The road to Brighton (and beyond) has been a long one … and relatively slow, with lots of twists, turns, the odd blank road-sign and a surprisingly large amount of rain. For those who know nothing about our production of The Sagas of Noggin the Nog here is a bit of history; for those who do, a recap.
In the lands of the North, where the black rocks stand guard against the cold sea, in the dark night that is very long … Tony Gleave and Clive Holland sat and plotted. They talked of producing a piece of theatre that was genuinely for families, indeed, genuinely for the old and the young and everyone in between. Earlier in the day they had wandered along the beach in Margate and had become excited by the mention of Noggin the Nog. And now, with the odd bottle of beer and a salty snack, they talked long into the night.
A Noggin Note: The Sagas of Noggin the Nog was an iconic television series that began in the 1950s by Peter Firmin and Oliver Postgate (Bagpuss, The Clangers, Ivor the Engine, etc); it was shown on the BBC.
As the beer evaporated and the talk became more animated … they began to plot and plan. They met up with Peter Firmin and Dan Postgate (son of Oliver) and asked if they could have the rights to produce a play: yes … oh joy! They were fortunate to receive a small grant from Arts Council England and collected a coterie of creative people … designers, directors, puppeteers, musicians, actors and put them all in a room at the same time. This they called “The Research and Development Stage”. They spent almost two weeks getting nowhere … and a couple of days working out what they should have been doing in the days when they were getting nowhere.
By the end of “The Research and Development Stage” they had a good idea of how they were going to make the play. And so, some months later, with a two week run at The New Diorama, London, planned, and a short tour organised, “The Research and Development Stage” became “The Rehearsal stage”.
During “The Rehearsal Stage” puppets were designed and built, costumes created, music and songs written, video of the original films of Firmin and Postgate was created, a script developed and, eventually, a piece of theatre called “The Sagas of Noggin the Nog” was born. Oh, how happy they all were. A two week run at The New Diorama, was followed with a short tour of theatres large and arts centres small.
They bought an old ambulance to tour around the country like the travelling players of yore; it was very quickly renamed “The Nogbulance” (more of this later). They travelled north, south, east and west. They drank dreadful and outrageously expensive coffee, they had more curries than was wise, they slept in hard beds, soft beds, beds that were too small, beds that were as big as Wembley Stadium, they drank beer of every region and … they performed “The Play” to thousands of people young and old and everything in between. The tour was deemed, by all and sundry, a huge success. Venues loved it, audiences loved it, the media loved it, we loved it but … by the end of the tour and despite “The Play” being highly regarded, their bank account stood at forty-three pounds twenty-seven! “The Touring Stage” is terribly expensive and despite brilliant audience numbers (most venues sold out), they struggled to make it pay.
All went quiet for a while. This they called “The Quiet Stage”. Tony Gleave and Clive Holland sat long into the night and ummed and aahed. They knew that the play was good. They knew that people wanted to see it. They knew that there must be a way to make it a viable proposition. They drank more beer. They ate more salty snacks. They went for a curry. They became quite depressed. They worked on other projects. Then … one day, Tony Gleave said to Clive Holland, “Why don’t we take it to the Edinburgh Festival?”
“Because it is terribly expensive and we only have forty-three pounds twenty-seven.”
“Yes … but we do have credit cards!”
Thus began the “We Have Found a Whole New Way to Lose Money Stage” otherwise known as the “Edinburgh Festival Stage Stage”.
They found a venue. They filled in the forms. They re-created the play to fit into a one hour slot. They had thousands of fliers and posters printed. They found somewhere to stay. They ran a Kickstarter campaign to raise money. They went to Edinburgh. The first two days were beautiful sunshine. They had been lulled into a false sense of security. The rest of the month it rained. It was windy. And it rained. And it was cold. And it rained. And their venue was a tent! A beautiful theatre tent. A tent with a wooden floor. A tent with wooden walls. A tent with a canvas roof!
They had arrived to discover that one of their boxes of leaflets had … disappeared, that their digs were not as large or as plush as they had been led to believe. They were happy though because they were at the “Edinburgh Festival Stage Stage” … and then the rain came.
As we are almost as far from Brighton as we can be and yet still be in the UK, there will be another post to continue the story. The next part of this post shall be intelligently called “Zooming Towards Brighton … Slowly! Part 2” and will appear soon … do pop back!