It’s becoming increasingly difficult to define what is “fringe.” The term was first used in 1948 by Scottish playwright Robert Kemp to describe the unofficial theatre companies that performed at the same time as the Edinburgh International Festival which showed “more private enterprise than before.”
Since then, fringe theatre companies, events and festivals have come to symbolise all that is alternative in the Arts. But with these festivals pulling huge crowds, and their international acts proving sell-outs, it’s hard to claim that fringe festivals are truly ‘alternative.’ Instead, fringe festivals seem to have gone the way of indie cinema – providing an independent aesthetic and ballsy spirit in tandem with big business. Perhaps it was this mission statement of quality Arts provided for mass audiences that inspired Robert Kearns and Ciaran Clarke to set up the Trinity Fringe Festival in February 2009. Having worked at the Edinburgh Fringe the previous year, Kearns, then Chair of DU Comedy, spotted an opportunity for more alternative acts in the Trinity Arts calendar. He approached Clarke, then Chair of DU Players, with his idea and the two established the Trinity Fringe Festival. The venture proved a success.
This year saw DU Comedy and DU Players collaborate once again, hosting a week-long line-up of comedic, musical and theatrical delights. The big coup of the festival was, of course, Florence and the Machine. On the afternoon of Monday the 7th of December, the luminous Ms. Welch played a short but very special set in Trinity chapel. A lucky 300 students were treated to acoustic renditions of ‘You’ve Got the Love’ and ‘Cosmic Love’, many of whom had queued since the early hours of the morning for the privilege. The University Times spoke to one student who had gotten a train from Limerick at 7 that morning to ensure herself a ticket. It was fair to say that the Fringe had gotten off to a highly anticipated start.
The rest of the week saw plays, comedy, music and, er, a hypnotist. Supporting and mentoring Trinity talent had been a key aim of the Fringe festival and this year gave an opportunity for talented acts to showcase themselves. Players Theatre was host to two plays on every day of the festival: ‘The Shaman’, a new play written and directed by Fergus Rattigan and ‘Teechers’, a play by John Godbert directed by Dean Rodgers. The college music scene was more than aptly represented by Jane Deasy, Ellen Quinn and Ruth O’ Mahony-Brady, while the Printing House and the Hist conversation room played host to Giraffes, Cloud Castle Lake and Killer Chloe.
However, my personal highlight of the college talent on offer was Friday’s billing of Conor O’Toole with support from Stephen O’Connell (with Keytar interludes from Comedy Soc chair Ben Clifford). Conor, or ‘Timmy’ as he is often erroneously called, presents surrealist, acutely observed comic situations that had his unexpecting audience giggling their way to their afternoon lectures. As for his support, it was Stephen O’Connell’s debut gig – but nonetheless he impressed. His nervous awkward onstage persona worked well with content about losing his virginity and his relationship with his parents.
The Fringe offered a refreshing opportunity to both establish rising Trinity talent and present international-quality acts – Florence and the Machine, Ardal O’Hanlan and Frisky and Mannish. With the Fringe over for another year, Trinity Arts Festival will be cleansing our palates in the meantime. We await to see what’s coming up.
