Audition Dramaturgy: Michael Sharmon @ Edfringe 2017

GOLDEN VOICE ENTERTAINMENT

Original musical, 

AUDITIONS 

debuts at the 70^th Anniversary Edinburgh Festival Fringe

the new hit musical conceived and written in Hong Kong.

The show premiered in 2016, selling out and receiving rave reviews. Acclaimed author, Sarah Brennan describes it as “spell binding, “poignant”, “searing”, and “…with humour aplenty”. 

Venue: Grassmarket 2

Dates: 15.30, August 3-13 

AUDITIONS is about four performers from across the globe who take the audience on a journey of all the highs, lows, embarrassing and often hilarious experiences that occur to artists. 

What was the inspiration for this performance?

The audition process for a performer is a very topical issue in performing arts. The movie La La Land highlighted the insane pressures that performers go through when they audition. A recent article in the British Press highlighted and reinforced the stress associated with the current audition process. 

Many well respected actors such as Sir Patrick Stewart, Dame Julie Walters and Sir Mark Rylance have all gotten behind a campaign wanting to change the current audition process.

As a child I saw the show “A Chorus Line” and absolutely loved it, but after I began working as a professional performer and going for multiple auditions, I felt there was room to create a show that highlighted the highs and lows of going for auditions, not just for a chorus line of dancers, but also for actors, singers and voice over artists. 

Our opening title song, “Auditions”, depicts

what a performer needs to go through to prepare themselves for an audition. This was the genesis behind the show, and the concept, the story and the characters came from my own experiences, as well as revelations of friends.

Is performance still a good space for the public discussion of ideas?

I think performance will always be a necessary space for public discussion. Sometimes, the decision makers in our various countries across the globe can diminish the power of performance, by not giving it the support it deserves. The song “Art”, the finale of the show, highlights the importance of performance and the relationship between the artists and their audience.

How did you become interested in making performance?

Both myself and my business partner Sandra Leung Waters are from Australia and have been performing since we were children. Meeting each other in Hong Kong, we were very keen to create a company that focused on musical performances. 

Musicals, cabaret shows and concerts. We have been going for seven years and in that time, we have done hundreds of different shows and worked across the world, but this is our first time bringing a show to the Edinburgh Fringe Festival.

Is there any particular approach to the making of the show?

The approach was to be as honest as possible in the story we told. So even people outside of the industry can relate to the show because the issues the characters face are things all of us can identify with. 

My objective with the music was to create songs that were memorable, but also covered a range of different styles, from jazz to musical theatre.

Does the show fit with your usual productions?

This show compliments the work we have produced and continue to produce very well. We are always trying to find new ways to tell a story and we are very excited and proud of what we have created. 

AUDITIONS had its official premiere in Hong Kong in 2016, and opened to a sold out house and glowing reviews. We've flown the original cast and crew out from Hong Kong. Edinburgh audiences will be treated to a revamped production of the show that we have modified for touring.

What do you hope that the audience will experience?

I hope that the audience will be entertained, but also enlightened about an industry that is constantly changing, but first and foremost I hope the audience feels inspired. The song “Who I Am” is where the characters all bare their hearts and souls towards the end of the show. 

Without the audience, performers will not be able to continue to be creative and produce new pieces of art. So I would love the audience to walk away from the show committed to their support of live theatre.

What strategies did you consider towards shaping this audience experience?

Being part of the biggest Arts Festival in the world is not an opportunity that we take for granted, but we believe we are offering a different point of view, and a glimpse into some of the issues that performers face such as racial prejudice, ageism and abuse. 

We tell the story in a heartwarming, touching and humorous way that makes it accessible to a wide audience. We hope audiences will enjoy coming to see our show in the afternoon - after they have enjoyed their lunch and before they plan their activities for the evening. 

It’s only an hour, but one of the characters, Vivian, sings, “….if there is one thing that I know, it’s how to give a show…” - and we hope the audience walks away having spent one hell of an afternoon with us.

We follow the four characters as they share their audition experiences, each on their own path, as they reveal candid and intimate stories about the entertainment industry. The show deals with the harsh realities of show business - sexual abuse, ageism, and art versus commercialism. It features both humorous and poignant moments, as well as a surprise twist at the end. 

In these unsettling times when the world is in chaos, AUDITIONS reminds us why “art” is essential not only for the soul, but to help enlighten, entertain and inspire us. 

Writer, Michael Sharmon, saw “A Chorus Line” as a young boy and it left an indelible mark on him. Over the years he often thought it would be interesting to tell the story of other performers each dealing with rejection, and those unforgettable breaks that every performer hopes for. 

He wanted to tell the story of not only dancers, but also singers and actors, and this led to AUDITIONS. He based the story on his own experiences, as well as friends’ revelations, and hopes the show will shed insight into the struggles and joys that every performer faces. 

Sharmon explains, “This is not just a story for artists, but for anyone who is brave enough to follow their dreams.” 

The original cast recording is already out on iTunes – featuring eleven of the fourteen songs in the show - from toe tapping show tunes, to melodic anthems, to witty Broadway numbers.

For Edinburgh, we have brought back together the talented original cast – whose diverse performing credits cover Asia, Australia, England and the USA. Some say it’s the easiest job in the world to be a performer and anyone can do it. Find out for yourself when AUDITIONS opens August 3. 

Show Category: Musicals and Opera

ABOUT GOLDEN VOICE ENTERTAINMENT

Golden Voice Entertainment specializes in creating, developing and producing professional musical theatre experiences. 

From intimate cabaret acts to lavish theatrical productions, GVE guarantees a quality performance. Headquartered in Hong Kong, our team is made up of the best in the industry. This broad spectrum of expertise in the field of musical theatre production ensures that a GVE production is always a magical experience.

The Recovery Dramaturgy: Ilona Munro @ Edfringe 2017

Bright Productions 

The Recovery Version

Hogmanay in the Highlands.  Three generations of men.  Traditions, banter, song.  The whisky should probably stay in the cupboard. 

Out of Glencoe comes a lovingly, dysfunctional, all-male tale of lost dreams, long held hurts and father-son ties, told with a very Scottish voice and new songs.  The kind of songs sung at a New Year’s party.

The Recovery Version by Bright Productions

Venue:  Sweet Grassmarket (2)                       Tickets: £8 (£6)

Dates:   4th-20th August                                  Box Office:  0131 243 3596

Time: 13:40 (ends 15:00)                                  Venue website: www.sweetvenues.com

What was the inspiration for this performance?

I became a single parent when my kids were only age one and five.  I stayed single and worked full time for several years and during that time I fretted about my son having no good male role models.  Although we maintained what we could with his father, it was unfortunate that his grampa wasn't around ( though he has an amazing granny)  I needn't have worried, lots of male friends, family and teachers were in his life, as well as good women.   Alongside this is an ongoing joy of living in a Highland community (after time in London and Russia) and of the characters that make living here so good.  I was also often wondering about men, and where they were at in the Highlands.  Alcohol and lack of decent jobs with decent pay can take it's toll, but creativity, kindness and an incredible thing - split up families that still talk exist too - hec sometimes they even go their ex partners weddings! 

Is performance still a good space for the public discussion of ideas? 

Absolutely!  Although Lochaber is 2000 sq miles, it doesn't have a dedicated arts centre or cinema, so performance has to be in village halls, schools and found spaces.  With the demise of promoters budgets and small scale touring it can be hard to access professional performance without going 200 miles round trip, but when professional companies come here, they are greatly appreciated.  Community, youth and school theatre are well attended.  We also find that it is a myth that young people need everything crash bang wallop now ( she says as her son who is now 14 plays his Xbox)  We have been part of many educational theatre projects and they can really reach out, where other projects can't.  EG our last tour of "Stigma" and "HomeBrew" resulted in self referrals to help ( we always work in partnerships)  Interestingly enough, it was a Lochaber Common Weel who hosted "Faslane".  This is a social-political group, not a promoter or venue, and they had new audience engaging because of Scottish issues in the content.

How did you become interested in making performance?

Cliche alert!  I loved theatre and ballet from totdom.  Went to wee Co-op drama clubs in manky crumbling halls in Perth.  For some reason I studied Russian at uni -but this then took me to Siberia where I saw children's drama in summer camps.  And the Kirov for £4.  I studied Drama for a year in London and the college were so supportive that they gave me £150 quid and said "go do Edinburgh" So I wrote a play in 1994 and did.  I carried on doing this.  As I neared my thirties I became Eden Court's Drama Worker in Lochaber - and that taught me so very much.  Then came writing commissions, and three years ago I set up Bright Productions ( alongside a not for profit group called Dramafish to support arts in Lochaber) and continued teaching, writing, directing, stapling, packing cars, pitching, scrabbling for cash....  We got into Luminate Festival and started working in Abbeyfield Care Home too.

Is there any particular approach to the making of the show?

Not a particular approach as such, but we are very keen on Generations Working Together projects.  Population is so tiny in the Highlands that it often makes sense to include all ages.  The Recovery Version has a young lad in it, so we have cast three teenagers, two girls and a boy ( my son!) alongside the professional adults.  We also have young men helping build the set with Graeme Martin, our set designer, and a few more interested in theatre process, street performance/marketing.  We will make opportunities for these young people to come to Edinburgh and experience the sheer wonderful, lively, bonkers thing that is the fringe.

We have also had development days and meals together to make sure that in advance of rehearsals ( which don't start til Monday 17th July - eek!) that we all start to feel a team bond.  Parents are included and are brilliantly supportive.  As I said, community is great here, as is Kinlochleven High School.  Add to this our two musicians from Ballachulish working on our sound and songs.  Working with Chaz Stewart (ex Guitarist with the Donnie Munro Band, and our Photographer) and Paul Hornby Battrick, is often a crucial part of our development.

Does the show fit with your usual productions?

I am not sure that we have a "usual" production.  Our performances often depend on who commissions us, or who wants to work in partnership with us.  That said, I guess there is always a rather Scottish heart to it all and since I have been living in Kinlochleven for nearly twenty years now, a specifically Highland one.  

It doesn't preclude us looking around the globe for inspiration - one of our favourite shows is about the Russian Revolution, and we are very interested in learning more puppetry.  We are also working on shows for cafes along the west coast railway line and on a loch boat.  I suppose we are quite Highland in outlook..."acht will see what happens, mibbes aye and mibbes naw!"  It's really about relationships and partnerships for us.  But The Recovery Version is just because we wanted to - and because I haven't taken a show to Edinburgh for 17 years.  Oh and humour, we love a good laugh.  Even in the serious issues.

What do you hope that the audience will experience?

Firstly, we simply hope folk enjoy it!  Above that, we hope that the audience will connect with the characters, and that they will recognise that build to Hogmanay, and the slide down the others side into the new year.  It would make our wee hearts sing if folk laughed and tapped their toes to the Hogmanay party.  I think we also feel that there is something to be said for men, about men, while a huge focus is currently on women.  Lastly, we would like the audience to come away going  "ocht that's great that theatre can come out a wee village near Glencoe"

What strategies did you consider towards shaping this audience experience?

We did toy with having it interactive - ie the audience drank with us, ate cheesy pineapples on a stick with us, sang with us. They can sing, and we may have nibbles out, but in the end we felt it was about taking folks into that period after Christmas before the New Year, and we thought for this show that allowing the audience to sit back and enjoy and to choose whether they tap toes was best. It's the Highland way "acht whatever!" 

But we will be having mini Hogmanay parties on the Mile, and around Edinburgh, so folks can get wee treats and learn Gaelic singing (Hogmanay style) and be as interactive as they like. We will also be performing previews in Ballachulish Village Hall and The Ben Nevis Distillery, where we will have post show discussions, and this will inform any changes needed to improve things.

Jonny had a minor hit once, but no one would know.  Especially since those five homogenised wee bams have covered his song and made it a major Christmas hit.   John is Jonny’s son.  John blames his Dad a lot for his failing life.   And then there is Jack.  John’s wee lad who is suddenly coming to stay for New Year.  John hasn’t seen Jack for some time.  Just as well Fisher is around to keep spirits bright.  But then strong spirits were always the problem.

Although this is Bright Production’s first time at the fringe, writer/director Ilona Munro is well known in Lochaber for her highly varied theatre projects and thoughtful mental health TIE work across Highland.  Working with local professionals and up and coming young theatre makers, Bright has a great reputation in Lochaber for making people laugh and engaging the community in “generations working together” workshops and plays.

17 Hogmanays have passed since Ilona last took a show to the fringe. 

    

some sex...

Dean Friedman, returns for his tenth appearance at the Edinburgh Fringe Festival,

It's War

Mark E Smith out of the Fall - a man I have to thank for my enthusiasm for contemporary dance and ear-splitting music that respects no boundaries - has a song about people like me: Beware the Middlemass. I think it is about how a generation that has grown up without a war will be less wary of the dangers of armed conflict, and see it as a bit like a computer game.


He wrote it before the Gulf Wars, which suggests that he has some interesting clairvoyant skills, as well as a knack for a tuneless melody.






My firm belief that theatre can bring home those issues that I have not experienced is usually tested and broken: it's too easy to use war, and violence, as a metaphor on stage, reducing literal horror to a trite parable. But what if war can be portrayed on stage?








Sunflower Theatre are giving it a shot with Adele's Heart. Originally in Italian, the show has had great reviews in the Italian press - the writer, Giampiero Rappa, has been called “one of the greatest talents of Italian theater” by Il Manifesto, but has been translated for its UK debut.






The play is a modern love story set against the backdrop of an unnamed war. Two contrasting characters are forced together, and act out the stages of a relationship in the high pressure situation of being surrounded by guns and fighting. A little bonus is that the two actors are lovers in real life: they met on a film set and the rest is history.














The Space on North Bridge, Theater 1(V36) August 6-11 @ 22.30











Next up is an interesting one: it won an award from the Daily Mail.




For any readers outside of Scotland, I would like to make it clear that I do not endorse the opinions of the Daily Mail. Most people in the arts like to make cheap jokes at the newspaper's expense - it's obsessed with house prices, immigrants, cancer scares and that. And doesn't Richard Littlejohn write for it?




Hang on, is that the Daily Express?







Having said that, theatre is all about the challenges, and a play that seems to celebrate the plucky British spirit in the face of World War II is so unexpected, I am thrilled. The Picture House was devised by a group of students at Mountview Academy; the action begins in 1939, when a new cinema is opened in Yorkshire and becomes the pride of the community. Through all new songs and dances, the tribulations of WWII and the titular building are sketched as... I have to admit that this isn't my kind of thing, because I am a miserable pessimist with a typical pseudo-intellectual cynicism about patriotic feelings. And musicals. However, it has a cast of thirteen, plus band and gets away from the sort of po-faced seriousness that I call art.




















theSPACE on North Bridge (v. 36) 3rd-4th Aug (Previews) 6th-18th Aug @ 6:20pm



























Being properly confused by the idea of a musical about war, I spoke to Michael Wilkinson from Revolution! The Musical. Billed as a politically appropriate staging in the wake of the Arab Spring, it goes back to the 1993 Bosnian battles.






"Musicals have never been more relevant, especially British ones," he explains. "We all seem to have a real appetite for them these days. At last though the Lloyd-Webber stranglehold on musical theatre is being dismantled and emerging and relevant musicals like ours are catching the public eye for the first time."






"When we first set out writing the show we had no idea that the Arab Spring was just around the corner. But just months down the line we soon found ourselves being surrounded by headlines coming out of Egypt, Libya and now Syria. The show is set in Bosnia in 1993 but the parallels are simply astonishing. We hope that this is going to make us one of the most topical shows out there at the Fringe in 2012."
















Revolution's composer Nicholas Keyworth added: "One of the great things about the musical as a genre is that it can contain an eclectic range of musical styles which know no bounds. In our case this ranges from epic, classical moments to traditional Balkan music, show-stopping blues, jazz and razzmatazz to 1990s turbo-folk."










Paradise in Augustine’s (Venue 152) 6-27 August 8.25pm (excl. 13 & 20)






Back to my inbox, with a vague feeling that my original project - to discover whether war could be depicted on stage with accuracy and meaning - is in ruins. I am tempted to give up and mention Allo Allo, Practical Magic's live version of the Lloyd and Croft sitcom (Spotlites@The Edinburgh Fringe, 4th – 11th August, 2012), but I am clinging to my hope that there is a work that brings it all back home...



If I go back in time, I turn up a possible trump. Everything I Own presents Rémy, set during the Napoleonic Wars. It does have a love story - I guess that is inevitable, and a hint of hope but it is a one person show, written and performed by East 15 graduate Claire Gaydon. Plus it is set in a prison and is in the Vault at St Augustines, which makes it site relevant, if not specific!
















Remy is inspired by Napoleon and his story leads him through Europe - he sees the first use of guerilla warfare, which is now so popular amongst insurgents, the charisma of the totalitarian leader and tells the tale of those broken by the mad grab for power. There's a sense here that history can teach us lessons and that the reality of war and political greed does not change across time...










And I am rather keen on the idea of a woman telling the story of a man. It has that "magic of theatre" vibe, where the illusion is obvious but powerful...














Paradise in The Vault4th – 5th Aug 8:45pm (previews) 6th – 27th Aug (not 15th, 30th) 5pm.










I am on the home straight now... and thank God for Freshblood Theatre. They are doing a mash-up of two Brecht texts - How Much Is Your Iron? - the explores the build up towards WWII in the way only that German fourth-wall smasher can.


The plot is nicely pitched between allegory and realism: Dansen has pigs, his neighbour Svendson is an iron trader. Then people start to get murdered, a mysterious stranger rolls up and Freshblood got out the puppets, went for the dark laughter and won the Warwick Clive Barker Award in 2011.


The company are from Warwick University, and have a reputation for both cabaret shows and some neat satires - Vile Bodies is on their list of past shows, so I like them already.


The promise of a "new" Brecht is bold, but the style looks intact: the mundane and the mythical, the bleak humour, the willingness to use whatever helps get the message across. It's another young company, so it's a relief to find that there is still a market for tough theatrical choices and the heritage of Germany's master maker.



Sweet Grassmarket, Apex International Hotel, Venue 18 Aug 11th-17th@14:25