World Premier Drama and New Poetry Explore the Limits of Love
Bunbury Banter and Dumfries Theatre Royal are gearing up for Freckle, the third groundbreaking Play, Poet & Pastry event.
A Perthshire playwright and Dumfries poet are joining forces for a groundbreaking performing arts initiative at Scotland’s oldest working theatre.
Giles Conisbee, from Pitlochry, and police officer turned poet JoAnne McKay have been selected for the third of four Play, Poet and Pastry (PPP) evenings that offer world premier drama, brand new poetry and a live post-performance discussion.
Taking place for one night only at the Theatre Royal, on Friday 26 January, the event will centre on Giles’ newly written play called Freckle which explores the limits of love.
A Play, A Poet and A Pastry has been devised by Dumfries and Galloway-based Bunbury Banter Theatre Company to bring high quality theatre and poetry to audiences in south-west Scotland.
It’s also designed to generate a genuine sense of spontaneity throughout. The poet’s task is to respond to the play – and have a strictly limited time in which to work.
The two-person cast faces an even stricter challenge, having just a fortnight and two rehearsals before going on stage.
Freckle introduces the audience to Stevie and Aoife, a couple whose lives are engulfed by a horror from their past.
Married, mortgaged, model parents – they were just like the rest of their suburban neighbourhood. They are now back together after an enforced separation and trying to put their lives back together in a world awash with guilt, pain and regret; recriminations as much a part of the household as taking the bins out and making the school run.
As the gulf between them widens, reaching out to each other and bridging the chasm seems harder than simply slipping into the abyss.
The performances will be followed by a discussion involving the cast, playwright and poet in the theatre’s studio over pastries.
Bunbury Banter are specialists in new and experimental theatre and have recently produced Blackout to much acclaim, worked with the National Theatre of Scotland on the Five-Minute Festival, and a web-based audio production called Mortar which starred Timothy West, Prunella Scales and Nichola McAuliffe.
What was the
inspiration for this performance?
It’s a play in
development called ‘Freckle’ which follows the story of a couple’s struggle to
live with the ramifications of a past mistake made my one of them, and how they
both attempt to prevent this destroying their future. Freckle questions whether
there is a limit to love and if there should be. Although not his own, our
playwright tells me the script is inspired by a true story.
The concept of our
performance comes from the question of how we might visualise the psychological
response to trauma from an emotive point of view and if we can find a way of
commenting on this, allowing our audience to be immersed in the world, whilst keeping
them safe.
Is performance still a
good space for the public discussion of ideas?
Absolutely. I believe
that live performance can touch us perhaps more than any other medium, as it’s
living, breathing and unfolding right in front of you. You experience the story
with all of your senses, and being within the action (often literally)
encourages a response which is first immediate and then allows us time for this
to develop, and perhaps even change, whilst discussing with others.
How did you become interested
in making performance?
I always wanted to
act, ever since I was little but after drama school I discovered, alongside a
healthy dose of stage fright, that my passion actually lay in the collaborative
creation and subsequent staging, of stories and worlds, rather than just being
in them. When working as an actor, whilst many of the productions I was in
utilised this, I quickly realised that those which didn’t left me unfulfilled
and frustrated… leading to one friend of mine (who was also a director whom I’d
worked with many times) asking me whether I had considered directing theatre.
As these things go, for some reason in that moment and at that precise time in
my life, I heard his suggestion and it truly resonated with me. It resulted in
my embarking on an MA and immediately (after 24 years of acting, this was
within days!) realising where my love of theatre really came from and that it
was the creation of what I was imagining - the experience an audience might
have and the pictures I could see on the stage - which really excited me. Since
then I have been making theatre of all kinds. Although I might venture onto the
stage again for the right project, becoming a director has allowed me to use
all my talent, experience and even my oddities, for something which I love so
much more.
Is there any
particular approach to the making of the show?
As a director I am
like a magpie; picking and choosing different elements and processes depending
on the project we are working on; a site specific piece’s needs are different
from a classical piece of theatre, for example. However, all my work comes from
the understanding that we are storytellers and that each story/play we create
lives for only a brief second and then can never be recreated the same again;
similar but not completely the same. This means we always spend time working
together to generate an ensemble within the company, researching and learning
about themes and/or subjects relevant to the play and then, move onto analysing
the script, exploring the structure of the play and sharing our own responses
and relevant experience. This brings us all onto the same page, ensuring we are
telling the same story, with the same shared knowledge - together. All
this happens before or alongside the ‘usual’ areas of rehearsal such as
blocking and working through sections of the play.
There are other things
which we might also explore, these could include improvisation and physicality
and movement, music and voice work, stage combat and circus skills (to name a
few!) but of course, all these are completely production dependent.
Does the show fit with
your usual productions?
In a way it does,
since every show I make comes through the same structural process and all our
work is focused on encouraging the audience to think and question themselves in
some way. Plus, it has the same detailed aesthetic, strong use of audio and
rigorous approach to creating character and worlds authentic to the creatives
involved.
It is of course
different in its being a semi-staged reading and having come from a script
which works within this platform (the evening teams a play with poetry and is
rounded off by pastry eating!) rather than the company’s wider artistic aims or
ambitions. That is not to say we might not have looked to work on something
similar, it’s just the structure of the event demands very different things
from our usual creation/production process.
All that said, and with reflection,
I tend to think that we are continually evolving as people and creatives - and
the company is no different. I hope that none of our future projects will be
classed as ‘usual’ and that we always find ways of developing the direction we
are taking. Plus, as a company our aim is always to present high quality work
for our audiences and because they (like the world around us) are forever
changing, the need and type of work, in my opinion, should reflect this and
remain fluid and flexible to the climate around us.
What do you hope that
the audience will experience?
It is a moving play
suggesting that everything in our lives can change in an instant; how one
decision or mistake often has a ripple effect which reaches far beyond that
moment or the people immediately involved. I hope it encourages the audience to
reflect on this as an idea and perhaps pause before making future decisions in
their own lives, such as those featured in the play.
The story also
encourages all of us to ask what we might do or how we might react personally
in such a situation; reminding us that no one is untouchable by trauma and
maybe even challenging us to imagine the worst. Perhaps by doing so, it also
gives us the freedom to reinvestigate the blessings we have in our own lives,
offering us the chance to value the important bits just that little bit more.
Philip Anderson-Dyer, Producer and co-founder of Bunbury Banter, said: “Live art is always challenging, but we have designed PPP to push this much further in order to get the freshest possible performances – and it’s proving a great success.
“The first two events went down a storm with the audiences and Freckle will hopefully build on this as it involves another exciting playwright, and a highly accomplished poet, and focuses on compelling emotional themes.”
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