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Final words from 2018...

2018's Hat Fair was fundamentally one of change - with Sunday's events being based in North Walls recreation ground for the first time, it was always going to be a different experience than years before. The new, larger site allowed for a shift in schedule for the majority of major performances to take place on the festival's final day, rather than a heavier Friday night as it had been previously. On Friday, I was lucky enough to have a relatively leisurely beginning to my weekend of reporting, due to the aforementioned timetable shuffling. We attended the performance of the night's headliner, Block, the company’s brilliance signifying the excitement of the events to come. Their integrated use of huge foam bricks in the performance, coloured grey to evoke a brustalist aesthetic, both fitting and in contrast to the dancers - sometimes alien, sometimes beautiful. A video response was produced immediately after this performance by the Young Critics team, utterly in public; we were thrown headfirst into the skills which would be required of us in the days to come, of thinking on our feet, evaluating performances across multiple levels, and being willing to question forms we may have previously been unfamiliar with. This introduction boded well for a weekend of hard work and excellent fun. The following day’s events were based around the city, in which many of Winchester's already iconic sites and landmarks gained a bohemian edge, with artists and performers intertwined into the spaces. Among all attendees there was the hum of anticipation, as the next exciting venture was to be found round the corner - who knew which space would be transformed next? I adored my time spent on Saturday, as I was able to experience pleasures brought both by the Hat Fair and the wonderful local businesses already sported by the city. As I wandered, often without any particular aim, iced coffee in hand - truly living the life - I was able to constantly stumble into any kind of surprising environment. From the charm and magic of Able Mable to the incredible ability of Company Chameleon, in each nook and cranny was to be found a unique experience. The final day began early, as I wanted to have a poke around the reinvented festival field, and what a difference the changed setting made! North Walls is a much larger site than Oram’s Arbour, used prior, as well as being more out of the way; as a result the day was reminiscent of a music festival. Stalls were positioned on all sides, with two stages for dance and local musicians, allowing for a wide variety of acts in a fully immersive experience. Under the sun's vaguely oppressive heat, there was nothing I desired more on Sunday than a place to escape, to get some shade. North Walls’ only option for this lies along the shaded sides of river, which were fully packed by midday - in future hopefully some more allowances can exist to avoid the risk of sun damage. Overall however, the flatter ground allowed for large scale performances - including such spectacles as The Forgotten Crafts of Paris - alongside providing sufficient tumbling room for George Orange and his slackline moon. All in all, I had a wonderful weekend, both as a guest of the Hat Fair and as a young person with the opportunity to report on such an event, surrounded by excellent people. Thanks, all. 

by Flora Pick

Image: Hat Fair, depicts George Orange

[youngcritics-hatfair]

Reflections on the weekend...

I have lived in Winchester for almost thirteen of the twenty one years of my life. I love this city. It's small, but rich with history and beauty everywhere about it. I have never been to another city or town like it or, at least, one that gives me the feeling Winchester does.

The Hat Fair festival is something this city offers that other places don’t. Not in the way Winchester does at least. This year, the Hat Fair ran from Friday 29th June to Sunday 1stJuly. The Sunday marked the first time the Hat Fair was held in North Walls recreation ground.

I attended my first act at the Hat Fair on Friday, in the evening. Although I shouldn't have been, I was surprised at how many people were still in town at this time and how many acts were still going on. While I have been to the Hat Fair many times during my time in Winchester, I have never actually sought out acts to see before. Usually I'm with my family, and they prefer to look at the market stalls than visit the acts, so this was new for me. I only saw one act that day (Block) but it was a good show and was thought-provoking throughout. That seems to be the general sentiment I had for the other shows I saw.

Saturday was my busiest day at the Hat Fair. With five acts that day, I had to walk all over the city to find them all. I like that though, as it made me feel more connected to the city by having to walk around and it gave me the chance to observe more acts in passing as I walked around. As long as I had enough suncream on my skin, a hat on my head and water in my bottle, I could thoroughly enjoy the Hat Fair on that incredibly hot day. Walking to different locations across the city also helped me to appreciate just how varied the acts are, and to see how the performers were responding to their individual environments.

Having the Hat Fair at North Walls on Sunday was an interesting change. For the first time, most of the acts (if not all, at least for some part of the day) were all in one large space. From an organisation point of view, this makes a lot of sense. People with young children don't have to worry about them being bored as they are taken from place to place to see acts as they would have the previous day. At North Walls, everything is right there.

For me personally, I think that this takes away part of the Hat Fair's charm. While I understand that parents may prefer this easier access to all the Hat Fair, I loved experiencing the city alongside the acts. It was interesting to see how many people were willing to walk to a certain place in town to see a specific show. With North Walls, it felt to me like people sort of fell into seeing acts because they were nearby. That may have gained the experience of seeing a show they hadn't planned to this way however, which is a positive effect.

The 2018 Hat Fair allowed me to experience for the first time just how much this annual event has to offer. I saw a strongman from Canada, an evolving turtle puppet show, a hip-hop battle between a biker and a dancer, a giant inflatable slug and more. I think the experience you have with it depends on the day you visit and how you respond to that. I now know which parts of this event make me happy, and I looking forward to seeing how they are handled next year.

by Caitlin Sanderson

Image: NoFit State & Motionhouse

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Wrapping it up...

2018's Hat Fair has been a unique experience for me. It's been an eventful weekend during which I've seen a number of weird and wonderful acts. With the summer sunshine and welcoming atmosphere, I have found myself whisked into the world of live theatre. There's been comedy, acrobatics, dance, parades and so much more. It is hard to put it all into perspective.

My main highlight has to have been the Living Portraits exhibition. The display of life stories given by our local elders was so moving that its been playing on my mind ever since. Then, of course, Barada Street, whose act was so uplifting and enjoyable that I just had to see it twice!

There were other acts too, ones I didn't find the time to write about but that inspired me nonetheless. We'll call them my honorable mentions. Pina Polar's 'Into The Wild' was one, the seemingly effortless wit and humour mingled together to create an all around pleasurable performance that left me gasping for air. The Street Party on Parchment Street was another highlight; the live music and entertainment really added to the community feel that was so very present throughout 2018's Hat Fair.

Unfortunately, some acts failed to resonate with me on the same level as those I've just mentioned. I found Masca Theatre's 'The Forgotten Crafts of Paris' a little underwhelming and a bit too one on one for my liking. Though I can see the effort put into the act. Yet, as always, these performances are so out there that they're bound to strike a chord with somebody - even if it didn't work for me.

It has been a delight to experience this with you all, and I thank everyone involved for giving me the opportunity and platform to air these thoughts of mine. It's been a learning curve but an enjoyable one. 

by Lauren Thornton-Grimes

Image: Pina Polar

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Eco-puppetry anyone?

Both Seed and The Whale – Plastic Jellyfish Show are children's shows linked to environmental themes. Both shows use bright colours and delightful puppets to tell their stories in a way that allows interaction with child audience members. Pif-Paf Theatre present Seed, the story of Wilford (played by Pete Gunson), who lives with his beloved chicken Napoleon. Together they try to grow trees, and beat away the horrible slugs that disturb this. The Whale - Plastic Jellyfish Show is brought to us by Circo Rum Ba Ba, a production in which we climb inside a giant inflatable sperm whale to learn about the underwater life of a leatherback turtle as it grows.

The Whale is an educational production, while Seed is a play, but both use interaction to their advantage in affecting their young audience. Inside the titular whale of the former, we are transported into the sea with green lights, hanging seaweed, ocean noises with musical accompaniment and a narrator. Unfortunately, the audio when I attend jumps throughout the entire show, so parts of the recorded dialogue are missed out on. Luckily, it doesn't feel like this audio is needed too much, as we have the guidance of a scuba diver character to help us along as we follow a beautiful baby turtle puppet. The turtle grows up and later turns into man in a very well done costume which allows him to be almost invisible. Seed also uses puppetry (all managed by Gunson alone), notably for the character of Napoleon - a bright blue chicken - and the spongey looking slugs, which increase in size throughout the production. The puppet characters in both shows come out to meet the audience, who are encouraged to engage with them, and they act as great tools in leading us through the story. While The Whale is directly educational, Seed goes about educating its audience in a much subtler way. Wilford, played with great enthusiasm, is an enjoyable children's character. He is loud and uses simple language as he shouts his dialogue for his audience to hear. If Aardman Animations ever choose to base a character on a live action figure, this one would easily fit into the mould. Like The Farmer in the stop motion series Shaun the Sheep, Wilford may not always be entirely aware of what is going on, but this works in a way that endears his audience to him - just as we are endeared to the whole show. The set of Seed is simply Wilford's house on wheels, but the compact size of it allows for more quirks to be gathered together and jump out to surprise us as the story unfolds.  

We care about the turtle in The Whale because it's a cute creature, rather than a character, who we get to watch and help grow older. We are told about the dangers turtles face in the ocean throughout their lives, and we want to protect it or save it in any ways we can. It's just such a lovely puppet! It allows us to empathise with it as if it were the real animal and - as I am reminded - everyone loves turtles. Both shows are aimed at young children, with The Whale notably limiting families who wanted to go inside to all of the children but one adult only. Only the children are invited to join in with the interactive parts of this show, but I don't think the adults mind too much because we are happy seeing them learn. I am learning too. I never knew that turtles ate jellyfish until I attended this.

For Seed, I have to move seats at one point and eventually stand to see the show, simply because so many children are excitedly standing around Wilford's house set. While all of the children around me seem to be entirely caught up with Wilford and his world, I notice that the adults are not quite so caught up. Wilford's language and slapstick based humour is very playfully childlike, which I think is why the children around me react so well to him, but I can see why some of the grownups look a bit bewildered by it at points. I know I am, especially with the amount of yelling Wilford does. Yet, Wilford seems like a live action Aardman Animations character to me, due to the slapstick and simple language so, whether or not you find him funny, I think you will find him endearing.

In The Whale, we have the jumping audio track telling us about the leatherback turtle as it progresses through life. In Seed, we have Wilford showing us how much he is willing to fight against the slugs with Napoleon, to protect his planted acorn which he hopes to grow into a beautiful tree. They are different ways of sharing their message, but the two shows are successful in delivering it. Both have wonderful visual features that pop up and surprise us throughout the show, I won't reveal any of them here in case you are lucky enough to see either of the shows - athough the sets for both of them are already impressive on their own. If you want to take your child to see either of these shows due to the eco-friendly themes, then know that they will also have a wonderful time experiencing the entire show itself.

by Caitlin Sanderson

Images: Circo Rum Ba Ba and PifPaf

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Mighty Mike

Mighty Mike (Mike Johns) is a strongman with a self-deprecating sense of humour and high appreciation for the 1920's, as shown by his curly ended moustache and striped one piece swimsuit from the era.

We are told from the very beginning that the highlight of this show will be juggling two lighted torches and a sledgehammer, something Mike builds up to for the entire show as he saves the best for last. Until then, Mike shows other feats of strength that build up as the show goes on. Of course, this is only when he isn't breaking into 'spontaneous' dances alongside the well-timed tracks he plays, or flirting with the female audience participant he has chosen for the performance I am seeing.

Mighty Mike is a Canadian from Toronto, something he proudly mentions throughout his act: "You can tell from my accent that I am not from around here, and no, I am no American. I am a Canadian, which tells you two things. One, I am not armed. Two, I didn't vote for Trump!" Quips like this are constant throughout the act. Many of them are cheesy, yet are delivered with a charisma that allows most of them to work. Unfortunately, Mighty Mike doesn't seem quite so confident in this. He has a very strong self-deprecating humour, and although that's a sense of humour I personally enjoy, he uses it far too much for me here. The more that he seems to doubt himself, the more I can see others around him beginning to doubt too. The recurring spontaneous dance routines that form part of his act also wear thin for me by the fourth or fifth time.

When Mike's jokes work - whether they are delivered with a straight face or whether he plays into them - they work well. A couple of them, however, aren't as well received in this predominantly child based audience. These are two jokes Mighty Mike claims to be for "a niche audience": one about Tinder and one about masturbation. They are discreet enough to go over the heads of children, but many of the adults don't laugh either, maybe because they don't find it funny in this settinig or because they don't want to try and explain the jokes to their children. However, Mike’s outrageous flirting with the female audience member is received with great laughter and enthusiastic applause because it is over the top ridiculous enough for him to get away with. It's the sort of extravagance I expect more of in a street performer. Although he talks more than he actually performs physical feats, all of his speech is a performance in itself and I am entertained.

Mighty Mike seems to have everyone on his side by the end of the show, myself included. He thanks everyone at the end of the show for being a good audience and makes a short speech before offering his hat for anyone who wishes to put money into it. I believe he is truly sincere when he says he’s grateful and happy to receive whatever people are willing to give, if they choose to give at all. In the end, I do choose to.

It's a long act at forty-five minutes but, with magic, shows of strength, dance routines and jokes throughout that are all sprinkled with cheesiness and charisma, it's one worth seeing.

by Caitlin Sanderson

Image: Mighty Mike

[youngcritics-hatfair]

The Hum

The Hum is a mobile phone app designed by Nic Sandiland to engage the senses, as you stroll along and pause at the suggested spots in Winchester city. The app is also available to download in other cities including Bournemouth and Lancaster. 

The Hum is customised for each place, and the script I am about to listen to is for the Cathedral Grounds, written by Wendy Houston. The app relies on your phone's internet service, as well as you being in a particular pinpointed area on its map. As I walk towards the cathedral with the app open on my phone in my hand, I wait for it to confirm that I am close enough to access this particular soundtrack.

I sit on the flat part of a stone banister at the top of the steps by the entrance to Winchester Cathedral's cafeteria. The app is telling me to stand but, after a long day of walking around the Hat Fair, I think I'll appreciate the pleasures this app has to offer a lot more by sitting down.

I read the rest of the brief information provided by the app on my phone screen. It tells me who wrote the script I'm about to hear, but provides no credit for any narrator or sound effects. It also tells me that it's best that I use this app while there are no festival performances on nearby. I have done this app proud already. Not only are there no performances happening around me, but no performers at all. I am on the Cathedral grounds on the Sunday of the Hat Fair weekend, where the acts only took place on Saturday. Today, the acts are at North Walls, so I should have all the peace I need to appreciate this space.

Okay, here we go.

It starts with an instrumental track by James Keane, who provides all of the app's music. It sounds sad somehow, yet peaceful. It's a good way to get me into my thoughts and ready to focus on whatever is about to come next.

'Look at him,' the narration from a young girl suddenly declares.

I look around me. There are a lot of "him"'s. Do I just pick out any man? Okay, that one carrying the shopping bags and chatting with a blonde woman I decide is his wife. Oh no, I can't use him anymore, the pair have just turned around the corner and vanished from view. Hmm, who looks like they're going to be around for a while?

Let's try that older gentleman, the one in the blue tartan shirt. He has dark grey hair, but a very white beard. He wears sunglasses and is eating. He sits with two women, one either side of him and another man. Okay, now what?

'He doesn't look anything special, does he?' The girl says to me.

I think that's a bit harsh. A lot of effort must have gone into keeping that beard as white as it is, and I appreciate it when people take pride in their appearance like that. One of the women - clearly his partner - is fussing his head now. She obviously thinks he is something special.

'He is a professional. He has done this before, many times.' The girl continues.

He's gone out to have a picnic with his romantic partner and their friends before? It's nice, but I don't think it's something you can be a professional in.

'Look at how they walk.' I'm told.

But they're sitting?

The little girl now tells me how those people like to move with such precision. It's interesting how there are suddenly "those people" and not just "that man" anymore. I wonder how she knew?

'What about her, behind you?'

I quickly turn around, because it seems creepy that a lady may have been just standing behind me for a while, but there's no one there. There are just some people in the Cathedral shop, and the one closest to being behind me is a man, so that doesn't really work.

'To your right, sitting on the bench.' The girl adds.

There is no one sitting to the right hand side of me. That is possibly because there also isn't a bench. There is a stone ledge at the top of the stairs that is part of the banister opposite me, like the one I'm sitting on, but I wouldn't call it a bench.

The girl now tells me about the science of the knee joints and hip joints in the apparently invisible woman to the right of me. She goes on to apply this to other people around me, including the man from earlier.

I look around for the man with the white beard, but sadly he and his group have gone. I hope they didn't leave because they were disturbed at the sight of me, a sunburnt young woman occasionally staring at them while writing in a bright gold notebook that I record my review notes in. Anyway, I hope I don't need the man with the white beard to come back, I didn't see which way he went.

After talking about the practise and precision these people put into their movements, the girl goes off on what seems to be a rather bizarre tangent. She talks about all of these people being actors, who started out in minor roles, perhaps on CCTV shows (and actual shows are listed). This then progresses into the people apparently building their careers to eventually have parts in other people's films.

'So now you see them,' the girl tells me. 'Performing their skilful main focus and you realise all of the work that has gone into it.'

So now I see them. Except I don't, and now that the audio has ended, I won't either. This wasn't at all what I had expected, and possibly that is part of the disappointment. When I chose the cathedral as my location, I thought I would be listening to a commentary of information about the history of the building. I probably shouldn't have kept this expectation up when I saw that the automatic doors of the local Sainsbury's were also a listed option for location.

I'm also wondering why they specified that no Hat Fair performances should be happening, because this text is so clearly about performers. However it doesn't really apply to the festival artists either - out of the acts I have seen, I do not believe there was a single 'aspiring actor' there. Acting wasn't a part of their performances at all, or they had given a speech at the end of their show announcing how street performance was all they wanted to do, nothing else. It's their dream job. Why the focus on acting then? It seems too specific. If the listener had been encouraged to think about people in a broader sense, and asked to consider how they might be feeling in their personal lives for example, that would have been more effective to me. Not everyone aspires to be an actor. I don't. Perhaps that's part of the reason why I struggled to connect to this.

I also tried to go to another location to see how well it does with this app in comparison to the cathedral. However, there is no internet outside the Sainsbury's automatic doors, and even if there had been, I think it would take a person a lot less self-aware than I am to stand in the middle of the carless road and stare at the unwitting people as I'm being told to.

My only remaining thought is that the music was nice and the child speaker has a lovely, clear voice. It's a shame they weren't credited specifically on the The Hum's credits page. For me, this was a frustrating listen, especially as I tried to take note of dialogue to quote back later on in here; there is no rewind option, you can only pause or completely stop the audio you are listening to, the latter making it so that you have to listen to the entire piece of audio again. One listen is bewildering enough.

by Caitlin Sanderson

Image: The Hum 

[youngcritics-hatfair]

Roadworks

I sit in the front row on a bale of hay and look up at the stage, awaiting Etta Ermini dance theatre company's production of Roadworks. A young black man, Yinka Thomas, comes on to the stage on a BMX bike, with a middle aged white woman beside him. Not a traditional pair, but I think that if they're good, this could be very good.

The woman tells us different tricks Yinka can perform on his two wheels, which he presents as soon as she has announced them. The quiet, polite claps from the audience I'm in reflect how I'm feeling also: that his stunts are impressive, but being presented this way isn't very fun. Yinka then stands on the stage, holding his bike beside him, and reminds us all to wear a helmet whenever we ride a bike - especially if we attempt stunts like this.

The woman leaves the stage. It turns out, she's actually more of a behind the scenes person. Now the act is going to begin.

Once Yinka has the stage to himself, he gets into his act properly. He drops a backpack at the front of the stage, leaving it there as his act goes on. Another young man, Gavin Vincent, appears on stage in a black hoodie and tracksuit bottoms. He attempts to steal the backpack, only to have the biker rightfully try and take it back. The pair engage in a hip-hop battle of the bodies, as Gavin reveals himself to be a dancer: when Gavin breaks into an impressive sequence of moves, then Yinka has to copy it back to him with his BMX. And vice versa. 

The pair pause from this back-and-forth to invite audience members to participate with them. Here, we see the two working together but, oddly, they then choose to go back and continue to do the street battle-esque performance. This is confusing now that we have seen the pair get on and work together, and harder for little ones, I think, to engage with these two acting like they dislike each other. It also doesn't help that some of the small audience now seem irritated with the biker - during that break from their first part of the dance off, Yinka makes a move that goes against what he promises his audience. The moment works well and I find it quite funny, but a group of children in the front clearly feel conned, and yell "cheater" at him for at least half a minute.

This also brings up another problem. Yinka seems genuinely uncomfortable with this reaction and, out of the two performers, he is not as responsive to his audience as his partner is; Yinka looks like he would be perfectly happy doing these stunts for no one but himself, whereas Gavin is better at playing things up for the watching crowd. I can tell he is cheeky, playful and passionate about his dance, but can't see personality traits like these in Yinka so easily.

Overall, however, the pair work well together and are a good act to watch as they are clearly very talented. They are also the only street act I have seen who feel very 'street' in the pop cultural sense. I would have liked to see more of a sense of banter between the pair though. If their chemistry together is strong, hopefully they can share a connection to their audience that is less one sided.

by Caitlin Sanderson

Image: Etta Ermini

[youngcritics-hatfair]

Delving into dance...

Over the course of the Hat Fair, two distinct dance performances explore a similar theme - one of distance vs. physical contact - through wholly different lenses.

On Saturday, Company Chameleon put on a stunning performance of Of Man & Beast at the Bus Station Off-Broadway. The production follows a group of five men, examining their interactions with one another, be they aggressive or loving. In a refreshingly naturalistic, fully-integrated routine, normal laws of physics seemingly do not apply; as dancers lean and push from each other their movement is effortless and beautiful. Despite this, the setting - on bare concrete, at the audiences feet - keeps a rawness to the action as the performers throw themselves at the gravel without flinching.  Each individual's performance is incredible; each man is fully immersed in the storytelling of their movements, whilst able to personalise their presentation to the audience watching, eyeing up or growling at onlookers. In an expertly crafted work of choreography, conceptions of traditional masculinity are demonstrated and challenged. Simply seeking comfort can quickly become a fast paced fight, as preconceived ideas of machismo affect the men's ability for genuine connection.

Against this examination of male relationships we may look at Dedicated To..., the work from Candoco's female duo. Here, too, can be seen the innate human desire and need for connection with others - in this case constantly, frustratingly, out of reach. Each woman begins isolated, separated by distance, alone on separate benches; though they begin in discord, gradually they appear to gain the ability to communicate. This is effectively reflected in the pair's choreography, increasing in cohesiveness over the course of the performance. Here, subtle interactions take centre stage, as the soundtrack is restrained to a minimal, vaguely oscillating track, wholly placing focus upon the developing relationship between the two women. Candoco are a company that bring together disabled and non-disabled performers, and it’s worth mentioning the additional dimension brought in by the differing physical limits of each dancer. Through this, one can potentially read the performance as commentary on rifts caused by often arbitrary social conventions, and the 'othering' of marginalised groups.  

Despite societally-imposed restrictions causing a central conflict in each show, in both cases such things are ultimately overcome, supplying each performance with a cautiously optimistic tone; inspiring the betterment of humanity.

by Flora Pick

Images: Company Chameleon & Candoco Dance Company

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Forgotten Crafts of Paris

Unnerving and amazing, The Forgotten Crafts of Paris is a masterclass in miming ability, ornate costuming, and confusing your audience. This is no bad thing. The act's space gives no initial indication of what is to happen, arranged in a manner reminiscent of a clock face, with each performer atop their own small raised platform equipped with a speaker. On all sides are frozen bodies, dressed in period (if baroque) outfits, with heavy white makeup obfuscating their true expressions. Immediately my mind goes to thoughts of dolls: those in horror films that are bound to move, but for the time being sit hauntingly serene. This impression is only heightened by the cracks that creep up the neck and jaws of each performer, reminiscent of a long-forgotten wind up toy.

The tolling of a bell signals the beginning of each act, with every performer taking on a profession of 19th century Paris; the audience is introduced to everything from a fishmonger to a singer. Information posters about the historical context of each occupation sit to the side of each stand; whilst interesting, however, these fail to communicate their act's purpose.  The roles are mimed in a vignette style with jolted movements, as the performers interact with props - along with the odd audience member - for short (approximately 2 minute) intervals, before being refrozen until the next set of chimes. Each performer possesses a distinct aesthetic, with individual soundtracks and some incredibly complex and stunning outfits (one of my main takeaways is, admittedly, a newfound desire for lace gloves and a comedically frilled dress).

in moments of stasis the performers are transformed into living statues, a relatively rare act to see at the Hat Fair - certainly not one I have encountered before. Despite this type of act's prominence on the streets of the UK, it is less often seen in the more formal setting presented here. Audiences do not appear to be quite sure what to make of such a thing, and I must admit to struggling to come up with a cohesive takeaway from the performances. Ultimately, given the undeniable talents of the artists - appearing as something slightly inhuman, showing incredible commitment to their roles, and leading to mesmerised audiences - I wonder how vital an overarching meaning may be? For a time, the Romanian Masca Theatre company transform a small area of North Walls to the streets of 19th Century Paris, leaving viewers disturbed, but transfixed.

by Flora Pick

Image: Hat Fair, depicts Masca Theatre performing Forgotten Crafts of Paris

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Colourscape

I will admit that, prior to entering the inflatable sculpture which is Colourscape - its exterior perhaps comparable to a ridiculously complex tent - I am apprehensive. Temperatures outside are fast approaching 30 degrees. Thankfully, such oppressive heat works in favour of an exhibit that is, for all intents and purposes, wholly consuming, catering to every sense; heat essentially sits as a weighted blanket over participants. Originating in the 1970s, Peter Jones' Colourscapes are an excellent example of successful art that is accessible to all, given their transportable, inflatable nature. Upon entering, a dreamlike musical arrangement is heard, building upon the already mind blowing, vaguely hallucinatory nature of the variously coloured pods. Every entrant is provided with a coloured cape of their choice, allowing our own presence in the sculpture to add to the multitude of visuals. We are fully integrated within the experience. Once inside, all sense of time and space is lost. Further progression into the structure only confuses sense of direction more and more. Other participants are largely parent and child pairings, with both adults and children as transfixed by the hypnotic visuals and music. The staff prime participants with a notice not to run or mess around inside due to the structure's delicate nature, and it's impressive just how effective this instruction is: inside there is no chaos to be found, only mesmerised exploring. It would be easy to make a display relying purely on light and sound monotonous, yet once inside I am still pleasantly surprised at certain elements. Though entirely voluntary, Colourscape does ask an entrance donation of £2.50, with sessions limited to 30 minutes. In my experience this is more than enough time to become fully absorbed by the exhibit. I emerge after a solid 15 minutes inside - vaguely disorientated, covered in an thin sheen of sweat, but so very relaxed. In this I see the merits of Colourscape: tucked away at the edge of the festival grounds, it serves as a respite from the chaos, allowing participants to undergo full sensory immersion - if just for a moment - allowing outside stresses to dissipate.

by Flora Pick

Image: Colourscape

[youngcritics-hatfair]

On yer bike...

Blazing Saddles and Bicycle Boy are two entirely different acts centred around the use of bikes. The only common thread between them is their love for bicycles and their inclusion of a message. There's a running theme of cycling throughout the 2018 Hat Fair. The goal is to promote a new, healthier way for transport - for both us and the environment. These acts both peddle that message in an entertaining fashion.

With Blazing Saddles, performed by Bicycle Ballet, we get to see a joyous routine that celebrates the freedom women were historically able to achieve through cycling. It's an incredibly empowering routine. Through the power of dance you witness just how the bike changed life for women in the 1890's. Not only did it transform women's clothing, it also allowed them a chance at independence. This is perfectly represented throughout the act.

Bicycle Ballet take on their first performance accompanied by the children from the Hat Fair Parade. Exceprts taken from their full routine begin amidst cries of 'deeds not words' and 'votes for women', chants that serve to boost the performance rather than interrupt it. Overall, it makes for an enjoyable watch. Admittedly, it has a slow start due to technical difficulties, but the company work through it.

Blazing Saddles helps commemorate 100 years since some women first achieved the right to vote. With vibrant costumes and clear enthusiasm it's easy to enjoy myself. The accompanying music (humorously composed with verbatim snippets of women talking about their cycling habits - my favourite bit! Ed.) serves to drive the message home. This is a dance routine for all ages and an act I highly recommend watching.

Bicycle Boy, from Helen Eastman Productions, also explores an important topic - bike safety. The performers, Sam and Mike (Neil Urquhart and Jonathan Glew), give out information in a lighthearted, family-friendly manner. Their silly, carefree act is a combination of music and comedy that highlights the importance of bike safety and also educates children on renewable energy sources.  They make necessary lessons fun, involving the kids in every part of their act.  From where I stand, I see a lot of giggling children, all of them stretching their arms as high as possible whenever a volunteer is called for.

Through the use of musical comedy and theatre, Bicycle Boy also makes for an enjoyable watch. Despite the hot temperatures, the show maintains an enthusiastic, high-tempo atmosphere. It is beautiful to see groups of small children chanting 'two wheels good, four wheels bad' even after the performance has finished.

Overall, these two acts couldn't be more different from each other, but both are very much worth your time and attention (and your donations if you're feeling particularly generous.) Credit to all involved, you make for an enjoyable afternoon.

by Lauren Thornton-Grimes

Image: Hat Fair, depicts Bicycle Boy by Helen Eastman Productions

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Street Party

Just a passage away from the chaos of Main Street, tucked away from the crowds, one can find Parchment Street's party. With bunting overhead, false grass and hay bales below, and seemingly surrounded by afternoon tea, there is an undeniable sense of English charm about the intimate space.

The soundtrack for the party's final hour is supplied through an excellent acoustic set by Joy Surrender - the solo product of Winchester native Tristan Irvine, occasionally accompanied by a female pianist - a low-key yet smoothly executed affair. A variety of original songs are performed, opening with a number in which the singer begs his love to "please come away with [him]." Many of the melodies cement themselves in my mind, remaining even hours later. Alongside his originals, Irvine presents a surprising - though chillingly stunning - cover of My Chemical Romance's 'I Don't Love You'.

The atmosphere, however, is far from sombre. As evening approaches, the street is transformed into a point of reconnection for groups of friends and family; on all sides are conversations recounting different days spent at the Hat Fair. Such snippets, overheard in passing, bring my Saturday at the festival to a gratifying close as the multitude of experiences surround me, proving the vast array on offer.

by Flora Pick

Image: Hat Fair

[youngcritics-hatfair]

Yoni

Yoni are an all-female singing group from Fair Oak, Southampton. They are gypsy inspired folk singers, who sing songs that are either practised or improvised.

I attend their performance at Winchester Train Station, where their vocals aren't the only sound prominent to our ears. Passing trains, driving cars, a clunky piano from another act nearby and chatter amongst passing people are all accompanying sounds throughout Yoni's performance, which is short at only twenty minutes. While the women stop to laugh at and comment on the noises as they occur, it almost seems a waste that they don't choose to embrace them into their improvised act.

Yoni begin with vocal warm-ups within the group, which they reveal aren't a part of the act, but which their audience seem to be entertained by nonetheless. The small audience I'm in, I soon note, are mostly each friends with at least one of the women in the singing group. However, seeing this closeness between the members of Yoni and certain audience members seems to have a positive impact on everyone, as there isn't a single person - myself included - who doesn't sing along when we're told to.

The group begin with a performance of 'Start Wearing Purple' by the band Gogol Bordello. This song instantly defines Yoni as a talented group of free spirits - many of whom are indeed wearing purple. None of their outfits match, yet they do in style, as they're all wearing different kinds of floaty, floral dresses. They also dance in their own unique ways to the beats they provide, all of which seems natural and in time to the singing. With this song choice and the look of them all, Yoni reinforce the idea that they are the gypsies they claim. After this, they perform another folk song before starting improvisation.

The leader of Yoni announces that, based on past experience, this could work very well or it could fail miserably. While this is delivered as a joke, a stronger sign of confidence from them would have been more encouraging to the audience. The group harmonise, as do some of the audience with them and, while the unity between people is a pleasure to witness, the vocals aren't always in sync. It wasn't only the sounds they chose to harmonise, but the vocal power of some of the singers wasn't as strong as others. Yoni are at their best when all singing the same parts of the same song, in time with each other.

Yoni look like a group I want to be a part of, due to the evident bond between members and apparent freeness of it all. Unfortunately, it all ends before I feel I can truly invest in them. If the group ever choose to give a performance double - or even triple - the length of this one, I can guarantee that they would have a ready audience. However, I cannot be certain that I would be one of them, unless their vocals are all as strong together as their chemistry is.

by Caitlin Sanderson

Image: Yoni

[youngcritics-hatfair]

Able Mable

Able Mable, a self-described ‘professional idiot’, captivates the attention of a heaving crowd on the high street, even as she performs in the beating heat of the midday sun.

In many ways following a longstanding tradition of tongue-in-cheek humour, held by many British street artists, performer Hazel Anderson has the undeniable charm required to elevate her showgirl shtick to new heights. Through sheer force of personality, she holds the masses captivated, even with the relatively low count of distinct 'tricks’ in her show. These are limited to quick changes (carried out with the same comedic angle found throughout her whole performance, yet slickly executed), a 'disappearing act’, and a thoroughly built up grand finale. This involves, amongst other things: feather headdresses, a whip, and a very good sport of an audience member, willing to be taped to a balloon prop for minutes at a time.

Audience interaction is perhaps the best thing about Mable - viewers are led to feel that, in merely watching her performance, we are let in on an exclusive gag. As the act approaches its climax, those in the front row are just as invested in Mable’s success as she herself, proven by the riotous applause she receives.

As an additional note, I was so pleased to hear Mable raise the issue of severe lack of representation for female street performers: she is one of only three female solo acts in the festival’s programming; given her warm reception, hopefully this demographic can be expanded upon in years to come.

by Flora Pick

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Able Mable could perhaps be seen as an ironic name for this street performer, as a lot of her act relies proving herself charmingly inept at performing her tricks and displays.

The slot I attend is due to start at 12pm, but Able Mable (Hazel Anderson) only finishes setting up about ten minutes after this. She chats to the audience all the while though, from the children she gets to help lay out the rope that acts as the barrier between us and her, to extravagant posing for the gentleman with the very large camera. When Mable has us all stand up, it becomes evident that this time is actually being used to warm up her audience rather than simply set up her act. She asks us to cheer and clap as loudly as we can to encourage other people to come and see what her act is.

With long yellow feathers on her head and a glittery golden playsuit on, Able Mable continues her delightful interaction with the audience all throughout her act. She is an outrageous flirt, which is part of her appeal - particularly when she brings in a male audience member to assist her, whom she requires to stay with her for the majority of the act.

Able Mable performs magic tricks, but none of them in the way you would expect. Some are delightfully flawed, others a little too smart for their own good, but we're all in on the joke and it feels fun to be a part of. There are times when Able Mable seems to land herself in the joke unintentionally: she repeatedly slips between calling her male audience member by his actual name, and that of a little boy who helped with an earlier trick; the weather acts against the way she hopes. She laughs at herself alongside us, and even expands on these moments.

These interactions with the audience might not be so well received from a lesser performer. Mable frequently has her adult audience participants pick her up and spin her around, and will also go to drink from various people's cups, something a child sitting behind me so eloquently pointed out: "That's minging."

The performance ends with a speech from Able Mable about how much she loves street performing and how she began doing it. She has been doing it for a few years now, and her main location to perform in is Covent Garden, where she reveals that she is only one of two female performers there. I later did some research and found that there are actually many solo female performers at Covent Garden, although many of them seem to be contortionists. It wouldn't surprise me to find out if Mable were the only one of her kind, because I'm still not sure what that is. A clown? A magician? An outrageous flirt? While only three of the eight acts I have seen at this Hat Fair had been without women, Able Mable is the only one woman show I have attended. I think that's a shame, as there must be women out there with the skill and charisma needed to pull in an audience, although it is not instantly easy to find them.

See Able Mable perform with the knowledge that her name does not come from the way she handles her tricks; it comes from the way she handles her audience.

by Caitlin Sanderson

Image: Able Mable

[youngcritics-hatfair]

How it all began... The Opening Parade

100 years ago women gained the right to vote, something we now consider an unalienable right. It's rare to sit back and consider how hard it must've been for our ancestors. Sometimes reminders of suffrage come with a bleak and scolding tone, just as they did during my Year 9 history lessons. I'm happy to say this is not the case with the Hat Fair Parade.

The parade is celebratory. John Keble C of E Primary School, St Faith's Primary School, Western C of E Primary School and The Westgate Lower School all come together in this joyous event. It is heartening to see this many children marching around crying out 'deeds not words' just as the women of suffrage would have. They do it all with gigantic grins and keep their heads held high. Amazing. In light of recent progressions, such as Saudi Arabian women finally being granted the right to drive, this parade has the perfect celebratory tone.

The brightly coloured banners and rosettes light up the Cathedral Grounds, making the surroundings even more beautiful than before! Who knew it were possible? I sit and play witness as wave after wave of overjoyed children march through the grounds, hand in hand. If it were me, I would've been self conscious, as the Cathedral Grounds are often crowded with onlookers, but these kids nailed it. They don't bat an eyelid.  It's a tremendous sight to behold.

This parade, and the Bicycle Ballet company who lead it, have great cohesion and their messages feed off of one another. Bicycle Ballet use their dance skills to celebrate woman's right to use the bicycle and the freedom that came with it. With outfits as bright and colourful as the rest of the parade they just fit right in. For me, it's the kids that steal the show though. Their enthusiasm is unmatched and their smiles contagious. The whole thing is uplifting and inspiring.

The schools have worked in partnership with artist facilitator Kate Sully to create an array of specially crafted rosettes. Each one with it's own slogan. The parade is a rich tapestry of history serving to show how far we've come - even in the last 100 years. Not to say that there isn't still a way to go.

Yet, with this parade in mind, 2018's Hat Fair kicks off to an amazing start.

I can't wait to see what other treasures are in store...

by Lauren Thornton-Grimes

Image: Daily Echo

[youngcritics-hatfair]

Beware of Pirates

In the roads around Winchester Discovery Centre, one might hear the faint splashing of waves and the buzzing of sea shanties. Out of Bounds Theatre's Beware of Pirates is in full swing. As we meet the five swashbucklers, we discover they have just lost their ship - now disappeared amongst the waves.

The audience, largely consisting of young families, bears witness to an impromptu trial - headed by one strong-willed captain - to decide who will face the blame for this disaster. Chaotic finger-pointing arises, interspersed with plenty of dramatic sword fights, the stakes no less heightened by the foam nature of the weapons (however, ample time is allowed for quipping about Winchester's middle-class sensibilities). Soon enough, the need for a new shipmate transpires: small faces in the front row are looked to, needing to prove their ability by battling the company’s cabin boy - who, sure enough, puts on an excellent display in his instant defeat.

It's unfortunate that the crew's performance is continually interrupted by the revving of engines, due to the pitch position just off of the main road; the lack of any microphones only amplifies the problem. The chemistry between the cast is often undercut by a lack of clarity in their dialogue, which makes certain plot points difficult to follow.

Ultimately though, by merit of copious slapstick (well-received by those of all ages) and a tightly-run ship, the performers hold their footing despite environmental issues. They carry the crowd with them to an all-in 'What do you do with a drunken sailor' singalong climax.

Audience participation can remain a difficult sell to many, yet looking around and witnessing a very respectable number of participants is excellent. Out of Bounds succeed in drawing their audience into their seafaring lifestyle, even with the obstacle of their location.

by Flora Pick

Image: Out of Bounds Theatre

[youngcritics-hatfair]

Living Portraits and Village Fete at St John's House

Living Portraits is a series of short films inspired by the lives of Winchester's elderly residents. It is part of the 'Celebrating Age' project, a programme of arts activity made for older people, and can be found in St John's Chapel. Among the pews and stained glass windows are individual screens with a variety of videos from a number of residents. You sit down, get comfortable and put on the headphones provided - it's that simple. Once you finish one video, get up and take a peek at the others. There are a good selection to choose from.

I settle in near the back, cautious not to disturb the other focused listeners. My first story comes from Marie Kane-Dudley.  Marie is a delightful woman whose story holds similarities to my own. She's a published novelist and devoted to her faith. Through the video she speaks of her life, loves and losses. It was heartwarming. Then, while I was jotting down notes, Marie came and sat behind me, completely taking me by surprise. She was interested in seeing how she was represented on screen, worried the associated students may have taken out mentions of her religion - a subject of deep importance to her. So she snuck in to see herself on the big screen. She was relieved to find all mentions of her beliefs remain. 

Marie herself is an interesting woman with quick wit and a lifetime's worth of advice. Naturally, I asked her about her novels. Being an aspiring author myself I wanted to know how she did it, how did she succeed?

Her answer? Through hardwork.

Ultimately, Living Portraits provides a rare insight into the lives of those around us. It details a conversation we should all be having with those we hold most dear. It is an enlightening watch. In a time where the generational gap seems larger than ever, these events are vital. They help bring us together.  The event provides a time for reflection, on our own stories and the stories of those around us. Through these tales, which are both tinged with sadness and embedded with humour, I am able to realise that the 'generation gap' is not as big a deal as we all make out.

Defined on the Hat Fair website as 'an inter-generational participation project with local colleges and older participants', the showcase of short films has been put together by students from the University of Winchester, Winchester School of Art, St Swithun's School and some from a home-schooling background, who were partnered with members of the elderly community. St John's Winchester, Brendoncare, Age Concern Hampshire, the Live at Home Scheme and residents from Corby's Sheltered Housing all came together with the aforementioned colleges in spectacular fashion.

We each have our individual hopes, passions and ambitions. That doesn't change with age. The Living Portraits exhibition is an important showcase that demonstrates the most human aspects of our existences. There are laughs, there are tears and - most importantly - there was a conversation. I'm in love with this exhibit and I want to congratulate all of those involved: your voices have been heard and your effort has paid off. I applaud you.

From the chapel I travelled to the scenic St John's Garden to join the Village Fete. There is cake, tea and plenty of sunshine. The whole event leaves me feeling upbeat and refreshed. You can plant a seed to aid in bee conservation or you can just sit and relax - it's the perfect spirit cleanser. I even get another glimpse of Marie, soaking up the sunshine with friends.

This is what the Hat Fair is about: bringing people together. The Living Portraits exhibition, coupled with the Village Fete, does exactly that. What more can you ask for on a Saturday afternoon?

by Lauren Thornton-Grimes

IMAGES: Hat Fair & Living Portraits