The first in a series inspired by The Secret Theatre Company at London's Lyric Hammersmith, Blood of the Young present an anarchic, bold new take on a classic play - without telling you its name. IT'S A SECRET.
Featuring an ensemble company of eleven performers, live music, and radical staging; anonymity creates a space for fun and experimentation with a truly classic text of the world stage.
What was the inspiration for this performance?
The Tron Theatre and I had had discussions about ways to use the bar space and I was keen to have fun with a big ensemble, playing with a classic text. The secrecy element is fun as it means the audience comes to the performance with no idea what to expect, and in turn, we are totally free to have fun and throw caution to the wind. The audience aren't buying the show/play, they're coming along to see what happens.
Is theatre still a good space for the public discussion of ideas?
As long as we as makers are keenly aware of what theatre is uniquely capable of as opposed to telly and film. Audience and performers share the same air, so the questions/provocations of a piece of theatre happen for real.
Is there any particular approach to the making of the show?
To play and have fun. Really that is the main thing. Nothing about or chosen text is sacred so I want some silliness and some invention.
What do you hope that the audience will experience?
I hope the audience have fun. I hope they feel released from sitting in a dark theatre and can instead keep their phones on, make a noise, have a drink and feel involved. I hope it all feels alive.
What strategies did you consider towards shaping this audience experience?
A key thing is that there are only 35 tickets on sale for each performance, with 11 performers in the company - so the show will feel intimate and, hopefully, as if it is just for them. The show does not happen in a formal theatre space/set-up so it should all feel relaxed and fun. We're very keen to encourage the audience to feel 'at home' without forcing them to do anything.