Performed by me
written by John Clancy, multi Fringe First-winning playwright (Fatboy, The Event).
directed by David Calvitto, The Stage Best Actor Award winner.
Sometime in the imaginary future it's Bob Dylan's final concert. You have a backstage pass. An intimate, revealing "final reckoning". Dylan settles old scores, spins a few tall tales and reflects on over 60 years in the public eye. In his inimitable style, Pip connects Dylan with the audience, removes the mask of a legend and reveals the man you thought you knew.
Aug 3rd - 29th at 13.30 (not 9,16,23)
written by me and Jeremy Towler
performed by me
directed by Geoff Bullen
‘Utton is a national treasure’ Fringereview.com they did say that!!!
Welcome to the concentration of camp.
‘Francis Bacon is sitting on a stool, preening himself. Next to him is a battered trolley littered with champagne corks, and a phone. It rings. He picks it up, and bellows 'Fuck Off!' It's the start of a compelling, thought-provoking, unsettling journey. Pip Utton pilots a voyage through the gutters, sleazy bars, rough sex and alcohol of Bacon’s life. It's embittered, outrageous and chaotic. Like Bacon's art, the play shocks, transfixes - and surprises.’ Fringe Report 2021
Aug 5th - 28th 16.20 (not 9,16,17,23,24,)
written by me
performed by me
directed by Guy Masterson.
I have performed Adolf in 30 countries around the world, including three seasons in Berlin, receiving rave reviews and awards for both performances and writing. 'Pip Utton is the leading solo player strutting the boards in our time’ (Dan Lentell).
3 PERFORMANCES ONLY
What made Adolf Hitler so compulsive? How could any cultured person follow him to destruction, desolation and genocide to leave a long deep scar on the 20th century? Probably more relevant today than ever before. One of the most extraordinary, successful and powerful solo works ever presented. ‘Terrifying, searing, transfixing’ (Scotsman)
Aug 15th, 20th, 21st at 21.00
FRINGE REVIEWS 2021
Pip Utton has turned his amazing skills as a dramatic impersonator to a new subject, Francis Bacon (Pleasance Courtyard). Critics hailed him as ‘the greatest British painter since Turner’ and yet many of his masterpieces look like deranged and violent monstrosities. However, the man himself turns out to be a sweet-natured, old-fashioned gent with a rare talent for friendship. One-liners stream from his silver tongue. Of a sponging lover, he says: ‘He only started to read and write when I gave him a cheque-book.’ His famous South Bank Show interview with Melvyn Bragg prompts this lament: ‘Melvyn’s questions were so much more interesting than my answers.’ Bacon’s life is animated by his nihilistic philosophy, and he insists that human existence is meaningless. Art, too, is pointless. For him the only thing that matters is beauty. And though he claims that his work has no purpose or significance, he adds a teasing footnote: ‘The artist’s job is always to deepen the mystery.’ Utton’s characterisation of this cynical but hypersensitive soul is compellingly watchable. The show deserves a run at its spiritual home, Tate Modern.
It wouldn’t be a return of the Edinburgh Festival Fringe without a performance from one of its lucky charms, world-renowned solo performer Pip Utton. In previous years he has revived works pertaining to Adolf Hitler and Albert Einstein. For 2021, in the contemporary era of offence and opinions, Utton is showcasing another of the controversial characters in his repertoire – artist Francis Bacon.
If you’re expecting a cheap tell-all biography, you won't find it here. Instead, be prepared to roll up your trousers and trudge ankle-deep into the murk, filth, and unexplored avenues of one of Britain’s pioneering contemporary artists. Bacon – whose personality and work have repeatedly been described as violent and unnerving – was a man with a life as complicated and fascinating as his art.
The script, developed from Bacon's memoir, is sublimely intricate. In true Utton form, his metamorphosis into this juggernaut of the art world goes beyond the superficial and into the realms of sculpture. Avoiding caricature, the direction reigns in any distortion which pushes the brink of believability – an accomplishment given Bacon’s reality-perverting demeanour. As expected, the more leeway Utton has to play with, the more intense the energy. The greater the outpourings of despair and sensation, the more engaged we find ourselves.
The chances are Francis Bacon would despise this celebration of his life, which is perhaps the finest compliment that can be paid to Utton. With this show, he has crafted a piece that serves not to flatter, nor to answer questions. Instead, Bacon leaves audiences with one simple request – to think for themselves.