Time was when August was a month when theatrically-inclined Londoners could catch their breath. Brave parents would wave goodbye to aspiring thespians at Kings Cross and with a song in
their hearts, a rucksack full of dreams and a hand filled with flyers, bright young things would flock north of the border ready to discover that the course of the Royal Mile never did run smooth.
The Camden Fringe, celebrating its 10th anniversary this year, rather adeptly stepped into the breach and offers what perhaps could best be described as the Fringe’s Fringe. Rather than have venues lie fallow in August, it offers a wide variety of performers a chance to test out new material without having to make the kind of financial commitment Edinburgh requires.
Footfall Theatre took the Edinburgh route last year and their show, Lear’s Daughters, sold out at the Fringe before getting a Christmas run at the Hope Theatre. It was a text that fit clearly with the newly formed theatre company’s mission to explore how to bring new life to the female voice in Shakespeare. This blog is a sucker for any attempt to do something innovative with Shakespeare (hence a joyous trip to mercurial avant-garde polyphonic Polish renditions of King Lear) and so this philosophy instantly attracted me to Arden Creatures, performed at the Cockpit Theatre as part of the Fringe.