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Book REVIEW: David Bowie Made Me Gay by Darryl W Bullock 

David Bowie Made Me Gay: 100 Years Of LGBT Music by Darryl W Bullock.

THIS comprehensive history encompasses a century of music by and for the LGBT+ community. Bullock has done some serious research but is also driven by a sense of the personal, the enlightening and the profoundly effecting, and as music is often the first place we learn to express who we are, recognises that this is a fundamentally important medium.
LGBT+ musicians have shaped the development of music over the last century, as well as providing a sexually progressive soundtrack to the gay community’s struggle for acceptance.
With the advent of recording technology, LGBT+ messages were for the first time at the forefront of popular music and Bullock examines how those records influenced today’s music. He shares stories of many musicians whose music hasn’t survived but who lived their lives to the fullest, in all their queer glory; from American jazz singers to 1930s German songs like Das Lila Lied (The Lavender Song), with its refrain “We are just different from the others” (probably one of the first recorded songs to directly reference and celebrate homosexuality).
He examines the almost forgotten Pansy Craze in the years between the two World Wars, when many LGBT+ performers were feted by royalty and Hollywood alike. The book is illustrated with unseen photographs and stuffed with info and insight on the glory years of burgeoning LGBT+ lives in the 1970s-80s, when the emergence of disco and glam rock gave birth to ‘out’ gay pop stars: Elton John, Boy George, Freddie Mercury and George Michael; and asks where we are today, and how much further we have to go.
Definitive, informative and challenging this is a must have for anyone interested in popular LGBT+ creative lives within mainstream culture.
Published by Gerald Duckworth & Co; £18.99. 

Festival REVIEW: The String Quartet’s Guide to Sex and Anxiety @Theatre Royal

The String Quartet’s Guide To Sex And Anxiety

Theater Royal

Brighton Festival

The claustrophobic close and tempestuous relationship between sex, anxiety and music comes to a head in this remarkable highly focused production from one of Europe’s most exciting theatre directors, Calixto Bieito – he grabs music and drama and collides them head on with the award-winning string powerhouse The Heath Quartet performing alongside an equally stunning quartet of actors to deliver an unmissable montage of melody, hopelessness and madness.

Drawing inspiration from the writing of Byung-Chul Han (The Burnout Society) and Robert Burton’s The Anatomy of Melancholy, this innovative production explores the effects of the 21st Century on our mental well-being, and the way music echos on crumbling sanity and reflects the tensions in our minds as we attempt, sometimes futility to cope, deal and process the endless things that life throws at us.

The set is a huge stack of music stand and chairs, far too many for the eight people on stage, four musicians and four actors, suggests church hall’s and therapy circles, places where we people gather in a circle or let their pain, addiction, trauma or despair out and be heard, and hope that by sharing it, it lessens the pain.

This piece of work is not that kind, nor that deluded and both carefully perfectly balanced music and wretched aching stories of crushing tribulation working against the narrative of time, easing pain and leave us starkly facing the truth, that sometimes there is no resolve to the anguish and only death will provide the silence and stillness of the mind so desperately craved.

The narratives are oddly light, they engage, some of them are very funny, but it’s the laugh of a clown using humour to hide their deep sadness. We meet a women who tells us in lilting gentle prose about the death of a child, each relentless domestic moment of calm taking a step closer to the awful tragedy, an amusing and droll disquieted man who’s tried everything and found nothing works, his listings of treatments, drugs and therapy schools and types is both deliriously humorous and perfectly timed but we feel his unmet needs tangibly.  A women who’s sexual anxiety first we laugh at drives us without warning in to the full horror of violent rape, it’s a shocking moment of rage and shame, and still the music goes on, as does the night.

We see deep into these people’s souls, we look at the abyss and it stares implacably back at us, bearing witness to life and all it’s horrors. With prose and poetry intertwined and readings from The Anatomy of Melancholy by Robert Burton and some rather subtle use of lighting and soundscape we are softly enveloped by these devastating narratives and left, at the end, in the screaming silence of our own minds.

You can see a full list of the works used here.

The Heath Quartet are masterful, their solid interplay both with each other, the narrative and the actors is a tour de force and they kept the tension up to the very last note.

There was one of those rare moments when the audience is stunned and need to compose themselves enough to be able to applause. It’s a real moment of theatrical magic, we wrenched ourselves back to the rococo comfort of the Theatre Royal and the place erupted with appreciation, applause and perhaps the huge relief that we’d got to the end relativity unscathed.

Music
Beethoven String Quartet No.11, opus 95
Ligeti String Quartet No. 2

For full details of the event, click here:

Fringe REVIEW: Shit-Faced Showtime @The Warren

Shit-Faced Showtime

The Warren

May 24

Shit-faced Showtime is an all-singing, all-dancing, all-drinking phenomenon from the professional piss-heads behind Shit-faced Shakespeare, we’ve seen how they can mangle the bard and yet still bring us quality thespians and here they swing Dorothy way up into a tornado of tequila and drop her into the 50% proof land of Oz .

By plan or delightful default it was one of the LGBT+ members of the cast who was getting drunk pre-show this time around, which added an extra frisson of #RuPaulDragRace campery to the usual inebriated revelry, we had a bender on a bender. There was some lovely moments of high kicking camp, the drunk actor pulled off some seriously impressive vocal moments and utterly seduced the audience with his silly naughty antics. We adored him, upstaging everyone with his intoxicated idiocy.

Featuring a cast of professionally trained musical theatre performers, classic show tunes, complex choreography and one slightly drunk actor every night who is then slowly made to drink more, tipping themselves over into camp overdrive, the show into a swirling pit of unpredictable nonsense and the other actors into an hour of surviving with their wit, tight camaraderie and a few pretty funny ad-libs.

My favorite was from the Tin Man, played by the drunk unable to remember what it was he wanted from the Wizard of Oz (a heart) and after chomping and stuttering a bit, and being heavily encouraged by the other cast members eventually shouted ‘I want a…..a………a boyfriend, a BOYFRIEND!’, beautiful! The packed audience loved it, and him and the night lurched on.

The fun lies not only in the off script drunken antics but also in the way the rest of the cast, recoil, react, bend and twist to keep the show going and the narrative making sense.  They did OK last night, the drunk, although charming and engaging was not so very hot on the lines but added enough daft laughing, swirling around and some serious finger clicking to make things fun. The others delivered a pretty good version of the Wizard of Oz, great singing from the female members, the plot was a bit truncated and with a same-sex marriage shoved hastily in the last act, but it worked.

Shit-faced Showtime roared back to Brighton Fringe with their semi new show The Wonderful Wizard of Oz’ last night, they promised to be wicked although it was bit more WKD and eventually got to the end of the yellow brick road, via some pretty odd soft verges and hard shoulders – including the audience getting told off by the rabble rousing host for chanting to the actor “down it”, which huh?……ain’t that the point Aunty ‘Em?. They pulled their very merry group of friends together, and Dorothy got home, as did the rest of the audience, very happy, highly entertained and with smiles on our faces.

I’ve seen them a few time, and always enjoyed it, it depends on the quality and type of the drunk, I rather prefer the bolshy, moody darker drunks I’ve seen, but last nights performance was as sweet as it was daft and in a room full of people, half of which I suspect had never seen the movie, or been so close to a sharp high-octane pissed up Po-Mo HoMo who was wowing us with his creative, unique, nerve and talent, and they managed to keep a huge level of enthusiastic audience engagement going.

And did he end by doing the drunken splits? or just fall over, it was difficult to tell from our seats, but I think it was the splits! in which case ! WOW!

Plays until May 28

For more info or to book tickets see here

Fringe REVIEW: Mamoru Iriguchi @The Marlborough

Mamoru Iriguchi

The Marlborough Theatre

May 19

Oh we adored Mamoru Iriguchi. He’s so sweet and geeky and utterly charming. The tech in the show is seriously clever although it’s about as mixed media, tech heavy Heath Robinson as you can get, and gets utterly bonkers by the end, but Iriguchi keep his boundless energy and charm beaming out.

The show is actually pretty educational, which makes it all the more fun and although posed as a sex education lesson for 13 year olds, a pretence that Iriguchi never breaks out of, it’s as fun and as it is suggestive and all in the best possible taste.  He’s utterly inclusive and makes you think about gender and sexuality in a daft imaginative way.

It’s lovely to watch a show about reproduction and the history of gender that’s as queer as can be and still be fun. No earnest twaddle in this show but buckets of bonkers segues into an alterative YouTube world of mermaid online councillors who end up in a pretty wonderful denouement that had my jaw dropping as fast as the laughter rose up out of the audience.

The whole audience gasped and laughed when Mermaid Le Little made her at-home appearance, it was a superb visual joke, folding in all the previous narrative in a rather neat but totally surreal ending. The use of costume, media, tech and projections, live, pre-recorded and interactive filmed bits between, with some devastatingly funny ad-libs, all brings to light the cunning mind behind the on stage charm and the easy informative way this informed and educated ex-zoologist  shares his interests.

This is a fun and engaging show with a kind of serious undertow, not quite sure what that might be, but when a performer is a charming and engaging as this who cares.

This has to be my most perfect fringe show to date and I’ll be keeping an eye out for Mamoru Iriguchi when they next make it this far south.

The Marlborough Theatre continue this festival and fringe to procure and provide an impressive breadth of queer+ and just plain odd talent to ensure there’s some serious alternate cabaret, quality music and theatre for Queers, poc, LGBT+, trans and non binary and even some  for us jaded old cis Queens to get excited about. Make sure you support them, because they support you!

For more info on this show see the website here:

 

 

Fringe REVIEW: Fix my Brain @The Warren

 

Fix My Brain

Two Surnames

The Warren

May 21

FIX my brain is fun and the boys have certainly done their work, they stay in character throughout, apart from when they poke some fun though their semi permeable fourth wall. The use of lighting to indicate flashback, or fantasy is fun and works well for visual jokes.

This pair has pedigree being ex-Presidents of the Footlights and at Brighton Fringe Dillon and Oli present their debut show all about friendship, depression and crushing existential dread.

There’s a lot of writing in this hour, the boys pack their jokes in and although the majority of them work the seriously rapid nature of the narrative doesn’t really give a lot of time for some of the jokes to settle. They are all delivered with the same deadpan dry delivery which again lets some of the quality jokes slip past some folk in the audience. A pity as a few of them are slow burners. It was difficult to tell if it was the amount of material they had to get though, first night nerves or intent to come across as busy and nerdy which stopped them taking a few well-judged moments of quiet to let the jokes spread out and do their stuff.

The lads drown in and draw on their own experiences of depression; sinking, gasping for air, then both doing perfectly choreographed mental synchronised swimming, it’s gloomy and daft. Their working in the Mental Health world also gives this show some serious traction in reality. They take time to appreciate the little things in life, and how they have failed to save them from despair

This pair are engaging as co-dependant saddo’s trapped in their existential despair while trying to be the fun lads they think they should be. It’s an interesting deconstruction on the comedy lad duet and I enjoyed their mucking about with masculine pressure and expectations, but it’s the tenderness at the heart of their on stage friendship which brings the best out of them. When they are trying hard to be seen not to be trying too hard or assuming away about the other lads feelings and feeding their self-absorbed neurosis then they are at their darkest and funniest.

Not scared to look at some darker subjects around mental health but also so deadpan that the depth is somehow given the same weight as a throwaway line, this apparently, deceptively simple comedy bromance had a lot going for it.

There’s a lot to like in Fix my Brain and the two gents who work hard to make us like them succeed, in spite of their delivery of nerdy downplaying and rucksacks full of insecurities. They are sweet, which must be a terrible thing to call a comedian, but that consideration for each other is pretty unique in a world of brash loud laddish comics and well worth a peek at.

Play until May 22

For full info on this show, click here:

REVIEW: The Prophetic Visions of Bethany Lewis @BOSCO

The Prophetic Visions of Bethany Lewis

Bosco Tent

Brighton Fringe

May 18

After a bang on the head from a tin of beans an ordinary puppet-woman becomes a world-renowned psychic after having some pretty crude and dark visions, she goes viral, becomes a huge TV and internet sensation then realising she’s trapped in a empty world of ego maniacs and drug fulled vanity projects fakes her way out of the mess.

A tale of deranged fans and A-list rivalries. Debauched parties, and an affair that shocked the nation. In this no-holds-barred exclusive, Purple Puppet Beth guides her audience through the secret world of fame, and the events that would change her life forever.

This is a fun, filthy, borderline manic show, full of silly soft multi coloured puppets who are foul mouthed but surprisingly caring for each other, like South Park and the Muppet’s had Moomin themed babies. The story is nuts, and goes off into all sorts of tangents, but follows the (self?) narrated story of Bethany as her fame grows and the impact of it does also.

It’s fast paced and  a cast of three actors manipulating 15 puppets dash up, down in and out to make the show work, with the odd very funny deconstructed bit of puppetry.  I laughed a lot, as did the very appreciative audience and filthy puppets seem to be very popular, and with this show it’s easy to see why.

The plush character are brassy, loud, feel real, and the clash of fantasy and reality work well, There’s plenty of social commentary in it, plus some searing critique on fame and seeking love in the world and some pretty funny jokes on current affairs.

All in all a good, funny and filthy night out with some characters that will stay with you. The Prophetic Visions of Bethany Lewis is a thoroughly squarky suidly show with a huge heart which allows these three cool puppeteers to tell a modern morality tale with a bouncy, punchy but essentially light touch.

Catch ’em if you can.

For full details of the show, click here:

REVIEW: Post @Marlborough Theatre

Post

at Marlborough Theatre

Brighton Fringe

It’s odd that a show so rooted in the Portuguese national identity doesn’t have a Portuguese title or that an event which presents itself as both a debate and interactive show is really, on closer examination, neither.

Xavier de Sousa, or Xá, as he prefers us to call him, and elicits from the audience as if it was our choice is a curious phenomena. An international queer migrant who’s show is about the nature of national identity,  each and almost every audience member is gently cross-examined with the same questions about where they live, why they live where they do and where they came from. It’s an easy way to demonstrate that we are all migrants of one sort or another, but we all journey to a place we can call home from a place that is called Home.

It feels like a profound moment, but I digress. We are invited in, to a Portugal kitchen, Xá is cooking away and doing so in a most engaging and absorbing way, he greets us and we sit in the audience then he starts to tell us about Portuguese Imperial history, deconstructing it, as one must these days, skipping over slavery and colonial exploitation, as he’ll be getting back to these later and giving us the idea of Portuguese Exceptionalism.

Xá then invites four carefully chosen people up to join him on stage, settled them to sit at his table and feeds them, literally with traditional food and figuratively with envelopes with questions about identity, nationality, Brexit, visibility, representation, and other themes. The people at the table then talk among themselves, and we had an amiable four this evening, none of them English, curiously enough, or perhaps through clever choosing by our host.

Xá sinks further back, asking the odd question, but never actually seeming to listen to the answer or to seem interested in it, just moving things along as it were, in this simple Portuguese lunch on stage. Eventually he sits back in the corner, with envelopes given to each person to ask questions and, we hope, stimulate conversation.

Lovely idea, but like all lovely ideas the best ones need careful execution and this one fails, not only on the host, who prides himself on being a careful and indulgent host, but also on the guests, who are not primed, not performers and find themselves having their own opinions and ideas of identity explored for our entertainment and edification. Then with abrupt suddenness, that’s it, we appear to run out of time, the lights dim, end.

Perhaps with a cool crowd of people, well versed in diversity and the language of inclusion this would work well, and well may have worked well in the past, this afternoon we had a very shy person, a person who was delightful and confident, a person perhaps with too little idea of their own privileged identity and a gent who was charming. They didn’t gel, nothing profound came of it, when there was a very interesting moment – a person saying they’d had more hassle for same-sex partnerships than over their identity or perceived racial identity – that wasn’t taken up or taken further, just left, like the cooked chouriço to linger on the table.

Post felt undelivered and underdeveloped to me, it’s not a new show, it’s been performed in one way or another for a while. Xá seemed very keen on sharing facts and also airing his own, perhaps unexplored prejudices. At one point he mentioned Brighton’s diversity is 25%, indeed Brighton  Councils’ own monitoring shows Black and minority ethnic populations to be just that, Xá seemed to think that this was a measurement of race and questioned the accuracy and also how little black representation there is in the city. I’d agree we have small black population and even less representation of it, but the minority ethnic population of Brighton & Hove is huge, just not black, but Jewish, Polish, Iberian, Turkish, Syrian, Irish I could go on…and our minority ethic populations have guided our history and show up in our street names, leading citizens, commerce, buildings and history, this subtle misunderstanding of monitoring of ethnic and racial statistics was fake news and undermined this show.

I left unimpressed. I had a glass of Cachaça, and it was nice to watch Xá lay the table and swirl around in his Vira skirt, he’s very softly spoken and engaging, but this is a hefty subject and we were promised much, I left uniformed and none the wiser. I don’t think I’ve ever left a Portuguese table feeling so hungry.

Uma oportunidade perdida. Não há coisa menos portuguesa que comer à frente de outros e não partilhar. É indelicado e em Portugal nunca se faz. Talvez seja uma meta-narrativa em que no palco se montou um simples almoço tradicional português, expressaram-se opiniões, enquanto que nós os outros tivemos de assistir, sem ter comida nem possibilidade de contribuir para a discussão. Em que formando uma mesa portuguesa, escolhendo os quatro e definindo a narrativa e as perguntas, Xá exclui o resto do público, e inteligentemente através dessa exclusão força-nos a sofrer o silêncio dos migrantes à mesa da “identidade nacional”?

Não se pescam trutas a bragas enxutas.

Plays May 30 & June 1

For full details of the show, click here:

Fringe REVIEW: A Berlin Kabaret! @The Warren

A Berlin Kabaret!

Blockhouse

The Warren

May 20

Brighton Fringe winner of Best Cabaret and Argus Angel awards, ‘A Berlin Kabaret’ returned with Sphinx  Theatre Company and they bill themselves as Lady Gaga meets Brecht in musical show of the 20th century avant-garde.

Overall this was a good show, although by its structure if felt like more of a musical than a cabaret.  This was a narrative musical, not a series of separate performers and a host, it was songs straight through with no dialogue or chat.  I’m not sure if I’d read the info wrongly or was just expecting more of a cabaret set up, however lets overlook that and get back to the strong points. There was a superb set of four singers and a brilliant pianist. Real mastery of the keyboard here, with a touch which allowed enough sentiment to creep through when necessary but then easily slide back down into the bombast and showmanship of this style of playing and music.  Capturing the political turmoil of the Weimar Republic, witty and rebellious, these songs still resonate powerfully.

The Blockhouse is a problematic venue for a cosy show like this, its horribly uncomfortable and cold, but the audience loved the show, leaning into the heft of the narrative and being very, very supportive. The comedy songs were very funny and the timing was spot on, this is obviously the strength of this troupe but the more earnest stuff was a little edgy and awkward.  It’s a difficult segue to make in cabaret, particular in character and this lent a kind of amateurish edge to it all, even thought clearly a lot of work went into it.

I left entertained but unsure, if I’d seen something meta-cabaret or not. As a montage of anti-war songs reflecting on the current refugee crisis, fragmentation of society, in the search for sanctuary and solidarity I think it overreached and missed its target. There was a lack of serious focus, but in the end what I did see was a superb group of singers, and excellent pianist and a show that worked more often than it didn’t and certainly left the audience laughing, happy and humming a few of the tunes on their way out in the heaving Warren nightlife.

….and that made me think, about the laughter and fun in the Weimar Republic and how the laughter and music grew louder as the storm clouds gathered, the darkness and shrill voices of hatred grew louder and  “mid this tumult Kubla and I heard from far. Ancestral voices prophesying war!”

For full details on this show. click here:

Today Saturday May 19: Bird la Bird’s Travelling Queer People’s History Show

To mark IDAHOBIT – International Day Against Homophobia, Transphobia and Biphobia (IDAHOBIT) – in the city this year, the Brighton & Hove City Council LGBT Workers Forum (BHCC LGBT WF) and Jubilee Library present this innovative and entertaining re-reading of Queer history.

Photo: Holly Revell
Photo: Holly Revell

BIRD la Bird is a queer femme performance artist whose work on reclaiming working class queer history has been created for and performed in some of the highest cultural institutions of the land.

Bird exposes museum foundations and founders in some raucous, provocative, intersectional, highly entertaining performances. Her show is somewhere between a comedy show and a lecture. You are not likely to ever see history like this on the television. This is a chronicle queer history with a rock and roll punk sensibility.

Film maker Campbell X is a big fan of Birdie’s work tweeting:
“(Bird) shows us how we have all been duped by elite colonizers: their only project was gaining wealth, breaking our ancestral queer, working class, and global POC minds”

Bird, the po-mo homo historiographer par excellence, has broken free of the museums and brought some of the best material together to tour around the UK and beyond.

Bird’s aim is to educate herself about the interlocking histories of homophobia, the British Empire, discrimination and class exploitation then share what she’s learnt with her audience in a fun, relevant and engaging way.

Photo: Bird la Bird as Tippi
Photo: Bird la Bird as Tippi

Birdie how do you keep an audience’s attention on history?
“Ha, I use laugh out loud comedy, high femme glamour and a working class point of view, it’s griping and entertaining. I take the usually stuffy format of a history lecture and transform it into relevant, informative and inclusive entertainment. With joyful panache I fling the doors of the queer past wide open bringing important historical information which is often glaringly overlooked into the open for all audiences, not just academics.

“It’s gripping, dark, shady, shocking, thrilling and raw emotional stories of Queer people, our stories, hidden away. My shows change the way audiences think about queer history and inspire curiosity to find out more. People love stories that talk to them about themselves, and these are hidden in plain sight, our Queer history, literally buried under our feet.”

We saw Going Down – Queer Convicts at Tate Britain and loved it, tell us where that came from?
“I used the decriminalisation of male homosexuality as a starting point and Millbank Prison which once stood on the site of Tate Britain and uncovered stories of the queer dispossessed working class. I also looked at the lives of queer convicts of the past and included present day LGBTQI asylum seekers being held by the British state in Victorian gaols once used to house convicts. I’m passionate about highlighting the interlocking forces of colonialism and homophobia. For example, last year we celebrated partial decriminalisation in the UK, but homophobic laws instated by the British empire are still law in 32 countries.”

You’re bringing your stunning show down to Brighton, what can folk expect to see?  My Travelling Queer People’s History Show is the history show you’ve always dreamed of. I take the audience on a startling journey underneath the foundations of some of Britain’s biggest galleries to uncover a history of queer prisoners, prisons and penal colonies. The story then follows the route of prisoners transported to Australia to trace the global and colonial story of convicts and transportation. Then for balance, I flip the focus and attention to the elite white colonialists responsible for anti-gay laws cutting them down to size using humour and historical material.”

And I heard there’s an after tea party?
“Yes there is! After a performance I want people to stay and talk, discuss and connect, to explore my ideas and enjoy the space. I’m delighted that our wonderful organisers will be treating us to the finest cakes in the city being served up to them – for free – with a nice cuppa too. We will indeed have our cake and eat it!

Photo: Bird beauty by Martin Le Santo Smith
Photo: Bird beauty by Martin Le Santo Smith

When, where, why and how much?
Bird la Bird’s Travelling Queer People’s History Show is at Jubilee Library on May 19 for a 2pm start. Thanks to the generous support of the BHCC LGBT WF the event is free to attend.

So go along, the library is a fully accessible venue, which is recognised for its excellent work on being LGBT+ friendly and inclusive to all, and the show will have life speech to text for deaf and hard of hearing people.

The performance lasts about 75 minutes with some time afterwards with lashings of free cake and bottomless tea, a friendly and cosy opportunity to discuss, debate and connect.

Bird la Bird’s Travelling Queer People’s History Show will celebrate IDAHOBIT in a positive way, bringing the focus back on to, queer working class people telling our loud proud stories, but also showing how we have been, and often still are silenced, hidden away and erased from our own cultural spaces and histories.

The Jubilee Library is a wheelchair accessible venue.

Twitter : @birdlabird


Event: Bird la Bird’s Travelling Queer People’s History Show

Where: Jubilee Library, Jubilee St, Brighton BN1 1GE

When: Saturday, May 19

Time: 2pm – 75 min duration – followed by tea and cake.

Cost: Free event everyone welcome

Festival REVIEW: XFRMR @The Spire

XFRMR

The Spire, Brighton Festival, May 18

VISUAL artist Robbie Thomson harnessed the power of the Tesla coil, the 19th century invention that first allowed people to see electricity spark under control and dance. A very loud throbbing  soundtrack with light touches of frobeat and ambient electronica by the artist on laptop and synthesiser  was blended with projected visuals and the discharged sparks from the Tesla coil, shooting sonic bombs and visual fireworks flaring through the Faraday cage that contains it.

Light fused with sound in this unique sensory phenomenon and it was certainly the oddest and weirdest thing I’ve seen in the Festival (or Fringe) this year.

The principle behind the Tesla coil is to achieve a phenomenon called resonance. Coil’s shoot current just at the right time to maximise the energy transferred into the secondary coil. Think of it as timing when to push someone on a swing in order to make it go as high as possible. The Team at the Spire have set up a Tesla coil in it’s very safe metal box (google Mr Faraday) with an adjustable rotary spark gap giving some control over the voltage of the current it produces. The coils can then create lightning displays and play music timed to bursts of current.

It’s certainly very cool, in a blacked out semi-decaying church filled with smoke and artfully playing lights it seemed cool too, but it failed to spark me. I really enjoyed the Tesla coil, more, much, much more of that please, it’s a thrilling thing to observe. The music failed to electrify and the projection detracted from the sparks themselves.

The Tesla Coil sat there, throbbing like some developmental dangerous God, an Old One angry and spitting the energy of destruction at us, and it felt like we were being led in to observe it’s humbling, with the cage always hinting at it’s destructive power, the power of life itself.

An excellent concept, in a superb venue which somehow is less than its parts, but again, astonishingly weird and it’s got to get some festival brownie points just for its close up views of the coils lightening-like plasma brush discharge!

Play until Sunday, May 20

The Spire

To book or for full details of the event, click here:

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