tag:blogger.com,1999:blog-50733181742500255692024-02-20T17:45:21.093-08:00Dreamcatching......random thoughts from a theatre schoolAnonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.comBlogger62125tag:blogger.com,1999:blog-5073318174250025569.post-67262503480541464262017-07-31T12:33:00.001-07:002017-07-31T12:33:16.426-07:00Notes on a dream showI recently had the good fortune to be part of a fantastic outdoor production of '<a href="http://www.ovotheatre.org.uk/?page_id=80" target="_blank">A Midsummer Night's Dream</a>' at the <a href="https://www.gorhamburyestate.co.uk/The-Roman-Theatre" target="_blank">Roman Theatre of Verulamium</a> with <a href="http://www.ovotheatre.org.uk/" target="_blank">Ovo</a>. It was a big cast involving quite a number of children (many from Best) and a lot of music. This meant the usual rehearsal process for such a venture was extended almost threefold - to cope with music rehearsals (for mostly non-musical types) and to rehearse in the kids.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv8vZKkLftvxNalytyTzH5rqNi8YdqqBb931d9ps4BffNcPMkMnSWDlV9IpLYrWIoGDnly8OXrRLqSWKCcweFC04d5nZhId5E_A-gVfzOgb-lfKobYo1P-LMM5kRjU4lmJc7GchV70GBM/s1600/36116675376_00e8fd1dfe_m.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="159" data-original-width="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv8vZKkLftvxNalytyTzH5rqNi8YdqqBb931d9ps4BffNcPMkMnSWDlV9IpLYrWIoGDnly8OXrRLqSWKCcweFC04d5nZhId5E_A-gVfzOgb-lfKobYo1P-LMM5kRjU4lmJc7GchV70GBM/s1600/36116675376_00e8fd1dfe_m.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Big cast number before the interval</td></tr>
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Mine was a strange position to be in. With so many Best students in the cast I was conscious of being on my best behaviour throughout - not chatting during rehearsal, watching while not actively involved, taking notes and delivering on them. That wasn't too much of strain as I've always been quite good at the discipline side of theatre, but nevertheless I was being watched...<br />
<br />
And this was my first time actually on stage acting in about 21 years!<br />
<br />
What was pleasing was how well behaved the children were. Yes of course they got a bit hyper from time to time but overall they were cheerful, co-operative and focused. And of course I was especially proud of the standards achieved by our Best cohort, including one simply outstanding performance in a role in which she was never really offstage. At age 14 in an adult cast (and sometimes in terrible weather) that was some achievement from Tanya S!<br />
<br />
Another nice surprise was the strength and attitude of the whole team - cast, creatives, management and crew. I'm trying to remember a cross word in the whole process and I just can't (not even from my Hippolyta, Jill, when I got the swordfight wrong. Again.). Even when the skies opened the smiles stayed resolutely glued to faces. It was a wonderfully happy, challenging and exciting experience which made me so pleased I decided to take that big step back onto the boards.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Pv0CK5pW2lnW3GWvTGT-H3QX7wFAYLIPMoyV89wK8PwWoHYM9TW3Bqsk1qAJgJFqBDOBqUHk6vpafOEUAjlDfwa-gWk26BIYQtHof6VPpVBo5rqVIBvVXWw9vSbmVFHo2YOWTSZ-TI0/s1600/35317151384_f3797697ba_b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="683" data-original-width="1024" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Pv0CK5pW2lnW3GWvTGT-H3QX7wFAYLIPMoyV89wK8PwWoHYM9TW3Bqsk1qAJgJFqBDOBqUHk6vpafOEUAjlDfwa-gWk26BIYQtHof6VPpVBo5rqVIBvVXWw9vSbmVFHo2YOWTSZ-TI0/s320/35317151384_f3797697ba_b.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jill politely points out where I went wrong.</td></tr>
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The whole thing reminded me of why we spend so much time at Best and in the theatre world in general 'playing'. It builds friendship, trust, openness, honesty and a sense of belonging.<br />
<br />
It also reminded me that there genuinely are 'no small parts, only small actors'. There were some brilliant cameos - a drunken Moonshine, crazy Lion and a mad Cobweb spring immediately to mind - and my role was but fleeting. But I don't think any of us for one second felt that we weren't an absolutely integral part of the whole machine.<br />
<br />
But mostly it brought back to me why I fell in love with the stage in the first place. There is simply nothing like being on stage - it's terrifying, exhilarating, you are totally reliant on others and they are totally reliant on you.<br />
<br />
Bring on The Crucible...Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-72263265730578372632017-06-29T03:56:00.002-07:002017-06-29T04:27:29.293-07:00Turkeys and Gems<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "arial" , sans-serif; font-size: 12pt;">We try to see as much theatre as we can as it's obviously important for
us to stay in touch with what's happening in the 'real' world. In our
travels we come across gems and turkeys and you get to wondering how turkeys
reach the table? Especially at venues like the National Theatre.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5073318174250025569" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=5073318174250025569" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><br /></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12pt;">Two recent examples were <a href="https://www.nationaltheatre.org.uk/shows/salome"><span style="color: blue;">'Salome'</span></a> and
'<a href="https://www.nationaltheatre.org.uk/shows/common"><span style="color: blue;">Common</span></a>'.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><img alt="Image may contain: sky and outdoor" height="240" src="https://scontent-lhr3-1.xx.fbcdn.net/v/t1.0-9/18838851_10155516493548825_9090821204690397876_n.jpg?oh=5bdfb8193c89b0660a3c8c30abe4d4ec&oe=59DA027D" width="320" /></span><br />
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The set of 'Common'<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12pt;">Of Salome my Facebook comments were: </span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<img alt="Image may contain: cloud, sky, outdoor, water and nature" height="180" src="https://scontent-lhr3-1.xx.fbcdn.net/v/t1.0-9/18402558_10155417637218825_4528213063985921906_n.jpg?oh=74e463e2d97a18a90e48051076c25432&oe=59C61830" width="320" /><br />
<span style="font-family: "times new roman" , serif;">Salome pre-set</span></div>
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<i><span style="background: white; color: #1d2129; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">It was a bit like being whacked around the head by
a religious tome whilst being declaimed at by a ranting radical poet. 20 mins
in I was battling for survival and by the end the cast looked like they'd been
thumped too. The most low energy curtain call you will ever see!</span></i><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #1d2129; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">While of 'Common' I said:</span><span style="color: #1d2129; font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 4.5pt;">
<a href="https://www.blogger.com/blogger.g?blogID=5073318174250025569" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=5073318174250025569" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><i><span style="color: #1d2129; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Clearly It was double-common in olden-past to mouth-speak in double-
tongue so that every-all thing- bit you say-quote-mouth is at least-rarest
twice-doubled. But it was so/thus annoying-overstylised that people-folk turned
to murder-killing rather-instead of having-must to listen-hear this anymore.A
play that would suit a small fringe in the round show rather than the huge
expanse of the Olivier stage where it got somewhat lost.And it was pretty
one-paced again like Salome- a lot of overly dense poetic prose being fired at
you in a bucolic accent.I liked the speaking crow though.A lot of people- folk
Left- abandoned at the interval-break. Can kind of see why. Naaaaah.
Again......</span></i></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 4.5pt;">
<span style="color: #1d2129; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">And to be fair the critics were even less kind on both shows. So
how does so much money get thrown at these productions and is this right?</span></div>
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<span style="color: #1d2129; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Both shows were new commissions and both from established playwrights - </span><span style="color: #1d2129; font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://www.yfarber.com/bio/"><span style="color: blue; font-family: "arial" , "sans-serif";">Yael Farber</span></a></span><span style="color: #1d2129; font-family: "arial" , "sans-serif"; font-size: 12.0pt;"> (Les Blancs) and </span><span style="color: #1d2129; font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="https://en.wikipedia.org/wiki/D._C._Moore"><span style="color: blue; font-family: "arial" , "sans-serif";">DC Moore</span></a></span><span style="color: #1d2129; font-family: "arial" , "sans-serif"; font-size: 12.0pt;"> (Town, War in Afghanistan) and it's great to
see new works being encouraged onto the big stages. But surely at some stage of
the creative process there needs to be a level of quality control? The problems
with 'Salome' in terms of style and pacing were so obvious one wonders what
Rufus Norris does for his day job. And I understand 'Common' went through
scything cuts during previews but even these failed to help the play make sense
(or be any less annoying linguistically). Salome in particular was very big on
tech. It looked fantastic - 'all fur coat and no knickers' as the saying goes.
But at least they were both NEW!</span><span style="color: #1d2129; font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="color: #1d2129; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">As for Gems, in amongst the triumphant revivals (e.g. '<a href="https://www.nationaltheatre.org.uk/shows/angels-in-america"><span style="color: blue;">Angels in America</span></a>'), classics (<a href="https://www.theguardian.com/stage/2017/jun/25/hamlet-andrew-scott-harold-pinter-theatre-west-end-transfer-review-robert-icke"><span style="color: blue;">Andrew Scott's Hamlet</span></a>) and more modern re-takes (<a href="https://www.theguardian.com/stage/2017/may/21/life-of-galileo-review-a-night-for-stargazers-bertolt-brecht-joe-wright-young-vic-brendan-cowell"><span style="color: blue;">Life of Galileo</span></a>) that we've seen recently there
needs to be room for new things to be tried and to fail or else theatre
descends into entropy with endless sure-fire, seat-filling old favourites. And
it is interesting that three of the biggest 'transfers' of recent years, 'The
Curious Incident of the Dog in the Nighttime', 'War Horse' and of course 'Harry
Potter' were popular books before theatrical development. so maybe a little
more safe.</span><span style="color: #1d2129; font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 4.5pt;">
<span style="color: #1d2129; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">The next 'classics' are still unwritten, so with the caveat that
sometimes it's better to try out these things on a smaller scale before
ploughing huge sums into shows, we cannot go forward without the ability to
fail. And in some cases, fail spectacularly.</span><span style="color: #1d2129; font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 4.5pt;">
<span style="color: #1d2129; font-family: "arial" , "sans-serif"; font-size: 12.0pt;">So we salute you, National Theatre, and especially the Travelex
sponsorship which means we don't have to shell out to much for seats to watch
failures!</span><span style="color: #1d2129; font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-60473916726661726022017-06-05T08:44:00.001-07:002017-06-05T08:44:56.590-07:00Just about right!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuuWaKljR4caufDhyFw_OyupOHFVC4a_yeBnzeg8csLeQ2Oo9tPcW95EHxjYvyyyT6UtvHEEHtLGCT7z-KydtFo1wgaHdYguZXHqevAwa7Glhu_BCzZs5vzYMZLuvzt8CFpdsFhBunueI/s1600/just+winners+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="854" data-original-width="1600" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuuWaKljR4caufDhyFw_OyupOHFVC4a_yeBnzeg8csLeQ2Oo9tPcW95EHxjYvyyyT6UtvHEEHtLGCT7z-KydtFo1wgaHdYguZXHqevAwa7Glhu_BCzZs5vzYMZLuvzt8CFpdsFhBunueI/s320/just+winners+copy.jpg" width="320" /></a></div>
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It's rare to say any production is 'without blemish', but that's what the Adjudicator said of our recent production of <a href="http://besttheatrearts.com/?p=1732" target="_blank">'Just' at the Welwyn Youth Drama Festival</a> before awarding it first prize and the Adjudicator's Prize for our chorus work. A tremendous achievement for the group, but tinged with sadness as it will be the last production at Best for most of the cast. But on further reflection there is a warm glow of satisfaction as we see them fly the Best nest.<br />
<br />
In their time with Best, each has faced and overcome their own challenges. Each has their own individual blend of ability, hard work and commitment. And bearing in mind we have NEVER auditioned for this group, all they have achieved is down to their talent, attitude and receptiveness to input. They have each taken their own very different route to where they are now.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicl67T1WV3NVz1BHh4XzvnB1YATsmK6egJEFZkETcsUlX1FQ-kN20ZrniaCwk5vOshxqFUZOqbN15pEcjACdT-kUqhkaqMpXXQHPQkYdEyVntiltZ67a4DPkDQsb6B8l8vnkfC_cAmg0o/s1600/IMG_7133.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicl67T1WV3NVz1BHh4XzvnB1YATsmK6egJEFZkETcsUlX1FQ-kN20ZrniaCwk5vOshxqFUZOqbN15pEcjACdT-kUqhkaqMpXXQHPQkYdEyVntiltZ67a4DPkDQsb6B8l8vnkfC_cAmg0o/s320/IMG_7133.jpg" width="240" /></a></div>
Some joined us in First Class as 4/5 year olds and developed through Best, Best School of Acting and TheBYTE. Others joined us later, already committed to theatre, and brought with them new energies and artistic dynamics. They come from very different family backgrounds and school experiences. But they have forged unbreakable social bonds which we hope/trust/know will last them for many, many years into their adult lives. Yes, they've enjoyed huge success with Just and <a href="http://besttheatrearts.com/?p=1732" target="_blank">at the National Theatre in 2015</a>, but they were merely points of validation.<br />
<br />
So as they head off to university, <a href="https://www.rada.ac.uk/" target="_blank">RADA</a> and <a href="https://www.lamda.org.uk/" target="_blank">LAMDA</a> they have a foundation of absolute trust, genuine respect, huge confidence, close friendship and (yes) love upon which to base their futures.<br />
<br />
We'll miss them, but wow! what a time they've given us...<br />
<br />
Hard on their heels comes the next super-talented bunch and we are excited to think what they might achieve too. '<a href="http://besttheatrearts.com/?p=2865" target="_blank">The Birds</a>' at the Roman Amphitheatre of Verulamium is their next big challenge. Come and support them - <a href="https://www.ticketsource.co.uk/event/ELFMMI" target="_blank">tickets available here</a>!<br />
<br />
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And now <a href="http://besttheatrearts.com/?p=50" target="_blank">we're recruiting the next team of young people</a> from years 7,8 and 9 who will blaze their own exciting trail over the next few years.Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-64932608585703901302017-03-15T10:36:00.001-07:002017-03-15T10:40:37.234-07:00Musings on a train<div>A <span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">brief moment of calm on a train to take a deep breath in the middle of what is the busiest period we have ever had at Best - 9 full public shows and 3 private showings in the space of 4 weeks. Add on the dress rehearsals and techs for each show and the costuming, marketing and administration and you'll start to get an idea of what we've taken on. </span></div><div><br></div><div>If we total the casts in each performance we get 364 young theses treading the boards at 6 different venues.</div><div><br></div><div>The house is totally chaotic, my to-do list is ludicrous and yet...</div><div><br></div><div>...this is what we do! </div><div><br></div><div>We (Annette, Lisa and I) often discuss the realities of working in the theatre world - 99% of it is plain hard work! Loading vans, lugging stage weights, packing costume, screwing bits of wood together, painting wobbly bits of set, sorting out non-functioning tech, sourcing bizarre props from unlikely sources, organizing casts etc. at Best most of the cast and the parents are totally removed from all of this and perhaps it's only when they get to TheBYTE that they begin to appreciate some of these aspects. And for people like us it becomes what they love about the theatre. Getting shows on no matter what the odds. Doing the jobs that need doing. Putting in the hours. All without complaint and with a smile. All for one and one for all! </div><div><br></div><div>We insist that our students show absolute aspect to any member of theatre staff they meet, whatever their role. This is why we were so thrilled with the way TheBYTE conducted themselves at The National Theatre in 2015- exemplary. And hopefully they will exercise the same courtesy whatever exalted heights they reach in their careers. </div><div><br></div><div>It is this kind of grounding that makes a true professional - not someone seeking shortcuts through reality TV or the diva histrionics so beloved by gossip columns. A true professional understands just what it takes to get a show on and even if they are called to the stage from dressing room #1 or to the set from a luxurious Winnebago that grounding in reality will earn the respect and cooperation of any crew. Never forget how much hard work of so many people has given you the platform for your success!</div><div><br></div><div>Anyway, enough musing. This Sunday we're at the Hertford Theatre with our wonderful Hertford school for Dreamcatcher. The glitterball is arriving on a motorbike, the rest of the tuffcrates and costume rails will be piled into Lisa's van and five months hard work by the cast will have but one day to blossom. Then it all gets packed away and we move on to the next one...</div>Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-63207085739299817792016-09-23T03:07:00.001-07:002016-09-23T03:07:57.415-07:00Shy child? "Drop and Go!”<div class="MsoNormal" style="background-color: white; font-family: arial; font-size: small;">
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Almost every parent talking to us about their little one joining our First Class theatre group (ages rising 4 to 6) thinks their child is shy. Can I just begin by reassuring you all – wariness of new situations is perfectly normal and even healthy - we feel the same as adults, we just don’t have a parent’s leg to hide behind anymore!</div>
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How you deal with this, however, is often the key to how well and how quickly the child integrates into the new environment. We strongly encourage that you ‘drop and go’ as speedily as possible. Any tears are very short-lived and usually for your benefit! In fact we can count on the fingers of one hand the number of times we’ve had to call a parent back over the last 18 years.</div>
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If you are feeling worried or insecure about how your child is feeling, this is perfectly normal too, but if you let your own personal feelings on the issue show, the child will pick up on them in a flash and will make sure your leaving is as traumatic as can be. </div>
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First Class is there to help your child build confidence, sociability and concentration whilst having lots and lots of fun! Schools like ours are completely comfortable in helping new children integrate happily and quickly and you can trust us to know the difference between a show of reticence (however Oscar-worthy) and genuine distress. Drop and go (and have a <span style="font-size: x-small;">nice </span>cup of tea<span style="font-size: x-small;"> and a cake</span>). Your child is in First Class hands!</div>
Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-81577342628314358102016-09-23T02:47:00.002-07:002016-09-23T06:59:54.169-07:00Choosing the right theatre school for your child<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC1_Q3DACy2w1oPqlIi_Pgl0y0t7xcU3Wm-hCd1yTXCnlFVVN1v6p-HzN-TS0DdH0cDoWxVdZf2ztPHtnxBScLNoQUAXwMc4sXemNGxSNHFOpGxu82lFLWcTQWrKtF1aQtoawi7ecauC8/s1600/ozwars2+088.JPG" imageanchor="1"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC1_Q3DACy2w1oPqlIi_Pgl0y0t7xcU3Wm-hCd1yTXCnlFVVN1v6p-HzN-TS0DdH0cDoWxVdZf2ztPHtnxBScLNoQUAXwMc4sXemNGxSNHFOpGxu82lFLWcTQWrKtF1aQtoawi7ecauC8/s320/ozwars2+088.JPG" width="320" /></a><br />
<br />
There are so many theatre schools now it's an almost impossible task to choose. In St Albans alone there are at least sixteeen (yes,<b> SIXTEEN</b>!!) so how on earth can you make a comparison? In this brief blog I'll try and make the journey easier for you (and although <b>I need to declare an interest as founder of Best Theatre Arts</b>, I'll try and stay neutral).<br />
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There are the basics, like OFSTED membership, DBS checks on teachers, convenience of location, timings, price etc etc - but let's presume all this is equal.<br />
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The best method is <b>word of mouth</b>. <b>Ask people you know and trust.</b> At the very least this will greatly narrow down the field for you.<br />
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Then <b>speak to the owners/managers</b> - the people at the top. It is from them that the culture and approach of the school will permeate. Get a good feeling from them and this bodes well. Are they interested in you/your child? Can they describe a cohesive approach to development? Do they have the right energy and drive? What are their core guiding principles and values? What is their staff profile? What is their background? How do they interact with the children? <b>This is best done by visiting the school and meeting them.</b><br />
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Then <b>try the school </b>before committing fully. There are a number of ways of doing this:-<br />
<ul>
<li>Some offer a free trial, others (like us) a paid trial which is then deducted from fees. Free trials are just that - no commitment, no outlay. The upside is it's entirely risk free and you can tour lots of schools until you find the one you want. The downside is that you get one week to make a choice. </li>
<li>We've tried free trials at Best but reverted to a paid two week trial (two weeks for the price of one with the cost deducted on continuation). We think this gives the child and parent a much better chance to evaluate fully the school and its approach (and us) before committing. And from our viewpoint we get a more committed and interested child and parent to meet (and fewer people just not turning up). The downside is it costs you money - (£13.50 in our case for little ones) - so it's more expensive if you want to try out a number of classes.</li>
<li>There are also 'open days' where parents and children get to meet and try out classes. Again this is risk-free and is favoured by the larger franchises as an efficient and well-tried way to bring in immediate numbers. The upside is it's free and potentially quick. The downside is you know it has all been set up for that day and to a process - it's not business as usual so you won't get a real feel for the school in action as you would with a free or paid trial.</li>
</ul>
So, in a nutshell - <b>ask friends, speak to the boss, visit the school, pick a trial</b>.<br />
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There are fundamental differences between schools and I'll try and explain here what those are and the up and downsides of each type (with reference to school in St Albans):-<br />
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Firstly, there are the <b>mega franchises/managed units</b> - including <a href="http://www.stagecoach.co.uk/" target="_blank">Stagecoach</a>, <a href="https://www.theatretrain.co.uk/" target="_blank">Theatretrain</a>, <a href="https://www.pqacademy.com/" target="_blank">Pauline Quirke</a>, <a href="http://www.perform.org.uk/" target="_blank">Perform</a>, <a href="http://www.jigsaw-arts.co.uk/" target="_blank">Jigsaw</a>. These have centralised slick systems to manage their activities which are run by franchise holders or centre managers. The real advantages here is that their processes and syllabuses are tried out in (literally) hundreds of other schools across thousands of students so you know they work! There'll be lots of goodies too (uniform, newsletters etc), agencies and often the promise of a West End showcase. These companies could not have got where they are without doing what they do very well indeed - thousands of students and parents can't be wrong. The downside is that you are very much part of a (albeit benevolent) machine and whilst the personality of the franchisee/manager can make a difference, their flexibility to adapt to changing dynamics within their franchise parameters is somewhat limited.<br />
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Then there are the <b>larger independent companies</b> - <a href="http://tophatstageschool.co.uk/" target="_blank">TopHat</a>, <a href="http://www.theatrix.co.uk/" target="_blank">Theatrix</a>, <a href="http://www.actnowperformingartsschool.co.uk/" target="_blank">Act Now</a>, <a href="http://hurstchildrenstheatregroup.com/" target="_blank">Hurst Children's Theatre</a>, <a href="http://www.livingthedreamcompany.co.uk/" target="_blank">Living the Dream</a>, <a href="http://excelperformingarts.co.uk/" target="_blank">Excel</a> and, of course, <a href="http://www.besttheatrearts.com/" target="_blank">Best Theatre Arts</a>. Each of these is run directly by the owners and each has its own very distinct culture. The downsides - systems might not be so slick and the variations in approach from owners mean that the schools are very much more individual in tone and culture. For example, some will be suitable for the more ambitious parent/child whilst others will focus more on the achievements of the whole group. You may find to that in some instances the owner takes a very high personal profile/brand whereas others manage more discreetly. The upsides are these are local companies which are a genuine part of the community, and if you find the school with the right culture for your child you relationship as a parent with the group will be much more close and engaging. You may also find the staff to be long-standing which helps considerably with the consistency of approach.<br />
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Finally there are the <b>small independent companies</b> - <a href="http://fusionperformingarts.co.uk/" target="_blank">Fusion</a>, <a href="http://www.littlestarsworkshops.co.uk/" target="_blank">Little Stars </a>etc. These will be even more directly influenced by the owner and may not yet have built the customer base to get adequate verbal references. But all good schools start from small beginnings and in many ways size doesn't matter. The downsides are that resources may be limited and staff coverage not quite so robust.<br />
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So no school can legitimately claim to be any better than any other - it's all 'horses for courses'. But<b> it is worth investing the time to go through a selection process</b> - these schools are not cheap and you could be making a significant investment in your child over a number of years (14 years is our record!!!) - its worth taking the time!<br />
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<br />Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-17444826815689892422015-08-01T10:23:00.001-07:002015-08-01T10:25:45.754-07:00Don’t Put Your Daughter on the Stage, Mrs Worthington! Part 1 – Why?<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCWJA49JhoKoLEZVAVnSYjmezlVOAHBq53RE8zrUE3pUrIkKsDYcN4XvFUG0YVf0y7CtGvEOIJkX1xchYIYcViwt-bvYSbEw-wGiVmo3H7tUdePyYLOBiw-GQXlLcUl2NIl8ydbeGRes8/s1600/summer+week+2+shows+463.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCWJA49JhoKoLEZVAVnSYjmezlVOAHBq53RE8zrUE3pUrIkKsDYcN4XvFUG0YVf0y7CtGvEOIJkX1xchYIYcViwt-bvYSbEw-wGiVmo3H7tUdePyYLOBiw-GQXlLcUl2NIl8ydbeGRes8/s400/summer+week+2+shows+463.JPG" width="400" /></a></td></tr>
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Last week's Best summer course cast of 'A Grimm Summer Night's Dream'</div>
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- who knows who may go on from here to a stage career?</div>
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As the co-founder of Best Theatre Arts I often get asked
what advice I’d give to a parent with a child who seems keen on a career in the
theatre.</div>
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The glib responses of “Don’t worry they’ll probably get over
it!” or “Start saving!” don’t really cut the mustard any more. With the
explosion in reality TV and the realisation of how important theatre skills are
for life, more and more children are getting a taste of the stage; a taste
which can turn into an addiction.<o:p></o:p></div>
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There are so many
routes available to a career on stage that there’s no right or wrong answer –
the right path will genuinely vary from child to child. So in a series of
blogs, starting with this one, I’ll look at the various career paths open and discuss
their relative merits and drawbacks.<o:p></o:p></div>
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But the first and most important question I’d ask the parent
is “Why?”<o:p></o:p></div>
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A good reply would be “It’s all she’s ever talks about and
all she’s ever wanted to do. She won’t contemplate any other career! She simply
won’t be put off! She’s always doing something…”<o:p></o:p></div>
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What I DON’T want to hear is…<o:p></o:p></div>
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“He was in a school play and everyone said how good he was
so we thought we’d see if he’s really got anything.” – a good reason to try a
drama class but no basis for a career!<o:p></o:p></div>
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To be an actor requires total commitment, unwavering
optimism, strength of character and a resilient determination to succeed. Stories
of instant discoveries and fame might sell papers, but they are the extreme
exception rather than the rule. Most actors work hard for years so that when an
opportunity does come along, they have the skills and technique available to
make the most of it. And even then it can take a few knockbacks before their
career becomes at all robust.<o:p></o:p></div>
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The drive has to come from within. This is why so many child
actors fall by the wayside – the drive has often come from aspirational
parents. And with early success, the
lessons and training that need to be undergone are often bypassed so that when
the child grows up, they simply don’t have the toolkit to compete any more.<o:p></o:p></div>
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So I’d expect the child in question to be doing everything he/she
possibly can to gain experience. In our area or Hertfordshire, thankfully, they
are spoiled for choice (<b><u>DECLARATION OF INTEREST ALERT!!!</u></b>) : well-resourced school
plays, good amateur shows/pantomimes, quality weekly classes or holiday courses
(e.g. <a href="http://www.besttheatrearts.com/" target="_blank">Best Theatre Arts</a>, <a href="http://www.stagecoach.co.uk/" target="_blank">Stagecoach</a>, <a href="http://www.actnowperformingartsschool.co.uk/" target="_blank">Act Now!</a>), and the chance to take part in
larger theatre productions with organisations like <a href="http://www.rareproductions.co.uk/" target="_blank">Rare</a>, <a href="http://www.saos.org.uk/" target="_blank">St Albans Operatic Society</a> or the <a href="http://www.stalbansgangshow.com/" target="_blank">Gang Show</a>. <o:p></o:p></div>
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As the young person turns teenager they’ll be trying to hone
their talents through more focused training: GCSE/A level at school, good
quality youth theatre companies run by trained professionals (e.g. <a href="http://besttheatrearts.com/6-16-years/the-byte/" target="_blank">TheBYTE</a>,
<a href="http://www.abbeytheatre.org.uk/join-in/company-of-teens" target="_blank">Company of Teens</a>), attending more advanced weekend schools (e.g. <a href="http://www.bestschoolofacting.com/" target="_blank">Best School ofActing</a>, <a href="http://www.performingartscollege.co.uk/" target="_blank">Bodens</a>, <a href="http://www.italiaconti.com/" target="_blank">Italia Conti</a>, <a href="http://www.gsmd.ac.uk/youth_adult_learning/junior_guildhall" target="_blank">Guildhall</a>) or working with some of the more
advanced local theatre groups (<a href="http://www.ovotheatre.org.uk/" target="_blank">OVO</a>, <a href="http://www.breakawaytheatre.com/" target="_blank">Breakaway</a>) etc. etc.<o:p></o:p></div>
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They will be doing everything they can to improve, to learn
the craft and to gain experience.<o:p></o:p></div>
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Recently a very talented young actor came back from watching
Imelda Staunton in ‘<a href="http://www.gypsythemusical.com/" target="_blank">Gypsy</a>’ and said “Now I know how little effort I’ve put in
so far – and I thought I was working hard. Watching her has shown me how much
more I need to give in training and on stage.” This was a fascinating response
to a stunning performance. I’ve had similar inspirational Damascene moments
when watching <a href="http://www.markrylance.co.uk/" target="_blank">Mark Rylance</a> in ‘<a href="http://www.theguardian.com/stage/2015/apr/13/theatre-great-performances-actor-mark-rylance-jerusalem-2009" target="_blank">Jerusalem</a>’ and ‘Twelfth Night’ (well, anything
he does really). Now matter how talented you are, it’s hard work!<o:p></o:p></div>
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So, in conclusion, if your child genuinely has the drive,
the demonstrable commitment and the right work ethic, and you are prepared to
support them in these endeavours, you have a base from which to move forward.<o:p></o:p></div>
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Next time I’ll discuss child actors and how that ephemeral industry
works!<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-84406907301686752282015-07-06T01:05:00.001-07:002015-07-06T03:44:17.317-07:00Final thoughts on the NT Connections journey<div>'It's all over - and what a fantastic experience it has been - personally and professionally. I still can't quite believe what has happened and it will take some time to process. From the moment the 'vision' for what this play could become to the moment the cast took the applause at the Dorfman there was excitement, challenge and achievement. Each and every one of the cast and crew grew - some to a quite astonishing level. </div><div><br></div><div>So can we look back over the Connections experience with a degree of objectivity? Well, here goes...</div><div><br></div><div>The scheme itself is a fantastic concept and is entirely appropriate for the National Theatre as it reaches out to all geographical and cultural parts of the United Kingdom. In inviting 10 established writers to write specifically for young people it fills a yawning gap in the material available for young people.</div><div><br></div><div>The quality of the writing is variable IMHO- it seems that some authors take the task much more seriously. And in asking writers who may not be used to writing for young people to do just that, some are bound to be better at it than others! </div><div><br></div><div>From a participant's point of view, the initial process is a total gamble. There is that bated breath time when the new plays are released (after you've paid your fees usually) when you earnestly hunt for the plays that match the size of your cast/availability of resources/ appropriateness. This has meant we've worked with some gems in the past, but also we've had to 'make do'.</div><div><br></div><div>We withdrew from the scheme some years ago when the original (quite relaxed) quality filters were lifted and literally hundreds more groups started taking part. This devalued the writer's weekend workshop and really made any prospect of progression (even to partner theatres) a bit of a lottery. When we found out the filters had been restored, we decide to take part again - and thank goodness we did. </div><div><br></div><div>Unfortunately it looks like the NT has relaxed the policy again for 2016 and although we had already decided to take a break to get some perspective on this year, we would not have entered anyway without some reassurance over the workshops and partner theatres' status (which I now understand the NT could give). </div><div><br></div><div>The process of mounting your home production is fine and relatively simple. There are a few little hurdles to get over, such as clearing your PR material and collateral, but nothing really to worry about. </div><div><br></div><div>To be honest, I had a feeling right from the start that we had a very strong vision and talented cast and that our end product would be compelling - we were in with a chance.</div><div><br></div><div>The visit by the NT assessor we found invaluable and, although the play was in fairly good shape, his suggestions we entirely appropriate and welcome and started a process of improvement which I believe was the most exciting element of the whole project.</div><div><br></div><div>The trip to our partner theatre, the Royal & Derngate was very enjoyable and the cast had a brilliant time. The organisation by the theatre was superb. <b>This alone made the project worthwhile. </b></div><div><br></div><div>The show had moved up a couple of levels and when I was introduced to a mystery person visiting with our assessor at the end I was pretty sure we were, at the very least, on a shortlist.</div><div><br></div><div>The wait for a phone call from the National was awful but totally understandable. I was pleased that every company would be informed before the final list was posted, as previously the names simply appeared on the website and this was the first you knew you hadn't been successful. So when the phone call came, there was as much relief as joy. But then there was the embargo period (again understandable, again agony) before I could tell the cast and the world.</div><div><br></div><div>The moment I informed the cast will stay with me for the rest of my life.</div><div><br></div><div><a title="When you are told you've been seected by the National Theatre" href="https://vimeo.com/128227523?utm_source=email&utm_medium=clip-transcode_complete-finished-20120100&utm_campaign=7701&email_id=Y2xpcF90cmFuc2NvZGVkfDkxYWE0MjYyOGQ1Y2IzOThkZmNlYzQ2OWY4NTMwODcxODg5fDMzMzU5Nzc4fDE0MzIwMTg2MzN8NzcwMQ%3D%3D" style="text-decoration: none; -webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><font color="#000000">https://vimeo.com/128227523</font></a></div><div><br></div><div>So we were selected - and didn't the work REALLY start then? Forms, forms, forms. But you don't mind. It was taking the production to the level it needed to be for the Dorfman that was the biggest challenge, and the most wonderful part of the work. Our associate director was fantastic, blending I into he background when needed, pushing forward when needed. Some of the exercises he let us with will power any future shows, but his objective and practical insights made the performance increasingly polished, accurate and professional.</div><div><br></div><div>And then there was the huge team at the NT - always reassuring, always calm, totally professional and on our side, even when we hit a few production blips along the way. I cannot speak highly enough of all of them - without exception. Yes, you field emails from so many different people that sometimes you can lose track of who has what information, but there was always our associate director and the co-ordinators at the NT to make sense of it all and pull it all together.</div><div><br></div><div>So we came to the production itself. The tech was extraordinary - the resources were just immense and having people who knew how to make them work was fascinating. And how they encouraged and coached my production team was extraordinary and inspiring.</div><div><br></div><div>When the days came, the NT made it seem effortless. I know from long experience just how hard it is to corral young people and point them all in the right direction at the same time. We were treated as professionals and colleagues by everyone and the task of getting the show onto the stage could not have been more relaxed and supportive. It left my young people totally at ease and able to deliver the performance all their hard work ( and that of the NT) deserved.</div><div><br></div><div>It was an experience they and I will never forget.</div><div><br></div><div>Were there any disappointments? For me, it was a shame that the social media networks set up to exchange ideas with other groups were almost totally unused. We went big on social media but felt a little bit out on a limb. There must be other ways to encourage more interaction. </div><div><br></div><div>It was also a shame that the schedule at the NT meant we didn't get any time to talk to our playwright - we'd have loved to talk to her about what we'd done and what she thought of how her play had developed. </div><div><br></div><div>But these were insignificant compared to the life experience offered to the cast.</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNmasXEQGUgD6A9juEKpPDrMANSW_i7LcsTGugByNOr8ATRdivZk6F5Lysl8d4QCas-t5JgcJy3V6_fupw5zsn6gwS4zQ0xFZao6H9K3clxsj8LyxXF86K8vJkU1x5fac_cnH-QBTTTZI/s640/blogger-image--1128963000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNmasXEQGUgD6A9juEKpPDrMANSW_i7LcsTGugByNOr8ATRdivZk6F5Lysl8d4QCas-t5JgcJy3V6_fupw5zsn6gwS4zQ0xFZao6H9K3clxsj8LyxXF86K8vJkU1x5fac_cnH-QBTTTZI/s640/blogger-image--1128963000.jpg"></a></div><br></div><div><br></div><div>We wish all the groups taking part in next year's programme the very best of luck. It's a great scheme with a goal that is unique, achievable and very, very special. </div><div><br></div><div>In conclusion, the Connections programme is a crucial drip feed of adrenalin into the UK youth theatre world. It's not initially cheap, certainly, but you can defray those costs with a bit of clever marketing and good support from your home audience. </div><div><br></div><div>Getting to the National (I think) requires a degree of luck, a uniqueness of vision and clarity of storytelling but you can't go into the programme with that as a (stated) goal for your cast. There is so much of the process totally outside your control. All you can do is to produce the best work you can. Far more important is taking part in a festival that unites the nation and delivers vital new energy to theatre for young people and the excitement of pioneering new works.</div><div><br></div><div>Thanks to Rob, Dan, Adele and everyone at the National Theatre for their hard work and unfailing support.</div><div><br></div><div>And thanks to my fantastic cast and crew. Lotta love for you, guys!</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2qrSaMI-XN7svPJDpKgQu9kKfsLXwwvqMVBWoZRRgaqCqZhsBH5O53FJLuAV72TD-D_o3VCWTkaZx35G8b0h02c9FgKeLhPCZ7ZEqORca20-rY8pdt4vm0uL__HSnEF_qPEjSBwSjCns/s640/blogger-image--1749201322.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2qrSaMI-XN7svPJDpKgQu9kKfsLXwwvqMVBWoZRRgaqCqZhsBH5O53FJLuAV72TD-D_o3VCWTkaZx35G8b0h02c9FgKeLhPCZ7ZEqORca20-rY8pdt4vm0uL__HSnEF_qPEjSBwSjCns/s640/blogger-image--1749201322.jpg"></a></div><br></div><div><br></div><div><br></div><div> </div>Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-51207534757725047122015-06-25T03:54:00.000-07:002015-06-25T03:54:04.527-07:00The show must go on!Well, it all happened yesterday!<br />
<br />
We were invited by St Albans High School for Girls to run <i><b>The Boy Preference </b></i>in the new Jubilee Hall. We readily greed as it's a much bigger space than we've been used to and it was nice to take the show to a school where a number of the cast attend.<br />
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It's a lovely space but has its drawbacks - particularly as it looks as if the final spec was not done by a theatre person (e.g. no ground level DMX/TSR points). But the get-in went fine, the rig was easy and Rachael the theatre manager even managed to restore two of the stage lighting bars which decided to become unresponsive during the afternoon. So all was well.<br />
<br />
We started the show at 7.30pm and about two cues in it was apparent that the lighting desk had become possessed by a demon. Rather than moving cue to cue it moved to the next while keeping the previous one going! So we were ending up with a string of cues all merged together. Jack in the lighting box worked some wonders to keep the thing going and the cast coped with some weird effects increasingly well.<br />
<br />
In fact all was going fine until 2 minutes before the end, just as the climatic bulldozer scene was finishing, when suddenly the fire alarm went off. At first I thought Alex had done something (actually pretty cool) to the soundtrack (and something we will now try and recreate) ... but no!<br />
<br />
So we have to call a halt and evacuate across the road to the tennis courts to see if order could be restored. After a few minutes it was apparent that there was a real issue with the system and that carrying on inside was not going to be an option.<br />
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<br />
And then the fire fighters arrived.<br />
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<br />
So in the true spirit of theatre we decided to rerun the last two scenes on the tennis courts with the audience sitting on the ground.<br />
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Of course we didn't have the bulldozer with all its noise and lights and smoke, nor did we have the joyous cacophony of the fireworks (although we tried our best vocally). But the cast were fantastic and the applause was thoroughly deserved.<br />
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<br />
These are the memories that will stick with the cast forever. This is what theatre is all about.<br />
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Bring on the Dorfman!<br />
<br />Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-5862344513575116842015-06-22T04:39:00.001-07:002015-06-22T04:39:25.948-07:00Little gemsSo our formal rehearsal process for <i><b>The Boy Preference</b></i> is now over. It has been fantastic to have the time to properly rehearse key elements of the show - analysing and testing all the decisions we've made and, in a number of cases, making new decisions. The show is different in many respects (and much better) now than the show we put on in Monday. We've found all manner of little gems!<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit5rDsTg-t3QbRaqotNCNEBdo_YhUCg4tDM1qykgz-CJvfAdxlQTk3nbtMDBIX84xasL5BQi1tQffTSmwKcwO_6R6-purmBHJMtv0m0ghEo9QDjxXkjGgRL4L3r9KAD364Cl8sGVTirSg/s1600/Sunflowers-Layout6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit5rDsTg-t3QbRaqotNCNEBdo_YhUCg4tDM1qykgz-CJvfAdxlQTk3nbtMDBIX84xasL5BQi1tQffTSmwKcwO_6R6-purmBHJMtv0m0ghEo9QDjxXkjGgRL4L3r9KAD364Cl8sGVTirSg/s320/Sunflowers-Layout6.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Our new set design from the NT</td></tr>
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How is this achieved I hear you cry? How can you change something that has been so firmly set and something that (let's face it) was extremely successful? And why would you want to?<br />
<br />
I suppose the 'right' answer is that you always look to play the truth of the situation, so if you change assumptions and decisions made in the construction of your character and plot 'back story', this will inevitably change what appears on stage. We've looked at how we arrived at some of our character decisions and, with the benefit of hindsight and a good deal of thought (given the luxury of time), have changed our minds. And once you change one aspect of a character, then all the other characters reactions to that character change to and you are back into a dynamic and 'edgy' situation which gives the piece its fizz.<br />
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We've also gone for even more precision in the chorus work and I think they are much more scary than they were originally. We've done this by taking a step by step (literally) approach to each of their scenes and with input from all of them, it's taken new forms.<br />
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As to why we'd want to make these changes - well, it needs to be fresh for the National Theatre and, indeed, for our cast. It cannot simply be repetition, it must be as if we're doing this for the first time. And we have some really fantastic opportunities - on Wednesday we move to a much bigger hall at the High School to run the show. Then we are back to The Maltings, but with a different set configuration, and then to the Dorfman. - so all new experiences which will give the cast some great challenges.<br />
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And the final reason as to 'why change?' - it had to! It was directed for a small, intimate space with a tight set and its moving to a much larger auditorium with a high ceiling and all kinds of different aspects. the show had to 'grow' and it has.<br />
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Finally, a word about our NT Associate Director, Dan Bird. His input has been immense - without ever treading on my team's toes. He's delivered some very telling messages, all of which have supported our work. His eye for detail has also been invaluable and some of his ideas for new bits of business or staging have been inspired. It's been a privilege to have him with us and I only hope he's enjoyed his time - and that we make him proud next week! I'm sure we will.<br />
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(Next week!!!!)<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-55674847620010149112015-06-16T08:42:00.004-07:002015-06-16T08:42:50.243-07:00So near...As I write there is only 1 seat left for our show at the National Theatre. I never thought I'd be in a position to say a show we've put on has sold out the National Theatre. Good grief!<br />
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Our NT Associate Director Dan came up to share Sunday with us - a full days rehearsal. It was a fantastic day. It was so refreshing to have a new eye on everything and I was thrilled to see new threads emerging and really significant steps forward being taken by our cast.<br />
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Here he is forcing our cast to beg on their knees for pearls of wisdom!<br />
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<br />
He's with us again next Sunday and it's so exciting to think where this play could get to by the time it reaches the Dorfman. <a href="https://www.youtube.com/watch?v=8hpdY-WkxTA" target="_blank">Elinor Cook</a>, the play's author, may also be coming. Not sure she'll approve of the sudden switch to <a href="http://www.youtube.com/watch?v=DqpBwi594Ug" target="_blank">Cumbrian dialect</a> in scene 5. But I think it adds something...<br />
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Ouistajurnmarra! - that's "How are you, mate?" in Cumbrian, of course.<br />
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Further to my previous blog, I outlined my concerns about the set to Dan who has already relayed this to the Nash so I'm hopeful that this week will give me more cause for confidence. I'm sure what they produce will be spectacular but I do want to preserve that eerie, odd, grunginess and tactile decay that made our shows here so special. Funny that they can't do low fog due to the aircon, though! Guess they could switch it off and that would help us re-establish the 'heat' thing.<br />
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Have worked out a mad schedule to move cossies and props from here to the NT, back here, back to the NT and then back here again. What could possibly go wrong?<br />
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It's getting closer folks - 2nd July is but two short weeks away. And I still can't actually believe it's going to happen.<br />
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Oh, and our hoodies arrived today and I've cocked up the sizes. What an idiot! Luckily the right ones will be here in time. Thanks <a href="http://hoodyworld.co.uk/" target="_blank">Hoodyworld</a>!Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-45325090733877978232015-06-12T09:40:00.001-07:002015-06-12T09:40:51.702-07:00Fidgety<div>So plans progress towards the Nash (yes it's the Nash now to us insiders) but things feel a bit weird. The Nash is rebuilding our set which in effect means redesigning from top to bottom. There is no doubt our little flats need upscaling but I don't want to lose the odd qualities that my terrible attempts and painting delivered - especially the strangeness and depth we got from the real sunflowers. With time and budget against us they are looking for an image to print rather than paint and I'm not sure exactly how that's going to work. Having been so close to the whole project it's hard to adjust to having some decisions taken out of my hands. But they clearly know what they are doing so I just need to put my control freakery to one side.</div><div><br></div><div>Our NT associate director Dan is joining us this weekend for our first 'let's make it bigger' rehearsal and it will be interesting to see how his experience of the space translates to changes we need to make.</div><div><br></div><div>Did a very rigorous interview with the St Albans Review today - some very intelligent questions and a reporter who clearly knows what she's doing!</div><div><br></div><div>More news next week.</div>Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-62564007669026806142015-05-26T15:16:00.002-07:002015-05-26T15:16:35.978-07:00You're gonna need a bigger boatAs we watched the very excellent <a href="http://www.nationaltheatre.org.uk/shows/light-shining-in-buckinghamshire" target="_blank"><i>Light Shining in Buckinghamshire</i></a> tonight I was struck by my first feelings of misgivings. The huge sound system rumbled and the stage was filled with blinding LEDS as the safety curtain split to reveal a massive table on a huge rake surrounded by beautifully costumed people. And all I could think was "this theatre could eat us up!"<br />
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I was reminded of the National's promise that they would embiggen (I love that word, from the Simpsons) our show so it was right for the space. And also our associate director Dan's notes that we have to raise the performance level a couple of notches. I know what he means. The Lytellton is much bigger than the Dorfman, but it's still on a different scale to what we are used to.<br />
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Work to do, people, work to do. And how are we going to get our set to have any impact on that stage?<br />
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But Jack and Alex will have a field day!Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-7766663161213657232015-05-21T04:40:00.003-07:002015-05-21T04:40:57.923-07:00"There are hundreds of them"So yesterday was REALLY exciting as Annette, Jack and I travelled to the National Theatre for a production meeting. Here's Jack outside...<br />
<img src="https://scontent-lhr3-1.xx.fbcdn.net/hphotos-xat1/v/t1.0-9/11330045_991306990880032_1411143606701399895_n.jpg?oh=c7497a13d7c931cf4d1aaa577dbb2584&oe=55CF9516" /><br />
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We were met by Rob who runs the Connections programme and Dan our Associate Director and escorted through a very strange series of tunnels under the building to the temporary theatre. There awaiting us was a throng of NT boffins "there are hundreds of them" (well about 30 anyway) representing lights, sound, production, costume and wigs, stage crew, health and safety, marketing, admin etc etc.<br />
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They had set up our show on video so that various elements of the staging could be discussed and in a blur of sensible and poignant questions we were welcomed into their fold with care, calmness and total confidence. They just exude the air of 'we know what we're doing, so there's nothing to worry about..."<br />
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We were pretty well prepared I think so we were able to move along at a fair old rate. They had 8 such meetings to do that day so we thought we should try and make life as easy as we could for them.<br />
<br />
But it was fascinating to understand the levels of detail they explore and the amazing resources they have at their disposal. Surround sound???!!! That was way too cool. But smoke/haze/trucks/stage area - wow. It is another world but one into which we are just thrilled to have a glimpse.<br />
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Then contracts were signed, a tart was eaten and we were away...<br />
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And then, at THE most inconvenient time,(while we are on the train back stuck in tunnels etc) the embargo was lifted and we were able to tell people the good news. Which we are now doing. Like this.<br />
<br />
So today is a blur of Facebook posts, Twitter feeds, and emails to press and the outside world to let them know the good news. And the word is spreading - <a href="http://www.nationaltheatre.org.uk/shows/the-boy-preference?dates=" target="_blank">tickets are going incredibly quickly</a>!<br />
<br />Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-42607534075122804102015-05-20T10:39:00.002-07:002015-05-21T00:40:33.397-07:00When the National Theatre calls...<div class="MsoNormal">
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In my last blog I referred to a potentially very positive
development during our partner theatre day at the Royal & Derngate,
Northampton about which I didn’t want to
say any more at the time.</div>
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After our Northampton show, our assessor Paul came to say hi
with another person – Dan. Now I hadn’t got a clue who Dan was but I had the
sort of feeling he might be important to us. This was confirmed when our host
Erica mentioned a VIP in the audience and wished us luck. Dan had seemed very
positive about our show although I confess in the immediate afterglow of the
stunning performance (it genuinely thrilled and surprised me) my mind was
really elsewhere. But on reflection I had the glimmer of a spark of a glow of
hope that we might have put ourselves into contention for an invitation to the
National.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And so it happened – on Tuesday last week my mobile rang
with an unfamiliar number – it was Rob from the National Theatre Connections
team. He asked how we’d found the partner theatre day and I told him how much
we’d enjoyed it. He then asked if our show had gone OK – and would we like to
perform it again? <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It only took a couple of seconds for the dots to join and I
kind of turned to mush. <b>We are going to the National!</b> I don’t really remember anything else about
the call except hearing the plea for me to keep this to myself for a few days
until the schedule was fully confirmed and the other participants in the
Connections programme could be briefed.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Of course I told my wife, Annette, immediately (and my sons,
dad and siblings) but after that there was a kind of anti-climax – we couldn’t
tell the world!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So between then and our release of the news we’ve been
getting things ready – press releases, rehearsal plans, letters to schools etc.
etc. so in a way the embargo was a blessing in disguise.<o:p></o:p></div>
<div class="MsoNormal">
But I hated not being able to tell our wonderful cast. I knew
there was no way I could get them all together to hear the news due to exams, D
of E expeditions and so on, but most of them did manage to make it – here’s what
happened…<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://vimeo.com/128227523">https://vimeo.com/128227523</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
They have been such a fabulous group throughout and you
could not wish to meet a nicer group of young people.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Between now and the first week in July there will be lots to
do to get ready for the transfer and the various stages will appear on this
blog. But for the time being I am absolutely elated /proud /excited / nervous /
bewildered. And I think back to an early rehearsal back in November when I sat
down with the cast and I said to them then that I thought we had the concept of
something very special and that if we worked hard as a team we could do
something extraordinary. They did work hard, always as a team, and they have
indeed been rewarded with something extraordinary.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So now it’s official and I can say it:- <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<br />
<div class="MsoNormal">
Emily W, Luke F, Alex, Harriet, Alice, Megan, Christabel,
Maddie, Emily B., Dominic, Niles Luke D, Harry, Sophie, Lucy, Gina, Betty,
Nancy, Ruby, Sienna, Louis, Jack, and Lisa – our Best bunch of superstars - you
are going to the National Theatre!<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-42864774460073161902015-05-03T23:10:00.001-07:002015-05-03T23:11:44.255-07:00Our day outOn Sunday, 3rd May 2015, our youth theatre group TheBYTE travelled to the Royal & Derngate Theatre in Northampton for their performance of <i>The Boy Preference </i>as part of the NT Connections programme. This is what happened...<br />
<br />
07:57: Annette & I arrive in the van at Sandringham School to find car park gates locked. If this is the only issue of the day we'd be happy! But it is raining hard!<br />
<br />
08:20 The gates of the car park unlocked and a flood of vehicles pile in, closely followed by our coach (Best Banter Bus)<br />
<br />
08:30: We set off for Northampton - the cast with Lisa in the Best Banter Bus and Net and I in the van.<br />
<br />
09:20 : Arrive in the van at Northampton, closely followed by the coach. It is pouring with rain as we unload for one of the oddest 'get-in's' around - into the foyer, up some stairs, down two flights of stairs with a 180 degree turn. <br />
<br />
10:30 : Cast go off for a puppetry workshop and have a total blast! They thoroughly enjoyed making their newspaper figures. Here's something we can follow up in a masterclass, we think. Meanwhile in the theatre, Jack, Christabel, Tegan, Alex, Annette and I (with the support of resident techie and top bloke Andrew) attempt to rig a show that originally took around a day and a half to prepare in just one hour. Amazingly we get pretty close - even though neither of the specified lighting board were available and Jack has to reprogramme all the cues on his laptop. Had our flats been 1cm taller, they would not have fitted in. And the blooming sunflowers won't stick to the them for some reason!<br />
<br />
11:45 : We start our dress/tech run. Soon run into time difficulties and go cue to cue. Crucially, with time pressure immense, we forget to plot the very last lighting cue!<br />
<br />
13:15 : We continue 'snagging' over lunch.<br />
<br />
13:45 : Watch Bedford Free School's performance of <i>Remote</i>. It looks as though they had some last minute cast issues which left two people reading from scripts. They do a sterling job in the circumstances.<br />
<br />
14:45 : Into costume for our show. There is a strange calm and determination in the cast after Lisa explains to them this will be last time they ever perform this show which has become so special for them.<br />
<br />
15:15: Our show begins. There are two audible gasps from the audience on our two 'reveals' in the first scene. This bodes well!<br />
<br />
15:20: The second scene takes off. Wow! What happened there? I sit forward in my seat as I can see that they are really rocking. I get very excited...<br />
<br />
15:25 - 16:10 ; ... and rightly so. The cast are delivering this show with new levels of focus and energy. Oh my days, what a talented bunch they truly are.<br />
<br />
16:15: That last blasted lighting cue comes back to haunt us as the final reveal doesn't happen. But it really doesn't matter. Rapturous applause from the full house, including a really impressive number from St Albans who made the trip. Meet Paul, our NT assessor at the end and he seems to have liked the changes we put in - I am too emotional to hold a rational conversation. Backstage the cast are flying high. They know they've pulled off something special. There are quick hugs with parents before the next workshop.<br />
<br />
16:30: Cast go off for an art workshop and are astonished when the workshop leader explains how she was inspired buy a trip to an Anselm Kiefer exhibition - the whole basis for our set and sunflower theme!!! Not sure she believed us when we told her. Very weird. In the meantime the 'get-out' is in full swing. This is where the stairs start to be a real pain! But within an hour, it is done and with the van safely packed, us 'support crew' have lovely 30 minutes sitting in the peaceful cafe chatting away about hilarious touring anecdotes, which is what you'll always get when you put thesp types together.<br />
<br />
18:45: We watch the Castle Youth Theatre Company's production of Jamie Brittain's <i>Drama, Baby</i>. Our cast loved this show and thought some of the performances were very strong. I have to agree - it played better than it read for me. The CYTC cast did a very good, committed job and I liked the setting.<br />
<br />
19:45: Pizza! Loads arrive and the cast fall on it like gannets. They have to eat quickly as the coach awaits outside.<br />
<br />
20:25: Depart for home. Annette and I pass the coach on the M1 - much waving. Annette & I reflect that Best has brought together a truly lovely group of teenagers - talented, friendly, intelligent and totally devoted to each other.. sometimes we do things very right at Best. We give ourselves a virtual pat on the back.<br />
<br />
21:15: Arrive back at Sandringham School and greet the returning bus which then goes on to Gina's to deliver the cast for a party - a lovely idea and we are so pleased they had the chance to let their collective hair down. As for Annette & I - home to a G & T and too tired to do anything.<br />
<br />
02:30: Realise I'm still too buzzing mentally to sleep.<br />
<br />
05:30: Start writing this.<br />
<br />
06:57: Finish writing this.<br />
<br />
There was one other possibly very significant and positive thing that happened during the day; perhaps the underlying reason I couldn't sleep. But let's leave that for another blog.<br />
<br />
It was a challenging, exciting, exhausting and inspiring day, brilliantly hosted by Erica Martin and her lovely team at the Royal & Derngate. I certainly will never forget it and for the cast too the day (and their superb performance) will be a wonderful memory.<br />
<br />
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-13424234972392303012015-03-09T10:55:00.003-07:002015-03-09T10:57:24.359-07:00After the bulldozerI can't believe we've done it. After all those hours rehearsing, painting, thinking, worrying... all those nights waking up and not getting back to sleep. It's all done. And done very well, I think. The best thing we've ever done at Best.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaiEwY01clGrSZy-t_HI0R8IgkOIaA9oBOVQnNZJHJm2s0G6aaaTrIEyLL8USuHhtuy23iBaR9b6JFyXdt5ovttLxpOG6dPYCiPaokGxjFjzKmUUrleHirQQdddBogLoLBX9g75TIraR0/s1600/web+slide+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaiEwY01clGrSZy-t_HI0R8IgkOIaA9oBOVQnNZJHJm2s0G6aaaTrIEyLL8USuHhtuy23iBaR9b6JFyXdt5ovttLxpOG6dPYCiPaokGxjFjzKmUUrleHirQQdddBogLoLBX9g75TIraR0/s1600/web+slide+1.jpg" height="144" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The arrival of the bulldozer</td></tr>
</tbody></table>
The feedback from the audiences was something very different to the usual. No platitudes, no gushing, but real enthusiasm, passion and amazement. The cast managed to get across just how committed they were to telling this story and blew the theatre apart. It was infectious.<br />
<br />
For my part, I watched them perform without my usual nervous churning - I knew they'd deliver.<br />
<br />
So what made all of this happen? Is it a model that can be replicated? There were so many elements it's hard to say...<br />
<br />
<ul>
<li>As any actor will tell you "It's the text, darling, the text!" And here we had a story that seemed to grow the more you read it. No big speeches, no real polemics. Just a very good story and one that touched on themes and attitudes that are totally relevant today for the cast and audience alike. Elinor Cook writes with such a light touch it was a pleasure to find the detail. She gave us the room to create the world in which this story could exist. Without this story to inspire us, everything else below would have been entirely moot</li>
<li>We had a compelling vision - that this story could be a chilling and exciting adventure and that is what we set out to deliver. And from the feedback from audience and National Theatre assessor alike, we achieved it.</li>
<li>We had a loved shared icon - the sunflower to rally us and to bring all the elements together</li>
<li>We had a cast that are close as friends and totally supportive of each other (and of me). Real talent matched with application and focus. You can't ask for more than that.</li>
<li>Bringing in a lighting enthusiast at an early stage meant that he was able to get to know the play as well as the cast - his designs reflected that and the (small) investments we made in kit were crucial</li>
<li>Asking our student DJ to compose and mix/play live was a huge gamble but was a thrilling and unique approach. The first time he played over the rehearsals the mood of the piece suddenly leapt levels. And there it stayed.</li>
<li>Asking one of the group to co-direct was perhaps the most difficult decision to make, but in the end, the most rewarding. She was able to deliver notes in a way that was so much easier to receive and the cast accepted her insights with alacrity</li>
<li>Putting time ( a lot of time) into designing and painting the set lifted the mise en scene significantly</li>
<li>I think we achieved some real 'coups de theatre' - the use of the scrim to make the girls appear/disappear, the sudden appearance of Adelaide centre stage into a scene, the bulldozer - these were risky but (I think) they all worked, and worked well</li>
</ul>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPrHozsp2VWcybIBHc1nIW5T5_lh_tHr06Gyo5obEYaAPPlYLn1NY6UNDh7I6-7kC6BNopP-ilLYpmEIsr59nr-MLdBV0OAp-BjLNyUSzpKMgyEqvxBcMbWH-o6Op6mSBiOnzNhfmAnTU/s1600/Boy+Preference+002.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPrHozsp2VWcybIBHc1nIW5T5_lh_tHr06Gyo5obEYaAPPlYLn1NY6UNDh7I6-7kC6BNopP-ilLYpmEIsr59nr-MLdBV0OAp-BjLNyUSzpKMgyEqvxBcMbWH-o6Op6mSBiOnzNhfmAnTU/s1600/Boy+Preference+002.JPG" height="320" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The scrim</td></tr>
</tbody></table>
<div>
So bearing in mind all of the above - no, it's probably not replicable, because only one of those elements had to fail to significantly alter the outcome. Who knows whether we'll find a text again that will inspire us as much as this one did? That was the basis of all of this.</div>
<div>
<br /></div>
<div>
But the confidence to take more risks is there for next time, and we do have a group of actors that I would work with again in a shot. I miss them already (even if I am their 'Principal') but it's clear there progress with their usual coach, Lisa, has been remarkable and they are in very safe (if challenging) hands.</div>
<div>
<br /></div>
<div>
So now we await the notes from our assessor. He was very friendly with the cast who warmed to him immediately. It will be so good to get some objective notes too - I've been so close to this I can't see the wood for the sunflowers!</div>
<div>
<br /></div>
<div>
Next - a few weeks off before we go to Northampton. I can't wait.</div>
<br />
<br />
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-17549615633386646152015-02-27T07:03:00.002-08:002015-02-27T07:03:27.749-08:00Final stagesWith under a week to go a strange calm has descended on the group. All of the technical bits seem to be in place, the show seems to hang together without any bits I'm really worried about - and we are still coming up with new ideas (including a very cool idea for the bulldozer).<div>
<div>
<br /></div>
<div>
It'll be interesting getting these rather large flats into the building but I think my measurements are right. It's the gauze that will be the main issue...</div>
<div>
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNh4_YHNClL-Zyemt8Ggb2MzJZqOXp8yimYtZk1XWc-Bvjznao2j8nMr9fIVPcgKn30RAUHWwnIlhmjK1ySR4lYR9qBGXaPtSKYqnNYSRGS8KNOjgJw2E46jcl2c5dizCw3ve5Txo3-VU/s1600/IMG_1443.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNh4_YHNClL-Zyemt8Ggb2MzJZqOXp8yimYtZk1XWc-Bvjznao2j8nMr9fIVPcgKn30RAUHWwnIlhmjK1ySR4lYR9qBGXaPtSKYqnNYSRGS8KNOjgJw2E46jcl2c5dizCw3ve5Txo3-VU/s1600/IMG_1443.JPG" height="240" width="320" /></a></div>
<div>
<br /><div>
It covered our garage and is extremely hard to work with! Again, I hope my measuring was up to scratch when we come to hang it.</div>
<div>
<br /></div>
<div>
Next we have to 'get in' to the theatre which we'll do on Monday/Tuesday, with Jack and I doing as much as we can to cable up the lights and get things working before the cast turn up for their tech and dress from 4.30pm. </div>
<div>
<br /></div>
<div>
Alex's soundscape is sounding fabulous and adding a very menacing and pervasive feeling of unease - I think that was a good idea. When it first ran through the rehearsal there was a palpable change in the energy of the room. </div>
<div>
<br /></div>
<div>
Lisa's been pushing the cast to take more emotional risks with their parts now - taking things to the edge. </div>
<div>
<br /></div>
<div>
I'm delighted we'll have at least a few in the house for the dress rehearsal with the National's assessor coming on our first night. And then I'll hand over the play to Christabel to run in true pro fashion.</div>
<div>
<br /></div>
<div>
In a week it will be all over (until Northampton in May) and I'll be so sad not to be working with this very talented and really lovely group of people. They clearly have such a bond of friendship it makes me very happy that we've put them together. I pray they have a wonderful experience in the show and that their memories are entirely positive of the show and the process. Mine certainly are.</div>
<div>
<br /></div>
<div>
Break a leg, everyone. I couldn't be prouder of you all!</div>
<div>
<br /></div>
<div>
Dx</div>
<div>
<br /></div>
<div>
<br /></div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-1178022131166375072015-02-09T10:03:00.000-08:002015-02-09T10:03:19.581-08:00Progress and paintSince the last post, things have moved on. At last we've had all the required cast members in the same place at the same time and the show is beginning to take shape in a very promising fashion. I'm confident that we will have a really top class production and I'm thrilled with how well Emily, my year 11 co-Director, has taken to the task.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz-P2-qTYm3vQ9mgXLfJevfg9fZ9Ej4P683iZmCsqNt4mj6MiwxlwFeSrHX6PmtSLejgwXsf4iNibmA0X2fcASRqN7y0TqWFmYpuRXIOkpznnvfZhklDHLTiJexz9V06_pcVK0nQ-ZQ1U/s1600/IMG_1390.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz-P2-qTYm3vQ9mgXLfJevfg9fZ9Ej4P683iZmCsqNt4mj6MiwxlwFeSrHX6PmtSLejgwXsf4iNibmA0X2fcASRqN7y0TqWFmYpuRXIOkpznnvfZhklDHLTiJexz9V06_pcVK0nQ-ZQ1U/s1600/IMG_1390.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Emily directing in a directorial kind of director-y way</td></tr>
</tbody></table>
Now we need to make sure the tech matches it!<br />
<br />
Jack on the lights has loads of fabulous ideas and I'm delighted to have him working with us. The costume is bugging me a little - it's definitely not my forte. We need to nail it down. The dresses for the A-team are fantastic as Sophie demonstrates...<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcZNAz2FpN12G1eF9FAfQLZ9Cg_zi9zGoJkBAovtkM01CxihxuDzH-gBux-4JDDdcmO6SLIWEi8joCkVHfabJVepz9Vpk0zqDEdwgp51di5L_6gdIqQy7PVZwjUEziwSlUXsYk8o-o1Hg/s1600/IMG_1389.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcZNAz2FpN12G1eF9FAfQLZ9Cg_zi9zGoJkBAovtkM01CxihxuDzH-gBux-4JDDdcmO6SLIWEi8joCkVHfabJVepz9Vpk0zqDEdwgp51di5L_6gdIqQy7PVZwjUEziwSlUXsYk8o-o1Hg/s1600/IMG_1389.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sophie / Alice </td></tr>
</tbody></table>
...but the rest of the costumes need to be of similar quality.<br />
<br />
It also became obvious to me that asking for help painting the flats was a logistical nightmare. Lisa offered the use of her as yet undecorated office area which has been a godsend so I've been up and down the A414 to Potters Bar a number of times.<br />
<br />
I am no artist, but my (rather artistic) son talked me through how to create perspective and how to use tones to create effects. So I bought a load of paint and gave it a go....<br />
<br />
First I had to strip the flats.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9nOxyCsruU1srqa0GzYn8E1kA5cj1a8XXw5CkzbJQsB79wAoAU6UyKdj4CJ9lb_hnVKeAjF3NAQclKuEZhJPuW9XI6gPHKb9Jcio6VC3GgTz20FbPdvZpKd83o6henWsc5IMC9PZrBVU/s1600/IMG_1382.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9nOxyCsruU1srqa0GzYn8E1kA5cj1a8XXw5CkzbJQsB79wAoAU6UyKdj4CJ9lb_hnVKeAjF3NAQclKuEZhJPuW9XI6gPHKb9Jcio6VC3GgTz20FbPdvZpKd83o6henWsc5IMC9PZrBVU/s1600/IMG_1382.JPG" height="200" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Old paper all over it - this was 30 mins into the task</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg64umeYr5LNtRCteazuvBNyc7DVdE8xeHaoOCepv4ykJvBNJkZ6f1gln7Y87kBOhSQYLloTudOyjaogCAU0RZqHTG4h9CH7jNe4dCOiDSArC0hWfMG5kv3Wo6jN8ZeHNts_SpjZ_ynAgg/s1600/IMG_1383.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg64umeYr5LNtRCteazuvBNyc7DVdE8xeHaoOCepv4ykJvBNJkZ6f1gln7Y87kBOhSQYLloTudOyjaogCAU0RZqHTG4h9CH7jNe4dCOiDSArC0hWfMG5kv3Wo6jN8ZeHNts_SpjZ_ynAgg/s1600/IMG_1383.JPG" height="200" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Now clear!</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGpZd8BFYvkF1WPwhXDp8jdKwKWTiLLJQJLGRZTHe8UttvXaDtj34Ryqy629b1amAD-M6tVtrCwdAUXru7MMbAlg3G2JIycqFeIbTuOsFTe-dAHtXwKSdrh6urU889oyt9MjniSOdxMLE/s1600/IMG_1384.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGpZd8BFYvkF1WPwhXDp8jdKwKWTiLLJQJLGRZTHe8UttvXaDtj34Ryqy629b1amAD-M6tVtrCwdAUXru7MMbAlg3G2JIycqFeIbTuOsFTe-dAHtXwKSdrh6urU889oyt9MjniSOdxMLE/s1600/IMG_1384.JPG" height="200" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A base of a nice Vanilla colour</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The eventual landscape of dead sunflower stalks</td></tr>
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My son said he was 'pleasantly surprised' by my efforts - this is high praise indeed.<br />
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Next I will use stencils cut by my son (clever chap) and spray paint on the decaying sunflower heads and leaves. Pics will follow once I've done that. Then I'll load them back in Lisa's van...<br />
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<tr><td class="tr-caption" style="text-align: center;">A tight squeeze</td></tr>
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and they'll live in my garage until March.<br />
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The biggest problem was the sharkstooth gauze which we are using for a couple of visual effects. It is 4m x 3m and we had nowhere to hang it. Instead I had to stretch it on the floor and it was an absolute nightmare. If I never have to paint one of those again it will be too soon!<br />
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More reports to follow...</div>
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<br />Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-78869508239896184962014-11-27T04:15:00.001-08:002014-11-27T04:17:05.205-08:00Herding Cats<div class="separator" style="clear: both; text-align: center;">
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Well we certainly seem to have a lot of people on stage from time to time! The phalanx of 'new girls' is a mighty powerful sight when it's working well but it's going to take a lot of work (AND <u><b>FOCUS</b></u>!!!) to get it right.<br />
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Last night we worked through a number of elements but the real frustration is that we always seem to have a key cast member away. Consequently we're a little behind where I'd really like to have been but with plenty of time to catch up I'm not overly concerned.<br />
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With our lighting guy Jack fully on board now and Alex well into his soundscape construction I'm increasingly confident about the finished product.<br />
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A local school has offered to loan us all the flats we need (phew) and with the other tricky items already identified I think we are in pretty good shape...<br />
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The National Theatre has approved all our artwork so that's all off to the printers now - I guess we'd better start to <a href="http://www.ticketsource.co.uk/ovo" target="_blank">sell some tickets</a>!<br />
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<br />Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-6590718055870334622014-11-20T06:46:00.000-08:002014-11-20T06:46:51.958-08:00The Boy Preference starts to take shapeTo say I am excited about how <i>The Boy Preference</i> is shaping up would be a huge understatement.<br />
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Asking Emily to co-direct was SO the right thing to do and despite my control freakery I'm actually loving it. She's a great foil and inspiration and is bringing so many great ideas to the process.<br />
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Last night we met with Jack, our lighting genius. Jack has a long history with Best having lit many of our summer academies while he was till at school. I think he'll make our show look superb - and we now have a solution for the tricky 'diving board' issue...<br />
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And what's most exciting of all is to see how the cast have taken to it. There are some beautiful, rounded characters already developing and they seem to have instantly grasped the whole feeling of the piece.<br />
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I'm on the hunt for props which is turning into a really fun quest. Having tracked down the only remaining sunflowers in the UK last week, I'm after all kinds of other goodies now. More news on this as it comes in.<br />
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And finally for now, the National Theatre have finally approved our our poster - and here it is:-<br />
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<br />Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-7887411839604376582014-11-10T08:59:00.003-08:002014-11-10T09:17:30.504-08:00The Boy Preference - week 1A brilliant week started off by an excellent meeting with co-director Emily. We had a fantastic idea for a sunflower thing. My next thought was 'oh no. the sunflower season is over, where will we find some?' so I got on the phone to all the major growers of sunflowers in the UK and eventually spoke to Nicholas Watts of Vine House Farm north of Peterborough. What a lovely man! He grows around 6 million sunflowers a year and he personally went out and searched across all his fields to find the stalks we needed. We drove up there today to collect them.<br />
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"Sunflowers???" I hear you ask - well you'll juts have to come and see the show to find out (although more hints will doubtless follow.<br />
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On the way back we dropped in to see the venue for our partner theatre show at Royal; & Derngate in Northampton. What a beautiful theatre! Two main house - a lovely'producing' Victorian space (the Royal), a more modern 'receiving space (Derngate) and our studio - the Underground. It's just right for our show.<br />
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Then it was back home after a 200 mile round trip to rig up a strange contraption in the greenhouse to keep the mice off the sunflowers till next February! The thing we do for art, eh?<br />
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More news next week!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjafdaZHqu1nB67GYc7unLvcc9-Bx0Ou-Mv4sx7sd4JMO1kvXi6XoegKb8as9yk_4HrIFvKXrUfAZcbmDSXl4F42qsH4YaeC2J3k8s9N-8p8eo2SekqFPOdzY_gHUs2hliyFLdu-O-4aTc/s1600/IMG_1178.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjafdaZHqu1nB67GYc7unLvcc9-Bx0Ou-Mv4sx7sd4JMO1kvXi6XoegKb8as9yk_4HrIFvKXrUfAZcbmDSXl4F42qsH4YaeC2J3k8s9N-8p8eo2SekqFPOdzY_gHUs2hliyFLdu-O-4aTc/s1600/IMG_1178.JPG" height="200" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The very helpful Nicholas Watts!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Nicholas retrieving the stalks from the warehouse<br />
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<tr><td class="tr-caption" style="text-align: center;">The Empty Space</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUr7CNDNLXoCvxkFH8Jq3pWtEe9WatOAfom7i2WXIm9-YozaPkH9Ml84cfLInNBpCACQQz47z3XiaqHJ7Wy4D7wHdrixeq_tzqZaXqFZWiXOsK2sswEgLBe2DfXMhrHpJCwZL834-zjls/s1600/IMG_1182.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUr7CNDNLXoCvxkFH8Jq3pWtEe9WatOAfom7i2WXIm9-YozaPkH9Ml84cfLInNBpCACQQz47z3XiaqHJ7Wy4D7wHdrixeq_tzqZaXqFZWiXOsK2sswEgLBe2DfXMhrHpJCwZL834-zjls/s1600/IMG_1182.JPG" height="150" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Heath Robinson strikes</td></tr>
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Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-36508325350410411042014-09-24T03:18:00.002-07:002014-09-24T03:18:58.168-07:00Kate Bush - theatrical genius!I should preface this by saying I am a huge Kate Bush fan - I've waited 30 odd years for this so by gum it needed to be good. It wasn't just good. It was simply stunning.<br />
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<tr><td class="tr-caption" style="text-align: center;">At the end - and I feel guilty having taken it!</td></tr>
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<br />
These blog posts are written from a theatre school viewpoint - so what can we draw from last night's show?<br />
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1. Never forget that if you are onstage, you are there to entertain. There's no purpose to what you do without an audience. Kate Bush put everything into drawing the audience into her differently created worlds - first as a multi-million selling uber-singer, secondly in the <a href="http://www.youtube.com/watch?v=qQlPdUJBUqA" target="_blank">Ninth Wave</a> as the desperate woman washed into the sea awaiting rescue, and thirdly as part of <a href="http://www.youtube.com/watch?v=JTP6tEZ8yzM" target="_blank">a summer dream tinged with the fear of blackbirds</a>. Theatrical always, visually amazing throughout and all underscored by her wonderful music played by a superb band. And finished off with <a href="http://www.youtube.com/watch?v=pllRW9wETzw" target="_blank">a song everyone could sing along with</a> - somewhat euphorically!<br />
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2. Attention to detail - we go on and on about everything on stage meaning something - the slightest look, the tiniest hand movement. Everyone on stage was 'on it' 100%. But also the whole visit should be an experience, so the programme was a work of art, the merchandise original and apt (including a sea survival kit!) and even the confetti blown into the audience was printed with lines from a <a href="http://classiclit.about.com/library/bl-etexts/atennyson/bl-aten-coming.htm" target="_blank">Tennyson poem</a>.<br />
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3. Enjoy the show - leave the cameras/mobiles at home. <a href="http://www.bbc.co.uk/news/entertainment-arts-28854330" target="_blank">Kate Bush asked fans not to take photos/recordings during the show</a> and just enjoy the event. What a difference that made! Everyone just focused on the performance, not on dodging lit up screens. We always ask parents not to take photos or film during our main shows, primarily for security reasons but more and more I believe important moments are being ruined by the desperate need for validation through photographic proof that 'you were there' and to have every moment of your life digitally stored. So I (hypocritically)ended up like everyone else with a photo of the theatre outside, two of empty stages and one at the very end - and even then I felt a bit guilty. But it was nice to see the whole audience rapt and focused and not littered with little lit up screens. Perhaps our communications on this with parents should reflect more on 'being in the moment' rather than recording it.<br />
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4. There's no substitute for a massive budget sometimes, but it still takes skill to use it well. Kate Bush had obviously gone for the best specialists she could find - not just the brilliant musicians, but the <a href="http://www.markhendersonlightingdesign.com/" target="_blank">lighting</a> and <a href="http://www.imdb.com/name/nm1522205/" target="_blank">stage/costume</a> designers and even <a href="http://en.wikipedia.org/wiki/Adrian_Noble" target="_blank">Adrian Noble</a> as her co-director. I wonder if they'd come and help with 'The Boy Preference'. I'll ask...<br />
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5. Commit to your creation! Nobody is memorable for being mediocre. Try something amazing. You never know...<br />
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So overall, this might well have been the best gig I've ever seen - and I've seen quite a few. Trying to think now what my other favorites were... Japan as a support band for Blue Oyster Cult (yes it did happen), the original Two-Tone tour, Peter Gabriel's 'Growing Up' tour... no, this was the best.<br />
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There's rumours of a DVD of the show being released. I strongly advise you to make a small investment.Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0tag:blogger.com,1999:blog-5073318174250025569.post-40308379754047966602014-09-17T03:49:00.000-07:002014-09-17T03:53:25.766-07:00Not so Great Britain...<br />
The West End transfer of the <a href="http://www.nationaltheatre.org.uk/shows/great-britain-at-the-national-theatre" target="_blank">National Theatre's production of 'Great Britain</a>' looked uncomfortable last night.<br />
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It was written and rehearsed in secret whilst the phone-hacking trials were in progress and opened soon after (June) without previews or too much publicity to generally favourable reviews (especially for Billie Piper in the lead role).<br />
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It is strange that such an immediate and 'current' piece should look so dated, so quickly! Not only is the phone-hacking scandal already very old news, but the 'state of the nation' on which the play comments has changed hugely during the debate on Scottish independence. <a href="http://www.telegraph.co.uk/news/uknews/scottish-independence/11093462/Scottish-independence-whichever-way-the-vote-goes-Britain-will-be-changed-for-ever.html" target="_blank">We aren't living in the same 'Great Britain'</a> that we were in June.<br />
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But even given this, it was a very uneven and ultimately disappointing show that dealt in broad stereotypes that we have seen far too often.<br />
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<a href="http://www.imdb.com/name/nm0700577/" target="_blank">Lucy Punch</a> played the role originally created by Billie Piper at a constant level of coarse smugness that was simply annoying after the first 10 minutes - to be honest she was pretty awful. <a href="http://www.imdb.com/name/nm0189720/" target="_blank">Dermot Crowley</a> did a good job as the Murdoch-figure and <a href="http://www.imdb.com/name/nm0322563/" target="_blank">Robert Glenister </a>was fun as the awful Editor (until he disappeared in the second act). The show was totally stolen by the hilariously incompetent Police Commissioner played by <a href="http://www.imdb.com/name/nm1208035/" target="_blank">Aaron Neil</a> and by the <a href="http://59productions.co.uk/" target="_blank">brilliant graphics</a> displayed on very funky large dividing screens at scene changes.<br />
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But 'riotously funny' it was not.<br />
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There's a real benefit to the brilliant <a href="http://www.nationaltheatre.org.uk/series/travelex-%C2%A315-tickets-2014" target="_blank">NT Travelex ticket </a>scheme by which £15 seats are offered to most shows - you can go to a play and be disappointed without being too irate that you've wasted a huge amount of money!<br />
<br />
And crisps £1.70 a bag (I missed my tea)! Come on....
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhQUJNMBILExtrqU3EwA-KBgLX8OX_Hp2dpoHAiuGvZCJMa2nEiZd5eTSD8cXOU5i7ysSqC671VTk8Lug2qwz51TP357HEA8kc16WmCjZaCaK3B_2GLQfe2vD0P32Gt5HNSGhhFvedqxw/s1600/nsfw.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhQUJNMBILExtrqU3EwA-KBgLX8OX_Hp2dpoHAiuGvZCJMa2nEiZd5eTSD8cXOU5i7ysSqC671VTk8Lug2qwz51TP357HEA8kc16WmCjZaCaK3B_2GLQfe2vD0P32Gt5HNSGhhFvedqxw/s1600/nsfw.jpg" height="320" width="260" /></a></div>
The Edinburgh Fringe Festival this year was superb. It's not just the vast numbers of variable quality pieces on offer (2000+), nor the ability to go from dawn to early morning in a constant stream of theatre, it's the whole vibe of so many people with similar outlooks brought together in one place. The vibe is remarkable.<br />
<br />
Ostensibly we were there to support the youngest son with <a href="http://www.macaroonproductions.com/" target="_blank">NSFW</a> and his experience is very typical I suppose.<br />
<br />
You arrive to a hastily constructed space (in his case an <a href="https://tickets.edfringe.com/venues/c-venues-c-nova" target="_blank">old office block just off the Royal Mile which was very atmospheric</a> and are given a very short space of time to get your technical rehearsal done - 45 minutes at 6.30am in his case.<br />
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You open the next day and before your slot (12.55pm for NSFW) you are all out on the streets desperately leafleting away in the hope of getting an audience to see you. Walking down the Royal Mile during festival time is to run the gauntlet of creative, well-meaning, occasionally to pushy or just mad leafleteers. Your pockets swiftly fill up with bits of A6 card. <a href="http://www.theguardian.com/culture/theatreblog/2010/aug/17/flyers-flyering-edinburgh-festival" target="_blank">Here's a nice article on the art of leafleting.</a><br />
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Next you hope for a good review, and the earlier the better, to attract more people. Luckily NSFW got <a href="http://www.broadwaybaby.com/show.php?id=701302" target="_blank">5* from the well-read BroadwayBaby.com</a> in the first week and so numbers were pretty god. This was followed by a <a href="http://edfringereview.com/r/U9Vrrv24T1e23j4yXDx6yg" target="_blank">4* and 3* from Edfringe</a> later on. So the numbers were kept bubbling along - you are there for three weeks!<br />
<br />
By the last week you are sick to death of leaflets and probably fellow thesps - NSFW's cast seemed remarkably happy together but this is probably unusual. But it's hard work being around actors for a long time and you long for the sanity of a quiet space.<br />
<br />
At the end of three weeks you try not to count the cost of what you've just done. Very few productions make a profit. It's the experience (and the exposure) that counts.<br />
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And then home, with a bag full of ripe washing and a feeling of achievement that it takes a while to come down from.<br />
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If you've never been to the festival as audience, go. If you're an actor or director, it's part of any good actor's training.<br />
<br />Anonymoushttp://www.blogger.com/profile/08363827129232900529noreply@blogger.com0