Brighton Festival 2018Public booking opens: Fri 24 Feb, 9am

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Over 60’s dance troupe recreates Pina Bausch's 1982 masterpiece – the NELKEN-Line - on Brighton's seafront

Three Score Dance, the Brighton-based contemporary dance company for over 60s, will re-create Pina Bausch’s masterpiece, The NELKEN-Line, with a team of around 200 volunteers along the Brighton beachfront this weekend (Saturday 19th May, 6.30pm) as part of Brighton Festival.


The legendary Spring, Summer, Autumn, Winter sequence is from one of Pina Bausch’s best-known works, the 1982 piece Nelken, and features West End Blues by Louis Armstrong and his Hot Five.

The Three Score Dance company will be joined in the participatory performance by around 200 people, many of whom attended workshops to learn the four iconic movements led by Three Score Artistic Director Jason Keenan-Smith

The aim is to create the most fabulous and colourful NELKEN-Line on Brighton seafront, becoming a part of an exciting world-wide project run by the Pina Bausch Foundation and ARTE which invites people to submit their own NELKEN-Line video to the Foundation’s website.


In France, Ireland, Chile, Cyprus, Spain and Germany, dance lovers of all ages – professionals and amateurs – have responded to the call and danced their own individual NELKEN-Line, with performance videos from around the world posted on the NELKEN-Line website. Three Score has already uploaded their own Company version, the film made by Company member Vincent with long term collaborator DOP Patrick Duval.

Three Score Dance Volunteer Management Group member Vicki Crowther says: “Being part of Three Score Dance means we are standing up for the older dancer and we’re looking forward to leading a glorious celebration of Pina Bausch with people from all walks of life as we dance The Nelken Line along the beach from the i360 to the peace statue on Saturday.”

NELKEN-Line - Three Score Dance, Brighton from Pina Bausch Foundation on Vimeo.

Three Score Dance, founding company members, Saskia Heriz and Christina Thompson, were inspired by The Company of Elders at Sadler’s Wells to offer contemporary dance opportunities for men and women aged 60+ in Brighton & Hove. Although many of its members have had no prior dance training, their wealth of life experience brings a unique quality to their work.

The company is led by Rehearsal Director, Jason Keenan-Smith, with professional choreographers commissioned to create bespoke pieces for performance. As an associate Brighton Dome company, Three Score have a history of commissioned pieces 50th Brighton Festival celebration Tall Tales - a special reconstruction from memory of a series of performed paintings believed to have been presented at some time during the Festival’s history.  

Discover more about this exciting dance event...

Brighton Festival Live: KAYA

KAYA will be live streamed from 8pm on Mon 14 May

Join us for an inside viewing of KAYA, a moving new performance that explores human experiences of displacement, drawing on the strength and resilience of those searching for belonging in a new community.

Ceyda Tanc is a Brighton-based choreographer creating dynamic dance influenced by her Turkish heritage and highlighting the intersection of modern Britain’s diverse cultures. With a unique movement vocabulary fusing traditional Turkish folk dance with contemporary styles, Ceyda’s work challenges gender stereotypes by utilising the virtuoso movements of male Turkish dancers for her all-female company, conveying striking shapes and an emotive and sensual energy.


Festival regular and former Guest Director Hofesh Schecter brings bold new work to Brighton Festival 2018

We caught up with internationally celebrated choreographer Hofesh Shechter to discuss his latest work, Grand Finale, a bold new piece featuring 10 dancers and six musicians. 

As concisely as possible, can you describe Grand Finale?
Grand Finale is a work for ten dancers and six musicians, with a beautiful set made by Tom Scott, and beautiful lighting design made by Tom Visler. It’s very hard to describe, but the work is a very multi-layered piece that has a lot of music, a lot of movement, a lot of different layers and elements to it. In general terms, it deals with that feeling of something coming to an end, and with how maybe people deal with that feeling on a personal level.

Where did the idea and inspiration for the piece come from?
The idea and inspiration for Grand Finale, like always when I make work, comes from around me and inside me. I look at the things that interest me or bother me or excite me or are bubbling inside me; questions and feelings; and ideas and playfulness... I bring those ideas to the studio, explore them with the dancers. The inspiration is from a very immediate reality around and inside me

Grand Finale has been described as ‘a vision of a world in freefall’. What drew you to this theme at this particular moment? Are you commenting on our current contemporary landscape?

I think what drew me to deal with that particular feeling of a lack of control or something coming to an end, is that feeling that I think a lot of people have at the moment that things in the world are getting out of hand, and out of control. Whether that’s true or not, whether things are actually falling apart or whether it’s just part of a cycle of panic I don’t know. I wanted to try revealing that layer of confusion around that feeling

How and where will the piece be staged?
The piece will be staged in the Brighton Dome.

This will be the final performance of Grand Finale following a successful tour. Has the piece changed or developed during the touring process?
Throughout our tour of Grand Finale, which has been a very long one, we’ve tweaked the work all time, we keep on trying to make it better. Whenever I have spare studio time I try to make some adjustments, editing, corrections and so on. We are constantly working on the piece.

Grand Finale
is a very complex piece, we could work on it for ten years and still not completely finish it. However, the heart is there, and the focus is good, but the feeling that it could be more focused and become more powerful and more concise is still there too!

What do you hope audiences will take away from the piece?
We’re bringing the work to Brighton where we’ve performed many times. The Brighton audience is very familiar with my work, and I think it’s quite close their heart. I hope that people really connect to Grand Finale.

Some people could come out of the performance and say something like “ah, there’s no hope”, and some people could come out and say, “wow that’s really invigorating", and that there’s something about human spirit, the fighting human spirit that is “really inspiring”. So obviously I’ll be happy if people experience that very powerful feeling, but I’m fine if people feel despair as well. Despair is an important step towards hope, you know? An important step towards doing something, so I’m fine with either! One way or another, it’s nice when people have a response to your work.

You have a long history with Brighton Festival as Associate company and then as Guest Director in 2014. What does it mean to you to be back at Brighton Festival for this commission?
We’ve been associate company at the Brighton Dome, and I was Guest Festival Director a few years back, so Brighton is a very special place to us. Like I said before, I feel quite close with the audience there – a lot of people have reached out to me – who I don’t know personally, but that atmosphere, that feeling that we are coming home, that we are coming back after a long tour of work is very special. It’s always very special to be in Brighton and I’m sure it’s going to be a very energetic and buzzy performance – so I’m really looking forward to it. 

Programmer Picks: Brighton Festival Theatre, Circus and Dance

Sally Cowling, Associate Producer of the Brighton Festival, shares a couple of her top performance picks.

The pieces I’ve picked out of our enormous programme of performances are all works that I think are phenomenal, virtuosic and unlike almost anything else out there in the world, either because of their subject matter or because of their form. I’m not sure you would find any other festival that could encompass such a variety of beautiful, challenging and extraordinary work and I really hope that the Brighton audience enjoys each of these pieces as much as I did.

Fauna at Brighton Festival

“Attenborough in Leotards” A.K.A Fauna
My dark secret as a programmer is that I’m not always entirely besotted with circus; I might admire the incredible skills on display but not feel much of an emotional connection. But when skill and narrative come together I think circus can be extraordinary.

I saw Fauna (the name of both company and show) in Edinburgh last year and fell in love with it. It sits somewhere between circus-these are performers who’ve worked with some of the best companies in the world (Sept Doigts, Gravity and Other Myths, No Fit State etc)-and contemporary dance, with a brilliant live guitar soundtrack. The performers explore and play with the similarities between humans and animals, conjuring up apes and lizards, peacocks and spiders in courtship rituals, playful competition and fights.

Attenborough-accurate, we watch animal behaviours that are also very recognisably human and, as a result, very funny. It’s also sexy in an entirely family-friendly way, fast-paced and, let’s not forget, extremely skilled, including some particularly lovely trapeze work. Frankly, I can’t imagine anyone not enjoying it.


Adam
To my mind, the best of theatre feels absolutely of the moment- talking about, and inviting empathy with, a set of experiences that feel entirely contemporary and urgent. Adam is one such piece of theatre, a story about a transgender man that is by turns moving, disturbing and positively inspirational. It is also performed by the person whose story is being told, Adam Kashmiry, appearing for the first-time on a professional stage. We are witnesses to the brave choices he has made and (spoiler alert!) we are part of the happy ending.

It's an eye-opening journey through the trials of his Egyptian childhood to the frankly horrific experiences with petty bureaucracy and casual bigotry on his arrival in Glasgow. As an exercise in raising awareness amongst the cis-gendered of the commonplace indignities that the trans-gendered have to endure, it's very effective, made all the more powerful by the striking lack of self-pity in evidence. It’s very cleverly staged with a second, female, actor playing Adam's alter ego (as well as mother, friend, wife etc), illuminating the competing push-and-pull of his gender identity and forcibly bringing home his isolating sense of dislocation.

Despite the seriousness of the subject matter, this is shot full of humour and humanity throughout and one comes away feeling inspired and uplifted. There is a gorgeous end moment - which I won’t spoil for you - where I for one was resorting to my hankie whilst also giving a standing ovation. Tissues at the ready…


XFRMR
The Tesla coil is an extraordinary thing to behold-huge and more than slightly scary, with crackling arcs of electricity exploding from it, exuding the smell of ozone and making the hairs on the back of your neck quite literally stand up. It’s a mechanical embodiment of the forces of nature, a creator of raw electricity, a reminder of danger, a transmitter of lightening, and it’s entirely hypnotic. When I watched this performance, the whole audience was transfixed.

This is both installation and live concert with composer Robbie Thomson creating a score by manipulating the voltage coming from the Tesla coil and adding it to his own soundscape, which is part techno, part industrial, part the sound of space weather! This is so odd and special and primal and exhilarating, I think it’s unmissable.


Attractor
This is an absolutely brilliant contemporary dance experience, created by two Australian choreographers at the peak of their powers. Watching it, I loved the spiky angularity of some of the choreography and the ritualistic, folkloric quality of other sections. I suspect that if you are a fan of Wayne McGregor or of Hofesh Shechter, you will be similarly entranced, while recognising Attractor’s uniqueness. The company of (fantastic) dancers are involved in the choreographic equivalent of call-and-response with the Indonesian duo, Senyawa, whose clubby, trance-y, mesmeric music powers the piece.

It’s like watching the most exciting, ecstatic religious ritual and I don’t think I’ve ever seen a piece of work where more energy and intensity is coming off the stage! It’s joyful abandonment and raw physicality in dance form and the last 15 minutes bring the professional company and volunteer audience members together in a completely wonderful blurring of the lines between dancers and non-dancers. I am practically allergic to the notion of audience participation but even I felt envious of the sheer glee and beauty in evidence up there on the stage. So, if you have the chance, join up to join in!

For more information on the many other amazing performances including The Flying Lovers of Vitebsk, Creation (Pictures for Dorian) KAYAsee our full programme.

Attractor: Participants sought to take part in immersive dance show

Brighton Festival is seeking people to participate in a unique ecstatic music/dance ritual.

Indonesia’s tour-de-force music duo Senyawa have joined forces with Melbourne's choreographic luminaries Lucy Guerin and Gideon Obarzanek, and two of Australia’s leading dance companies, Dancenorth and Lucy Guerin Inc to take you on a trance-noise odyssey!

We are seeking people (14+) to participate on stage during the final 15 minutes of the 60 minute performance. There are no prior skills required: we want people from all demographics and walks of life with a willingness and excitement to explore! You will only be required to commit to one session on any of the days, however if you are interested in attending more than one session we would love to have you! Get in quick to secure your desired date and time as there are only 20 spaces for each session.

The rehearsal sessions will take place on.

Tuesday 15th May

18.00 – 19.00

Wednesday 16th May

18.00 – 19.00 

Attractor will be performed in the Brighton Dome concert hall on Tuesday the 15th and Wednesday the 16th of May at 8pm. If you can volunteer an evening or several over May we'd be delighted to hear from you. Please email artisticplanning@brightondome.org and add 'Attractor' in the subject line and let us know which date you are avaliable for.

Senyawa’s performance reinterprets the Javanese tradition of entering trance through dance and music as a powerful secular present-day form. Their sound borrows from the metal bands they listened to as teenagers – Black Sabbath, Metallica, Iron Maiden – and Indonesian ritual and folk idioms. Their music and performance is influenced by forces in nature to take the audience into a transformative state outside of organised belief systems.

As the performance unfolds, Senyawa’s unique fusion of hand-made electrified stringed instruments with opera style and heavy metal voice slowly builds to a euphoric pitch. The exceptional dancers are propelled into wild physical abandonment and ecstatic release. The demarcation between dancer and non-dancer, audience and performer and the professional and the amateur dissolves as the performance transitions into a large-scale dance event.

For more information, see the Attractor event page or read our festival Hot Seat interview. 

Festival Hot Seat: KAYA

Ceyda Tanc, artistic director and founder of Brighton-based dance theatre company Ceyda Tanc Dance, tells us about her brand new work, KAYA. 

Firstly, can you introduce your show and tell us what it is about?
KAYA is a contemporary dance work with influence of traditional Turkish folk dance, the dance style of my heritage. The piece explores human experiences of displacement, drawing on the strength and resilience of those searching for a sense of belonging within a new community.

How and where will the work be staged?
The work will be performed at the Theatre Royal on Monday 14th May at 8pm. As a Brighton based company we are really excited to be bringing our work to such a prestigious venue.

Why should someone come and see your show?
We try to create work that is accessible for all, not just the regular theatre goers and contemporary dance audiences. We hope that people can relate to the human issues explored in the work, link to their own experiences or gain an increased awareness of the different cultural influences within their own communities.

Where did the idea and inspiration come from?
The work is based on the village of Kaya in Turkey where I spent a lot of time as a child. The village was home to a Greek community and in 1925 they were forcefully evacuated from their homes resulting in a Turkish/Greek exchange and leaving the village as a ‘ghost town’.

Through my father's anthropological research, and my time spent living in Kaya as a child, I became increasingly interested in exploring this further within my work.

Why do you think it’s an important story to tell?
Nearly a hundred years on from the forced displacement of people from Kaya, Turkey is at the epicentre of the Syrian Refugee Crisis, holding over 3.2 million Syrian refugees. I was compelled to make a work that will provoke audiences to reflect on the global scale of displacement prevalent today.

What sort of person is going to love this show?
Hopefully anyone and everyone, whether they are a contemporary dance fan or it is their first experience. I aim to make dance work which is accessible for people of all ages and backgrounds, to provide an inclusive way for audiences to interact with dance and find common ground with others in their community.

What’s going to surprise people about this show?
We have developed a unique movement vocabulary, which fuses traditional Turkish folk dance and contemporary dance styles. I aim to challenge gender stereotypes by utilising the virtuoso movements of male Turkish dancers on female bodies.

What does Brighton Festival mean to you?
Having grown up in Brighton, May has always been a really exciting time with so much opportunity to see great art work in and around the city. It’s a brilliant chance to experience a variety of work from different artists and to try something new.

Our performance in last year’s festival as part of Your Place was a real highlight for us. We had a cast of 30 people made up of older dancers and youth dancers and people from the community were involved in the running of the event. There was an amazing atmosphere on the day.

What are you most looking forward to in this year’s Brighton Festival programme?
I heard about The Arms of Sleep by The Voice Project at the festival launch and it sounds fascinating! There are often immersive events in the festival, which create really memorable experiences. 

Head to our event page to find out more about ticket availability.

Festival Hot Seat: Attractor

Indonesia’s music duo Senyawa joins forces with two of Australia’s leading dance companies, Dancenorth and Lucy Guerin Inc to take you on a trance-noise odyssey in Attractor. Choreographers Lucy and Gideon give us the low-down on this exciting new performance.

Firstly, can you introduce your show and tell us what it is about?
Attractor is a work where dance and music propel each other into heightened experiences for performers and spectators. Its a collaboration with Indonesian music duo Senyawa. Eight dancers are swept up by the energy of the music that in turn responds to their physical abandonment.

Senyawa reinterprets the Javanese tradition of trance through dance and music as a powerful, secular, present-day form. Their unusual sound borrows from the metal bands they listened to as teenagers – Black Sabbath, Metallica, Iron Maiden – and Indonesian ritual and folk idioms.

20 completely unrehearsed audience members volunteer to join the artists on stage. This participatory act of doing dissolves the demarcations between dancer and non-dancer, audience and performer, professional and amateur

How and where will the work be staged?
Attractor will be presented at the Brighton Festival in the Brighton Dome Concert Hall.

It begins with the two musicians and the dancers setting up in a circle centre stage. The music propels the dancers into movement and the musicians respond to the physical intensity of the dancers creating a visceral experience for the audience. About two thirds of the way through, twenty members of the audience get up from their seats and make their way to the stage where they join the dancers and become an integral part of the performance.

These participants are volunteers that sign up to be part of the show beforehand. They arrive before it starts and are fitted with in-ear devices. When the time comes, they are verbally directed through their ear- pieces to go onstage and guided through a series of instructions to perform a dance that merges with the professional dancers. There are no prior rehearsals.

Why should someone come and see your show?
We think audiences will be truly inspired by Attractor. This is a work that blurs the line between performer and spectator, creating an empathetic and intense experience for the viewer. The energy and skill of the dancers is not just an opportunity to sit back and watch, but to engage with the way that dance and music can enliven and transform us.

Where did the idea and inspiration come from?
Gideon Obarzanek (Director/Choreographer) first met Indonesian music duo Senyawa in Yogyakarta in 2014, and travelled with them to a remote village in far eastern Java to observe a traditional trance ceremony. After two nights of prayers and offerings to the dead, dancers entered a state of trance through a series of astounding performances. Some time after that, Gideon was reflecting on his many years of creating virtuosic stage productions with highly trained dancers, in contrast with his early experiences of dance. These took place on kibbutz in Israel where he grew up as a child doing folk dancing, where participation was privileged over performance.

As contemporary artists performing to secular audiences, Rully, Wukir (Senyawa) and Gideon discussed their interest in traditional music and dance. They pondered why they and other non-religious people are drawn to this type of ceremonial performance and concluded that dance and music can create transcendent states for participants, through which they become a part of something bigger than themselves. Making Attractor comes from a shared interest to construct rituals for non-believers.

What’s going to surprise people about this show?
This show is surprising on several levels. Senyawa’s music is completely captivating and like nothing you’ve heard before. It’s an impossible blend of heavy metal, noise, throat singing, operatic vocals and traditional music that somehow results in a unique coherent sound. The dancers are virtuosic in their immersion in the choreography and music and their commitment to the intensity of the show.

But perhaps the most surprising element is when 20 audience members get up out of their seats, walk on stage, and join the dancers . This breaks down the barrier between audience and performer and unites 30 people onstage in a shared experience as they collectively succumb to the inherent power of the experience. The remaining audience have a strong empathetic connection as they watch people like themselves in this exhilarating predicament. People are often amazed by the fact that the audience participants who join the dancers onstage have no prior rehearsal and are doing the show for the very first time.

What does Brighton Festival mean to you?
Brighton Festival is an event we have heard about for years but have never experienced. To us, it inspires thoughts of an innovative artistic program linked to the places, culture and people of the city. We have high expectations!

What are you most looking forward to in this year’s Brighton Festival programme?
We are really looking forward to seeing what’s happening in contemporary UK performance and the international work that’s in the program. Coming from Australia, it’s a great opportunity to immerse ourselves in the festival atmosphere of Brighton and understand its identity and future visions. We are also thrilled that Brighton audiences will have the chance to see Attractor.

Head to our event page to find out more about ticket availability.

Festival Hot Seat: The Enormous Room

In an epic new production from Stopgap Dance Company - part of the Festival's caravan biennial showcase - we follow a father and daughter gradually coming to terms with the loss of their wife and mother. In this Festival Hot Seat, Stopgap's Artistic Director Lucy Bennett talks to us about her inspiration behind the piece.

Firstly, can you introduce your show and tell us what it is about?
The Enormous Room is a dance theatre show that explores a father-and-daughter relationship. They have recently lost their wife/mother and the audience gaze into how they are each going through the grieving process differently.

How and where will the work be staged?
A conventional black box theatre at The Old Market

Why should someone come and see your show?
Because it’s a beautiful and evocative piece of dance theatre. By exploring something personal like grief, everyone invested something genuine in the creative process, and this shared ownership of the work is what makes it so moving. The Enormous Room has been described as an absorbing encounter with grief and loss that comforts and provokes long after the piece has ended.

Where did the idea and inspiration come from?
The idea first emerged when I was listening to Hofesh Shechter talking with William Forsythe as part of The Brighton Festival in 2014. As a young choreographer Forsythe had some invaluable advice from his ballet teacher. When struggling to make a piece of work his teacher said: ‘Close your eyes, imagine the piece that you want to watch and make that one’.

At that moment I did just that. I saw a small room full of clutter and dark furniture set within a big space. I saw characters appearing and disappearing through drawers and cupboards, the dancers were restricted and their limbs and faces told the story.

From there the idea meandered for two years while I explored forms and narratives. I was interested in using text for this show and one of our dancers David Toole and I had already spoken about exploring this. I became interested in him playing a character who was unable to let go of the past.

Why do you think it’s an important story to tell?
Grief touches us all, and by seeing how people react to it in different ways, it might console or support when you are faced with it eventually. In the creation process, we had diverse contributors from different cultural and socio-economic backgrounds, as well as age and disability, and the breadth of perspectives have enriched and deepened how our characters each experience and deal with it. Grief makes your mood fluctuate wildly, and it was good to get perspectives of different people to explore it in the creation process.

Head to our event page to find out more about ticket availability.

Your Place returns for Brighton Festival 2018

Brighton Festival’s Your Place - two weekends of free entertainment in Hangleton and East Brighton, delivered in partnership with Brighton People’s Theatre - is set to return for 2018 following last year’s inaugural programme.

Hosted by local community centres, and programmed in collaboration with local residents and artists, Your Place brought a diverse line-up of free performances, workshops and activities to the Hangleton and East Brighton communities. A resounding success, over 2000 people took part in Your Place across the two weekends, with participants describing the experience as 'inspiring' and 'energising'.

Brighton Festival 2017 Guest Director Kate Tempest said of the thinking behind the initiative: “We thought it was important that as well as having this very exciting, cosmopolitan festival happening in the city centre, with all this buzz and hype and all this energy that gets built up from people seeing something, spilling out on to the street, it also represented the wider population of Brighton who maybe can’t afford to get in to the city centre. We wanted to bring a bit of what was happening in the Brighton Festival out to a bit more of Brighton.”

2017 highlights included workshops and performances from Kate Tempest, acclaimed photographer Eddie Otchere, award-winning poetry slam champion Tommy Sissons, Appalachian folk artists Anna and Elizabeth and a new Brighton Festival commission from Three Score Dance and Ceyda Tanc Youth Dance company. Discover more about this year's Your Place:



Valerie Foucher, Hangleton Community Centre Manager and a member of the Steering Group said: “When we were told our premises had been chosen for Your Place it was fantastic news yet we were so far from imagining that it would be such a collaborative process. Bringing an entire weekend of workshops and performances with so many talented artists and a technical and front house back up of such high standard, not to mention having Kate Tempest perform her Let Them Eat Chaos album was so amazing we still haven’t fully recovered from it. Most importantly it has inspired us. Your Place has opened a door that we do not want to close again.”

Brighton Festival and Brighton People’s Theatre are currently looking for small-scale performances, workshops or exhibitions by local community groups, schools, youth groups and local artists living in Hangleton or East Brighton, as well as professional artists to be a part of Your Place 2018.

Naomi Alexander, Artistic Director of Brighton People’s Theatre said: “Having amazing artists like Kate Tempest performing in community centres in the city created a fantastic buzz. We'll be building on what worked so well and are also introducing two new elements to Your Place in 2018. One is a co-commission between Brighton Festival and Brighton People's Theatre to put an artist in residence into community centres in East Brighton and Hangleton who will collaborate with local people to create a new performance for Your Place. The second is programming art made by the local community. We know there is a lot of creativity in Hangleton and East Brighton and we hope to hear from local choirs, school shows, youth music groups, knitting or crafting groups who would like to be part of the Your Place programme."

Andrew Comben, Chief Executive of Brighton Dome & Brighton Festival says: “Bringing Brighton Festival together each year is a great privilege, but it is vital to us that the Festival continues to reflect and involve the whole city. One of the key things about Your Place is that the communities have been really engaged in the overall planning and management of the project and it felt really important to be able to build on this work and the relationships we have developed again this year. Our hope is that this project will continue to expand and grow and become something that everyone looks forward to as part of Brighton Festival each year.”

Your Place 2018 will take place in Hangleton Community Centre and Hangleton Park (19-20 May 2018) and Manor Gym, basketball court and playing fields in East Brighton (26-27 May). 

If you would like to find out more about how to get involved in Your Place 2018 please visit our webpage

In photos: Week 3

Brighton Festival 2017 is over! We can't believe what a fantastic month it has been – here's a few photos from events in the last week

Photos by Vic Frankowski and Adam Weatherley

In photos: Week 2

Another amazing week of Brighton Festival 2017 has passed already! Check out these photos from some of the incredible events over the last week.

Photos by Vic Frankowski, Caitlin Mogridge and Lucy Brooks.

In photos: Week 1

The first week of Brighton Festival 2017 has come and gone! We've been really enjoying all the shows, events and happenings – here's a few pictures of what's been going on

Photos by Victor Frankowski and Adam Weatherley.

Festival Hot Seat... Slap and Tickle

We catch up with Liz Aggiss, the 'unclassifiable' performance artist behind Slap and Tickle 

Can you tell us what your show is about?

As the title suggests it’s a show of opposites; slap and tickle, punishment reward, push and pull……..all the way home. It’s about inconsistencies, propaganda, interpretations, mythologies, platitudes and expectations on, and of, girls, ladies, women, mummies, mothers, grannies, pensioners and senior citizens. It’s about using performance as a means to create a discussion, a dialogue about the observed and received cultural mores, forays and sexual taboos.

How and where will it be staged?

Slap and Tickle is presented in three fast moving acts, using a visual and aural collage of movement, text, props, costumes (Holly Murray), sound (Joe Murray) and cover versions (Alan Boorman/Wevie). The performances take place in the intimate black box Studio Theatre space on Thursday 19th May at 8 pm, and Friday 20th May at 7pm and 9.30 pm.

Why should someone come and see your show?

Because for the past 40 years I have been re(de)fining my own brand of British contemporary dance performance, dodging categorization and being classified as unclassifiable. Because there are limited opportunities to see live work. Because if you don’t come to see the work in Brighton the next chance will be London, then, Tasmania, India, Norwich, Bournemouth, Scotland and I can’t guarantee it will return to Brighton in the near future. No contest! Because I invite the audience to ‘…..have a party’ and then confound their expectations of what this party might be. Because I make, funny, accessible, empowering and thoughtful work. Because what are you waiting for? Permission? Because it’s granted!

Where did the idea and inspiration come from?

I was born on Nanny Goats Common, Dagenham, Essex, a post war baby, into a repressive era in the suburbs, where parents were truly in charge and children were seen and not heard. I never had a clue who I was, or what I wanted to do, I just knew I wanted to be seen and heard. I come from a pre televisual age, a world of radio drama, Mrs. Mills, post music hall variety acts, cor blimey and oooer missus, that opened the dark tabernacle into the soul of early feminism. It is this personal history when placed alongside feminist politics that compels me to create a context in which to scratch that particular itch. Slap and Tickle is that itch.

What sort of person is going to love this show?

Bring an open mind and no preconceptions as to what you think a mature, ageing, post menopausal, solo, female, dancing body should be doing, why she should be doing it, and where it should be done, and you should be just fine. There are no limits except for those under 15 on account of the strong language. Not my call!

What’s going to surprise people about this show?

The pace, the speed, the unpredictability, the roller coaster ride.

What are you most looking forward to in this year’s Brighton Festival programme?

Flexing my performance muscle and presenting Slap and Tickle in three consecutive performances. Apart from that taking a punt on unknown and new discoveries in unexplored locations, whilst soaking up Brighton and the festival atmosphere.

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’ve lived in Brighton since 1975. I’m still here, still making, still performing, still touring, nationally and internationally, still in the picture……… though not so still, I can’t stop moving! Must be the sea air.

Book now for Slap and Tickle

Festival Hot Seat... Clairière Urbaine

We caught up with Retouramont to find out more about their UK premiere Clairière Urbaine

Why should someone come and see your show?

The show - and more broadly the artistic work of the company Retouramont - offers new perspectives on the city. It doesn’t consider walls as limits but rather as openings and opportunities - and a means to invent new choreography. In our shows we aim to shift perspectives and invite the audience to discover their neighbourhood in a very new way.

How and where will it be staged?

It will be staged in Lavender Street. Some anchoring will be made on two buildings so the dance can evolve on the wall of one of them and in-between, in the air and over the audience.

Where did the idea and inspiration come from?

It came from the desire to go beyond, but not in the usual sense. As a climber, cliffs or boulders are limits you want to go over. I like when this movement can also be inventive and aesthetic. In the city, I find this desire for crossing and going over particularly joyful and creative.

What sort of person is going to love this show?

Everyone can enjoy this aerial and acrobatic dance show that grabs the city in all its dimensions. We do not try to impose any story on the audience - each person can create their own story. This is our way of inviting the audience to feel and accept a shift of perceptions and take a new look at their surroundings.

What’s going to surprise people about this show?

We propose a different and new use of the city that no one has seen before, not even the architects or inhabitants of the neighbourhood. They may look up for the first time and see buildings differently from now on.

Have you visited Brighton before? What were/are your impressions of the city?

This is my first time in Brighton - I'm curious to discover it.

This year marks 50 years of Brighton Festival. What does it mean for you to be part of the festival in this milestone year?

It’s great to see such longevity in a festival of art, vertical dance is about 25 years old. In this sense, I find it very interesting to question and analyse our practices in the long-term: how did street arts emerge? What is their social role? etc.

Head this way for more info on free event Clairière Urbaine.

The Brighton Commissions

For our milestone 50th Festival, we have commissioned more new works than ever before, including many by Brighton artists or about Brighton itself. Wildly different and each fascinating, the 'Brighton Commissions' below are presented as a tribute to our home and the talent within it.

Brighton: Symphony of a City
One of the Brighton Festival events people still talk about is the screening of Battleship Potemkin (2005) with Ed Hughes’s new score in the Hove Engineerium. When Ed and Brighton based filmmaker Lizzie Thynne proposed a Brighton homage to Walther Ruttmann’s 1927 silent classic Berlin: Symphony of a Great City, we grabbed the opportunity to celebrate Brighton in all its festive, bohemian, campaigning, fun-filled glory.

Charles Linehan Company
Loved by dancers and dance audiences, Brighton-based choreographer Charles Linehan (The Fault Index/ The Clearing, 2011), brings us a contrasting double bill of new works including one with William Trevitt and Michael Nunn (BalletBoyz). Described by The Guardian as ’one of our classiest choreographers’ Charles’s return to Brighton Festival in our 50th year feels especially appropriate. 

The Complete Deaths
Another match made in Brighton. Leading physical comedy company Spymonkey (Oedipussy, 2012 and Cooped, 2006) and award winning playwright and performer Tim Crouch (I, Caliban, 2003, I, Peaseblossom, 2004, I, Banquo, 2005, An Oak Tree 2006, I, Malvolio, 2010 and what happens to the hope at the end of the evening, 2014) come together to re-enact every onstage death from the works of William Shakespeare in a sublimely funny tribute to mark the 400th anniversary of the Bard’s death. We’re holding onto our hats. 

Digging for Shakespeare
Marc Rees studied in Brighton with Liz Aggiss and has gone on to make wonderful work with communities and for specific sites, most notably with National Theatre Wales. He brought us the captivating story of James Orchard Halliwell-Phillipps who was a world-renowned Shakespearean scholar in the 19th Century and an eccentric recluse. When Marc suggested making this piece on the Roedale allotments where Halliwell-Phillipps lived it was too beguiling an idea to pass up. 

Dr Blighty
One of the most affecting and complex stories of the Royal Pavilion Estate is its use as a military hospital for wounded Indian soldiers in World War I. As we work towards reunifying the Royal Pavilion Estate to bring collections, heritage and the arts together to create compelling new work for the Estate, the opportunity was ripe for Royal Pavilion & Museums, Brighton & Hove and ourselves to work with British Asian performance company Nutkhut and with 14-18 NOW to commemorate this special chapter in Brighton’s history.

The Last Resort
Using binaural technology to create a shifting world of sound, Brighton-based artists Rachel Champion and Tristan Shorr (who worked with Charlotte Spencer on Walking Stories, 2013), working as Art Of Disappearing, have created an immersive work set on Portslade beach that takes a wry look at science fiction traditions and dystopian societies. 

Operation Black Antler
Two Brighton Festival Associate Companies come together in an exciting new collaboration. Blast Theory (Rider Spoke, 2008; Fixing Point 2013) are celebrated for their inventive use of technology and their thought-provoking subject matter. Hydrocracker have delighted and terrified audiences with Shakespeare á la Carte (2008), the uproarious The Erpingham Camp (2009), and the chilling production of Pinter plays The New World Order (2007 & 2011). Having these two companies working together has been on all our wish lists for a number of years. 

Stella
Veteran Brighton artist Neil Bartlett (Oliver Twist, 2004, The Maids, 2007; For Alfonso, 2011; What Can You Do?, 2012; Britten: The Canticles, 2013) is one of Britain’s most individual theatre makers and a generous friend of Brighton Festival. We’re honoured that Neil’s wonderful, intense and distilled new play, inspired by the life and death of Ernest Boulton, can open in Theatre Royal Brighton before going on to performances at London International Festival of Theatre and Holland Festival. 

Dance Film Festival UK to screen Brighton Festival films

Two films shot during Brighton Festival 2014 by Hove-based Supernova Learning have been selected from a high number of applicants for screening at this year's Dance Film Festival UK. Three Score at the Station documents the journey of Three Score Dance Company (TSDC) – a dance company for the over 60s – from early rehearsals to their world premiere performance of choreographer James Finnemore's Plans at Brighton Station. A second film – Plans at Brighton Station – features the entire performance in full.


'It’s exciting for Three Score, and the individuals and organisations supporting us, to have this wider interest in our wonderful performance experience at Brighton Station. It’s deserved recognition for our choreographer James Finnemore. It’s rewarding for me as a filmmaker to have the prestigious acceptance of the dance film community.’

Vincent Thompson, Supernova Learning

Plans was commissioned by Brighton Festival in association with South East Dance as part of Brighton Festival 2014’s programme of events. Crowds, commuters and tourists came to a standstill as TSDC’s eighteen dancers performed throughout the day on Saturday and Sunday in a flash-mob.

Choreographer James Finnemore – a former dancer with the critically-acclaimed Hofesh Shechter Company – said of the performance:

‘I came with pretty much a blank slate. I had the title and quite a strong structure in terms of floor plans… but with a bit of organised chaos in the middle! I prefer simplicity in general. If people don’t want to do a dance phrase, then I don’t want to make them. I find that sometimes less interesting. I prefer it to be more human, more simple.’


TSDC is the vision of two local women, Saskia Heriz and Christina Thompson, both of whom have been inspired by the work of The Company of Elders; a dance company for the over 60’s resident at the internationally renowned Sadler's Wells Theatre in London. Although many members of Three Score have had no prior dance training, their wealth of life experience brings a unique quality to their work. The company is led by Rehearsal Director, Jason Keenan-Smith, with professional choreographers commissioned to create bespoke pieces for performance.

The company is currently housed at Brighton Dome. Three Score Dance Company is supported by South East Dance in association with Brighton Dome. Funded by the National Lottery through Arts Council England.

Dance Film Festival UK is part of The Fi.ELD Festival 2014 and takes place on the 9th & 10th August 2015 at Stratford Circus. 

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.”

In Photos: Brighton Festival Week One

Our 49th Festival with Ali Smith at the helm has been a joy so far. We've had heaps of fun and with a plethora of great theatre, circus, dance, music, classical, outdoor, family, books and debates and visual art and film events still  to come the fun is nowhere near over yet!

Take a look back over our first week of Brighton Festival 2015 right here...

The past week has flown by and lots of exciting events have happened so far at Brighton Festival 2015 and there's still so much more to come! Check out what’s up next at: https://brightonfestival.org/whats_on/

Posted by Brighton Festival on Friday, 8 May 2015

Brighton Festival 2015 announces full programme of events

Clear your diaries in May as England’s largest mixed arts festival returns with award-winning author Ali Smith as its Guest Director

Brighton Festival – under the watchful eye of award-winning author Ali Smith as this year’s Guest Director – has announced its full programme of events.

Over the three-week Festival - which runs from 2-24 May 2015 - many of Ali Smith’s ideas, interests and passions will be explored in a programme which spans music, theatre, dance, visual art, film, literature and debate from a wide range of national and international companies and artists; from a rare UK visit by 86-year-old legendary film maker and artist Agnès Varda to rising stars Kate Tempest, George the Poet and Hollie McNish.

With three central themes at its heart - Art and Nature, the Crossing Places between art forms, and Taking Liberty - this year’s Brighton Festival challenges visitors to look again, featuring an eye-opening array of artists and performers with the power to deliver the world we think we know to us re-seen, renewed, with a visionary twist in the tale.

Ali Smith says: “It's tremendously exciting to have been asked to help programme the 2015 Brighton Festival. I'm delighted and honoured – what a gift, to be asked to do this, imagine – the biggest international multi-arts spectacular in England. I've always loved Brighton's sense of fun and friendliness, its vibrant open-mindedness, the way it opens to sky, the way the rest of Europe is so close it's almost visible. It's a city that's always known how to live on the edge, a place full of endless energy, argument, possibilities, light. No matter the wildness or mildness of the weather, no matter the zigzag of zeitgeist elsewhere north or south of it, Brighton is always itself, and always uniquely welcoming.”

Posing questions about whether life imitates art or art imitates life, Art and Nature is explored in a host of events including an exclusive nightingale walk, with Mercury-nominated folk singer Sam Lee; an immersive multi-screen film installation of Marcus Coates’ entitled Dawn Chorus, featuring singers who uncannily recreate birdsong and bird movement; a discussion of the urgent conservation issues that face us today with celebrated author and bird enthusiast Margaret Atwood and her partner and fellow writer Graeme Gibson; and Fleeting, an outdoor spectacular over the West Pier by And Now, in which hundreds of individual points of fire create shapes and swathes of glowing light and shade.

Central to the programme is the notion of Crossing Places - where poetry meets music meets theatre meets dance – from works that defy categorisation such as The Measure of All Things, a new live cinema performance by Academy Award-nominated filmmaker Sam Green to Claudia Molitor’s part installation part performance Vast White Stillness in the maze of tunnels beneath the Old Ship Hotel. In Being Both, acclaimed mezzo soprano Alice Coote, English Concert’s Harry Bicket and Susannah Waters stage a theatrical journey into the heart of Handel’s sublime vocal music, which, in a nod to Smith’s own prize-winning work How to Be Both, explores and challenges the experience and perception of gender.

Set against the backdrop of the General Election, Liberty, equality and freedom is celebrated in all its shapes in an astonishing cutting-edge line-up of artists, performers, thinkers and commentators - all contemporary game changers in their chosen forms. These include Liberty Director and author Shami Chakrabati who hosts an evening in celebration of the Human Rights Act featuring a dazzling collection of writers and performers such as Billy Bragg, Neil Bartlett, Rachel Holmes and Jackie Kay; Tony award-winning playwright Richard Nelson who brings the European premiere of his highly acclaimed four play cycle The Apple Family Plays from The Public Theater, New York; award-winning Pakistani/British author Kamila Shamsie; celebrated Russian-American journalist, author and activist Masha Gessen, Turkish writer Elif Shafak and Turner Prize nominated artist Nathan Coley, whose new commission Portraits of Dissension explore ideas of unrest, edge and shift, space and occupation.

Other highlights include Peter Strickland’s daring masterpiece The Duke of Burgundy accompanied by a one-off live performance of its seductive score by Cat’s Eyes - the collaborative project of The Horrors’ frontman Faris Badwan and Italian-Canadian singer and composer Rachel Zeffira; a series of screenings and accompanying talks by prominent female directors including Joanna Hogg, Carol Morley and the legendary Agnès Varda who will also create a special installation at Brighton University Gallery for the duration of the Festival; 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; the UK premiere of Lucia’s Chapters of Coming Forth by Day, a theatrical ode to the life - and afterlife – of Lucia Joyce, the adored daughter of James Joyce created by legendary New York theatre ensemble Mabou Mines; 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; and Laurie Anderson: All the Animals, a specially curated performance by one of America’s most daring creative pioneers.

Andrew Comben, Chief Executive of Brighton Dome & Brighton Festival says: “Ali Smith, as Guest Director this year, has been a wonderful inspiration to us all in programming the festival. In her writing, Ali is renowned for pushing form and working with her has taught us to think differently about how we programme and the work that we bring. She has also brought an incredible range of artists to the festival who are responding to the world in a particular way, both people she knows well, and also people she has loved for many years and perhaps longed for an opportunity to work with - from Agnès Varda to Elif Shafak, Jeanette Winterson, Margaret Atwood and Mabou Mines - the list is long and extensive and I think thrilling. I look forward to welcoming audiences to experience another exciting and innovative month of events in May.”

The annual celebration of music, theatre, dance, circus, art, film, literature, debate, outdoor and family events will take place in venues across the city and beyond from 2 to 24 May 2015. Brighton Festival 2015 features 396 performances taking place across 150 events including 42 exclusives, premieres and commissions.

Brighton Festival Picks: Alex Leith, Viva Brighton Magazine

We asked a selection of Brighton dwellers, Brighton lovers and Brighton businesses to give us their Brighton Festival picks. Here Alex Leith of Viva Brighton Magazine shares his highlights...

When I heard the name of this year’s Guest Director of Brighton Festival, I guess I wasn’t the only person to think ‘Hofesh who?’ But, having since interviewed Mr Shechter, I think he constituted a bold choice by the organisers, a real outsider who has made ‘outsiders’ the theme of the Festival. I must admit that apart from a few visits to Sadlers Wells over the years, I haven’t really directed much of my attention towards the contemporary dance scene, but I’m really looking forward to seeing the Hofesh Shechter Company perform Sun on Saturday 3rd. Hofesh promises it to be a dark, hard-hitting piece about alienation. You can read the interview in the May issue of Viva Brighton Magazine.

Hofesh Shechter Brighton Festival Sun

Another interviewee in the same edition is Yinka Shonibare, of Fourth-plinth-fame, who has turned the old reference library in Brighton Museum – which I used to frequent to research historical pieces for Viva – into a colourful installation piece on colonialism, called The British Library. He’s covered thousands of books with his trademark ‘African’ fabrics, which are actually designed in Indonesia and made in Holland, and demonstrate how globalisation means that nobody is truly from one just place any more. On the spines of the books are written the names of various immigrants and descendants of immigrants some of which – Mick Jagger and Helen Mirren for example – are quite surprising. We’ve dedicated the centre spread of the mag to a close up of this work and it looks like it’s going to be stunning.

I was watching Later... with Jools Holland the other day, and was delighted to see that Zara McFarlane was among the guests. She’s a soul-fuelled jazz singer who brings to mind Ella Fitzgerald or Billie Holliday, and she performed a nuanced and powerful rendition of Junior Murvin’s Police and Thieves, then did some improvisation with the compere playing the piano. Wow. She’s performing at The Old Market on the 11th.

Zara McFarlane at Brighton Festival 2014

There are some interesting people being live-interviewed, including musician/author Ben Watts (we got there first, as you’ll see in the May mag), Slit guitarist Viv Albertine (ditto) and (filth-y) novelist Irvine Welsh. And talking one-to-ones, one event I’ll certainly clear the diary for is the New Writing South annual lecture from Lynn Barber, Britain’s most well-respected newspaper interviewer. We were chuffed when she agreed to let the tables be turned on her, in our Festival special edition… and our writer Steve Ramsey certainly gave as good as he got.

So those are the main set pieces that I’m looking forward to come May. But the real beauty of Brighton Festival (and all the other offshoot events) isn’t about what you’re expecting to enjoy, but what takes you by surprise. Which is one reason I’ve made a pledge to do at least one Festivals-related thing every day, throughout the three weeks of the year that Brighton gets turned into the cultural capital of the country*. I’m hoping that most of those surprises will be positive ones…

*minor exaggeration alert

Video Playlist: Dance at Brighton Festival 2014

Discover Dance at Brighton Festival 2014


A plethora of Dance shows from internationally celebrated names to emerging artists are all part of Brighton Festival 2014. You can expect shows from William ForsytheWim Vandekeybus, Les Slovaks, and this year’s Guest Director, Hofesh Shechter amongst plenty of others. Why not take a moment and enjoy a taster of some of the incredible and awe inspiring shows we have in store for you: