Showing posts with label Lyceum. Show all posts
Showing posts with label Lyceum. Show all posts

Tuesday, 14 June 2016

Connecting Dramaturgy IV:Fife Youth Arts



Connections is the National Theatre’s annual festival of new plays for youth theatres and schools. 






YOUNG CREATIVE TEAM, FIFE YOUTH ARTS, PERFORMING IT SNOWS BY BRYONY LAVERY

What was the inspiration for this performance?
The inspiration for this performance was to show the different social circles from within society and explore how they communicate with each other. Then we would break down each group to its raw essentials and show how similar they really are and how they can actually mix with each other.

How did you go about gathering the team for it?
The It's Snows production team, Talent Academy Balwearie, was gathered from an S6 performance class. We are the core running and management behind the project. The cast was then found by approaching all high schools around Kirkcaldy and also local drama groups. By holding meet and greet sessions as well as auditions helped the cast come together as a whole. The intense week of rehearsals allowed everyone to get to know each other better and develop this piece.

How did you become interested in making performance?
I first took an interest in drama when I was a lot younger. I remember doing a workshop and putting on a show of Where The Wild Things Are. What I loved getting involved with the most was the making of the costumes and set, I loved being creative and seeing how this all made a show really come together. A few years later, I started to enjoy drama even more at school. I took a technical theatre elective in second year which again let me explore the backstage aspects of theatre such as lighting, set and makeup, something that I really enjoyed. In the years that followed, I loved performing in various plays acting as many different types of characters. As someone who focused primarily on marketing during It Snows, I would say this interest came from my love of graphic design, and my desire to do more of this hobby through the designing of posters and programmes, and my interest in grabbing an audience's attention and gaining interest.

Was your process typical of the way that you make a performance?
As this was our first ever production we have run we adopted a template that Amanda Glover, our director, uses in other productions. By creating a schedule and deadlines to meet helped us keep on track. By holding auditions and rehearsal weeks it was a typical way to run a production.

What do you hope that the audience will experience?
I hope the audience feel like they are on a journey with Caitlin and Cameron. This is a movement piece of theatre the audience need to be able to watch the play with a creative mind to feel magic of the snow and what it does to the relationship. The fact the snow creates peace between the parents and the peace it creates between the lads and the girls towards Caitlin and Cameron.

What strategies did you consider towards shaping this audience experience?
By using a Facebook page and group chat it helped us keep in contact with all cast members. Although we only saw our director once a week by using email helped us keep up to date with progress we were all making. Our strategy of promoting our production was using social media and making posters, leaflets and pop up banners. This allowed lots of people aware of our production and make our sales rise.

Connecting Dramaturgy III: Rachael Esdale and Barry Henderson



Connections is the National Theatre’s annual festival of new plays for youth theatres and schools. 

The 2014 Connections cycle involved:

10 Writers
230 Youth Theatre Companies
5,000 Young People
684 Performances
26 Partner Theatres
25,000 Audience Members


BARRY HENDERON, DIRECTOR, ROYAL CONSERVATOIRE OF SCOTLAND, PERFORMING WHAT ARE THEY LIKE BY LUCINDA COXIN

 What was the inspiration for this performance?
As this was the first year of the new RCS Company it felt like an opportunity to engage with NT Connections and offer the new company something challenging to work towards. The selection of the play (What Are They Like, by Lucinda Coxon) was a decision based on the makeup of the group and the challenge for young people to portray parents on stage and tell the stories in the play with a youthful energy. As an ensemble the group found the text itself very inspiring and decided that the approach to making it should involve play, physical performance and exciting storytelling. 

How did you go about gathering the team for it?
At RCS we have a fantastic range of degree students who are always looking for ways to engage with the emerging performance community and to collaborate on exciting projects. The Short Courses department is always looking for ways to engage with different departments and provide students with opportunities to develop their skills and enhance their practice. Robbie Gordon, our co-director, is a final year Contemporary Performance Practice student and emerging director. We asked him to be involved in this project because of his performance background and both he and I have a similar way of working which involves applying devising principles to work with young people. Similarly, our LX Designer, Daniel, is a current Production Technology Management student and Conor, our Costume Designer, is a 6th year short courses student who is interested in pursuing this as a career and was offered the opportunity to come on board to put his skills into practice.

Many of the young people in our company are a mix of students from our weekly drama classes and some who have come on board just for this practical performance experience. They travel far and wide to come along to our sessions and have been a fantastic ensemble to work with.

How did you become interested in making performance?
I trained briefly in acting and then after some consideration I decided to take a more contemporary route and studied on the CPP course at RCS. This gave me the interest in creating new work which seeks to challenge and is always new. I have since directed for 10 years applying my own interest in devising and creating new work with a great number of young people. The devising process allows young people to be instinctive and honest in the theatre they make and ignites a level of freedom in them within performance, which I love. I then use this freedom to create work which sometimes (not always) uses existing texts and provides a way to present them in entirely original ways. 

Was your process typical of the way that you make a performance?
The process involved a lot of physical work and devised based playing in the space. I worked with a limited number of objects/costumes and sounds which would be put into the space for the cast to play with and hopefully find interesting moments of performance. Through a process of creating choreographies based on the text we would improvise the text/sound/objects and most importantly the energy and creativity of the cast. After a few rehearsals, I reviewed some of the material made and as an ensemble we began to shape the show from there. The text allows for real visual storytelling to take place and so the combination of playing and text allowed me and Robbie to pull together all of those elements to create the piece. 

What do you hope that the audience will experience?
I hope they will experience a really engaging mediation of parenthood and a performance which keeps them engaged throughout. It is a show which doesn't settle for too long on any one idea and keeps moving and changing, which I hope makes the piece feel exciting.  I also hope anyone watching, either parent or child will find a connection with the stories being told. 

What strategies did you consider towards shaping this audience experience?
I ensured throughout the devising process that the show remained as constantly energetic and stimulating show. The show is text heavy and I felt strongly that I had to support the text with images and physical performance which would keep the ball in the air throughout the show. I worked with each cast member to ensure the delivery of the stories and the portrayal of the characters was truthful and also that the lighter side of the stories was remaining present. The script has a lot of comedy writing and I wanted to make sure that was delivered to its full. 

Do you see your work within any particular tradition?
I think this piece sits well within the tradition of devising physical and visual work with young people. It brings together my devising and creating contemporary work discipline also with script work. 



RACHAEL ESDALE, PRODUCER LYCEUM YOUTH THEATRE, PERFORMING ECLIPSE BY SIMON ARMITAGE

What was the inspiration for this performance?
As the Lyceum Youth Theatre has been taking part in Connections for many years I was keen to select a script which stepped outside our usual style. Eclipse offers us beautiful poetic lines about an event, told in flashback, which unravels throughout the performance. It makes the audience make a decision which we have to facilitate. All of these factors give our young people a chance to take control of their creative journey and final product.

How did you go about gathering the team for it?
Our cast auditioned to take part in Eclipse. Each person was cast into a certain role which allowed us to explore their skill set, develop their strengths and increase their performance knowledge. 
Kirsty Rennie, the Assistant Director, is an LYT Intern and Paul Rodger is our Production Manager who has worked on Connections with LYT since time began. Having a mixed team of new to this industry and years of experience has created a crucible of artistic input from which this show was created.

How did you become interested in making performance?
 I initially trained as a performer, and quickly realised I could not fore-go my own creative ideas for that of another. I had spent years in Youth Theatre and knew the value of inclusive performance opportunities offered to young people, and I feel passionately about drama being an chance to develop as a performer, and as an individual. I trained as an Assistant Director with Perth Youth Theatre before moving into the Youth Theatre sector. I have recently become the Producer of LYT which has allowed me to Direct but also build opportunities and projects for young people.

Was your process typical of the way that you make a performance?
The ambiguity of Eclipse allowed for us to debate the storyline and timeline of the characters and what their relationships, background, and future would be shaped liked. We spent time working out our individual opinions on each character and then worked out how best to portray these different outcomes. As each character is double cast, (one set on the beach and another, 7 years their senior, in a police station), we had to develop character traits and reactions which would span across both performers to show a clear link, whilst also showing a clear age difference. This lead to experimentation and constant development of the production as a whole until we arrived at a place which every performer agreed their character was established. Once we had the tools in place to tell the story, we tackled the abnormal nature of the poetry, which the script picks up and drops throughout, in order to clearly tell the story.

What do you hope that the audience will experience?
I hope the audience will experience a production which they are pulled into. I hope there is a character which each person can see a little bit of themselves in.  I hope it leaves the audience feeling like they know exactly what happened, until they discuss it with the person sitting next to them.

What strategies did you consider towards shaping this audience experience?
Whilst exploring the text we each decided on what we thought happened and who/what we thought Lucy Lime is/was. We debated and, sometimes, argued our own points. In the end we had to agree to disagree. To carry this feeling of ambiguity and certainty into our audience, each person is performing towards their own outcome, what they believe their character did or didn’t do and how they would then interact with the other characters on stage. 

Do you see your work within any particular tradition?

I would like to think my work gives young people a voice, an opportunity to share their passion and knowledge on stage and leaves them with something to be proud of. To achieve this I think my tradition is to change my traditions to find the best way to work with each group and each piece I take on.  

Connecting Dramaturgy II: Linda Grant and Kirsty Rennie



Connections is the National Theatre’s annual festival of new plays for youth theatres and schools. The 2014 Connections cycle involved:

10 Writers
230 Youth Theatre Companies
5,000 Young People
684 Performances
26 Partner Theatres
25,000 Audience Members
 Dramaturgy database, Lyceum, the national theatre, Connections 2016, 

Connections gives young people experience of professional theatre-making. Their experience mirrors that of a company producing a new play in any theatre in the country. They create marketing campaigns, design sets and costumes, operate lighting and sound boards, stage-manage their performances. In 2013, each company had the experience of performing in a leading regional theatre, at one of the Connections festivals around the country.



KIRSTY RENNIE, LYT INTERN, LYCEUM YOUTH THETARE, PERFORMING CELEBRATING CONNECTIONS (DEVISED) – LYT DISCOVER, VENCHIE GROUP

What was the inspiration for this performance?
The inspiration for my performance came from the theme of Celebration. All of the Discover tutors were set this theme from our Producer but then it was up to us how we wanted to use this stimulus to shape our performance. I decided that for Venchie’s performance we would hold a birthday party, with a twist. The group are really funny and I knew they would want to do something light hearted to show off their comical natures.

How did you go about gathering the team for it?
I have a cast of 10, and they are regular attendees at the Venchie drama club. However, originally we started off with 8 female members, but managed to recruit 2 male members who were interested in drama and went to the same school as some of the other members.

How did you become interested in making performance?
I have always had a passion for theatre and recently graduated from Queen Margaret University with my degree in Drama and Performance. When I was younger I was involved in school productions and was a member of a local youth theatre for 3 years. As I grew older I began to prefer the facilitation side of theatre, especially when working with young people. Therefore at university I pursued this further and did as much community related work with young people as I could.

Was your process typical of the way that you make a performance?
It was typical in the sense that I always do a big brain storming session with the young people to generate ideas and then we narrow it down to our favourite idea, which happened to be the birthday party. I then created the basic outline of the show from some of their improvisation work, but gave them control over the character traits – we have decided to base our characters on different personalities which I thought was a brilliant idea from the young people.
I play around with some of their ideas for a few sessions, and then begin to structure the performance more and rehearse.

What do you hope that the audience will experience?
I hope the audience will have a good time with the performance and enjoy the party. I want them to laugh with us and hopefully relate to some of the characters, because some of the scenarios have definitely happened to people before!

What strategies did you consider towards shaping this audience experience?
The main strategy I considered was that I wanted to keep the scenarios as realistic as possible so that the audience could relate to some of the characters.

Do you see your work within any particular tradition?
I don’t see this particular performance working within any particular tradition, but normally I do follow the Brechtian tradition of breaking the fourth wall to engage the audience in my performances.


LINDA GRANT, DIRECTOR, INDELIBILE ARTS YOUTH THEATRE, PERFORMING THE MUSICIANS BY PATRICK MARBER


 What was the inspiration for this performance?
Written by Patrick Marber for Connections - The play is about a High School Orchestra who travel to Russia to play a concert as part of a festival. Unfortunately due to an “incident” their instruments are impounded by customs and they must decide what to do next. Luckily with the help from a Russian cleaner, with a penchant for rock music, all is not lost… Patrick Marber at the Directors workshop in London said he wanted to write a fun play that could work in any area of Britain, could be performed by a large ensemble and celebrated music and life.


How did you go about gathering the team for it?
We started our Youth Theatre in East Lothian 3 years ago, so that our Primary School students could continue drama classes throughout their teens. From eight students we grew to three groups with over 60 members. This is the second year our senior groups have been involved in Connections. The rest of the year we are involved in devised and site pieces so it’s interesting for us to use a script and perform in a more formal setting once a year.

How did you become interested in making performance?
I was always interested in drama and was myself a member of a Youth Theatre when i was growing up. After studying history at Glasgow I travelled extensively and spent 2 years in Japan teaching English at a Japanese High School where I used drama techniques to bring my English classes to life. On my return I spent five years trying out different career paths and hold down a “proper job” only to finally realise that teaching drama to young people was where I felt most happy. After gaining 10 years experience working with various different theatre schools I set up a Theatre Arts Company, The Drama Mill and Indelible Arts Youth Theatre in East Lothian. We are in our fourth year now and I am delighted to say we have around 500 children attending our after school workshops.

Was your process typical of the way that you make a performance?
As we generally devise pieces this was not a typical way for us to work as we had a script from the beginning. Generally we create site specific or site responsive pieces showcasing different fantastic location in East Lothian. However, we did incorporate some of our devising techniques to build the characters of our musicians in our ensemble and had fun devising the movement and arranging the final song.

What do you hope that the audience will experience?
It is a really fun and life affirming piece of theatre that should leave the audience feeling entertained and uplifted.

What strategies did you consider towards shaping this audience experience?
As we have a company of young actors we chose a play that we felt our participants and their friends could relate too. We also performed locally I e in North Berwick so it would be easier for friends and family to attend and within the context of the play we utilised music and lighting to shape the audience experience.


Do you see your work within any particular tradition?
We try to vary our style as much as possible to give our young participants as many different experiences within “theatre’ as possible.

Connecting Dramaturgy I: Vikki Wilson and Debs Hahn @ Lyceum 2016

     

Connections is the National Theatre’s annual festival of new plays for youth theatres and schools. The 2014 Connections cycle involved:

10 Writers
230 Youth Theatre Companies
5,000 Young People
684 Performances
26 Partner Theatres
25,000 Audience Members

Connections gives young people experience of professional theatre-making. Their experience mirrors that of a company producing a new play in any theatre in the country. They create marketing campaigns, design sets and costumes, operate lighting and sound boards, stage-manage their performances. In 2013, each company had the experience of performing in a leading regional theatre, at one of the Connections festivals around the country.

Connections aims to:

inspire 13-19 year olds with high-quality new playwriting
give companies the knowledge, skills and confidence to bring the plays to life
involve a wide range of young companies, giving additional support where needed
encourage young people to get involved in all aspects of theatre making
Join us for NT Connections 2015 at The Lyceum.

VIKKI WILSON, ASSOCIATE DRAMA ARTIST, THE LYCEUM YOUTH THEATRE, PERFORMING CELEBRATING CONNECTIONS (DEVISED) – LYT DISCOVER, CRAIGROYSTON CAST

What was the inspiration for this performance?
We were given the theme of ‘celebration‘, and so started thinking about the various milestones and events in life we enjoy – from the trivial to the poignant. Then we had the idea of ranking these and our show concept developed from there.

How did you become interested in making performance?
I joined a youth theatre at a very young age and discovered the wonders of performance. As I became older, I started seeing real value in creating my own work as drama became not only an outlet for me socially but also forced me to think about my role within wider society.

Was your process typical of the way that you make a performance?
Certainly – but in some ways it was much quicker – the young people were very keen to ‘build’ as quickly as possible and so worked at an alarmingly fast rate!

What do you hope that the audience will experience?
Moments of joy, sadness and nostalgia.

What strategies did you consider towards shaping this audience experience?
Once we came up with our framing devise (a countdown) the rest fell into place – we were conscious that we had to manipulate certain events in order to vary the pictures and content on stage.

Do you see your work within any particular tradition?
A lot of my work has verbatim influences and this is the case for our Connections performance. Many of the moments and stories the audience see on stage have been informed by the cast’s experiences.


DEBS HAHN, WHALE DRAMA ARTIST,  LYCEUM YOUTH THEATRE, PERFORMING CELEBRATING CONNECTIONS (DEVISED)_– LYT DISCOVER, WHALE CAST 
What was the inspiration for this performance?

The meeting point between the ideas of the group and my ideas. The young people have a lot of thoughts about they place they are in at the moment, and I, as a (kind of!) grown up have my own ideas from a different perspective. I think it's really interesting when they introduce me to their ideas, and hopefully they will be interested in hearing mine too!

How did you become interested in making performance?
Again I think it's all about sharing ideas, and performance is a great way for people to do that. And making something together as a group, which you get to share with other people, who clap at the end is pretty exciting! I'm a pretty active person, so I like to do as well as think - making performance is kind of like "doing" the ideas.

 Was your process typical of the way that you make a performance?
This is only a short piece - if we had longer I would spend more time exploring ideas and trying things out which may not end up in the performance. In a shorter piece I would aim to create a structure which allows everyone a voice and a moment. 

What do you hope that the audience will experience?

Young people's voices on stage. 

Thursday, 26 March 2015

Alienation: it's not just boredom, Brecht

In the Lyceum's production of Brecht's Caucasian Chalk Circle, it
takes around two and a half hours to get to the nub of the story: in an almost throwaway line, the story-teller musician explains that the land, like everything else, belongs to those who care. This simple platitude - which hardly explains the political dilemma that begins the epic adventure - seems redundant and disappointing. In the previous scenes, maternal heroism had battled with legal corruption, revolutionary promiscuity and masculine dishonesty. Brecht's pat moral seems too small, too obvious to do justify to the scope of the story.

Now, young lady. What can you bring to my part?
The two most well known facts about Brechtian theatre, after his rejection of all American values except the casting couch, are that it is supposed to be politically engaged (he said that Marx would have been his perfect audience member), and that it breaks the fourth wall (apparently, this involves shouting at the audience rather than pretending that they are not there). A more developed interpretation of these fantastic facts are that Brecht strove to show alienation in his productions, encouraging the audience to see how the apparent inevitability of situations was, actually a function of capitalist tyranny.

Disregarding the frequent assertion that Brecht failed to integrate his theories into his scripts (most contemporary productions home in on his vivid characterisation or energy, making them a romp rather than the cerebral vision he desired), the 'alienation effect' is in action at the end of the CCC. Having involved the audience in all sorts of shenanigans - mountain crossings, unhappy marriages - he abruptly halts the action with a moral that does not actually add anything - it just grinds the action to a halt. It looks like a simple finale, but leaves behind more questions than answers.

Most of all, it refuses to return to the play that begun the evening,
that play that then has the play-within-a-play. That play is an earnest discussion about the use of land following a war - exactly the kind of rhetorical bore that subsumes the theatrical for political worthiness. Whether there was a flood of relief the first time that this play gave way to the more mythical narrative is a matter of conjecture - although I have nightmares about going to see CCC only to find that the bit about the baby and the mother has been replaced by three hours of chat about the relative value of industrial and agrarian economies.

By leaving that open-ended, Brecht has given the audience something to chat about: what decision would be reached, and how does all that running about the Caucasus reflect the issue of land distribution. Admirably, Brecht develops his characters to a point of complexity (his proletarian judge, for example, is both champion of the poor and a rape apologist). There are no easy answers.

And by having a folk tale, Bertie gives his audience some fun before they get all serious. Doubtless, the bores in the bar have a fine time trying to figure it all out, but better bores with beer battling bombastically than stupid signifiers of social systems struggling on stage.

Sunday, 15 March 2015

Caucasian Chalk Circle @ The Lyceum

Why waste time on restating what has already been said? 

Mark Thomson's direction is fast-paced, the ensemble cast do a great job of playing a variety of caricatures, Amy Mason as Grusha is a great heroine (being both sensually diffident with her soldier-lover and compassionate as a protective mother), Sarah Swire rocks the score - although the rockier moments don't always do justice to the narrative. 

There's a spot of scene-stealing towards the end when Christopher Fairbank plays the judge Adzak, and Brecht's 'fourth wall' breaking is in full effect. Plus the casting is gender blind, meaning that men play women (for laughs) and women play men (laughs again). It has a mix of poignancy and passion, moments of menace - when the nasty soldiers nearly catch Grusha - and plenty of social commentary. And thanks to Brecht's last lines, the message is not lost in the fun.

Yep, it's a triumph. 

What is there that is more interesting to write about within the play than repeating the praise heaped upon this production?

Monday, 16 February 2015

Mark Thomson on Brecht and Beyond...

Mark Thomson is the artistic director of The Lyceum, in
Edinburgh. When I asked him for a chat about his upcoming production of The Caucasian Chalk Circle, he was generous enough to give me too much for the article... here is the complete interview...

What is it about Brecht that has made him such a looming presence in the theatre of the last half century? Do you have a particular love for his approach and ideas about theatre?

I think anyone who enters their place of work and challenges on the two fronts of WHY are we doing this and HOW should we do this is key in the development of any profession or art form. 

 It’s difficult to overestimate the influence he had but the truth is that a lot of what he brought is inherent in standard theatre “think” now. 
 The idea that Brecht always wanted you to be aware and acknowledge the truth that this is a group of actors who are telling this story and not “pretending” that we “are” this or that person is keenly theatrical. 
It doesn't mean he’s not serving truth – he’s just challenging how we create truths and saying that it might not always be through trying to be “real.” The thing I keep talking about with the company is to abandon consistency. 
Caucasian shifts restlessly from one style to another, from naturalism to singing to crazy carnivalesque creatures. And each needs tending to and doesn't want smoothed out. The other thing is that for Brecht there was no such thing as a “character” that stood and remained definitive throughout a play. The “situation” was key to understanding why people did the things they did. 
So, a raping Sergeant is a rapist because of his circumstance of war. Monsters are born from monstrous situations. In another war-less universe he’s a father taking his daughter for swimming lessons.

And the Chalk Circle: why did you go for this script at this time?
I felt that the theatre needed to articulate or respond to the times we are in where there seems an unstoppable march toward widening the gap between the rich and the poor; when those who govern are led by power rather than principle. 


 Even in theatre it’s interesting that we have people like Brian Cox and Julie Walters are questioning whether the they could have entered the profession now and are we going to have very little working class actors entering the profession in which case there is a huge challenge to the stage’s ability to reflect the society it is supposed to be representing. 

 So Caucasian really simply says there might be another way of thinking. It has the boldness of a parable in the truths it identifies but has a wonderfully complex political and human understanding that is celebrated by vivid, musical, comedic and emotional theatre.

Does the CCC fit well with the general identity of the Lyceum?
I don't recognize the idea of the Lyceum Theatre having an identity. It’s a place of the imagination. A space where stories are told to another group of people. It’s a human place where views are exchanged, worlds are brought to life through word, picture, sound and light. The walls disappear and no one is looking at the chandelier when the act of theatre is successful.

Does working on this large scale present any unexpected challenges?

Not unexpected but it certainly does. And by challenges I don’t think negatively. I have a company of 13, eight of whom are multi instrumentalists, one who is an expert puppeteer, somewhere is the region of 40 locations and over a hundred characters and an amazing epic journey of a story about an extraordinary young woman. 

 What I love about the whole idea of companies like the Lyceum is that we have Faith Healer on and it’s a three hander, monologues – people and words. And now we’re in a carnivalesque storytelling with different demands, offers, tone. The quixotic leaps from show to show energize and transform the space where we meet our audience and defines it as a place of surprise that provokes your mind and senses and makes you feel more alive than before you entered the room. 

And as Brecht might agree, if you feel more alive you'll feel more capable of change. And Brecht’s great optimism is that he believed people/we can change. And boy oh boy I think we all know we need to.

Monday, 22 September 2014

Kill Johnny Glendenning - The Royal Lyceum Theatre wiv MAD CYRIL


Gawd luv DC Jackson, but thass one-oh-one stuff. Ya wanna protect the neck ov some hack, you gotta put ya good lads on the case, not a coupla muppets who are frettin abaht gettin shit on their shoes. Nofing I like more than a saucy caper, and that Johnny Gildenning is quite the geeza. Still, ya won't catch me gettin tied up by my business partners. Never go inta the farmhouse alone: ain't ya seen The Texas Chainsaw Massacre, son?

Kill Johnny might look a bit like one ov those Guy Ritchie numbers - shit gangsters and hard-nosed romance, but it's all west coast Scotchland, innit? The sorts seem to be in charge, even when they're Keif or on the Shawshank, and Johnny boy goes abaht wearin a Ranger's top. Not sure whever he's a football lad or a grafter. As for the gaffa, Andrew... well, I know his type. Smarts suits and more likely to give ya GBH ov the ear ole than a propa slap.

Still, I'm propa havin this: Johnny is a stand-up geeza, like ya want in ya crew. Ready for a bit ov a tussle, knows it's an act and can calm dahn when needed. Tries to keep orff the collateral. Those muppets turn out ta be the main men, kind ov, an it's happy endins all round, long as ya ain't been shot by a granny afta havin a dump, ground up inta pig-feed or burnt alive (betta than gettin ya meat and two sliced, I sppose). It's a laff, innit?

Still, I reckon the fight scenes could uv been a bit more tasty - really see the knife goin in, know what I mean?

Am I havin it? I am havin it SWAG.




Tuesday, 4 September 2012

She Plays

The Fringe has barely finished - well, I am still licking my wounds from it and hoping that I don't get ill after a month of sleeping on floors and eating on the run - and the Autumn seasons are starting up. There's even a few themes emerging, to give me a chance to create another idiosyncratic top five...

The strength of women is an oft-recorded part of recent Scottish history, at least as far as the theatre remembers it. The Steamie emphasised the importance of women's work in Glasgow in the 1950s, and two plays in Dundee celebrate the role of women in difficult times.

She-Town pretty much lays it all out in the title. An ambitious project from Dundee Rep, adding a cast of community performers alongside their core actors, it goes back to the depressed 1930s and highlights how women kept the city running. Starring Barbara Rafferty - best known for her TV work in Rab C Nesbit but has been a sparkling Scottish stage presence over the past decade - and a very large cast of women, Sharman MacDonald's new play is supported by a new Creative Scotland fund.

First in a Lifetime is designed to make work that opens up creativity to new people: this time, it has enabled community performers to appear in a professional production. Given that She-Town is all about  community, it's appropriate that this fund is supporting it.

12 - 29 September @ Dundee Rep


It's a bit cheeky to include Stellar Quines in my rundown of "theatre about women" - their remit has always been supportive to female artists. However, they have teamed up with Greyscale to run a tour by one of the world's oldest "new writers": Sylvia Dow is 73, and this is her first play.

A rehearsed reading last year revealed Dow's sensibility echoes the absurdism of Beckett, but with an added compassion and strong sense of contemporary anguish: while the early absurdist theatre entertained through a combination of lurking fear and the pointlessness of life, Dow pitches the horror of a relationship going nowhere, caught in the cycles of repressed hopes and polite reconciliations. It fits into both the Traverse's New Writing remit and the programming of Andy Arnold at the Tron (he loves a nice bit of absurdism), and Dow becomes an interesting take on the entire idea of "the young writer".

5- 8 September @ The Tron
18- 19 September at the Traverse

It's rare that I get out to the Brunton Theatre - although when I do, I get to go for a paddle in the sea and have an ice-cream from the lovely shop just across the road. The Brunton does have a programme that operates independently from the theatres in Edinburgh, featuring plenty of touring companies up from England.

Miriam Margoyles whetted my appetite for Dickens' Women at the Fringe, and the Brunton has followed up with Miss Havisham's Expectations. A one-woman show starring Linda Marlow (she once did Berkoff's Women, so will be familiar with the bloody end of female fictional characters), it takes up the story of Great Expectations and confronts the venerable Victorian author with the truth about the woman he trapped inside a moment.

Using biographical details from Dickens' life alongside the famous novel, Di Sherlock's script takes the writer to task for playing God with characters that he does not understand: and while adaptations can be a lazy way to make theatre, Miss Havisham's Great Expectations ignores the conventional period drama cliches and recontextualises one of fiction's great, lost tragic heroines.

Saturday 15 September @ Brunton Theatre

Next up, The Guid Sisters: I have talked about this already, but it is a bold start to the new season at the Lyceum. The NTS are involved, too, and it is one of the rare times that a piece starts at the Lyceum and doesn't force me to travel to Edinburgh to see it: it is coming to the King's, Glasgow, in October.

21 September - 13 October @ The Lyceum
23 - 27 October @ The King's, Glasgow 


Towards the end of next month, another project led by Cora Bissett (after Whatever Gets You Through the Night and Roadkill, she is becoming a force in Scottish production, even before looking at her acting) reveals a hidden history. The Glasgow Girls were seven young women who stood up for the rights of asylum seekers - a tough, political story that is perfect for a musical adaptation.

A script from David Greig and original songs from Bissett, MC Soom T and John Kielty (who has been perfecting the punk musical during the Fringe), the musical is no schmaltzy song-fest, but a celebration of the Glasgow that longs to find the true meaning of inclusion and multiculturalism. The NTS are involved again - the energy and imagination of the nation's big company is looking undiminished as it heads towards its eighth year - and both Bissett and Greig have reputations as hard-hitters.

31 October - 17 November @ The Citizens 





Wednesday, 29 August 2012

Get on the Guid Foot


I'll admit that I was confused by the press release for The Guid Sisters. Vicky Featherstone, artistic director of the National Theatre of Scotland, called it "not only a Scots classic but it is also a timely portrayal of women and economic survival." Then director Serge Denoncourt added "Forty years ago, in Quebec, everybody was talking about a new play: Les Belles-soeurs by Michel Tremblay." I had to go straight to Wikipedia and find out how a Scots classic could begin life as a French Canadian revolutionary drama.

Tremblay's original shook the conservative theatre of 1960s Canada, and was written in local dialect. His plays, which often feature that rare phenomenon, good parts for women, reflect his belief in the matriarchal nature of Quebecois society and he has been an outspoken, if awkward, advocate for Quebec's independence from English speaking Canada.

Given the tradition of Scottish plays that emphasise the power of women (The Steamie, She Town), and the political arguments about Scottish national identity, the translation into Scots, by Bill Findlay and Martin Bowman, was probably inevitable. 

The NTS/Lyceum co-production has managed not only to find a cast of fifteen women, including Karen Dunbar, but has enlisted the author's director of choice in Serge Denoncourt. Denoncourt is perhaps most famous for his production with Cirque du Soleil, but says that "Les Belles-soeurs became a fetish play, a lucky charm for me," following his first stab, at about ten years old, when he learnt it by heart and performed it in the street for his mates.

Denoncourt was mostly recently in Scotland working on Ana for Stella Quines - visually ravishing, this time-travelling epic attempted to compare the status of women in different eras: the presence of Karen Dunbar, best known for Chewin' The Fat, suggests that this production might be bigger on the laughs. And although the plot revolves around a grand prize of Green Shield Stamps (something else that probably needs to be checked on Wikipedia), the meat of The Guid Sisters is in the banter and conflicts between the large group of women.

Despite its origins in Quebec, it does fall nicely into the tradition of The Steamie - it's set in Glasgow, it's working class, it's about financial hardship, it has plenty of humour and community.

21 September – 13 October 2012

Kings Theatre, Glasgow                                                                 
Tuesday 23 – Sat 27 October

Saturday, 12 May 2012

Inishmore at Midday


I would expect political theatre to be relevant and vibrant at the moment: not only have I heard Marxists claim that fascism can be defined as “politics as theatre”, the encroaching idiocy of the British government – currently under the impression that austerity is the same thing as doing favours for your mates in big business – makes politics, for once, remotely interesting.

And yet both the Lyceum and the Tron have had productions that point at the limitations of theatre when it attempts to deal with real life issue. Admittedly, both The Lieutenant of Inishmore and Minute After Midday are chasing “the Irish Question” and the impact of terrorism on ordinary lives, subjects emotive and massive: their impact, unfortunately, is lessened by the intrusion of theatricality and the stilted conventions of the stage.

Aside from the content, the productions share strong casts and direction that is competent and straight-forward. The Lieutenant may go for the same humour that marks Tarantino’s attitude to violence while Minute is serious to the extent of being self-regarding. There’s also a shared intensity and attention to detail. Whether it is a cat’s supposed enthusiasm for Frosties or the meaning of a young girl’s pink dress, both scripts focus on the importance of the small in the face of horror.

But while The Lieutenant descends into bloody farce, Minute is determined to bring home the emotional turmoil. A survivor, a bereaved relative and a bomber all relive the day when a small town was bombed, moving obviously towards an almost redemptive finale. The irony of civil war is explicit – of course the terrorists end up killing someone they knew and even liked – the faint hope of heroic acts in the face of death is celebrated. The simple set – three actors, three chairs, simple lighting – does nothing to dispel the sense that Moments is a lecture. And so theatre, rather than bringing the political to life, diminishes the genuine experience of a very serious and disturbing event. Like that atrocious moment in Scottish Ballet’s Romeo and Juliet, when documentary footage of an earthquake was used to conjure intensity for the fictional suicide of two fictional characters, there is a point when theatre only trivialises real suffering for a shallow emotional punch.

Over in The Lieutenant, characters are blinded, shot and tortured for comic effect. Martin McDonagh's script – apparently rejected lest it undermine the Irish Peace Process – uses absurd comedy to snipe at the motivation of Republican terrorists. It’s a bitter, shrill comedy: the soldiers are sociopaths, more concerned over the life of a cat than any number of humans, constantly deluding themselves that they cling to a higher goal. This Ireland is populated by serial killers who simply found a cause – the soulful bomber of Minute is exposed as a myth, replaced by characters who could happily appear in sequels to Saw.

Yet the sharp script is undermined by some weak theatricality. Guns sound from speakers. A scene change becomes a false ending. Blood and gore is obviously fake. A corpse cut into pieces is a comedy prop.
A tighter production could have surmounted these problems – as Minute could have remembered it was a play not a Truth and Reconciliation panel – and taken the ideas further. Mistaking satire as straight entertainment is as dangerous as mistaking theatre for a rhetorical exercise. Either way, this political theatre is not the vibrant exposition of crucial ideas.

Sunday, 4 March 2012

The Marriage of Figaro @ The Lyceum

I know that it isn't cool, and it betrays my staunch West Coast isolationism, but I am becoming fond of the Royal Lyceum Theatre in Edinburgh. It does have a reputation for presenting plays that people might have heard of, which is anathema to my Live Art pretentions: there have been Shakespeares and Oscar Wildes on the programme in the last couple of years. And yet... they seem to be willing to back risky new work, support a young company and update classics relevantly. I guess I'd classify them as "healthy".


Delving into my rucksack, I just found a press release for their Marriage of Figaro. Now that I getting on and losing my hair (and the pony-tail only emphasises the bald patch), I am increasingly fascinated by opera. The grand scale of the passions, the swell of the aria, the high production values and the technical skill...


This is the play, though: and it has been given an up-date by Glasgow author DC Jackson, who kicks it from the world of the French aristocracy into the contemporary world of high finance. It's a sweet touch: Beaumarchais' original poked fun at the decadent fools who annoyed their nation so much that they ended up on the wrong end of a revolution. Here's hoping the second time's a charm...


Jackson is best known for his sardonic My Romantic History, a really dark comment on relationships, or the family life trilogy of The WallThe Ducky and The Chooky Brae. His skill is using vernacular language to get at the big ideas beneath the mundane. That, and his bawdy sense of humour. 


Relocating the action to bars, and with sexual politics on the boardroom table, Jackson's vision chimes with director Mark Thomson's. "Power and sex have always been a rich mine  for drama both in tragedy and comedy," he says. "The plotting joy of the original Beaumarchais has been joyfully transposed by DC Jackson into today’s post merger world of finance where it’s the bankers and not the aristocrats who abuse power as love, lust and money contend for the most important currency in the universe.”


Plus, it has Mark Prendergast in it, who seems to be able to do anything from pantomime to tragedy. 




LYCEUM TICKETS & PERFORMANCES:
Performances: 23 March – 14 April 2012
Evenings: Tuesday – Saturday at 7.45pm  
Matinees: at 2.30pm                                                                                                                         
Box Office: 0131 248 4848