Produced by Untold Theatre, written by Martin Levinson and Avril Silk
7 - 15 August 2015 at 4.10pm (Run time 50 minutes)
Forest Theatre, Greenside Venues
Southbridge Resource Centre, 6 Infirmary Street Edinburgh EH1 1LT
This summer Untold Theatre presents Beyond Expectations, an innovative re-imagining of one of Dickens’ classic tales. This new production goes beyond the beloved novel, Great Expectations, and tells the story of Estella Havisham.
The FringeWhat inspired this production: did you begin with an idea or a script or an object?
A Victorian Gothic rags-to-riches tragedy, the show weaves brand new scenes into Dickens’ original tale. Beyond Expectations combines music, puppetry and striking digital projections.
“We wanted to show that Dickens, like Shakespeare, can be as relevant and exciting today as it always was. There is also a great deal of speculation about Estella Havisham - her journey is not the focus of the original novel. We’ve imagined what might have happened to her in those missing years.” (Joseph Rynhart - Producer)
Audiences meet Estella as a tiny child in a Gypsy encampment. The show follows her adoption, trapped in the dust and decay of Miss Havisham’s home, to a life of decadence in 19th century London.
Great Expectations recounts Pip’s adventures. Beyond Expectations revisits the novel, this time placing Estella in the centre of the action. Following her journey from childhood to adulthood, we watch as the lives of Pip and Estella intertwine and how she ultimately breaks his heart.
This unusual production premieres at the Edinburgh Fringe Festival from 7th August, before going on to tour other UK venues this Autumn.
Untold Theatre produces dynamic touring productions and workshops, tackling current issues in engaging and relevant ways. We devise and perform original shows that are often based on true stories, appropriate for a variety of audiences but especially for young adults. We also develop curriculum-driven classic literature shows, re-imagined to focus on modern parallels and ethical considerations.
“They have great integrity as producers of quality engaging drama and are original and innovative in their thinking. I have seen them produce high-quality work in both classic and new texts. I recommend seeing their work – a sparky young company with a bright future!”
Russ Tunney, Artistic Director - Pound Arts (previously Associate Director - Nuffield Theatre)
7 - 15 August 2015 at 4.10pm (Run time 50 minutes)
Forest Theatre, Greenside Venues
Southbridge Resource Centre, 6 Infirmary Street Edinburgh EH1 1LT
This summer Untold Theatre presents Beyond Expectations, an innovative re-imagining of one of Dickens’ classic tales. This new production goes beyond the beloved novel, Great Expectations, and tells the story of Estella Havisham.
The FringeWhat inspired this production: did you begin with an idea or a script or an object?
Joseph Rynhart: Beyond Expectations started life as an idea - to explore the life and times of Estella Havisham. She appears alongside Pip in Charles Dickens'Great Expecations, but much of her character's psychology is never fully explored.
The play was conceived and co-written by Martin Levinson and Avril Silk. Their previous work has been largely anthropological - most recently they published a study of gypsy culture together. They also both write novels for young adults that are loosely based on historical events/times - so re-imagining Dickens to explore the emotional manipulation of a little gypsy girl seemed a good fit.
It was also a good fit for us as a company. As the name suggests, at Untold Theatre we want to explore new and sidelined voices - whether these are contemporary or historical.
Why bring your work to Edinburgh?
Edinburgh is a playground for British Theatre-makers - sometimes
even International Theatre-makers. It allows us a chance to really explore a topic and try out new ways of storytelling, without having to have a fight between the creative and the commercial. Audiences are also exceptionally honest at the Fringe - we'll know write away what works and what doesn't. Plus, in the early stages of a new show, the festival has fantastic potential to boost the reputation and potential audiences of new companies like ourselves.
It's also fitting that a Dickens adaptation should be staged first in Edinburgh. A good number of his charaters are said to have been inspired by his visits to the city, and he was reported to have once said, “I believe I shall never hear the name of the capital of Scotland without a thrill of gratitude and pleasure. I shall love while I have life her people, her hills, and her houses, even the very stones of her streets.”
What can the audience expect to see and feel - or even think - of your production?
Audiences can expect to see a really visual show - we're using lots of digital projections. Sometimes these simply set the scene, or move the story along. Other times they're used to complement or explain what the characters are feeling.
The play was conceived and co-written by Martin Levinson and Avril Silk. Their previous work has been largely anthropological - most recently they published a study of gypsy culture together. They also both write novels for young adults that are loosely based on historical events/times - so re-imagining Dickens to explore the emotional manipulation of a little gypsy girl seemed a good fit.
It was also a good fit for us as a company. As the name suggests, at Untold Theatre we want to explore new and sidelined voices - whether these are contemporary or historical.
Why bring your work to Edinburgh?
Edinburgh is a playground for British Theatre-makers - sometimes
It's also fitting that a Dickens adaptation should be staged first in Edinburgh. A good number of his charaters are said to have been inspired by his visits to the city, and he was reported to have once said, “I believe I shall never hear the name of the capital of Scotland without a thrill of gratitude and pleasure. I shall love while I have life her people, her hills, and her houses, even the very stones of her streets.”
What can the audience expect to see and feel - or even think - of your production?
Audiences can expect to see a really visual show - we're using lots of digital projections. Sometimes these simply set the scene, or move the story along. Other times they're used to complement or explain what the characters are feeling.
We've even included a few (short) educational, documentary sequences! There's a strong 'elemental' theme to the projections - fire, wind, water. We want audiences to feel that the events taking place are as out of their (and the characters') control as the forces of nature. One small action can often snowball - and before you know it there's nothing you can do but hold on for the ride.
The Dramaturgy Questions
How would you explain the relevance - or otherwise - of dramaturgy within your work?
To us, dramaturgy is the story we are telling and how we tell it. As a crude example, if a character is written as 'angry' - it is sometimes incredibly effective to explore how we can show anger in other ways - through light, sound, movement.
Usually, our shows are 90% devised and 10% inspired by documentary sources. In the case of Beyond Expectations, however, we were given a completed script - and then set about staging it. So a great deal of this show's 'dramaturgy' is explicit in the script and we can be inspired by this. It's a two way street, though. On the one hand, we could create a physical sequence to music which suggests, for example, the passage of time.
The Dramaturgy Questions
How would you explain the relevance - or otherwise - of dramaturgy within your work?
To us, dramaturgy is the story we are telling and how we tell it. As a crude example, if a character is written as 'angry' - it is sometimes incredibly effective to explore how we can show anger in other ways - through light, sound, movement.
Usually, our shows are 90% devised and 10% inspired by documentary sources. In the case of Beyond Expectations, however, we were given a completed script - and then set about staging it. So a great deal of this show's 'dramaturgy' is explicit in the script and we can be inspired by this. It's a two way street, though. On the one hand, we could create a physical sequence to music which suggests, for example, the passage of time.
On the other, it has been fantastic to have the writers on hand and be able to say, "this character's emotional journey doesn't feel clear. Can you write some additional material for us?" We must constantly think of creative ways to turn the text into a 'performance' in its fullest sense.
In terms of the role of the 'dramaturg' - every single member of our company is a dramaturg. We rehearse very collaboratively, with different directors for each scene. Even then, this director is only there to settle disputes. Everybody contributes to the shape of a production - so everybody acts as a dramaturg and asks those questions. "Would she wear that during this time in history? Does the blocking take away from the writing? What is the importance of this particular choice of word? Is this line redundant?"
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?
We're not 'angry young men', nor is our work 'in yer face'. It's hard to categorise our work as being part of a particular movement. I'd like to say we make 'verbatim theatre' - but the truth is that we mainly use verbatim/documentary content to simply inspire ideas.
In terms of the role of the 'dramaturg' - every single member of our company is a dramaturg. We rehearse very collaboratively, with different directors for each scene. Even then, this director is only there to settle disputes. Everybody contributes to the shape of a production - so everybody acts as a dramaturg and asks those questions. "Would she wear that during this time in history? Does the blocking take away from the writing? What is the importance of this particular choice of word? Is this line redundant?"
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?
We're not 'angry young men', nor is our work 'in yer face'. It's hard to categorise our work as being part of a particular movement. I'd like to say we make 'verbatim theatre' - but the truth is that we mainly use verbatim/documentary content to simply inspire ideas.
One element that is common across all our work is multimedia. It's useful for a small company with a small budget, true, but it also has amazing potential to enhance what is happening on stage. Done right, on stage this combination of 'science' (projections and sound) and 'art' (acting and emotions) can almost be considered 'magic'. We haven't got there just yet - and we're still very much finding out feet! But it's fantastic to explore the potential technology can have in the theatre.
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?
Beyond Expectations has been a departure from our usual way of working. Ordinarily, we workshop initial ideas with the same people we imagine might end up watching the finished product. For example, our anti-cyberbullying show (Friend Request) is targeted at teenagers. So we spent a week running workshops with young people, exploring the topic and making scenes together.
They contributed a vast amount of work - mind maps, discussions, poetry, short scenes, dances and more. Later, in the rehearsal room, our actors used this material to inspire the final show. We stitched together bits of dialogue, words and phrases that stood out to us and used them in the performance. We love working in this way as it generates a kind of authenticity.
What do you feel the role of the audience is, in terms of making the meaning of your work?
Much of our work takes a traditional approach to the role of the audience. Our role is to present stories and meaning to an audience. What we hope is that then, afterwards, the audience will take up the baton and discuss what they have just seen. We try to raise more questions than we answer in our work, because we want it to have a more lasting effect. If, after watching Beyond Expectations, our audiences begin to consider the ethics at play in the piece - and, more importantly, their paralells in contemporary society - then we will have done our job properly.
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?
Beyond Expectations has been a departure from our usual way of working. Ordinarily, we workshop initial ideas with the same people we imagine might end up watching the finished product. For example, our anti-cyberbullying show (Friend Request) is targeted at teenagers. So we spent a week running workshops with young people, exploring the topic and making scenes together.
They contributed a vast amount of work - mind maps, discussions, poetry, short scenes, dances and more. Later, in the rehearsal room, our actors used this material to inspire the final show. We stitched together bits of dialogue, words and phrases that stood out to us and used them in the performance. We love working in this way as it generates a kind of authenticity.
What do you feel the role of the audience is, in terms of making the meaning of your work?
Much of our work takes a traditional approach to the role of the audience. Our role is to present stories and meaning to an audience. What we hope is that then, afterwards, the audience will take up the baton and discuss what they have just seen. We try to raise more questions than we answer in our work, because we want it to have a more lasting effect. If, after watching Beyond Expectations, our audiences begin to consider the ethics at play in the piece - and, more importantly, their paralells in contemporary society - then we will have done our job properly.
A Victorian Gothic rags-to-riches tragedy, the show weaves brand new scenes into Dickens’ original tale. Beyond Expectations combines music, puppetry and striking digital projections.
“We wanted to show that Dickens, like Shakespeare, can be as relevant and exciting today as it always was. There is also a great deal of speculation about Estella Havisham - her journey is not the focus of the original novel. We’ve imagined what might have happened to her in those missing years.” (Joseph Rynhart - Producer)
Audiences meet Estella as a tiny child in a Gypsy encampment. The show follows her adoption, trapped in the dust and decay of Miss Havisham’s home, to a life of decadence in 19th century London.
Great Expectations recounts Pip’s adventures. Beyond Expectations revisits the novel, this time placing Estella in the centre of the action. Following her journey from childhood to adulthood, we watch as the lives of Pip and Estella intertwine and how she ultimately breaks his heart.
This unusual production premieres at the Edinburgh Fringe Festival from 7th August, before going on to tour other UK venues this Autumn.
Untold Theatre produces dynamic touring productions and workshops, tackling current issues in engaging and relevant ways. We devise and perform original shows that are often based on true stories, appropriate for a variety of audiences but especially for young adults. We also develop curriculum-driven classic literature shows, re-imagined to focus on modern parallels and ethical considerations.
“They have great integrity as producers of quality engaging drama and are original and innovative in their thinking. I have seen them produce high-quality work in both classic and new texts. I recommend seeing their work – a sparky young company with a bright future!”
Russ Tunney, Artistic Director - Pound Arts (previously Associate Director - Nuffield Theatre)
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