How to Talk to the Dead - Lower

How to Talk to the Dead - Lower

Postby ashpryce » 07 Sep 2016, 19:27

SECTION ONE: THE VENUE

The building, location and space:
Silk Nightclub is a fairly well located space, reading through last years show reports you’d think it was all the way out in Balerno. It certainly isn’t the closest of the venues, but it isn’t hard to direct people to. Put a map on your flyer and you’re golden. It is also a functioning nightclub at weekends, however this didn’t have any real impact on shows being able to run late. One act did mention that the noise of the nightclub above did affect them so maybe for next year having shows finish by 10pm would remove this problem.

The Lower room is a pretty nice space to perform in, but good lighting is a must so future groups are advised to secure some. We used four table lamps, maybe six would have been better, but they still did the job. The room comfortably sat 30 people in fold out chairs and another 15 or so on stools, with side seating and standing room allowing for maybe another 20 people.

The entrance to the building is clearly marked, though for next year better signage is suggested as many people didn’t know where they were going and constantly wandered in to the Lower room when looking for acts in Middle and Upper.

Staff:
I personally had very little interaction with staff after the first day of the get in. Those interactions were brief but easy and the staff- particularly Mhairi- were helpful and quick to provide answers.

Storage:
this is limited. Items were able to be stored on site between Sunday and Wednesday, however Thurs-sat the club was open meaning that the store room reverted to its primary function as cloak room. It meant acts regularly had to take large props away with them. If you are given this venue and your show is prop heavy- think about how essential all the items are and how you can scale down their number and size. Fliers were able to be delivered to and stored at the venue.

Conclusion:
No issues with space or staff that would warrant reconsideration of the venue. In fact, the staff were generally very, very helpful, providing information needed as and when it was required. I would certainly recommend this space is kept if it can be, and future acts will find it a pretty good space for almost any live performance work.

SECTION TWO: MY SHOW

General: How to Talk to the Dead is and always has been something of a niche show. When the audience loves it they really love it, but considering it’s theme it isn’t for everyone. And it is always important to remember not everyone loves your show.

We decided at the get in to make a slight alteration to the show and remove the projection aspect, replacing it with large images blu-tacked to the wall. This actually worked better as it created more of an idea of a set, but some images could have been bigger.

There were many positive responses, some declaring it the best show they’d seen all Fringe, which is always nice to hear. There were occasional problems, on a couple of occasions audience members intentionally screwed up routines, but this happens on occasion and there is little you can do but roll with it. The show also acted as marketing for my other show, and many people came to both so clearly enjoyed what I was doing.

It’s not an easy show to sell- Ouija Boards are still very frightening to many people, and as around two thirds of the population believe in ghosts, not everyone wants to experience even staged elements of séances. But generally it was well received and a lot of people enjoyed it so I’m happy.

Audience sizes: These varied and we had our smallest audience of around 7, our largest into the 30s. But we tended to be around the mid teens.

Takings: these averaged about £2 a head
ashpryce
 
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