Couple of comments.
I’ve seen Luke at Ed. Fringe shows, poetry festivals, on his tours and in 50-80 seater pubs for one-off bookings. The tour (400+ seats in the theatre) and his main show at the fringe (again in the hundreds) were good and professional, but only showed a “stage” personality, interaction was scripted in. The ensemble show in Edinburgh and the one-off booking, both in smallish venues, are where he shone and interacted more naturally with the audience, which is a big strength for him.
Your review on Joseph J Clarke is perhaps a little harsh, one would expect attendees at an “Arts” festival not to always need to “be” entertained. I suspect that, as a relatively “unknown poet” about to put on a “spoken word” show at a big arts festival you might find this review coming back to bite you on the bum?.
An interesting approach to the review might have been to compare JJC’s position to your own and to have considered the learning points you might take away from it for your upcoming show. Have you scripted your own between poem patter? Is it as entertaining as it should be? Have you considered whether the poetry has the maximum inbuilt audience potential? Does it need to? What is the nature of the contract between poet and audience, is it fulfilled? are all questions you could have mooted to give maximum audience satisfaction from the review.?
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gajwriter@btinternet.com
Sat 2nd Jun 2018 15:02
Couple of comments.
I’ve seen Luke at Ed. Fringe shows, poetry festivals, on his tours and in 50-80 seater pubs for one-off bookings. The tour (400+ seats in the theatre) and his main show at the fringe (again in the hundreds) were good and professional, but only showed a “stage” personality, interaction was scripted in. The ensemble show in Edinburgh and the one-off booking, both in smallish venues, are where he shone and interacted more naturally with the audience, which is a big strength for him.
Your review on Joseph J Clarke is perhaps a little harsh, one would expect attendees at an “Arts” festival not to always need to “be” entertained. I suspect that, as a relatively “unknown poet” about to put on a “spoken word” show at a big arts festival you might find this review coming back to bite you on the bum?.
An interesting approach to the review might have been to compare JJC’s position to your own and to have considered the learning points you might take away from it for your upcoming show. Have you scripted your own between poem patter? Is it as entertaining as it should be? Have you considered whether the poetry has the maximum inbuilt audience potential? Does it need to? What is the nature of the contract between poet and audience, is it fulfilled? are all questions you could have mooted to give maximum audience satisfaction from the review.?
Comment is about Editor's Review: Spoken Word at Brighton Fringe (article)
Original item by Mike Took