What was the inspiration for this
performance?
In two words, real life. Two years ago, Robbie and I
decided to pack up our lives here in Melbourne and move everything over to
London for a new adventure. In a nutshell, the cabaret is essentially our first
year living in London, but more specifically, our year living inside a
converted warehouse in the northern London borough of Harringey and the 10
characters from all corners of the world that we lived with during that time.
It’s musical theatre, camp character comedy heaven, particularly for those of
us that have share-house in the past and are all too aware of all of those
intrusive housemate scenarios that undoubtedly arise when living with people
that you didn’t choose to live with who you don’t really know that well. And
hell, when there’s ten of them!
And then of course, there
were the struggles associated with getting work within the industry and took it
upon ourselves (as so many creatives must) to make work for ourselves rather
than wait around for it! And thus, The Worst Little Warehouse in London was
born.
Is performance still a good space for
the public discussion of ideas?
Absolutely. It’s one of the most pivotal
places people might be surprised to come away from with an expanded cranium.
Some people don’t like being fed ideas or concepts, but they want to have a
well-rounded view of the world. Theatre is such a unique medium where people
can sit, consume, digest and walk away once the lights come up and take what
parts they choose to take from what they’ve seen, and use that information as
they wish.
I’ve learnt more about the world, about people, about ideas and
constructs from theatre than I’ve learnt from anything else. Theatre can
implement ideas into people but it’s also such a wonderful way for people to
know that they are not alone.
How did you become interested in making
performance?
We’ve always been interested in the
making of theatre. Aside from being actors, we’ve both dabbled in choreography,
musical direction and directing and somewhere along the lines of being a
performer, your mind often wonders to making and creating and what you’d be
like at it.
It wasn’t until we moved to London and were faced with the
realities of long periods of no work, that Robbie and I realised that it was
probably time to start making ideas into words, words into a story and our
story into a cabaret. And London sure comes with its fair share of
inspirations. Seeing the theatre that you see there as often as you can here,
it’s hard to not become inspired to begin crafting your own. The city is soaked
in originality and there’s no place like it in the world to experiment, to create
and to be tempted to try things out.
Is there any particular approach to the
making of the show?
It began with writing the script and
collating all of our collective stories about our year. From then, a timeline
was made of what would fit where and the plot began to take shape. Because our
show is based very closely on our ‘actual’ year inside the house (including the
people we lived with) we had some work to do in the way of asserting the
reality of the show and the characters within that world. Of course some of the
plot-points are slightly exacerbated (to ensure the show be as entertaining as
possible) but honestly, many of the stories are extracted purely from real-life
happenings. The hardest part of it all was working out how to find a prop that
would help us establish each of the 12 characters within the show that we simultaneously
play, without detracting and blurring the lines of who ‘we’ were too. Add to
that fact the fast and furious pace in which those character changes need to
take place, we knew our focus would be ensuring these characters and their
associated props be as clear as humanly possible.
Does the show fit with your usual
productions?
Robbie and I both have backgrounds
predominantly within the realm of Musical Theatre, so writing and performing in
something so truly ‘cabaret’ has been an exciting and rewarding experience.
Cabaret can be so intuitive, so based on audience reactions, so fleeting and so
instinctive. It’s been a real thrill to steer away from the traditional method
of getting your script, reading and learning it, blocking with the director,
learning your choreography. This time, we’ve felt it out as we’ve gone, changed
and chopped constantly and relentlessly played around with things until they’ve
felt right and worked so collaboratively with our fabulous director Sarah
Redmond. It’s been a challenge but something that will shape future projects
and experiences. And of course, working with your real life partner is a new
one! We’ve learnt so much about each other and it’s a real rarity to share both
a bedroom and a stage with the one you love.
What do you hope that the audience will
experience?
We hope that they will
laugh and laugh lots. When your show is billed as a comedy, that’s the one
absolute necessity you need to happen, otherwise you are in trouble! Secondly,
we hope they see the relevancies in our share-house humour and relatability.
Our show is 55 minutes of real life and we’d like to think that people can
share and experience it with us and reflect on their own journey since leaving
school and living with friends to perfect strangers. Although it’s 55 minutes
of fast paced wacky comedy, we also hope you’ll find moments of pathos and
quiet reflection within it. We’ve tried to balance it all out meticulously to
ground the production and ensure every type of person can find something
meaningful, or similarly hilarious within it.
Useful article, thank you for sharing the article!!!
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