“The Town and Gown, set to open in 2020, is a unique and must try experience in Cambridge open from early ’til late. The name derives from the two distinct communities of any university town, the local population and the university dwelling community and the ever improving relationship between them. Our Town and Gown is a space for both to meet, drink, eat and revel.
The Theatre is a revival of the building’s history former Arts Cinema from 1933 trading as the Cosmopolitan Cinema. Our Black Box Theatre located on the top floor of the venue is a wonderfully intimate fringe theatre with an abundance of shows and experiences from the moment we open the doors.
From solo brunching to party nibbling, casual dining to dirty dancing – locally brewed beers and spirits to handmade cocktails, black box theatre to DJ’s, traditional piano playing for intimate dinners to live bands to party with!”
“I wanted to tackle this belief that everyone seems to have an excuse for their behaviour these days, rather than accepting that sometimes their are no excuses.”
WHO: Eddy Brimson: Actor/writer/producer
WHAT:“Acclaimed writer and comedian Eddy Brimson presents his debut play Naughty Boy to the theatre in this brand new stage adaptation. This one-man play brings Brimson’s natural wit into the darkly hedonistic world of Joe, a mysteriously complicated character whose life is full of twists and turns, violence and compassion, lies, and reality. All of which exposes some uncomfortable questions about both responsibility, and truth.”
For me Cambridge means football away days and having the laces taken out of my boots by the police. Strawberry Fair (What I can remember of it), and dying on my arse here at the start of my comedy career…. And the Cambridge Folk Festival as my old man played it year after year. I loved it.
Tell us about your show.
Well don’t bring the kids as it is a bit full on. I first performed the play at the Edinburgh Festival in 2019 and the reviews exceeded all expectations. My main focus was on the writing. In the play I take you from mental institution to a hedonistic weekend away full of sex drugs and violence. The piece looks at nature nurture, them and us and mental health. I wanted to tackle this belief that everyone seems to have an excuse for their behaviour these days, rather than accepting that sometimes their are no excuses. The play also looks into love, loyalty, identity and the role of class in society. I’m very proud of how it has turned out, and the fact that people are left with as many questions as the piece provides answers.
What kind of art makes you ‘Get Your Coat On’ and go see it?
I love all forms of art. I am a comedian by trade, and although I am pretty scripted I love the absurd. But I also love to see art that pushes a message, be it in print or on stage. Music seems to have lost it’s way since the days of punk and ska, but bands such as The Newtown Aces are starting to use music to get people thinking again.
You’re the age you are now. What’s the one thing you wish you could tell your younger self? What’s the one thing you’d like your older self to remember about you now?
Ha … Loyalty is all well and good, but if you are going to devote your life to one thing then pick Barcelona rather than Watford Football Club. I would tell my younger self to always carry a spare pair of jeans and wet wipes in the car … Which is the same thing I’d tell my older self to remember, but maybe double up on it once you pass 45.
I would also tell anyone of any age that creativity never stops. And we are here to create.
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“The student drama scene hugely influenced my choice of career. I made lifelong friends. And sank enough ale to flood Parker’s Piece.”
WHO: Mark Farrelly, Writer / Performer / Producer
WHAT:“Fresh from its Off-Broadway debut and milestone 100th performance, Mark Farrelly’s hugely acclaimed solo comes to the Town and Gown Theatre.
From a conventional upbringing to global notoriety via The Naked Civil Servant, Quentin Crisp was one of the most memorable figures of the twentieth century. Openly gay as early as the 1930s, Quentin spent decades being beaten up on London’s streets for his refusal to be anything less than himself. His courage, and the philosophy that evolved from those experiences, inspire to the present day.
Naked Hope depicts Quentin at two phases of his extraordinary life: alone in his Chelsea flat in the 1960s, certain that life has passed him by, and thirty years later, giving a performance of his one man show An Evening with Quentin Crisp in New York. Packed with witty gems on everything from cleaning (“Don’t bother – after the first four years the dirt won’t get any worse”) to marriage (“Is there life after marriage? The answer is no”), Naked Hope is a glorious, uplifting celebration of the urgent necessity to be your true self.
Mark Farrelly’s West End credits include Who’s Afraid of Virginia Woolf? opposite Matthew Kelly. He is directed by EastEnders star Linda Marlowe (Berkoff’s Women).”
I studied English Literature at Jesus College in the late nineties. I’ve always found Cambridge magical. It took me three attempts to get accepted. So once I arrived, I was on a mission to make the most of it. The student drama scene hugely influenced my choice of career. I made lifelong friends. And sank enough ale to flood Parker’s Piece. I was so happy there that when I returned to Civvy Street in 2001, I found it very hard to cope, and spiralled into depression. Ordinary life seemed so aggressively mundane. But I have no regrets about overdosing at the Fountain of Pleasure. It was a heady, life-affirming privilege.
Tell us about your show.
The show, which I wrote, is a salute to the courage of the individual to be themselves. Quentin Crisp wittily and bravely emphasised his flamboyant gayness at a time when it was illegal. That’s an extraordinary thing to look back on from the vantage of 2021. But the show is also a timely nudge in the ribs for anybody who may be slipping into conformity and not letting their sparkly, dangerous genius shine before it’s too late.
The first night at The Town and Gown will be the 125th performance. It delights me how much hunger there is for Quentin’s message of hope, his determination to meet adversity with what he calls “laughter in the dark”.
What kind of art makes you ‘Get Your Coat On’ and go see it?
I have a passion for solo work, because of its immediacy and intensity. Sarah-Louise Young, and her amazing “An Evening Without Kate Bush”, are quite something. She is directing my next solo, about Derek Jarman, which debuts at The Town and Gown in August.
But I can’t lie…I go to the theatre infrequently. I much prefer sitting on my sofa, drinking Puligny-Montrachet and dreaming up ideas for new pieces. Going to the theatre can feel a bit like a busman’s holiday for me…I’m performing so often that I like a break from it whenever possible.
You’re the age you are now. What’s the one thing you wish you could tell your younger self? What’s the one thing you’d like your older self to remember about you now?
To younger self: you will survive. You will weather the storms of rejection, depression and suicidal impulse, and one day your hot, furious little ego will find its quietus and the true you will arise. Nothing will be wasted, nothing forgotten, and everything will come when the timing is deliciously, inexplicably right.
To older self: you were living, breathing, feeling your dream day after day.
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“The play explores the ‘us vs them’ mentality of the class divide, and the politicisation of vigilante activists. We look at the feeling of restlessness in the working classes in a time where class divisions are widening, the poor are getting poorer, and Brexit threatens to tear the country apart.”
WHO:Sam Edmunds, Co-Director & Co-Producer
WHAT:“A town is in turmoil. A hospital is closing. And an MP is dead on the train tracks… Accident? Or opportunity?
When a local hospital announces its closure, panic ensues. Healthcare Assistant Rhea is forced to look for work elsewhere. Local lad Aaron worries about his mum’s treatment in the cancer unit. And Curtis just isn’t sure where he’s going to sleep. But when the three witness a horrific accident, a rare opportunity presents itself. As a dangerous decision triggers a wild chain of events, Rhea, Aaron and Curtis soon find themselves gathering power, influence and infamy – and inspiring a cohort of vigilante activists. What does it take to enact real change? And what would you sacrifice to keep it?”
Bringing The Nobodies to Cambridge will actually be my first time visiting! I have heard lots of wonderful things however and I am really excited to explore the city and take in its amazing architecture and culture. I’m also really excited by the theatre scene in Cambridge, which is renown for producing incredible artists. I hope during my time there I can meet some likeminded creatives and learn more about the arts scene in the city. Having spoken about Cambridge to Karl from The Town & Gown, I was thrilled to hear that the city is actively engaging in local politics and that there is a buzz in younger people especially to implement change within their local community. That is really what The Nobodies is about and I’m sure it will resonate with those who come to see it.
Tell us about your show.
The Nobodies is written by award-winning playwright and screenwriter Amy Guyler. Amy is a regular writer for East Enders and recently was voted top of the Brit List for ‘The Jude Problem’. It stars David Angland (I Like The Way You Move– Frantic Assembly), Joseph Reed (The Wipers Times – Arts Theatre & UK Tour) and Lucy Simpson (The Happy Warrior – Harrogate Theatre). The creative team consists of many different professionals including Sound Designer Mekel Edwards who was the previous production manager on the New York & UK Tour of The Babershop Chronicles by The National Theatre. It is produced by Chalk Line Theatre company who are a multi-award-winning company based in Luton who tour work both nationally and internationally. Chalk Line are an Associate Company of The Lion and Unicorn Theatre, as well as a Graduate Emerging Company of The New Diorama. The company is run by Co-Artistic Directors Sam Edmunds and Vikesh Godhwani.
The Nobodies first premiered at The Vault Festival where it received the COMMON Award 2020 presented by COMMON and The Pleasance Theatre. It performed to great critical acclaim receiving multiple 5* and 4* star reviews as well as being one of Lyn Gardner’s Top Picks for the festival, a British Theatre Recommended Show and one of A Younger Theatre’s Top Shows of 2020. It is now embarking on a UK summer tour and is published with Salamander Street Publishing.
The play explores the ‘us vs them’ mentality of the class divide, and the politicisation of vigilante activists. We look at the feeling of restlessness in the working classes in a time where class divisions are widening, the poor are getting poorer, and Brexit threatens to tear the country apart. Fuelled by the ‘taking back the power’ mantra, the play capitalises on the need for action for those feeling impotent in the current political climate.
Writer Guyler said, ‘The Nobodies follows three characters who – initially, at least – just want to make the world a better place. They want to help their own community. I think we all know what that feels like in today’s climate. I was tired of working-class stories being doom and gloom. This is a new version of our story – a version where we win. …Almost. ‘
In a time where political and social unrest is in abundance, The Nobodies aims to inspire communities to speak up against systems which do not represent them and to take action to provoke change, (no matter how small or large that action or change may be).
What kind of art makes you ‘Get Your Coat On’ and go see it?
I am a huge fan of contemporary work which tackles socio-political issues. Some of my favourite plays include: Good Dog by Arinze Kene and The Angry Brigade by James Graham. I like theatre which amplifies narratives of underrepresented communities, telling stories which do not often get given the platform they deserve. I like bold, visually striking work, often combining physical expression and intricate designs to compliment the text. Rhum & Clay’s recent production of Mistero Buffo was an exemplary piece of theatre which uses all the styles of theatre I love. I’m more a festival, off-west goer than West End theatre.
I love going to The Vault Festival in London or up to The Edinburgh Fringe Festival, where people really create new, challenging work, pushing the expectations of what theatre can be. I also love venues such as the The New Diorama, The Pleasance and Soho and companies like Gecko and Complicite. My taste in theatre isn’t too specific or fussy however, I like experiencing a multitude of work, engaging with lots of different genres.
You’re the age you are now. What’s the one thing you wish you could tell your younger self? What’s the one thing you’d like your older self to remember about you now?
I would tell myself that believe it or not, you are going to grow up and make theatre haha! No my advice would be, to take risks, have fun, don’t be afraid of being silly and try not to compare yourself to others, your journey will be hugely different to everyone else’s.
I’d like my older self to remember how hard I worked to keep making theatre and all the amazing memories I made with all of the incredible artists I worked with.
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Get Your Coats On 