Tag Archives: Edinburgh Fringe

Putting the Band Back Together

Sunderland musician Ross Millard talks to RICHARD CALLAGHAN about his Edinburgh Fringe debut

Ross Millard is looking relaxed. Surprisingly relaxed, in fact, given that he’s one third (just about, more on that later) of one of more than three and a half thousand shows at this year’s Edinburgh Fringe. Guitarist for the Futureheads and Frankie & The Heartstrings, Ross is making his Fringe debut in a show about music, why people stop playing it, and why it’s great when they start again. I sat down with Ross, and asked him about the show, the relationship to the audience, and his first experience of the Edinburgh Fringe.

Ross Millard
Ross Millard

Putting The Band Back Together features Ross Millard, Maria Crocker and Alex Elliott. It is directed by Annie Rigby. Writer, Chloe Daykin.

RC: So, what’s Putting The Band Back Together about?

RM: Annie’s chosen to describe it as part gig, part poignant show about reconnecting with a one-time obsession in your life. In our case it’s music but it transfers to anything that you’ve had a passion for but which has dissipated.

The original inspiration for the story was Mark Lloyd who was a Northern Stage actor diagnosed with terminal pancreatic cancer, and with the rest of the time he had left the main thing he wanted to do was put his old band back together. And he did it, and they did gigs at Washington Arts Centre and places like that. Alex and Annie were very close with Mark and they wanted to sort of honour that story because it’s quite an important message in life, at the heart of it all what’s your passion? What do you want to do above everything else? But that story’s offset with some quite wild interpretative moments with other people’s experiences about music. And then there’s the House Band element as well.

RC: For those who haven’t seen the show yet, could you just explain the House Band?

RM: So every day at three o’clock at Summerhall we meet up with anybody who’s coming along to the show who plays any instrument, a little bit or a lot, and we’ve got a rehearsal room booked and we go off for three quarters of an hour and run through some tunes and then they get up and they’re part of the show. So far we’ve had quite a good variety, we’ve had a flautist, drummers, keyboard players, quite a few guitarists, singers, people are getting in touch constantly and the band’s different every day, which is great for us.

At the heart of the message it’s that it’s not about ability, it’s not about getting bogged down in the minutiae of being great, it’s just about doing it, and if that’s the message of the play we couldn’t really have that without the House Band.

As an audience member, perhaps even subconsciously, you’re willing them to do well. But there’s a fine line to walk, because people have paid their money and they want to see a quality show, I don’t want to do something where people come along and the theatre element is great but the music falls apart. It’s about trying to arrange it so that people can still contribute regardless of their ability, and so that the show remains strong.

Yesterday we had a guy who contacted us out of the blue, plays keys, he said “I’ve got tickets for the show with my wife, I play keyboards very occasionally, jazz, and it’s going to blow my wife’s mind if I just get up and become part of the House Band without her knowing about it.” So he told her he was at a meeting, and came along to the rehearsal, and her jaw just dropped when he stood up and joined the band. And it was a thrill, you know, for him to be part of that. A big deal to be up on stage, to perform, it’s easy to forget that not everyone does that on a regular basis. It’s a big deal.

RC: You’re used to performing, to playing in bands, but this must be a different experience.

RM: I’ve tried to treat the audience at our thing the way I’d treat the audience at a normal show, and I think you’ve got to hope there’s strength in the story or in the overall experience, and that people take something away at the end. Getting a theatre audience on side isn’t like getting a gig audience on side, it’s more difficult, because you’ve got less opportunity to engage with the audience.

RC: The Fringe is famously a fairly unrelenting experience, why have you chosen to do it?

RM: When I got approached to get involved it was completely out of the blue, but I really wanted to come and play music, and this is an opportunity to still write music, still play, and I couldn’t really say no. It’s flattering as well, somebody coming and saying ‘do you want to write the songs for this show’, too right, yeah.

I think you’ve got to accept that it’s a different experience to playing in a band, and I’m just trying to have my eyes as wide open as I can and take as much in as possible. I’ve enjoyed doing this work and it’s something I’d probably like to do more of, but if that’s going to happen I need to understand the machinations of it and the way that it works.

RC: The devising process for the show involved a lot of work in Sunderland with the Cultural Spring, how did you find that?

RM: The thing that totally terrified us was the workshop, participatory element, because I’ve never done any teaching before, never really had to get large groups of people to do something I want them to do, apart from in Hounds of Love. It’s not quite the same. So that was terrifying for me, really uncomfortable, but as the months have gone by we’ve got to know each other more and more, we’ve got a big band there, and I’ve grown to really enjoy doing it. We’ve got a good chemistry between us all, everybody’s really friendly, we know a lot about each other now, and it feels more like a normal band. Up here we’ve got 45 minutes to make that happen, so I’m really glad we’ve had all those months of preparation in Sunderland because it’s changed my approach here.

puttingtheband
Putting the Band Back Together

RC: If you could describe the show?

RM: It’s quite life affirming and fun, and that strikes me as important. That’s quite a political thing to say, I think, that now more than ever the most important thing is to say ‘what is it that you care about? Let’s go for that, let’s try and embrace that a bit more’.

Annie’s always made these kind of feelgood, life affirming positive shows, and in terms of her work it’s very much consistent with that, it’s an Unfolding Theatre show, she’s got an identity and an aesthetic and I think sometimes you come into a project and there need to be some parameters and some rules to follow, because otherwise you never get anywhere because it doesn’t know what it wants to be.

RC: And finally, what will you take away from this year’s Fringe?

RM: I think I’ll take a little bit more knowledge in terms of how live theatre works, how much of a connect or disconnect there can be with the audience. Personally, if I want to write more music or songs for shows, I know I’m not always going to be in them. I was quite surprised to end up in this. I didn’t really expect that in a million years, but it’s been a great experience, a really democratic process to be involved in, and I know that lots of people don’t work like that. But I think I’ve come away with a much better idea of what works and what doesn’t, how much more economical you have to be with what you’re saying and the way you’re saying it. In a gig you can give backstory, you can introduce things, you can do whatever you like. But in this you’ve not always got that opportunity, sometimes you have to sum up a scene in a short piece of music, or just a song. That context, that knowledge of how a show like this works, that’s really important.

Putting the Band Back Together is part of the Northern Stage programme at Summerhall, Edinburgh (Venue 26, 16:50) until August 27th (not 17, 24). The show will then return to the North East for performances at Arts Centre Washington 0191 561 3455 (September 22nd) and Newcastle’s Northern Stage Tel 0191 230 5151 (September 28, 29, 30).

 

Find out more about Richard Callaghan and our England’s North East bloggers here

Laughs a-plenty across the North East

With such a broad choice of comedy venues and lots of up-and-coming comic talent, HELEN GILDERSLEEVE finds much to laugh about in North East England

The North-East is fast becoming known as the hub of an eclectic and talented comedy scene.

Gone are the days when all showbiz talent was London based; the region now has proud ties, past and present to comedy legends like Ross Noble, Sarah Millican, Bobby Pattinson, Brendan Healy, Bobby Thompson and Chris Ramsey to name drop a few.

The late, much-loved Brendan Healy
The late, much-loved Brendan Healy

So what is it about the North-East that produces such comedy genius?

Some would argue it’s our laid back and sarcastic outlook on life. Others may argue that Northerners are naturally happier than their Southern counterparts thus making better jibes. Northerners aren’t known for being overly-stressed or possessing a stiff upper lip and this could be the crux of our hilarious observational comedy and often zany outlook on life.

One only has to hear everyone’s favourite randomist and nonsense-spouter Ross Noble go off on one of his famous tangents to appreciate the Geordie stance on life. Famed for his scarily quick freewheeling style and imaginative flights of fancy, a Noble show is always an unmissable event.

Ross Noble
Ross Noble

Many lesser known, up and coming North East comics are fast making waves across the comedy circuit and have the potential to become household names in the not too distant future. Born and bred Sunderland comic, Matt Reed, has an affable, cheeky style (and claims to look like a‘scruffy Jesus’) that has won him fans across the UK. In 2015 Reed took his debut show to the Edinburgh Fringe, retelling the four year ordeal of how he was stalked and cat-fished by an online admirer. The show won rave reviews from critics and audience alike and he now boasts sell out shows and a growing fan base.

Jarrow-born Carl Hutchinson is enjoying similar success. He’s been and done Edinburgh supporting fellow comic and school friend, Chris Ramsey. Hutchinson’s latest show, The Fixer, shows him hilariously squaring off against life’s petty annoyances. From giving ‘banter cards’ to people you get stuck with who have dull chat, to mocking overly cheery motivational quotes on social media.

Matt Reed

Other local acts showing great potential include Jason Cook, Patrick Monahan, Lauren Pattison, George Zacharopoulos and Mike Milligan.

As well as solo comics, the region’s improvisation acts are enjoying equal success. Newcastle based The Suggestibles have been enjoying national success for a decade now. Their team of comedy actors react at lightening speed to audience suggestions to create spontaneous scenes, skits, stories, sketches and songs. No show is ever the same and audiences must always expect the unexpected. The gang’s original venue and comedy home is at the Cumberland Arms in Newcastle’s Ouseburn and they’ve since frequented most comedy hot spots in the city.

Newer to the improv scene is Spontaneous Wrecks who perform a live two-hour improvised comedy show in the style of ‘Whose Line is it Anyway?’ each month. The team create sketches, scenes, and games based entirely on audience suggestions. Spontaneous Wrecks perform on the first Wednesday of each month at The Bridge Hotel in Newcastle.

Comedy venues across the region are becoming ever popular too. The Stand, The Gala Durham, The Tyne Theatre and Opera House, Sunderland Empire and Newcastle City Hall are just a selection of the venues that play host to a stream of laugh makers every month.

The Stand Comedy Club
The Stand Comedy Club

Those who can’t get to the Edinburgh Fringe this year still have the opportunity to see gigs at a variety of venues across the region including Newcastle’s new Bottle Shop Bar and Kitchen, The Stand, Punch-Drunk Comedy in Northumberland, Big Mouth Comedy Club in Teesside, Hilarity Bites Comedy Club in Darlington and The Venue in Northallerton.

It’s also pleasing to see that many North East town are now hosting their very own comedy festivals so locals can enjoy a mini Edinburgh Fringe on their doorstep.

This summer saw the success of the South Tyneside Comedy Festival, the Darlington Comedy Festival, Newcastle’s Jesterval, Sunderland Comedy Festival and Monkeyshine Comedy Festival in Middlesbrough.

Who was the fool who said it was grim up North?

For upcoming comedy events, visit www.chortle.co.uk