London Bubble
Warren has just reminded me of a long-running story that's just about to reach a head.
I guess the first time I saw the London Bubble must have been in the late 80s. Jonathan Petherbridge had just taken over and the whole company saw a gear change - the most obvious of which was the importation of his trademark promenade style for their annual summer production. There haven't been many I've missed since then. Some have hit the mark more squarely than others - The Arabian Nights, Shakespeare and Carroll have adapted to the format much better than, say Lords & Ladies, which left me, as a non-Pratchett-reader (though actually desperately sad for him just now) totally baffled, but in general the work was solid, thoughtful and, above all, entertaining.
As the years wore on and, dare I say it, Petherbridge seemed to be wearying of the much-loved format, he started to branch out with the subject matter. Out went Shakespeare and in came strange adaptations of obscure folk tales and interesting angles on classic works. Again, these were often a mixed bag, but Peth's bold style meant that they were never boring, always questioning - and to get that quality into a family show is an admirable thing.
I went whenever I could - for that very unpredicatbility - and for the quality of the acting, from the likes of Andy Serkis and the fabulous Linda Dobell. A great disappointment for me remains that I never saw The Dong With The Luminous Nose, which, after I read the Time Out review about "huffy spectators tutting, shouting and storming off" during the pre-show, I was desperate to see and still managed to miss.
I even enjoyed the panto they used to do at Greenwich Theatre every year, though I understand that Petherbridge detests the genre and did everything he could to subvert it. I adored Simon Thompson who used to play the dame, whose finest moment was his death scene as Cinderella's mother "I bequeath to you the script for the slop-scene..." (and the meerkats another year were inspired; acquaintances of mine still sing the song to this day) but if I'm honest the parting of ways a couple of years ago was probably for the best. Greenwich Theatre now has a team that love the traditional form, and Bubble, until very recently, have been happier over in Deptford, producing their own seasonal fare rather than trying to showhorn themselves into a format they didn't enjoy.
I am really sorry about the Arts Council's decision to pull funding for this company. I remember seeing a sniffy woman from the organisation on TV saying something along the lines of their not being innovative enough. I wonder whether that means that people actually enjoyed their stuff?
The Bubble are fighting back and we'll hear news soon. And I should add that Nick Raysford is, for once, actually doing something, lobbying the Arts Council. But if things continue as they are, their entire funding will be cut on 1 April.
Read about it here, and if you've ever enjoyed a Bubble show, drop them (or even better, The Arts Council) a line now to tell them so.
In the meanwhile, as the Olympic juggernaut gathers speed, we can expect to see a few more swingeing cuts and a few more victims in our artistic and cultural landscape.
I guess the first time I saw the London Bubble must have been in the late 80s. Jonathan Petherbridge had just taken over and the whole company saw a gear change - the most obvious of which was the importation of his trademark promenade style for their annual summer production. There haven't been many I've missed since then. Some have hit the mark more squarely than others - The Arabian Nights, Shakespeare and Carroll have adapted to the format much better than, say Lords & Ladies, which left me, as a non-Pratchett-reader (though actually desperately sad for him just now) totally baffled, but in general the work was solid, thoughtful and, above all, entertaining.
As the years wore on and, dare I say it, Petherbridge seemed to be wearying of the much-loved format, he started to branch out with the subject matter. Out went Shakespeare and in came strange adaptations of obscure folk tales and interesting angles on classic works. Again, these were often a mixed bag, but Peth's bold style meant that they were never boring, always questioning - and to get that quality into a family show is an admirable thing.
I went whenever I could - for that very unpredicatbility - and for the quality of the acting, from the likes of Andy Serkis and the fabulous Linda Dobell. A great disappointment for me remains that I never saw The Dong With The Luminous Nose, which, after I read the Time Out review about "huffy spectators tutting, shouting and storming off" during the pre-show, I was desperate to see and still managed to miss.
I even enjoyed the panto they used to do at Greenwich Theatre every year, though I understand that Petherbridge detests the genre and did everything he could to subvert it. I adored Simon Thompson who used to play the dame, whose finest moment was his death scene as Cinderella's mother "I bequeath to you the script for the slop-scene..." (and the meerkats another year were inspired; acquaintances of mine still sing the song to this day) but if I'm honest the parting of ways a couple of years ago was probably for the best. Greenwich Theatre now has a team that love the traditional form, and Bubble, until very recently, have been happier over in Deptford, producing their own seasonal fare rather than trying to showhorn themselves into a format they didn't enjoy.
I am really sorry about the Arts Council's decision to pull funding for this company. I remember seeing a sniffy woman from the organisation on TV saying something along the lines of their not being innovative enough. I wonder whether that means that people actually enjoyed their stuff?
The Bubble are fighting back and we'll hear news soon. And I should add that Nick Raysford is, for once, actually doing something, lobbying the Arts Council. But if things continue as they are, their entire funding will be cut on 1 April.
Read about it here, and if you've ever enjoyed a Bubble show, drop them (or even better, The Arts Council) a line now to tell them so.
In the meanwhile, as the Olympic juggernaut gathers speed, we can expect to see a few more swingeing cuts and a few more victims in our artistic and cultural landscape.
Labels: Art
posted by The Greenwich Phantom at
12:55
6 Comments:
Bubble are great - but watch out for the mosquitos
Re the Olympics- I'm sure there will be some ecxcellent additional entertainment provided around the Olympic period and loads of events in the lead in.
There will be bread and circusses for all. Speaking of Circus- my mates from No Fit State who operate out of Cardiff but tour throughout the UK and Europe are excellent (and no animals involved).
Just to correct one thing. I love pantomime, what I dislike are pantos that overlook the power of the story. The Bubble pantomimes were inspired by vaudeville routines (which I spent time watching footage of at the BFI), Willingdon village pantos and people like Wilson, Kepple and Betty. But up until the introduction of the TV celebrity, panto was a political and flexible form. We tried to hold on to that idea - throwing out the elements we felt weren't working and bringing in themes that were of contemporary interest (the hole that opened up on Blackheath hill). But thanks for the commentary.
Peth
Thanks for the correction Peth. I hear what you're saying - and yes, those hideous commerical pantos starring nonetities from Australian soap operas are vile - they certainly shouldn't be a child's first (and, for some, only) introduction to theatre.
What Bubble has always done, whether I've enjoyed a production overall or not, is challenged and entertained me and the large group of friends who get together for Bubble events.
I wish you all success with your challenge to the Arts Council. London would be a sadder place without the Bubble.
I've seen most of the bubble's wonderful park offerings since the superb alice of around 12 years ago which featured the rowing boat on the pond in the gardens at the top of the park. My absolute favourite was Gilgamesh in Oxlees wood. A warm night, the sun setting over london and a cast of 100's of locals ..it was pure magic and probably the finest theatrical production I have ever seen - certainly the one i enjoyed the most. The idea that there won't be any more is just too sad. Oh and hello to Gladys goes south i do hope you are enjoying oz but look forward to you returning to greenwich.
Peth, i so hope you succeeded in your fight with the arts council. unfortunately as you a i both know the funding system has always taken funding away from those projects that actually do the most within the community.
i hope the london bubble will run for many years to come. i was a member of the adult drama and stewarded on many outdoor productions.
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