No sooner was the idea of a London Fringe floated in the press yesterday than the soapboxes were quickly assembled and shouted from. The first article I read on the subject was in The Standard who obviously swallowed the London Fringe press release wholeheartedly, describing the idea of trying to run a large scale festival in London in August as “throwing down the gauntlet” to Edinburgh, an event with a 60 year history and international reputation.

Swiftly followed a Gruniad piece on the subject penned by Veronica Lee which pretty much covered my main concerns -  that trying to set up a fringe festival in direct competition to Edinburgh would be a fruitless endeavour because the majority of companies, arts journalists and dedicated fringe theatre goers will have made the 400 mile trip north.

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Twitter is only as useful as the people you follow. Here are 100 theatre people to follow on Twitter so that you know what’s going on and keep you up to date. You’ll be surprised the number of people who follow you back, engaging in conversation with you. Remember to retweet and @reply to be active in your online community

Update: Thank you for all of the feedback on who to include in the list. Harnessing the power of other people’s Twitter lists and suggestions you made the list of 100 has now swelled to 129. Enjoy.

London Theatres

Follow them all in one click with Twitter Lists

1. @NationalTheatre The National Theatre on the Southbank, with six or seven productions in repertory at any one time.
2. @OldVicTheatre Led by Artistic Director Kevin Spacy. Original home of the National Theatre company.
3. @NTLive The National Theatre’s initiative to broadcast live theatre to cinemas.
4. @TheRSC The Royal Shakespeare Company (RSC) based in Stratford-upon-Avon but perform worldwide.
5. @RoyalOperaHouse Home of The Royal Opera, The Royal Ballet and the Orchestra of the Royal Opera House.
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Bringing a fantastically irreverant look at the West End to the West End, Jest End doesn’t miss a beat from start to finish. Having watched previews of the show online I knew Jest End was slick, taking well known West End numbers and replacing lyrics with a series of fast paced, tongue in cheek romps through musical theatre past and present.

Combining well choreographed chorus numbers with wonderfully witty solo performances the show doesn’t take any prisoners, unashamedly taking the mick out of Andrew Lloyd Webber, Cameron Mackintosh and just about everyone who has taken a part in a West End musical, or written one.

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My trips up and down the escalators to the Tube every morning changed slightly over the weekend with all the standard theatre posters being replaced with Christmas themed versions.

It’s the first time I’ve been in London for an extended period this close to Christmas but it does make perfect sense that West End producers are bumping up their advertising campaigns and planting the idea of a West End show Christmas treat in the minds of consumers. The number of high budget, highly advertised shows around London has also spiked in the run up to the festive period with Peter Pan transfering it’s tent from Kensington Gardens to the O2 arena. Panto is of course the other market factor to contend with as regional theatres just outside London, local to the train season ticket toting, high earning commuters who arrive in the city centre every morning.

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Familiar to those I have worked with at C venues over the past couple of years, Belt Up are an an experimental theatre company hailing from York who have recently been making quite the impression at the Fringe. Their adaptation of Kafka’s Trial was one of two sell out shows that were staged at the Fringe this year, moving the group from their previous Red Room venue at C central into a found space in the fire wrecked C soco.

The back arch at Southwark Playhouse plays host to the piece for the next three weeks and again gives the piece a fantastic backdrop of urban decay. Just a few metres away from the trains rumbling over head the lighting design can only be described as spectacular, moving the audience from one end of the space to another, constantly creating new environments and revealing what sometimes feels like an endlessly large space. It really is a fantastic environment to showcase the work, adapted by and starring Dominic Allen.

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