned Shakespearean scholar who lived on the outskirts of Brighton. There in his 'rustic wigwam' (a series of conjoined sheds), he obsessively curated a huge hoard of Shakespearean rarities.
The unique promenade performance took place in the Roedale Allotments, close to the site of the eccentric recluse's former home, and imaginatively involved allotmenteers, the Hollingbury Park Bowls Club and a group of young performers. Audience members explored sheds and hideaways, discovered the Shakespearean characters reborn in knitted form along with quotes featuring herbs and plants from each of the twelve Shakespeare plays, and gathered a wealth of horticultural tips along the way.
Ahead of the auction, the knitted characters will be on display as part of a special free exhibition dedicated to Digging for Shakespeare in Brighton Dome’s Founders Room from 17 to 27 June. Also on show is artwork by graffiti artist Pure Evil which was also commissioned to feature on two specially-built sheds which journeyed through the allotments with the audience.
The individual knitted characters and artworks by Pure Evil will then be auctioned at the Big Heart Auction from 1 to 10 July. For more information please visit www.bigheartauction.org.uk.
All artworks for sale as part of the Big Heart Auction will also be on show at Brighton Dome from 1 – 5 July.
Marc Rees said: 'It's fantastic that the dozen characters can be included in the auction. Annie Hardy spent between 30- 50 hours lovingly creating each figure and all from her vivid imagination too- no pattern, just free form which I think is incredible! They were such an integral part of ‘Digging For Shakespeare’ and everyone wanted to know who made them. It's great to see the figures all together as one family in the exhibition, they are very special and deserve a special home.'
In Pictures: Brighton Festival 2016
The 50th Brighton Festival is almost over, so we're taking a look back at the pictures from some of the shows and events we've loved the most.
Picking out these images put a grin on our faces, and we hope it makes you smile too!
Why not have a look through some more photos from this year's festival and re-live something special?
Photo credits: Victor Frankowski, Adam Weatherley, John Hunter
In Pictures: Week 2
The second week of Brighton Festival 2016 saw two performances from our Guest Director Laurie Anderson: the spellbinding Song Conversation, where she performed with fellow musician-composers Nik Bärtsch and Eivind Aarset, and Slideshow, a sometimes humorous, sometimes poignant journey touching on projects, memories and adventures from her past.
On top of this, there were blockbuster performances from Duke Garwood and Haçienda Classical, Children's Laureate Chris Riddell answering questions and illustrating the answers live, the sonically spiritual Lou Reed Drones, and much more besides.
Find out what's going on in the third and final week of Brighton Festival 2016.
Photo credits Adam Weatherley, Vic Frankowski
Discover what's going on in Dr Blighty week
In the last week of Brighton Festival the Pavilion Gardens will be filled with a dreamlike environment of immersive installations, ambient soundscapes and theatrical interludes examining the legacy of the Indian soldiers who were wounded in WW1 and treated in Brighton.
In Dr Blighty, performing arts company Nutkhut commemorates the 2300 Indian soldiers who were treated at the Royal Pavilion Estate, particularly focusing on the letters they wrote home.
The title of the show is significant - Blighty, taken from the Urdu, ‘vilayat’ (specifically Europe or Britain) and ‘vilayati’ (Britain, English, Home), spread widely during World War 1. The term became an accepted reference to England, but also had a deep signficance for the south Asian soldiers.
Many of the soldiers believed the rumour that their King-Emperor George V had given up his own palace for them to be treated in, although in reality the royals had sold the Pavilion long before WW1.
Those soldiers who were illiterate conveyed their messages and letters to scribes at the hospital, who censored criticism of the war in Europe.
From Tue 24 - Sat 28 May (2pm – 10pm), Pavilion Gardens will host a variety of audio and visual experiences and acted performances reflecting on these histories.
This will include a stunning visual projection onto the front of the Pavilion itself at nighttime, telling the story of Dr Blighty.
This map shows the locations and some of the timings of events.
Nutkhut have worked with Brighton locals to create some of the soundscapes that you'll be able to experience as you wander around the gardens. You can get a glimpse into this process in the video below:
Come along to one of the drop in diya making sessions at Brighton Dome Café-bar throughout the Festival and make your very own decorated clay pot for the final installation of Dr Blighty.
You can watch this video from Nutkhut on how to make a diya.
On Sun 29 May (4pm) in a special event thousands of diyas will be laid down to memorialize the soldiers' stay in the city.
A blue plaque will also be unveiled honouring Subedar Mir Dast, who was awarded the Victoria Cross by King George V, organised by Davinder Dhillon, from the Chattri Group.
Dr Blighty: The Concerts
In a special concert incorporating readings from letters and diaries of Indian servicemen, the Philharmonia will play alongside Indian violinist Kala Ramnath, Sat 28 May (7.30pm).
They will perform some of the best loved English music of the Edwardian era by Vaughan Williams and Butterworth as well as Kala Ramnath's The Seasons of India.
You can listen to Kala Ramnath performing with the London Symphony Orchestra string section to get a taste of this incredible meeting of East and West.
Afterwards (Sat 28 May, 10.15pm), slide guitar virtuoso Debashish Bhattacharya will perform a traditional raga concert alongside tabla player Gurdain Rayatt. Bhattacharya is one of the greats of world music and recently won a Songlines Music Awards 2016 winner (Asia & South Pacific) - this late night concert is not to be missed.
Book now for Philharmonia Orchestra and Debashish Bhattacharya
Philharmonia Orchestra ticket holders enjoy £5 off the ticket price for the Debashish Bhattacharya concert when booked together over the phone or in person.
Dr Blighty is a production by Nutkhut and is part of 14-18 NOW, the UK's arts programme for the First World War Centenary. It is further co-commissioned by Brighton Festival and Royal Pavilion & Museums, Brighton & Hove. It is supported by the National Lottery through the Heritage Lottery Fund and Arts Council England, QED, and by the Department for Culture, Media and Sport.
Interview: Lola Arias on Minefield
Ahead of the world premiere of Minefield, Argentinian artist Lola Arias tells us about working with veterans, the legacy of the Falklands war 33 years on, and the impact she hopes her work will have.
For someone who knows nothing about the project, can you give us some context around Minefield - what the piece is about and how it developed and why you chose to explore the conflict?
In 2013 I did a project called After the War, and that’s when I started to work with veterans. I did a video installation in which Argentinian veterans reconstructed moments from the war in the places they work today. In the Falklands-Malvinas war there were a lot of conscripts, and these people are now completely different from the soldiers they used to be. For example, one was an opera-singer and another a sportsman, like a swimmer.
The gap between the men they used to be and the men they are now started to interest me a lot and I thought about continuing the project with British veterans. So, Minefield will be the first time a group of British veterans and a group of Argentinian veterans are reconstructing together their memories of the war and this will be rehearsed in Argentina and in England so we will be creating together a whole picture of what happened to them at that time and who they are now.
This project is all about memories, how they are still important for them today even if it’s 33 years later. How even if it was a war that lasted only two months, it’s still present every day for them.
You must have been six years old during the Falklands War - what were your personal memories of the conflict?
During the Falklands-Malvinas war, I was in my first year of primary school and we were asked to write a letter to the soldiers. I remember everyone was writing letters to the soldiers. They all started the same way: ‘to the unknown soldier’, then it was ‘I’m a student of such-and-such school and I’m wishing you the best for the war’, and so on.
When I started to work with the Argentinian veterans, they had kept these letters from the unknown students from all over the country. Some even contacted the people who wrote them. One guy told me that he met his wife, because she was a secondary school student who wrote him a letter saying ‘I wish you the best’ and after the war he got in contact with this woman. They met and they fell in love and have been married for 10 years.
So you never know what can come out from a letter from an unknown student to an unknown soldier.
You work often draws on many different genres and disciplines - what form will Minefield take and what can audiences expect to happen?
We’re still developing it, but it will be a project where people are telling their own stories in an informative way, but there will still probably be media and music. We are even thinking about having a band, with British and Argentinian veterans because some of them play instruments – one plays the drums and two of them play guitar. We thought that it could be really interesting to have them play together, so we’ll see what language they play in – English, Spanish or Spanglish.
What have you discovered about the various characteristics of the veterans so far? What are the similarities/differences?
It was surprising to see that English veterans were as affected as Argentinian veterans by the war. I had the impression that because most of the Argentinian veterans were conscripts – so they were only 18 and not really prepared to go to war, they only had a few months’ training – for them it was a totally traumatic experience.
But I thought that people who were well-trained and inside the military before going to war – it’s just one more mission in their life – but I realised that for British veterans this was also a traumatic experience and they all went through very hard moments and all of them have a story to tell.
Why is Minefield an important and relevant work for today's audiences? What do you hope the legacy of the work to be?
For Argentinians it’s a very present topic, it’s not something forgotten or lost in history, but for the British people it’s just one more war. I think it’s not so much about the relevance of this war in terms of in terms of the history. But it is in a way very interesting to reflect on how these people who were there even for two months are still affected today, 33 years later: they go through fear and pain and they were very marked by this experience. If you think about this happening to people that were only there for two months, you cannot imagine the consequences that are facing British soldiers coming back from Iraq and Afghanistan and so on.
All of them are looking forward to this encounter. For people who were in a war 33 years ago, they don’t have the feeling that the other one is the enemy anymore, they just have the feeling that they’re just other veterans of the same war. They fell very connected, emotionally. I think it will be very moving to see them interacting and telling each other their stories.
Minefield blurs the lines between truth and fiction, what do you think about the meaning of 'truth' in the processes of truth and reconciliation, and what possibilities does theatre open up in addressing post conflict reconciliation?
I’m not doing this because of reconciliation. I don’t think they need that. For me it’s more about how people can build up a history together using their personal stories. I think that through their personal stories you will get a kind of whole picture of the war and what the consequences were for everyone. You’ll be able to reflect on the history of both countries and how politicians from both sides used the war for their own purposes.
Minefield will premiere at Brighton Festival as it celebrates its 50th year of commissioning and producing innovative arts and culture. What does it mean for you to be part of Brighton Festival in this milestone year?
I’m very happy to be part of the celebration of a festival which is doing very challenging, wonderful work.
I remember being at Brighton Festival with My Life After in 2013 and people were emotional about it and very grateful afterwards. A lot of people came after the plays to talk to the performers and to me about the play and that was really beautiful.
I’m very proud to be a part of it.
Book tickets for Minefield now.
Stella: An Encounter with a Truly Remarkable Person.
'Most of all, I hope people are going to realise that even though she's dead 100 years, and even though she lived this unimaginable life in a very different culture, in fact Stella is asking herself the same questions that we are all asking ourselves' Neil Bartlett
Award-winning director, writer and performer Neil Bartlett OBE talks to Kathy Caton about his new show Stella, co-commissioned by and premiering at Brighton Festival.
The show is inspired by Ernest Boulton – one half of the infamous Victorian cross-dressing duo Fanny and Stella - and intimately examines his strange life and lonely death.
In this interview, Neil discusses how he first discovered Stella, her extraordinary history, and how his work both past and current examines her life and character.
This new teaser trailer features the actors Oscar Battingham and Richard Cant as the enigmatic flipsides of Stella, and gives a glimpse into their tumultuous lives.
From our Spotlight video series, Neil discusses bringing Stella to the 50th Brighton Festival and what he hopes audiences are going to get out of the show.
Stella is on at the Theatre Royal, Fri 27 & Sat 28 May. Book now.
Festival Hot Seat ... Zvizdal
We catch up with Yves Degryse, Artistic Director of Berlin, who are bringing their ‘filmic portrait’ Zvizdal (Chernobyl – so far so close) to Brighton Festival
Can you tell us what your show is about?
Over four years we have been filming near Chernobyl in the forbidden zone. Each time we went it was to meet two people, Petro and Nadia, a couple in their 80s, living in Zvizdal and who refused to be evacuated following the nuclear disaster. They have been living with no water or electricity and no means of communication with the outside world. Every time we went we took a plane and hoped they were still there. We spent time filming them in their everyday lives.
How and where will it be staged?
The audience will be seated in two tiers in front of a big screen, and underneath the screen will be three scale models of the couple’s house and grounds, depicting three seasons. There will be two cameras filming the models and these images will be interspersed in the film.
Where did the idea and inspiration come from?
The French journalist Cathy Blisson, formerly a critic, but who moved into reportage, came into contact with Petro and Nadia and asked if we would be interested to collaborate with her, and we quickly decided to start the project.
Why do you think it’s an important story to tell?
The moment you enter the forbidden zone, you are entering a microcosm of human experience. It is a very extreme situation, but there are layers that you recognise, and as you spend time there the layers become more visible.
What sort of person is going to love this show?
Our work can be complex but at the same time it appeals to a very broad audience.
What’s going to surprise people about this show?
There will be surprises, relating to the concept of the piece, but the surprises you should not know beforehand.
What does Brighton Festival mean to you?
We have brought work to Brighton Festival before including Perhaps All The Dragons in 2014, and Lands End in 2012. What I really like about Brighton Festival is that I have the impression that the audiences are very eager to discover things. I think it’s connected with the way the Festival approaches the audience, not underestimating the audience.
This year marks 50 years of Brighton Festival. What does it mean for you to be part of the festival in this milestone year?
I’m very happy that we will be part of that moment.
Book now for Zvizdal.
Minefield: Meet the veterans
With a history of creating work that combines real lives and stories with fiction and performance, Argentinian writer and director Lola Arias brings together British and Argentinian veterans of the Falkland Islands/Islas Malvinas war on a stage 8,000 miles from their remembered battlefield.
The war of 1982, in which Argentina tried to regain control of the islands, had an enormous political impact: for Argentina it was a defeat that propelled the fall of the military regime; for England it was a triumph that saved the premiership of Margaret Thatcher. And for the islanders it was the way to obtain full British citizenship and a new constitution.
But what happened to the soldiers? Some of them got medals, and some were forgotten. Some of them continue in the forces and others started new lives as psychologists, musicians, teachers, security guards. Today the only thing they have in common is that they are veterans. But, what is a veteran: a survivor, a hero, a madman? The project confronts different visions of the war, bringing old enemies together to tell the many sides of the one story.
Lou Armour was the front page of every newspaper when the Argentinians took him prisoner on the 2nd April, now he is a teacher for children with learning difficulties.
Ruben Otero survived the sinking of the ARA General Belgrano, now he has a Beatles tribute band.
David Jackson spent the war listening and transcribing radio codes, now he listens to other veterans in his role as a counsellor.
Gabriel Sagastume was a soldier who never wanted to shoot a gun, now he is a criminal lawyer.
Sukrim Rai was a Gurkha and expert with his knife, now he works as a security guard.
Marcelo Vallejo was a mortar direction controller, now he is a triathlon champion.
On a film set turned time machine, the veterans are teleported into the past to reconstruct their memories of the war and their lives after.
Hear their stories at Brighton Festival in Lola Arias' Minefield...