West End Festival

Article by Gareth K Vile | 22 May 2008

After Glasgow International, The National Review of Live Art, New Territories and The Arches Festival Theatre, Glasgow seems intent on challenging Edinburgh’s status as ‘the festival city’. From the 13th until the 29th of June, The West End takes up the baton with a range of theatrical, literary, artistic and musical events following a 2007 programme that attracted over one hundred thousand visitors.

Unlike the other festivals, The West End Festival doesn’t concentrate on a single art form- nearly four hundred events span everything from flamenco through to live gigs. Festival Director Michael Dale explains that this is part of the Festival’s nature. “It’s a bit like the fringe: some of these companies are promoting themselves. This is its thirteenth year and it expands every year, gradually. I was counting the number of actual events and I made it three hundred and seventy-something. Frankly, I could put on another hundred acts who applied, but we don’t have the space to put them on.”

Workshops are as prominent as performances, with many events involving trained performers in the community. It is a mixed bag- the high end of art is well represented with companies from America and Europe bringing acclaimed productions, while the burgeoning Glasgow scene is fairly represented. Local companies- notably Student Theatre at Glasgow and Dance with Attitude- are included alongside Shakespeare’s Globe and the Cornish Sinfonia. The emphasis is on inclusion- a spirit that has informed the Festival since its beginnings, as Dale reveals.

“I started the Shakespeare in the Botanic gardens, which is now called Bard in the Botanics. The idea was to make theatre accessible and immediate. When we started it, it was free. Then I realised how difficult it is to invite yourself to a festival: but it is the only way to learn, by putting on the plays. Which is why the Edinburgh Fringe has been so important, to give people a chance to try stuff out. I have so many people approaching me- if we had more venues, I’d try to put them on. I am trying to give a platform not only to the established acts.”

This approach expresses itself in the range of drama- plenty of Shakespeare, the extension of Oran Mor’s Play, Pint and a Play season and the occasional more challenging product. Another problem is the nature of the West End- as Dale points out, “It is not well served for venues.” His response to this, however, is imaginative.

“I was looking to produce other outdoor theatre- we have the Globe Theatre back again- they had a very good time last year. We have got Theatre Found who performed outside the art gallery last year: they are presenting Antigone in New York which ties in with our theme of Refugees.”

Ever optimistic about Glasgow’s early summer, there are three outdoor productions: Antigone in New York will be staged in Kelvingrove, alongside the perennial Bard in the Botanics- this year, they kick off their season with The Merchant of Venice. London’s Globe is reviving its 2006 production of The Winter’s Tale at the university (17-22 June).

Dance fans are well served: Jack Lansley performs Standing Stones in St Mary’s Cathedral (25th June), while Cuban, Flamenco, Belly and Latin dance all have both classes and shows. Internationalist in flavour, the programme encourages participation, with live shows often ending in late night parties.

One highlight must be Gilmore Productions reprising their recent success The Blank Album- only this time in collaboration with Maryhill Integration Network. On June 14th, a day long workshop will give dancers and non-dancers the opportunity to learn some of the movements from the piece, as well as the processes used to develop the choreography. The Blank Album is based around a stunning conceit- combining contemporary dance with the attitude of a rock band- and certainly stands as one of the most accessible shows from the latest crop of Glaswegian companies. Natasha Gilmore is a talented choreographer who has often engaged local communities through her workshops: she is developing both a singular style and a more than token nod to inclusion.

The most controversial entrant will be Michael Dale’s first ever play for dogs- Who Stole My Sausage?
“It had to be about food,” he admits. “It is the only thing that dogs are really interested in.” Running at about fifteen minutes, humans are only allowed to watch if they are accompanied by a dog.

The West End Festival has built up a steady presence, and its own identity. Less wild or specific than the other Glaswegian events, it shares a spirit with The Edinburgh Fringe. Performers promote themselves, unusual ideas and unusual venues are forced into action, but there is plenty for the casual theatre goer to enjoy.

http://www.westendfestival.co.uk/