Friday 2nd until Saturday 17th July 2010 @ Bristol Old Vic, Bristol

For the past two weeks, Bristol Old Vic has hosted a selection of plays, poems and performances in different parts of the building. The shows are all at the beginnings of production, therefore devoid of the usual paraphernalia and rather stapled scripts are clutched and stage directions, read aloud. In some cases the shows are just an idea being tested and further considered with a group of people, i.e. the audience. The concept is that by seeing this ultra fresh, new theatre, created by some of the finest and newest writers, actors, dancers, musicians, poets, puppeteers, directors and producers, vital feedback will be gained for the prosperous future of the performance. With every show packed, there was an eagerness to see what no one else has seen before.

The support was impressive; it was excellent to observe such a desire to nurture theatrical experiments and developments. The diversity of the performances on offer was extensive and the openness of the performances to debate and feedback was both admirable and enjoyable. If it’s very good, a read through of a play is raw and shaky. Not for the actors necessarily (gah!) but for its maiden audience. If by merely reading through the lines, without props, costumes and direction, it conjures up great thoughts, opinions and drama, it must be potentially something special.

Highlights of this season’s Ferment included Betwixt And Between, a Gothic play set in the 1880s. The tale focuses on desperation, madness and separation, told chillingly by a flock of birds. It will certainly be fascinating to watch as a full performance, it has the potential to leave audiences totally awe-inspired and deep in thought. Another highlight was the fabulous Magician’s Desk, a free installation by the Mercurial Wrestler. It is a single person affair and involves being taken down into the depths of the Bristol Old Vic. There follows a series of quests for you to complete (like a Victorian Crystal Maze), involving magic and illusion. ‘The voice’ talks to you, whilst the tasks and props play on your imagination, fear and intrigue, as you find yourself ‘oooing and wowing’ pottering about the little, musty room.

One Hundred Percent Happy was another prime specimen of potential. It hauled up huge emotion, empathy and positivity. It is certainly within the ‘watch this space arena’. Far Way Back also displayed some future star talent, although needs polishing and further character development, this would help the audience form more of an attachment to the characters and their individual plights.

Bristol Ferment allows a close relationship between the audience and performance makers, which is fantastic for new theatre action. It also encourages people to think about why they come to their conclusions. Every audience member understands what is before them in their own way, which is why it is so important that there is feedback, as points can be easily missed and tiny sparks of greatness can be lost.

www.bristololdvic.org.uk

Helen Martin