This recent production of Marietta Kirkbride’s The Long Trick explores a topic that is held close and bitterly to the hearts of many it affects – that of the uneasy relationship between the owners of second ‘holiday’ homes in the sea-side resorts and towns of southern Britain, and the inhabitants that have to live with the collateral and communal fallout of the strange and fragile state of affairs that affects so many of these small towns. While this may, ostensibly, appear a rather niche concern, relevant only to those it directly affects, the constant tension and the study for compromise between the financial concerns of the tourism they bring, and the insouciant approach many holidaymakers take with the regard to the well-being of the communities they disturb serve to address the much more ubiquitous themes of class, money, community, and distributive justice, and provide an interesting battle-ground between the rights of ownership, and the duties of citizens.
Since 2013, multi award winning artist Trygve Wakenshaw has delighted theatre fans with his unique brand of comedy. The modern day clown, Wakenshaw is not at all afraid of challenging the theatrical norm, presenting a range of carefully crafted skits that transport you into his weird and wonderful world of colourful characters. With his works, Squidboy, Kraken and currently Nautilus all receiving rave reviews, Wakenshaw is a force to be reckoned with. Ahead of this year’s Mayfest, based in Bristol, Theatrefullstop were able to speak to Wakenshaw about working with the great Philippe Gaulier, his inspirations for his latest piece Nautilus, and he offers advice to aspiring clowning artists.