Tuesday, 30 June 2015

West End Dramaturgy: Paul Ricketts @ Edfringe 2015


The Fringe

GKV: What inspired this production: did you begin with an idea or a script or an object?
Paul Ricketts: This production started the night after the events detailed in the show happened and I started telling somebody else the story. These events took place back in 1992 so that's many years of telling friends and acquaintances the story in pubs, bars and other social situations. 

Of course every time I retold the story I was editing, restructuring and perfecting the narrative and honing the performance. Then five years ago I told the story to an audience for the first time at a Storytelling night in Limehouse, London. It got a tremendous response and I began to contemplate making the story the centre piece of an Edinburgh Fringe show.
Why bring your work to Edinburgh?In terms of comedy in the UK, the Edinburgh Fringe is the premier 'trade show' for comics. If you explain to non-comics why comics spend £1000s to go Edinburgh with very little chance of making a profit, they tend to think you're crazy. 

It is crazy, but it's like an end of year comic's exam. You show the industry and the public what you've learnt and you get marked in reviews. Career wise Edinburgh is important in other ways, in that having to produce new material for shows is crucial in keeping you moving forward and just surviving the three plus weeks makes you improve as a performer.


What can the audience expect to see and feel - or even think - of your production?
With this production I want the audience to be invested in the narrative and their experience of it. Obviously there's other levels to the show apart from the narrative and the humour. The show's also about London and attitudes to the city, plus it's a storytelling show about storytelling which starts when I first approach people with a flyer hours before the showtime and re-enact the main conceit of the story. So I expect the audience to laugh, be mildly shocked and to be slightly thrown by considering what's true and what's false and hopefully wondering if it matters.



The Dramaturgy Questions

How would you explain the relevance - or otherwise - of dramaturgy within your work?

I think it's highly relevant as demonstrated in how the show developed. Firstly the story developed over many years by it's retelling in social situations. It then changed again when I began to tell it on storytelling shows. I started to bring in other elements that didn't actually happen on the night in question. 

I realised that storytelling didn't have to totally accurate, it's a story, not a police statement. Many elements from different things that have happened to me at different times can be put together to make a story. It’s like an entertaining truth alloy. 

Also with this show I have to be careful I don’t end up being sued, so I’ve changed names to protect the guilty, but I’ve left Tony Blair’s name in! 

Further changes were made when the hour show developed. There were other ideas and things I wanted to say about London that I could incorporate into the show. 

Structurally, I obeyed some conventions used in Edinburgh shows - such as making sure that there was a moment of poignancy around the 30 minute mark. After several previews I had to re-structure how the additional material was melding around the story learning from audience feedback and by watching another contemporary comedian's shows. 

Finally after talking to a friend after my last preview I finally realised what the show was really about and worked out ideas on how to make getting people to see my show be part of the overall story and experience.

What particular traditions and influences would you acknowledge on your work - have any particular artists, or genres inspired you and do you see yourself within their tradition?
I describe what I'm doing in my show as Comedy Storytelling, which means there's a combination of influences on what I'm doing. I'm a stand-up comic so there's the influence of that tradition, but having said that some of my favourite comics like Richard Prior or many of my favourite Edinburgh stand-up performers are incredibly anecdotal like Brendon Burns, Wil Hodgson and Paul Sinha - they all have a strong storytelling element. 

But I was always attracted to the idea of storytelling as a performance art, especially after watching Spalding Gray’s Swimming To Cambodia in the late 1980’s. The most obvious difference between stand-up and storytelling is that the latter is much less 'gag' driven. For me it’s more literal as I always sit down to do ‘story-telling’. I sometimes even explain to the audience that by sitting-down I’m giving them a graphic visual representation of how much less gag driven my story-telling will be – I’m literally two feet less interested in chasing laughs. I think that’s needed as I also want them and myself to concentrate on every bizarre twist or poignant turn in the story. 

And there's also a theatrical 'spectacle' approach (lighting changes, projections, subtle sound cues etc) to the show which I'm sure is inspired watching by Spalding Gray. But I leave it up to others to decide if I'm within any sort of tradition.



Do you have a particular process of making that you could describe - where it begins, how you develop it, and whether there is any collaboration in the process?
So far I’ve done autobiographical, identity, political and straight stand-up shows. I like the idea of doing something different each time I do an hour show. I've also like using different processes in developing these shows. From the research I had to do for identity and political shows or the writing and further development of existing routines for stand-up shows. 

Apart from each show starting with an idea there's been a different approach used to develop the ideas. Some have come together at the last minute and others have been planned over a year, while this last one over five years. 

However I do collaborate with others by discussing choices with other performers, technicians, friends and audiences. One consistent approach is the belief that all of these shows will never reach a finalised state and that change can happen during any performance.


The show is a celebration of London - with it's mix of opportunity and unaffordable housing - and it works because it is extraordinary material and entirely true.
 
Paul says:
“Last year in Edinburgh, every day I had a fantastic time recreating the events of show, using the same little white lie while inviting prospective audience members to join me at the show. I wanted them to surrender to the potential pleasures of the random experience and mirror their attendance of my show with the events that happened in Soho.”
 
Paul’s previous Edinburgh Fringe shows have been highly rated. In 2009, 'Cutter’s Choice’, a political and personal look at black hairstyles, didn’t get a single Edinburgh Fringe review but went on to tour London schools as well as being performed at The Hen & Chickens Theatre, Theatro Technis, Tristan Bates Theatre in London, Leicester and Brighton Fringe Festivals - winning the FRINGE GURU EDITOR'S CHOICE AWARD 2010. His next Edinburgh show 'Kiss The Badge, Fly The Flag!' dealt with football and English identity, received the 'Must See' award from THE STAGE, five stars from REMOTEGOAT.CO.UK and four stars from THREE WEEKS. This show was performed at Cambridge University's 'Festival of Ideas' and a revised version did a short run at the Leicester Square Theatre. In 2012, ‘Ironic Infinity’, a straight stand-up show was also very well received, gaining 4 stars from Chortle and Broadway Baby.

GFT

GFT looks forward to the holidays this July and August with Summer Daze, Studio Ghibli Forever, and music festival themed Sound & Vision


This July and August, GFT celebrates the arrival of summer with three seasons which embrace the holiday spirit. The Sound & Vision strand continues with a number of new releases and classics which will provide the soundtrack to your summer, Summer Daze proves that you don’t need to be outdoors to enjoy the warmer months, and Studio Ghibli Forever caters for all the family with a selection of Miyazaki’s classics. Big new releases in July and August include The Legend of Barney ThomsonAmyLove & Mercy, and 45 Years. A number of GFF15 titles also return over the summer, including Still the Water, P’tit QuinquinThe ChoirThe Salt of the Earth,The WondersEdenMarshlandTheeb52 Tuesdays, and The Treatment.

Summertime is festival time for music fans: the sun shines, the days are long and the music is loud. The same is true inside the cinema, as GFT gears up for the summer with the Sound & Vision programme. New releases include Asif Kapadia’s portrait of Amy Winehouse Amy, Brian Wilson biopic Love & Mercy, and The Ecstasy of Wilko Johnson, which will include a Q&A with director Julien Temple. Martin Scorsese’s tribute to The Band’s final concert, The Last Waltz screens in July, and Rob Reiner’s brilliant directorial debut This Is Spinal Tap and nostalgic coming of age tale Almost Famous both screen on 35mm. Tickets are also now on sale for September’s Roger Waters The Wall, which will be followed by a live satellite Q&A with Roger Waters and Nick Mason.


In August, Summer Daze will feature a programme of films which visit the most summery times in cinema – from an idyllic American town on Amity Island to the lush Provençal countryside. Films include Grease Sing-a-Long, Jaws,The Virgin Suicides, a double bill of Jean de Florette and Manon des sources, and Die Hard with a Vengeance and Do the Right Thing on 35mm.




Although master filmmaker Hayao Miyazaki officially retired in 2013, his cinematic legacy will live on forever. To celebrate his enchanting and influential works, Studio Ghibli Forever will include such classics as Spirited Away,Princess Mononoke, Kiki’s Delivery Service, My Neighbour Totoro, Laputa: Castle in the Sky, and Nausicaä of the Valley of the Wind. To make these wonderful works accessible to audiences of all ages, GFT will screen two versions of the films – one with English dubbing, and the other in Japanese with subtitles.


Presented by LUX Scotland, July’s Crossing the Line is Over Our Dead Bodies, followed by a Q&A with London-based artist Conal McStravick and researchers Ed Webb-Ingall and Laura Guy, who will discuss the contemporary legacy of this material. August’s Crossing the Line includes two separate screenings of films by experimental filmmaker Josephine Decker: her debut feature Butter on the Latch, and Thou Wast Mild and Lovely, which will be followed by a Q&A with Josephine Decker.


Other highlights in July and August include a special preview screening of Song of the Sea, Tomm Moore’s first feature since his Oscar-nominated debut The Secret of Kells, with free tickets available through Eventbrite. The life and work of the late Christopher Lee is commemorated with The Wicker Man: The Final Cut, and in anticipation of Harper Lee’s sequel to To Kill a Mockingbird, GFT screens the 1962 Oscar-winning adaptation starring Gregory Peck. 

July brings a new digital restoration of Le Grande Bouffe and, in August, the new digital restoration of Man with a Movie Camera will feature a new score by Alloy Orchestra. Summer late night cult classics include The Mist introduced by comedian Robert Florence, and The Fog, introduced by actor and comedian Greg Hemphill. GFT also celebrates the centenary of Orson Welles with new digital restorations of The Third ManTouch of Evil, as well as the new documentary from Academy Award-winning director Chuck Workman, Magician: The Astonishing Life and Work of Orson Welles,

GFT continues to develop its equalities programme in July and August, with a number of accessible screenings.July’s Access Film Club is a screening of Adventureland and August’s is The Darjeeling Limited. Both screenings will be followed by a representative from Scottish Autism. July’s Visible Cinema is a captioned screening of Love & Mercy, and August’s is a subtitled screening of Marshland.

Wooden Dramaturgy: Belfast Boy @ Edfringe 2015


The Fringe

GKV: What inspired this production: did you begin with an idea or a script or an object?

Kat Woods: I was working in a restaurant in Clapham Junction London and I had just written a one woman show called Dirty Flirty Thirty. My colleague Martin Hall had been to every single show when we performed it in London. I had often sat with Martin at the end of a shift and we would swap stories about our past and one night he asked me to write about him -as a joke! 

From there Belfast Boy was born. His story is harrowing yet funny. Never drunkenly give a writer the authorisation to write about your life- it might just happen!


Why bring your work to the Edinburgh Fringe?I had the play on as a scratch night in London in the February of 2014 and someone suggested that it would be an amazing piece for the Edinburgh Fringe. I had never been before, so I thought what the hell and I decided to produce it myself and take it.


What can the audience expect to see and feel - or even think - of your production?
It is a rollercoaster of emotions. You will laugh and cry and cry and laugh sometimes at the same time! I think this quote from Fringe Review sums up the feeling that you are left with when you leave the theatre space

"The script represents a marvelous achievement in narrative flow and authenticity…I think some new ground has been broken here. Many solo shows which deal with autobiographical material concerning abuse tinker too much with the truth of it…I came away deeply moved by this production. I needed time to “process” it and let go of it before sleep. I woke up with it still there, like shadows and a few warmer echoes. This is a very special piece of theatre in an intimate setting. It has to be one of the must see solo shows at the Fringe". ★★★★★ Fringe Review




The Dramaturgy Questions

How would you explain the relevance - or otherwise - of dramaturgy within your work?

Before I embarked on a Drama degree I studied Sociology. It is this sociological background that I source from when I write. Belfast Boy is based on a true story and so dramaturgy features massively on the retelling of his life and how we see the character.


What particular traditions and influences would you acknowledge on your work - have any particular artists, or genres inspired you and do you see yourself within their tradition?
I think my writing lends a lot to traditional Irish story telling. Using the method of embodied characterisation to link the narrative flow. I am influenced in my writing by Enda Walsh and Conor McPherson. I actually think I may get done for stalking Enda Walsh!


 Do you have a particular process of making that you could describe - where it begins, how you develop it, and whether there is any collaboration in the process?I generally have an idea of what to write and it will sit in my brain for two to three months. I will research around the topic matter in that time and hardly sleep as it generally keeps me awake at night. So far, even with the comedy I have written, there is a massive dark element to my writing. 

I seem to become an emotional vessel and own the pain that I write about until I put it on paper. (That sounds totally mental...alas it is true!) The writing itself takes maybe a few days a week. Then I like to get what I have written, the first draft so to speak, on it's feet and get it performed. I trained as a director so I tend to direct my own work. I like to have the actors input and see what works for whom ever performs the piece. 
Once the play is performed, I try to gauge audience reaction for what works and what doesn't work I will redraft it and keep redrafting until I feel the play is finished.




What do you feel the role of the audience is, in terms of making the meaning of your work?
I feel that the audience are imperative in terms of making meaning of the work. If something doesn't work and it is so the opinion of the majority of the audience I will rework it so that it has some meaning. 

That only refers to the actual telling of the story. The story itself will remain but if the narrative does not serve to explain what I set out to do then something is wrong and i think it's important to listen to the audience and work out the issues. Unless the piece is supposed to be abstract... then meaning is an individual experience!







Marathon Dramaturgy: Matt Squance @ Edfringe 2015



The Fringe

What inspired this production: did you begin with an idea or a script or an object?

Matt Squance: The show started as an idea. Having to sit through yet another World Cup and watch footballers hate each other and blame everyone but themselves for any misfortune is not something I find enjoyable. And having had the phrase 'be a man' thrown at me as a boy, I can't help but feel some resentment to the millions that follow players and sport stars so blindly when they can behave and act so poorly. 


It started out as a massive hate campaign against sport stars, which was full of anger and bitterness, which obviously wasn't going to work as a full theatre piece. So after spending some time working and reshaping, I changed the feel and tone to lighten it and it's become like a comic modern Frankenstein-lite story with a very literal creation and dissection of making your own modern sports star.Why bring your work to Edinburgh?
The Edinburgh Fringe isn't just the biggest arts festival in the world; it is THE arts festival. The atmosphere and vibe that you get from it is nothing that you get at any other festival. Don't get me wrong, it's daunting and requires a lot of hard work but there's a great sense of excitement and unknown going into the fringe. It's the thought that my little show that's come from a small Suffolk town is going to reach a broad audience that like interesting, different work, and that excites me incredibly, both as a writer and an artist.
What can the audience expect to see and feel - or even think - of your production?
I think the one thing I always can guarantee an audience is a whole heap of fun, with a slice of bitter social commentary to match. I don't want to shove messages excessively down an audience's throat. That's not the kind of theatre I want to make. 

The important thing for me is creating a sense of fun and ending it on a note where the audience can leave thinking 'Yes, that was great, and it even made me think'. If our audience reaction from Brighton is anything to go by, then this should go down a treat in Edinburgh! Expect anything from Greek toga sassiness to modern homoerotic workout videos. They'll be plenty to see in this!

The Dramaturgy Questions


How would you explain the relevance - or otherwise - of dramaturgy within your work?
Over the past year, I've actually been one of the Young Writer's with the Soho Theatre in London, so I've had quite a bit of dramaturgical support on this and another show I'm working on at the moment. 

I think it's a really important part of the development process that helps you pick apart what your show is, what you're trying to say and what you want your audience to get out of it. When making a show that deals with a lot of direct address, and interacting with the audience, I needed to be clear in what I wanted to say and how I wanted to say it and without having a dramaturgist to help with this, the show would probably be very similar to the angry first draft that was written.



Do you have a particular process of making that you could describe - where it begins, how you develop it, and whether there is any collaboration in the process?
I tend to write about what really pisses me off and then try and take it in a direction from there. My first show was about an ex of mine, which was very personal, so this time I wanted to broaden my scope by using something that to me, is a social problem. Taking this annoyance at the way people perceive sport stars in the media, I wrote a rough outline for everything I wanted to include if I had an endless budget at my disposal. 

From there, you look at it and begin to compromise with yourself and look at other methods of storytelling that don't involve a wall of televisions mounted on a back wall. That's about the point I start to talk to other people about it and tell them about the idea. I don't give away anymore than that. Without seeing my script, I like people taking the idea of it and telling me where they think it would go. I like getting a diverse response to the way people view things. After all, you're not going to get two people in the audience who are exactly the same so this is important for me to do. 

After that, I begin to take it into the rehearsal room. Bits are rehearsed, rewritten, friends come in to watch bits and offer feedback, and then I give myself a break. You come back to it and if you find that scenes work well, and the routines are still funny, then you're onto something. And then it's just practice, practice, rehearse, refine, and take it from there. 

What do you feel the role of the audience is, in terms of making the meaning of your work?
The audience is the reason for making the work. I mean, there's a certain sense of self indulgence when you write shows for yourself to perform (which I will always try and acknowledge!), but the main reason is for the audience. I want to make work that I would want to see. I want to be able to make them leave the theatre having to think about something in a different way than they did before entering. 

That is the power of theatre. I may not change anyone's lives with my work but if they can leave and walk, drive or train home and think about it as they're doing so, then that to me is successful. That's what a good piece of theatre should always do.

Are there any questions that you feel I have missed out that would help me to understand how dramaturgy works for you?
I would say you should ask about who people think there audience is, like who is their target audience and does that impact the making of the work? Otherwise, it's a solid ground to ask others about their process.

Half-Formed Dramaturgy- Annie Ryan @ Edfringe 2015




The Fringe
GKV: What inspired this production: did you begin with an idea or a script or an object?
Annie Ryan: This project began with reading the extraordinary novel, A Girl is A Half-formed Thing by Eimear McBride. I was sitting bolt upright at four in the morning, breathless. In shock basically. I thought: My God , it's performable.

Why bring your work to Edinburgh?
My company, The Corn Exchange, has performed at the Fringe on and off for the last fifteen years of so. We played Michael West's A Play on Two Chairs in 1998 in the Assembly Rooms. And since then, have played in Traverse with Michael West's Foley, Dublin By Lamplight, Freefall and Man of Valour. Delighted to be back.


We have always had a brilliant run in Edinburgh, and it's been an excellent platform to send the work further afield.


What can the audience expect to see and feel - or even think - of your production?
This piece is based on an incredibly moving, even harrowing, novel. It is not an easy experience for the audience. There is a good deal of trauma in the story, but it utterly electrifying, both in the deeply original language of the prose and dialogue and in the incredible performance by Aoife Duffin. The production holds her and the story with great care.

The Dramaturgy Questions

How would you explain the relevance - or otherwise - of dramaturgy within your work?I'm a director, and in this case the adapter too, so the dramaturgical role is rolled up between the two other roles. I guess I would see a dramaturgy as having something to do with the context within which a play might happen. 

This is a novel about a particularly Irish place and time and, at the same time, tells a universal story about growing up, surviving abuse, trying to make sense of a deprived and messed up world. I feel as Artistic Director of The Corn Exchange, my job to programme the work involves many dramaturgical questions about why this piece, what relevance it may have, etc. 

My own artistic intention as a director has a rather strong dramaturgical element in that I want the work to have a deep connection to people's lives. At the moment, my main audience is in Ireland, so I am looking to make work – through both found material and original work – that will resonate with them first, and hopefully, to a wider international audience.


Adapting this novel was a fascinating challenge partly because in the experience of reading the novel, the reader is the girl. You are inside of her head, so you experience her world very viscerally. We witness the play though an actor – very good actor – and also, crucially, as a group. I would see the dramaturgy in this case very close to both the adaptor and the directorial roles, where, ideally, the content and style of the writing is somehow matched with the feeling and style of the production.


What particular traditions and influences would you acknowledge on your work - have any particular artists, or genres inspired you and do you see yourself within their tradition?
Many different artists and writers have influenced this piece – Beckett in particular. I knew at the outset that the setting should be a sparse, empty and rather abstract world. The piece is reminiscent of Beckett's Not I and also Marina Carr's Portia Coughlan. Eimear McBride herself was hugely influenced by Joyce's Ulysses. Other artists that influenced the production in different ways include PJ Harvey and Marina Abramovic.


The company's work is largely influenced by a cocktail of physical theatre techniques and styles including the work of Ariane Mnouchkine, Anne Bogart, Ivo Van Hove, Peter Brook, Christian Schiaretti, Simon McBurney, Michael Keegan-Dolan, Joyce Piven, among others. The heart of the work is about full embodiment of the moment. And for that reason, various practices from the yoga traditions have embedded themselves in the company's process.


Do you have a particular process of making that you could describe - where it begins, how you develop it, and whether there is any collaboration in the process?Each project has begun in different ways. This one landed on the kitchen table. Other projects were instigated by actors in the company. 

I hope the common denominator is something to do with either responding to something happening in the world or an endeavour to instigate something in the world. Each project has stretched the boundaries of the form in different ways too – either by discovering new ways to transform space or blending particular techniques.



These days I always start the work with a gentle yoga practice, followed by voice work and then I teach ensemble improvisation games and techniques that become the physical vocabulary for the staging. 

This is a one person show, so we adapted a few techniques that became useful as a foundation for the framing and embodiment. I work very collaboratively with the cast and the team of designers. Usually the text is the last element to get nailed down, but this time we needed to solidify it as early as possible, as it was such a difficult thing to learn and remember. The process for A Girl was as much about taking great care of Aoife as it was about taking care of the piece, i.e. finding the right cuts and designing the production.



What do you feel the role of the audience is, in terms of making the meaning of your work?
The whole point is that the work is for the audience. All the work is carefully designed to create an experience for them, a moment-to-moment unfolding of action. Of course, each person may hold the work or react to it differently, but the intention is for the whole production to be like an empty channel for energy to move from the heart of the material into them.




Monday, 29 June 2015

Dead Royal by actor-director Chris Ioan Robert




Dead Royal by actor-director Chris Ioan Robert at Ovalhouse on Wednesday 22nd April (glass of bubbly at 7pm with the performance at 7.45pm). Roberts returns to Ovalhouse following the success of the FiRST BiTE season of Chris' solo show Half Wallis in 2014 which became Dead Royal

Dead Royal makes use of original quotes drawn from interviews with Wallis Simpson and Diana Spencer. In 1982, Wallis, Duchess of Windsor aged 82, invites Lady Diana Spencer aged 19 to a despair-laden bachelorette party on the eve of her wedding to Prince of Wales. Dead Royal is a lacerating, camp-drenched celebration of 1980s narcissistic megalomania where the Duchess frantically warns Diana to flee her impending marriage – before she marries the wrong man and becomes immortalised as someone willing to crawl over broken glass to snatch a royal title.



First of all, a little question about the content… what is it that attracts you to the royals - and how do they match with your approach to making theatre?

I’m deeply attracted to the downright silliness of it all; the slightly fey pageantry, of course, but also the inequality of the system and how the royals have essentially stockpiled assets and filled their houses with poorly designed furniture and pelmets at our expense. Obviously I’m only touching the surface here but the whole thing is a sitting duck for a theatre maker. Is this treasonous?

Your press release suggests that you are a 'subversive' actor/director... does that word have any meaning for you, or would you prefer another adjective?

I come from a long line of quietly subversive people so I can’t think of a better adjective. It has meaning to me in the sense that I think theatre should be enormously enjoyable and part of a much wider national conversation. Dead Royal was partly inspired by Hilary Mantel’s 2013 LRB essay on the role of women in the royal family that caused a bit of a ruckus at the time due to its (fairly accurate) description of Kate Middleton so I suppose a subversion of accepted protocol when discussing the royal family is fundamental to the work.

Since you are taking on three roles in the production - acting, writing, directing - how do you approach the dramaturgy of transforming the script into a performance (if you start from a script...)

It sounds a bit grand but I start by building a ‘physical score’ and a series of movements for each character coming out of the rhythm and sound of the language. For Dead Royal I built on the idea of the character’s physical world being confined to a court-like shape and used this to frame the way we rehearsed. It has a lot to do with the team, too. One of London’s best young production designers, Robin Soutar, miraculously agreed to work on the project and as his design suggestions were better than mine this allowed a collaboration to develop which informed the dramaturgy in a new way. For the final week of rehearsals I brought in a superb assistant director, Alex Rand, to help me where I’d gone horribly wrong and give me brutal feedback when necessary (often).

You are also called -well, not you, the work - 'vulgar', which is an interesting word for a play about royalty - again, is that a good description?

Cast your mind back to the early 80s. You’re dining alone with Princess Margaret at Kensington Palace and she’s half way through her 5th tequila sunrise as she suggests a slideshow of her latest adventures on Mustique. I feel ‘vulgar’ is the only appropriate word. If you look closely the royals are vulgarity’s biggest exponents.

What are you hoping that audiences will get from the piece?

The feeling you get when you overhear a filthy conversation you shouldn’t be hearing but can’t leave for fear of being noticed. Forget Kristin Scott Thomas in The Audience, get one queen for the price of two at Dead Royal.




American Splendour, Wednesday 1 July @ CCA

The main Vile Arts' critical workshop is SOLD OUT, so if you want some Vile in your life, you'll have to come and see this film, and join me afterwards.