theatre feature

A bit of eurovision on the fringe…

ThreeWeeks chats to writers Brian Mitchell and Joseph Nixon about their new play

No, not the traditional mid-Fringe Euro-cheese fest, but a brand new play set amidst the 1966 Song Contest. ThreeWeeks spoke to writers Brian Mitchell and Joseph Nixon


TW: Tell us about ‘Eurovision’ - what was the inspiration for the play?

BM: A mixture of a fascination with the era and of my own experiences of working within groups of artistic people.


TW: It’s set at the 1966 Contest, why set it in the past rather than at the present day Eurovision?

BM: It meant something very different in 1966. The whole affair was taken more seriously. Nowadays it is merely viewed as a kitsch spectacle, by Britain at any rate. Besides, the good thing about setting things in the past is that it can provide a more eloquent comment on the present.


TW: Did you all overdose on Eurovision highlights in preparation for the show?

JN: As a cast we spent some time on the first day of rehearsals watching clips of Eurovision from the 60’s. It was useful not only for getting a sense of the fashion and style of the performers, but also the formality and sheer earnestness of the event back then. We were very aware of how important it was to understand what Eurovision actually meant to the performers and public alike in that era, in comparison to how we view the contest today.


TW: Is the Brighton Fringe a good place to premiere new work?

JN: Each year the Fringe seems to go from strength to strength. With the Edinburgh Fringe such an expensive venture, and arguably over-dominated now by comedy, the Brighton Fringe is increasingly becoming the obvious choice for companies and writers to showcase new work. There’s certainly no lack of writers of all kinds in Brighton and it’s a city that always seems to take a keen interest in new plays. The responsibility is on all the theatres in Brighton of all shapes and sizes to support and give opportunities to this local talent, and to that end Otherplace Productions are producing more plays by local playwrights, as part of the Upstairs at Three and Ten Fringe programme, than ever before.


TW: This year’s Eurovision comes in the middle of the production - will cast and crew be tuning in?

JN: There is an idea floating around the rehearsal room that we all meet up and watch Eurovision together, it’ll be interesting to watch it in light of the play. In some ways it’s a completely different kettle of fish these days, but despite the best efforts of Wogan [or Norton now!] that charming earnestness still remains.


THREE WORD HARD SELL: “What’s the point?” (That’s the three words, not my response to your request!) Or, “Love versus Art”

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EUROVISION LISTINGS
Upstairs at Three and Ten, 4 – 6, 23 May, 8.30 pm (9.30 pm), £10.00 (£8.00), ffp 50.

published: May-2009

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