INTO the second week and the Festival is careening along nicely.
As gamekeeper turned poacher, as one witty soul once described the fact that I work in both media and theatre production, I get a fairly unique insight into the machinations of the Fringe.
Right now, leaving me completely bemused is the number of companies in the Capital with out any press images, a basic requirement you might think. And you’d be right.
The stand-ups know this. Ask for an image and you’re guaranteed a selection, all neatly stored in Dropbox just waiting to be dropped onto the page.
The most frustrating moment comes when a reviewer discovers a hidden gem and there’s no image to illustrate the review. After all, a picture can paint a thousand words.
Actually, it doesn’t always. The Fringe tends to bring out the ‘artistic’ nature in many and that can be reflect ed in publicity shots; tight cropped faces are a favourite, as are lacklustre sepia images, which don’t so much scream of the ageing process than lack of imagination. Black and white too - suddenly monochrome is trendy again and usually unusable. There are few truly stunning black and white images, and they’re usually the work of seasoned photographers.
And then there are the reviews. The ultimate marketing tool, which is all they are really. One person’s opinion counts for very little during the Fringe, unless that person has a byline you trust.
That doesn’t stop the office phone ringing constantly. Although, there was a company a couple of years ago that will take some beating.
“Is my review in yet?” they asked.Catching me on a good day, I replied it was indeed in that very day.
“Is it a good one?”
“Can you read it down the phone to us..?”
“No, buy a paper”.
You have to laugh but then God loves a trier. Now there’s a title for a Fringe play.