Aline Waites for WhatsOnStage ****
"Joyous and fun.....full of atmosphere."
"This is a show great for children and entertaining for grown ups."
"Perfect Christmas Fare."
"The cast fill the multiplicity of roles with enthusiasm and versatility."
"Joe Fredericks as musical director has done a great job drilling the cast into Rebecca Applin’s beautifully arranged harmonies....as director he has created some memorable pictures."
Dominic Martin for The Stage
"This is unashamedly feel-good musical theatre, designed to kindle a warm, fuzzy feeling in its Christmas audience, and it does so to brilliant effect."
"The outstanding cast of 18 switches seamlessly between characters, flowing on and off stage as scenes, with their set-piece songs, rattle along at an enthralling pace."
"Phil Willmott’s entertaining adaptation breathes new life into the well-known tale, while the music is full of good humour and light-heartedness."
"What is captivating about this intimate show, besides the accomplished performances, is that it is at once comfortably familiar and yet refreshingly original, as though you were hearing Dickens’ story for the first time."
"As a youthful Charles Dickens, convinced he’s found his next hit novel, Charlie Anson’s exuberant, spirited narrator draws the audience into his imaginative morality tale."
Simon Dale for Remotegoat ****
"Director Joe Fredericks and writer Phil Willmott unashamedly set their stall out to create festive fare for all the family. They succeed in spades."
"Dickens would have approved....scenes crackling with Dickens' sense of melodrama."
"....with the effective set, it creates a warm, busy atmosphere that is like stepping into the tableau of an oil painting, all warm colours, vibrant discourse, textured decor and atmosphere."
"......demonstrating that with good direction and a creative team you can make good and visually striking theatre without a monumental budget."
"As a bent-backed Scrooge, Mark Starr delivered the requisite curmudgeon"
"The logistics of juggling a large cast in a small space were handled seamlessly and the business of the stage and the actors really gave the show an earthy buzz."
Adrian Pumphrey for The Public Reviews
"......a family friendly extravaganza. This was a blast from start to finish."
"A fantastic show."
"With a great venue, cast, set and scene progression this made for a festive night that anyone would enjoy."
"....refreshing and intriguing. Even with the genius of the original story, it is quite special to be given something new."
"The costumes and panoramic set design transport you back to Victorian times."
Friday, 26 December 2008
Wednesday, 24 December 2008
'A Christmas Carol' at The King's Head - Review
Name of production :A CHRISTMAS CAROL Name of venue: The Kings Head Rating: four stars Running Time: 1hour 30 minutes without interval Running Dates: 10th Dec – Jan 4th
The sound of carol singing can be heard in the bar preceding one’s entry into the theatre. The cast are already working, singing and playing their hearts out. Most of them are actor/musicians and there is a small orchestra of portable instruments - violin, flute, clarinet etc who play us into the theatre and continue from time to time throughout the performance with the addition of less moveable items – piano and double bass. Joe Fredericks is musical director and he has done a great job drilling the cast into Rebecca Applin’s beautifully arranged harmonies. There are many amusing parodies on classics like Grieg’s “Anitra’s Dance” and Sullivans’s “The Sun whose rays” even a spirited rendering of “Land of Hope and Glory”
Phil Willmott has adapted this unusually lavish production of the old Christmas Story. He has got over the timeworn editions by inserting the character of Charles Dickens himself. Dickens is trying to sell his novella to his publisher – he wants red leather with gold lettering - and this is a demonstration in order to impress him. It also helps to have a narrator to move the story along when necessary. There are a few other innovations, the ghosts are unusually characterised. Christmas Past is Cinderella from the fairy tales of his youth, and Christmas future is the ghost of Tiny Tim. Marley’s Ghost appears first in the mirror and is then played by a giant puppet.
The set by Paul Burgess is warm and cosy - lots of broken brick work on stage, and plastic cobbles on the floor of the stage and auditorium. The result – along with Gary Page’s costumes is effective and full of atmosphere.
There are too many actors to mention – about twenty of them including two children playing the younger Cratchits. However Charlie Anson is a personable Dickens and the rest of the cast fill the multiplicity of roles with enthusiasm and versatility.
Above all it is the music and singing that makes this pantomime joyous and fun. Director Joe Fredericks has created some memorable pictures and the simple choreography by Natasha Khamjani is correct for the period and just enough to exploit the talents of the actors involved.
This is a show great for children and entertaining for grown ups. Perfect Christmas Fare.
ALINE WAITES
The sound of carol singing can be heard in the bar preceding one’s entry into the theatre. The cast are already working, singing and playing their hearts out. Most of them are actor/musicians and there is a small orchestra of portable instruments - violin, flute, clarinet etc who play us into the theatre and continue from time to time throughout the performance with the addition of less moveable items – piano and double bass. Joe Fredericks is musical director and he has done a great job drilling the cast into Rebecca Applin’s beautifully arranged harmonies. There are many amusing parodies on classics like Grieg’s “Anitra’s Dance” and Sullivans’s “The Sun whose rays” even a spirited rendering of “Land of Hope and Glory”
Phil Willmott has adapted this unusually lavish production of the old Christmas Story. He has got over the timeworn editions by inserting the character of Charles Dickens himself. Dickens is trying to sell his novella to his publisher – he wants red leather with gold lettering - and this is a demonstration in order to impress him. It also helps to have a narrator to move the story along when necessary. There are a few other innovations, the ghosts are unusually characterised. Christmas Past is Cinderella from the fairy tales of his youth, and Christmas future is the ghost of Tiny Tim. Marley’s Ghost appears first in the mirror and is then played by a giant puppet.
The set by Paul Burgess is warm and cosy - lots of broken brick work on stage, and plastic cobbles on the floor of the stage and auditorium. The result – along with Gary Page’s costumes is effective and full of atmosphere.
There are too many actors to mention – about twenty of them including two children playing the younger Cratchits. However Charlie Anson is a personable Dickens and the rest of the cast fill the multiplicity of roles with enthusiasm and versatility.
Above all it is the music and singing that makes this pantomime joyous and fun. Director Joe Fredericks has created some memorable pictures and the simple choreography by Natasha Khamjani is correct for the period and just enough to exploit the talents of the actors involved.
This is a show great for children and entertaining for grown ups. Perfect Christmas Fare.
ALINE WAITES
Tuesday, 18 November 2008
'A Christmas Carol' at The King's Head
The second week of rehearsal is under way and I have the massive privilege of being the acting coach to the child actors. So I have two Saturdays and hopefully the odd evening to work with 4 massively talented young actors. It's going to be great!
Friday of the first week and I meet the cast of 'A Christmas Carol' for the first time. It's odd not being involved in the performance side of things. I can see the friendships and bonds being created. I hear the wonderful harmonies that Phil Wilmott has created and feel a pang of jealousy that I'm not performing too. But I know I can't and I know that I couldn't have, so to be involved in any respect is massive.
16 adult actors. 4 child actors. And about 30 odd other people involved. This project is massive. And done for the passion, done to be put on a field where everyone is at the top of their creative games. The whole, unpaid affair as an actor is massively unfair and wrong and for what we do, something should be in place to demand that we always get payed...but as the theatre business is at the moment, that simply is not possible. But as an actor, this job can never be a hobby. If you're doing it then do it for the right reasons. With 'A Christmas Carol' all the easons are right. As it is, you have two companies, in Grit and Mokita, who have staked pretty much everything into creating the most wonderful Christmas show to grace London this year. To be involved in any aspect, is a privilege.
Friday of the first week and I meet the cast of 'A Christmas Carol' for the first time. It's odd not being involved in the performance side of things. I can see the friendships and bonds being created. I hear the wonderful harmonies that Phil Wilmott has created and feel a pang of jealousy that I'm not performing too. But I know I can't and I know that I couldn't have, so to be involved in any respect is massive.
16 adult actors. 4 child actors. And about 30 odd other people involved. This project is massive. And done for the passion, done to be put on a field where everyone is at the top of their creative games. The whole, unpaid affair as an actor is massively unfair and wrong and for what we do, something should be in place to demand that we always get payed...but as the theatre business is at the moment, that simply is not possible. But as an actor, this job can never be a hobby. If you're doing it then do it for the right reasons. With 'A Christmas Carol' all the easons are right. As it is, you have two companies, in Grit and Mokita, who have staked pretty much everything into creating the most wonderful Christmas show to grace London this year. To be involved in any aspect, is a privilege.
Young People
Is the stigma of 'hoodies', those hiding identity in clothes with the name tag ripped out; hanging around looking a little lost but giving deadly stares at any passes by; those people who have nothing better to do with their day but hang out with fellow lost souls, bored, mindless, and mumbling drunk about how they aren't given any opportunities to show what they can really do, really fair? Surely, city workers deserve a little more respect for years of hard work!?
You see, the term 'young person' immediately throws up a media filled vision of the unsocial, unrespectful, unholy teenage lout who terrifies old ladies and shop keepers whilst shining lazer pens into bus drivers' eyes. But what is a young person? To someone who is 70, that might mean a late 20s or 30s. The very term lacks any kind of definition. Who do we mean? Well, speaking as a 20 something, I would say 16 or under. Young, defers the meaning of not old, or rather someone who has a lot to learn, someone who needs guidance and love, someone who wants rather than gives, simply because they are yet to understand true giving.
But what do we call them? 'Children' seems disrespectful, 'Kids' seems childish, 'Youths' seems dirty, 'Teenagers' points at rebellion, 'Students' is safe and yet is only applied to those in a learning environment. Maybe, this is the problem, as adults we've lost touch with who these people are. They seem to demand respect and yet don't know how to earn it. And really, should respect be earned? Or is it something that should just apply. A referee shouldn't have to earn respect - he should have it because of his position.
Perhaps, we've forgotten that children need discipline? But what is discipline? Is it three lashings of the cane? Well, I don't think so. Discipline is creating focus. If the searching, learning mind is given a focus then it learns. When focussed, we get rid of the thousand thoughts and fully concentrate on the task in hand. Without focus, we achieve very little or nothing. So how do we teach focus? By allowing the results to speak for themselves and encouraging the results achieves through it. If a child sees that through focussing they run the hundred metres 2s faster or complete a task with better efficientcy, then surely they will want to do it again? Or at least, they will begin to understand that through focus they achieve. I believe also, that competition should be encouraged. If it's fine to fail then why bother pushing for a pass? If it's fine to lose then why bother wanting to win. This of course, has to be tempered. With a win comes responsibility. With a pass comes the next test.
I recently worked alongside eight, hmm, here we are again. What are they? I think 'young people' works. From my point of view, a young person is anything under 16 so I'm going to go with that. Eight young people from Downham in Lewisham. We were working together to create a performance on the 5th day that highlighted some of the problems and issues in Downham. Now I won't go into full details but the remarkable thing was, when you speak to these guys and girls, they really do have a lot to say. They understand words like respct, discipline, they understand what is right and wrong, they understand and have amazing ideas about how to put things right and yet...and yet...they still went out at lunchtime and swore at shop keepers and shined lazers in bus drivers eyes. Then they come back and say, well, he was looking at me funny or some such. Well, of course he was, he'd probably had kids in the shop earlier who had sworn at him. You see, if young people don't stand up and make a difference in their own lives, then we can't, in placing schemes and asbos do anything to make a difference. They must want to change. They must want to set an example. It is for us to teach them how to do that and help them understand, through encouragemnt and love and yes, discipline, that what they do affects lots and lots of people that in turn then affects them. If you do drugs etc...on the playing field, then yeah, itll get shut down. If it's shut down, then you have no where to go. If you have no where to go then you get bored.
I do of course, realise that a generalisation can never be made in this sector. So much depends on upbringing and area and peer group and teaching and parenting. My field is drama. In creating a performance atmosphere where it's fine to mess around and play and say whatever, I hope to get into the heads of these guys and help them understand that they, as individuals have a massive power. That they are massively important and what they think really does matter.
Any great director will 'know' their actors. They will quickly figure out who this actor is. What makes them tick? Where are their comfort zones and how do they work? What goes on in their heads? In understanding this, the director will guide the actor into giving an extraodinary performance that they didn't know they could achieve. A performance that will push them around and make them uncomfortable but a performance that will ultimately 'create' a remarkable human being.
I feel it's our responsibility as adults to set an example that show love to our young people, that shows discipline, that shows that we do actually care about what they have to say. We always remember our best teachers. What did they do that had such an affect? We always remember our best friends. How do they make us feel? We always remember someone in our life that has had a massively negative affect. How can we change that and stop ourselves becoming what we hate?
Ooohh, getting a bit idealistic here...sorry. I just feel passionately that young people need to be talked to...well, that's about it.
You see, the term 'young person' immediately throws up a media filled vision of the unsocial, unrespectful, unholy teenage lout who terrifies old ladies and shop keepers whilst shining lazer pens into bus drivers' eyes. But what is a young person? To someone who is 70, that might mean a late 20s or 30s. The very term lacks any kind of definition. Who do we mean? Well, speaking as a 20 something, I would say 16 or under. Young, defers the meaning of not old, or rather someone who has a lot to learn, someone who needs guidance and love, someone who wants rather than gives, simply because they are yet to understand true giving.
But what do we call them? 'Children' seems disrespectful, 'Kids' seems childish, 'Youths' seems dirty, 'Teenagers' points at rebellion, 'Students' is safe and yet is only applied to those in a learning environment. Maybe, this is the problem, as adults we've lost touch with who these people are. They seem to demand respect and yet don't know how to earn it. And really, should respect be earned? Or is it something that should just apply. A referee shouldn't have to earn respect - he should have it because of his position.
Perhaps, we've forgotten that children need discipline? But what is discipline? Is it three lashings of the cane? Well, I don't think so. Discipline is creating focus. If the searching, learning mind is given a focus then it learns. When focussed, we get rid of the thousand thoughts and fully concentrate on the task in hand. Without focus, we achieve very little or nothing. So how do we teach focus? By allowing the results to speak for themselves and encouraging the results achieves through it. If a child sees that through focussing they run the hundred metres 2s faster or complete a task with better efficientcy, then surely they will want to do it again? Or at least, they will begin to understand that through focus they achieve. I believe also, that competition should be encouraged. If it's fine to fail then why bother pushing for a pass? If it's fine to lose then why bother wanting to win. This of course, has to be tempered. With a win comes responsibility. With a pass comes the next test.
I recently worked alongside eight, hmm, here we are again. What are they? I think 'young people' works. From my point of view, a young person is anything under 16 so I'm going to go with that. Eight young people from Downham in Lewisham. We were working together to create a performance on the 5th day that highlighted some of the problems and issues in Downham. Now I won't go into full details but the remarkable thing was, when you speak to these guys and girls, they really do have a lot to say. They understand words like respct, discipline, they understand what is right and wrong, they understand and have amazing ideas about how to put things right and yet...and yet...they still went out at lunchtime and swore at shop keepers and shined lazers in bus drivers eyes. Then they come back and say, well, he was looking at me funny or some such. Well, of course he was, he'd probably had kids in the shop earlier who had sworn at him. You see, if young people don't stand up and make a difference in their own lives, then we can't, in placing schemes and asbos do anything to make a difference. They must want to change. They must want to set an example. It is for us to teach them how to do that and help them understand, through encouragemnt and love and yes, discipline, that what they do affects lots and lots of people that in turn then affects them. If you do drugs etc...on the playing field, then yeah, itll get shut down. If it's shut down, then you have no where to go. If you have no where to go then you get bored.
I do of course, realise that a generalisation can never be made in this sector. So much depends on upbringing and area and peer group and teaching and parenting. My field is drama. In creating a performance atmosphere where it's fine to mess around and play and say whatever, I hope to get into the heads of these guys and help them understand that they, as individuals have a massive power. That they are massively important and what they think really does matter.
Any great director will 'know' their actors. They will quickly figure out who this actor is. What makes them tick? Where are their comfort zones and how do they work? What goes on in their heads? In understanding this, the director will guide the actor into giving an extraodinary performance that they didn't know they could achieve. A performance that will push them around and make them uncomfortable but a performance that will ultimately 'create' a remarkable human being.
I feel it's our responsibility as adults to set an example that show love to our young people, that shows discipline, that shows that we do actually care about what they have to say. We always remember our best teachers. What did they do that had such an affect? We always remember our best friends. How do they make us feel? We always remember someone in our life that has had a massively negative affect. How can we change that and stop ourselves becoming what we hate?
Ooohh, getting a bit idealistic here...sorry. I just feel passionately that young people need to be talked to...well, that's about it.
Tuesday, 4 November 2008
Incoming
News on Youth Projects and Mokita's fabulous new show, starting rehearsals in a week at The King's Head, Islington. Coming soon!
It's time for 'A Christmas Carol' awesomeness!
It's time for 'A Christmas Carol' awesomeness!
Friday, 3 October 2008
Mokita's New Project (with Grit)
GRIT and Mokita Productions in association with the King's Head Theatre are producing Phil Willmott's highly acclaimed A CHRISTMAS CAROL at the King's Head Theatre this Christmas.
Directed by Joe Fredericks, with associate directors, Emily Agnew and Sophie Lifschutz.
Auditions: will take place in the week beginning 13th October.
Rehearsals: for four weeks in London from 10th November,
Opens: Wednesday 10th December 2008 runs to Jan 4th 2009.
Fee: Payment on profit-share basis only, with all profit shared equally amongst full cast and creative team. Please do not
apply if you cannot afford to commit to the project on a profit-share basis.
This will be a large-scale, high profile and demanding production involving an ensemble company with puppeteering and a score adapted from classic carols and the tunes of Strauss, Prokoviev, Saint Saens, Grieg, Sullivan, Ponchielli, Bach and music hall. All roles involve singing and movement skills and a number require accomplished musicianship. We are therefore particularly interested in hearing from actors who play piano, violin, flute, cello, clarinet, trombone, tuba and euphonium.
Roles as follows.
EBENEZER SCROOGE - Male, 50+ An "old devil" whose chief desire in life is to make money, largely out of other's misery. Difficult, surly and with a ghoulish and vaudevillian nature.
SCROOGE'S NEPHEW - Male, late 20s-mid 30s, lead role. Attractive and
amiable, Scrooge's Nephew is the narrator of the piece. Ideally, we require
a strong pianist for this role although this is not an excluding necessity.
BOB CRATCHIT - Male, 30s. Honest, down to earth, and good-natured, Bob
Cratchit is a diligent, hard-working and loving father to Tiny Tim.
GHOST OF CHRISTMAS PAST/CHARITABLE GENT - Male, 30s, commanding physical
presence.
LAURA/PRINCESS JADE - Female, early 20s.
ALEC/RICHARD SCROOGE/PRINCE HASSAN - Male, early 20s.
ELEANOR (wife of Scrooge's nephew)/GHOST OF CHRISTMAS PAST - Female, 30s.
YOUNG SCROOGE - Male, early 20s.
BELLE - Female, early 20s.
MRS CRATCHIT - Female, 30s
MARLEY/OLD JOE - Male, 40s.
MR FEZZIWIG/PEG - Male, 40s.
MRS FEZZIWIG/DOLL - Female, 40s.
CHARITABLE LADY/MRS GILBERT - Female, 30s.
SCROOGE'S STEP-FATHER/REVERAND POLLETT/UPPER CLASS MAN - Male, 30s
MARTHA CRATCHIT/UPPER CLASS WOMAN - Female, 20s.
All CVs and photos to be sent asap to:
Jane Lesley
Mokita Productions
54 Canning Road
London
N5 2JS.
Directed by Joe Fredericks, with associate directors, Emily Agnew and Sophie Lifschutz.
Auditions: will take place in the week beginning 13th October.
Rehearsals: for four weeks in London from 10th November,
Opens: Wednesday 10th December 2008 runs to Jan 4th 2009.
Fee: Payment on profit-share basis only, with all profit shared equally amongst full cast and creative team. Please do not
apply if you cannot afford to commit to the project on a profit-share basis.
This will be a large-scale, high profile and demanding production involving an ensemble company with puppeteering and a score adapted from classic carols and the tunes of Strauss, Prokoviev, Saint Saens, Grieg, Sullivan, Ponchielli, Bach and music hall. All roles involve singing and movement skills and a number require accomplished musicianship. We are therefore particularly interested in hearing from actors who play piano, violin, flute, cello, clarinet, trombone, tuba and euphonium.
Roles as follows.
EBENEZER SCROOGE - Male, 50+ An "old devil" whose chief desire in life is to make money, largely out of other's misery. Difficult, surly and with a ghoulish and vaudevillian nature.
SCROOGE'S NEPHEW - Male, late 20s-mid 30s, lead role. Attractive and
amiable, Scrooge's Nephew is the narrator of the piece. Ideally, we require
a strong pianist for this role although this is not an excluding necessity.
BOB CRATCHIT - Male, 30s. Honest, down to earth, and good-natured, Bob
Cratchit is a diligent, hard-working and loving father to Tiny Tim.
GHOST OF CHRISTMAS PAST/CHARITABLE GENT - Male, 30s, commanding physical
presence.
LAURA/PRINCESS JADE - Female, early 20s.
ALEC/RICHARD SCROOGE/PRINCE HASSAN - Male, early 20s.
ELEANOR (wife of Scrooge's nephew)/GHOST OF CHRISTMAS PAST - Female, 30s.
YOUNG SCROOGE - Male, early 20s.
BELLE - Female, early 20s.
MRS CRATCHIT - Female, 30s
MARLEY/OLD JOE - Male, 40s.
MR FEZZIWIG/PEG - Male, 40s.
MRS FEZZIWIG/DOLL - Female, 40s.
CHARITABLE LADY/MRS GILBERT - Female, 30s.
SCROOGE'S STEP-FATHER/REVERAND POLLETT/UPPER CLASS MAN - Male, 30s
MARTHA CRATCHIT/UPPER CLASS WOMAN - Female, 20s.
All CVs and photos to be sent asap to:
Jane Lesley
Mokita Productions
54 Canning Road
London
N5 2JS.
Monday, 1 September 2008
Friday, 29 August 2008
Back to the London of Reality
Sat at computer. Free internet again. Trawling through facebook and castings looking for the next job.
It's actually the first long term acting job that I've done where I haven't come back and felt a bit depressed about having nothing lined up. Strange. But Edinburgh was inspiring. As Three Weeks put it in their review of us - there was 'Fire in our bellies'.
IS that what keeps the poorer end of the acting professional going? A fire. A hope for that break. A faith in our own abilitites and a faith that there is the right job out there.
I once made a posting on a site called Castingcallpro regarding Faith in the Acting Profession. It's amazing how people jump at the opportunity to scorn any types of faith. It's believing in something that is beyond our normal understanding. God or other. Is it that important? And do we have the right to look down and rubbish claims of faith?
Thought I'd move away from Edinburgh and throw a few life things out there.
It's actually the first long term acting job that I've done where I haven't come back and felt a bit depressed about having nothing lined up. Strange. But Edinburgh was inspiring. As Three Weeks put it in their review of us - there was 'Fire in our bellies'.
IS that what keeps the poorer end of the acting professional going? A fire. A hope for that break. A faith in our own abilitites and a faith that there is the right job out there.
I once made a posting on a site called Castingcallpro regarding Faith in the Acting Profession. It's amazing how people jump at the opportunity to scorn any types of faith. It's believing in something that is beyond our normal understanding. God or other. Is it that important? And do we have the right to look down and rubbish claims of faith?
Thought I'd move away from Edinburgh and throw a few life things out there.
The BluePlayBlog
What started as a simple diary of interesting events at Edinburgh has developed into something much more. My reviews were noted by an online Review site and I'm now reviewing for them and the life of the blog seems to be growing. I've just registered on Technorati so please go and poke me on that if you like my blog. Otherwise, just as Mokita Productions is growing, so will this blog.
The colour of Mokita's flyers and posters was blue. Hence, the inspiration for the blog url. But they were such a hit at the festival that Mokita is going to keep the colour for the foreseeable future. It also happens to be the Producer's favourite colour. So there we go. If the company continues, so must the blog!
Expect a name change very soon though!
The colour of Mokita's flyers and posters was blue. Hence, the inspiration for the blog url. But they were such a hit at the festival that Mokita is going to keep the colour for the foreseeable future. It also happens to be the Producer's favourite colour. So there we go. If the company continues, so must the blog!
Expect a name change very soon though!
The Future of the Edinburgh Fringe
Congratulations! Your show has sold out. You have a sell out show. There are no tickets available. No really, there really are no tickets available. Oh. What, you mean these 10. Ha. No. These are the ones that we release on the morning of the show so that there will always be free seats in the house. After all, production companies in Edinburgh don't want to fill every seat, do they?
AH. The Edinburgh Fringe Box Office. A lot has been written and discussed about this lovely organisation already. But here are my thoughts.
Last year, it was simple. Everyone got the tickets that they wanted. The Big Four of The Assembly Rooms, The Pleasance, The Gilded Balloon and The UnderBelly worked alongside the Fringe to create a marvellous and pleasant theatrical trip for all. So, this year. They changed the system.
I'm not going into all the problems as I probably don't know the full story but the result was that ticket sales were down 10 percent. Not good. So where does this leave us for next year?
Well. I can't see the big four venues giving an allocation to the Fringe again. Why would they? They are losing sales and can quite easily manage their own box offices. Does this mean that the Fringe is dead? Will the month of August just become four or five different festivals? We already have the Comedy Festival and the Musical Festival and the International Festival and the book festival. Can we still hold onto the over riding arch that is The Fringe?
Here's an idea we had over the course of steak and chips and wine the other night.
Every show has a code. In order to book tickets all you do is text that code to a central box office (or specific venue). The mobile phone contractor charges you - it appears on your end bill and they then pay the venue. Another possibility is that you have video advertising of all the shows in The Fringe Program (something that I think will survive) at a specific site. You can access this site on your mobile phone and check all the information you want for any show.
Venues also have Argos style machines that you can key in the code of the show to see if they have tickets available.
The fact remains that there was a major ticketing fiasco at this year's festival. An inquiry is ongoing. Something needs to change for next year.
AH. The Edinburgh Fringe Box Office. A lot has been written and discussed about this lovely organisation already. But here are my thoughts.
Last year, it was simple. Everyone got the tickets that they wanted. The Big Four of The Assembly Rooms, The Pleasance, The Gilded Balloon and The UnderBelly worked alongside the Fringe to create a marvellous and pleasant theatrical trip for all. So, this year. They changed the system.
I'm not going into all the problems as I probably don't know the full story but the result was that ticket sales were down 10 percent. Not good. So where does this leave us for next year?
Well. I can't see the big four venues giving an allocation to the Fringe again. Why would they? They are losing sales and can quite easily manage their own box offices. Does this mean that the Fringe is dead? Will the month of August just become four or five different festivals? We already have the Comedy Festival and the Musical Festival and the International Festival and the book festival. Can we still hold onto the over riding arch that is The Fringe?
Here's an idea we had over the course of steak and chips and wine the other night.
Every show has a code. In order to book tickets all you do is text that code to a central box office (or specific venue). The mobile phone contractor charges you - it appears on your end bill and they then pay the venue. Another possibility is that you have video advertising of all the shows in The Fringe Program (something that I think will survive) at a specific site. You can access this site on your mobile phone and check all the information you want for any show.
Venues also have Argos style machines that you can key in the code of the show to see if they have tickets available.
The fact remains that there was a major ticketing fiasco at this year's festival. An inquiry is ongoing. Something needs to change for next year.
The Sex Robot and The Royal Mile
So taking a poor actress out onto The Royal Mile in Edinburgh dressed in little more than some pink cloth and a few bits of string, isn't the wisest move ever to have graced Mokita's blue stained thoughts. However, Samantha Hopkins deserves a thousand thanks for all the effort that she went into as Gemma The Sex Robot.
Having completed the show for the umpteenth time, Sam got into the aforementioned 'costume' and headed out into the one mile of hell that is The Edinburgh High Street at Festival time.
Dodging streams of scary white coated performers doing anything but attract us to their show, we headed to our usual spot just outside the Fringe Box Office. For all complaints against this organisation please do post them...anywhere! More on this in a later blog.
'Hello! My name is Gemma.'
The cry of the blond bombshell rang out true against the rain washed streets.
'I am CRC. Cybernetic Realism Companion.'
The ears of males (and females) prick to attention. It really is fascinating to see how men really are programmed to be amazed, tongue-tied and generally aroused by an actress - yes boys, an actress - playing the part of a sex toy. Blond, pink, legs on show, smiling provocatively. A little switch seems to be pressed somewhere deep and loinsome. Similarly for myself and Alfie Talman, the same predatory protectiveness flares up as we move that little bit closer every time another rival to her affections stops and stares.
Boyfriends are pulled away from her clutches by jealous other halves. Men slide by, tripping on a loose flyer. A husband is slapped as his camera really was, honestly, just pointing at that lovely church. Tramps sidle over, purveying the latest offering to their homeless streets. And, Gemma, left slightly alone for a second has a rather unhealthy and wet smacker on the lips. Perfectly, in character, she responds.
'I am for Cohen' (or in Sam's head, 'Get away from me you disgusting freak!')
But they all tend to pass on by or are given a strong hint from Gemma's minders. Bugger off you idiot, she is actually an actress and not a sex toy. You can't buy one. They are far too expensive and not available for another 20 years.
And lo and behold. The audiences flocked in. You're the show with the sex robot right? Well yes, but, er...there's a bit more to it than that. I play this....great. See you there.
'I am a robot sex toy.'
Gemma. Bless you. Sex really does sell.
Having completed the show for the umpteenth time, Sam got into the aforementioned 'costume' and headed out into the one mile of hell that is The Edinburgh High Street at Festival time.
Dodging streams of scary white coated performers doing anything but attract us to their show, we headed to our usual spot just outside the Fringe Box Office. For all complaints against this organisation please do post them...anywhere! More on this in a later blog.
'Hello! My name is Gemma.'
The cry of the blond bombshell rang out true against the rain washed streets.
'I am CRC. Cybernetic Realism Companion.'
The ears of males (and females) prick to attention. It really is fascinating to see how men really are programmed to be amazed, tongue-tied and generally aroused by an actress - yes boys, an actress - playing the part of a sex toy. Blond, pink, legs on show, smiling provocatively. A little switch seems to be pressed somewhere deep and loinsome. Similarly for myself and Alfie Talman, the same predatory protectiveness flares up as we move that little bit closer every time another rival to her affections stops and stares.
Boyfriends are pulled away from her clutches by jealous other halves. Men slide by, tripping on a loose flyer. A husband is slapped as his camera really was, honestly, just pointing at that lovely church. Tramps sidle over, purveying the latest offering to their homeless streets. And, Gemma, left slightly alone for a second has a rather unhealthy and wet smacker on the lips. Perfectly, in character, she responds.
'I am for Cohen' (or in Sam's head, 'Get away from me you disgusting freak!')
But they all tend to pass on by or are given a strong hint from Gemma's minders. Bugger off you idiot, she is actually an actress and not a sex toy. You can't buy one. They are far too expensive and not available for another 20 years.
And lo and behold. The audiences flocked in. You're the show with the sex robot right? Well yes, but, er...there's a bit more to it than that. I play this....great. See you there.
'I am a robot sex toy.'
Gemma. Bless you. Sex really does sell.
Thursday, 28 August 2008
Back from Edinburgh
Just a quick update to say that I will be putting in a lot more stuff about Edinburgh very soon and also changing the name of the blog. I'm hoping to continue writing this for the foreseeable future.
Saturday, 16 August 2008
I'm a reviewer and I hated your show!
Well done! Good on you. You hated the show so you think it's up to you to put everyone else off with a vindictive, rude and totally unconstructive review.
Luckily Involution has been watched by extremely professional reviewers who have given mostly an objective view on the art that they have watched. However, we've all read those reviews that absolutely slate a show - that care little about who they insult or what they are panning. There is no constructive criticism shown and no attempt to find anything good to say. But so many reviews up at Edinburgh have been, in my opinion, totally unprofessional. It is the reviewers job, no matter what they felt about the show or how it made them feel, to give an objective viewpoint. Looking closely at the text, the set, the direction, the performances etc... and giving a qualified and experienced analysis.
If the show got 1* then say why - what has the production set out to do and why did they fail in doing that? Was there anything at all that worked...in which case why not talk about that and try and help the company.
Yes, a reviewer only gives the view of one person but it is a view that has an affect on an extremely large amount of potential audience. Therefore, a certain level of responsibility must be shown.
Paul Levy of Fringe Review has got it right in my opinion. He only publishes shows of a 3* or higher level. Firstly, all companies are informed of the day when the reviewer is coming in and are contacted if their show does not reach the level of 3*s. If they ask why then the reviewer gives a detailed explanation. Secondly, if the company strongly objects to the review then it is sometimes suggested that a second reviewer might be sent in at a later date - this would be an extreme situation though.
Okay, there are rubbish productions - I mean really really awful ones that should never even have made it past the green room. However, it is more important to give the poor company the reasons why it is awful, rather than just telling them that it is shit! Similarly, the members of the paying public deserve to be given an educated and intelligent summary of what they might well go and see.
Yep. I'm really new to this reviewing game but seeing the reaction to reviews and reviewing from both sides, I just thought I'd chuck down a few thoughts.
If you fancy having a go at reviewing a show, why not check out Involution at The Pleasance 10 Dome, Midday.
Luckily Involution has been watched by extremely professional reviewers who have given mostly an objective view on the art that they have watched. However, we've all read those reviews that absolutely slate a show - that care little about who they insult or what they are panning. There is no constructive criticism shown and no attempt to find anything good to say. But so many reviews up at Edinburgh have been, in my opinion, totally unprofessional. It is the reviewers job, no matter what they felt about the show or how it made them feel, to give an objective viewpoint. Looking closely at the text, the set, the direction, the performances etc... and giving a qualified and experienced analysis.
If the show got 1* then say why - what has the production set out to do and why did they fail in doing that? Was there anything at all that worked...in which case why not talk about that and try and help the company.
Yes, a reviewer only gives the view of one person but it is a view that has an affect on an extremely large amount of potential audience. Therefore, a certain level of responsibility must be shown.
Paul Levy of Fringe Review has got it right in my opinion. He only publishes shows of a 3* or higher level. Firstly, all companies are informed of the day when the reviewer is coming in and are contacted if their show does not reach the level of 3*s. If they ask why then the reviewer gives a detailed explanation. Secondly, if the company strongly objects to the review then it is sometimes suggested that a second reviewer might be sent in at a later date - this would be an extreme situation though.
Okay, there are rubbish productions - I mean really really awful ones that should never even have made it past the green room. However, it is more important to give the poor company the reasons why it is awful, rather than just telling them that it is shit! Similarly, the members of the paying public deserve to be given an educated and intelligent summary of what they might well go and see.
Yep. I'm really new to this reviewing game but seeing the reaction to reviews and reviewing from both sides, I just thought I'd chuck down a few thoughts.
If you fancy having a go at reviewing a show, why not check out Involution at The Pleasance 10 Dome, Midday.
Ben Murray-Watson (me!) - Cohen
Ben's theatre credits include the lead roles of Johnny Midnight in 'Rapunzel's Last Midnight' (White Bear) and Cohen in 'Involution' (Mokita Productions). Other theatre includes Nurse in '25 Down' (Royal Court Hong Kong ), Fiat, and Ann Summers (Internet). Ben is a trained musician, an accomplished pianist and trombone player. He also completed a 3-year singing bursary.
Thursday, 14 August 2008
Review of 'A Dog Called Redemption' at The Baby Belly 3
One of the wonders of theatre is it's a ability to show us characters that we might never come across in our everyday life; to show us something real and truthful; to show us situations or people that shock us or makes us think, laugh or cry. Matthew Lander's new play, 'A Dog Called Redemption' massively succeeds as an astounding and moving play about two 'rolling stones' battling to survive on London's streets without love or light. These two men, colliding amongst the cardboard boxes, embark upon an evocative journey into an unhealthy friendship that continually surprises and excites us.
The playwright himself plays Man 1, an ex drug addict, loud mouthed and outwardly confident but hiding a vulnerable and dangerous interior. Lander's performance is entertaining and heart-rending as he plays both brash and lighter moments with great sensitivity. But even more wonderful is the performance of Graham Elwell as the mentally ill, dictionary obsessed, Man 2. This perfectly executed, risky performance constantly strikes the audience into stunned fascination.
Mark Pollard's direction brilliantly maintains the pace whilst allowing us to dwell on the more sensitive moments. And with a masterstroke, he underscores the scene changes with Bob Dylan songs. Dylan always has that unnerving capacity to paint wonderful and oh-so-real portraits, bringing to life your average man on the street. In a similar fashion, Pollard has succeeded in gently stirring our thoughts with this warm yet spine-tingling piece. The play never comes across as preachy and yet gently prods us to consider how and where we find love in a world where hope and fellowship is often substituted with the false promises of material possessions.
Dylan wrote, "How does it feel, to be without a home, like a complete unknown, like a rolling stone?" In a beautiful and delightful production Bright Heights Theatre Company have sculpted a simple yet sensual answer that deserves unending plaudits.
Review also available on www.Fringereview.co.uk
For more excellent theatre go and see Involution at The Pleasance 10 Dome at Midday.
The playwright himself plays Man 1, an ex drug addict, loud mouthed and outwardly confident but hiding a vulnerable and dangerous interior. Lander's performance is entertaining and heart-rending as he plays both brash and lighter moments with great sensitivity. But even more wonderful is the performance of Graham Elwell as the mentally ill, dictionary obsessed, Man 2. This perfectly executed, risky performance constantly strikes the audience into stunned fascination.
Mark Pollard's direction brilliantly maintains the pace whilst allowing us to dwell on the more sensitive moments. And with a masterstroke, he underscores the scene changes with Bob Dylan songs. Dylan always has that unnerving capacity to paint wonderful and oh-so-real portraits, bringing to life your average man on the street. In a similar fashion, Pollard has succeeded in gently stirring our thoughts with this warm yet spine-tingling piece. The play never comes across as preachy and yet gently prods us to consider how and where we find love in a world where hope and fellowship is often substituted with the false promises of material possessions.
Dylan wrote, "How does it feel, to be without a home, like a complete unknown, like a rolling stone?" In a beautiful and delightful production Bright Heights Theatre Company have sculpted a simple yet sensual answer that deserves unending plaudits.
Review also available on www.Fringereview.co.uk
For more excellent theatre go and see Involution at The Pleasance 10 Dome at Midday.
Jane Lesley - Producer Mokita Productions and Violet
Jane trained at Arts Ed, London. Work as an actress includes Hayley in OTHER HANDS (Cockpit Theatre, London), AN ASYLUM ON EVERY CORNER (Edinburgh Festival and Bucharest), TIME AND TIME AGAIN (Eye Theatre), MR. CINDERS, LISTEN TO THE WIND and THE ARCADIANS (all Kings Head, London), CHELSEA GIRLS directed by Mark Ravenhill (Man in the Moon, London), CHASING DOLPHINS (Churchill, Bromley), NO TIME FOR SEQUINS (Nuffield, Southampton), BEAUTY AND THE BEAST and ROBINSON CRUSOE (Theatre Royal, Bury St Edmunds) a national tour of TOO MUCH PUNCH FOR JUDY, Howard Brenton’s GUM AND GOO (Italy), First Witch in MACBETH (Oban) and Banquo in MACBETH AND THE BEANSTALK with David Mitchell and Robert Webb (Pleasance, London). Film work includes the role of Maria Dos Santos in the feature THE 13TH DAY due for release in 2008 and Skink in REPTILE DAY. She played Susan in the BBC’s COMING TO ENGLAND and Caitlin in the television series NIGHT KITCHEN and she has just finished recording the role of Eliza in the audio drama FACTION PARADOX for Magic Bullet.
As the founder and Creative Producer of Mokita Productions she has produced two evenings of rehearsed readings at the White Bear Theatre, Kennington, “The Forbidden Tree” by Roger Mayhew and “Waiting on the Z Train” by Sean Tyler and Mokita’s first full production, “Involution” by Rachel Welch at the Pacific Playhouse, London and Pleasance Dome, Edinburgh. She also co-produced "Pages" at the Pacific Playhouse and "Pluto" at the Blue Elephant Theatre with GRIT Productions in association with the New Writing Collective.
As the founder and Creative Producer of Mokita Productions she has produced two evenings of rehearsed readings at the White Bear Theatre, Kennington, “The Forbidden Tree” by Roger Mayhew and “Waiting on the Z Train” by Sean Tyler and Mokita’s first full production, “Involution” by Rachel Welch at the Pacific Playhouse, London and Pleasance Dome, Edinburgh. She also co-produced "Pages" at the Pacific Playhouse and "Pluto" at the Blue Elephant Theatre with GRIT Productions in association with the New Writing Collective.
Tuesday, 12 August 2008
Review of 'The Space Between My Head and My Body
Gin in the Tea Theatre Company bring their debut production to the Edinburgh Fringe in the form of new play, 'The Space Between My Head and My Body'. Written by Royal Court Young Writer, Catie O'Keefe, 'The Space Between' offers us up 7 lost souls, trapped in the claustrophobic vessel of an airplane. Reality and time have no meaning here. Fifties rock and roll comes face to face with oxygen masked scantily clad ghost-like figures as we go on a surreal and atmospheric journey into each of our characters attempts to redefine and understand who they are.
Director, Melissa Dunne, succeeds in creating a sense of mystery throughout. Boundaries of reality and naturalism are bent and battered as some slick physical work and technical tricks, show us that this world is strange and wonderful. This is a place where anything could happen. And yet, unfortunately the play fails to ignite. Many of the characters seem sparsely drawn and fail to find answers to the questions that they pose. Okay, this might well be the point but it fails to serve as dramatic theatre. The pace throughout has no variation and there is no build in tension or excitement. The play cries out for a fast paced explosive ending as the plane crashes into the ground. As it was, we were left starting all over again and feeling that our characters hadn't actually gone anywhere.
Special mention must go to Laura Sykes who plays a wonderful Megan to her twin brother, Mark. Her performance sparkles and there is genuine and moving sibling chemistry between the two of them. It is this relationship that is most interesting as each of the twins struggle to find their true identity. There is an absolutely gorgeous moment where Mark tries on his sister's dress. As it is, good acting performances aside, the other characters fail to leave an impression. Underwritten and unfocused they tend to drift into obscurity.
The mystery and surreal nature of this piece is it's strongest asset. Unfortunately, there is no pay off and we feel slightly let down by the lack of ambition shown towards the end of the play. As it is, Gin in the Tea have made a good debut and are definitely a company to follow. With confidence from this production they now need to push on and take bigger risks as The Space Between My Head and My Body seems far too comfortable for viewers and performers alike.
This review is also available at http://www.fringereview.co.uk/
For exciting, raw and empassioned theatre check out another new play by another Royal Court Young Writer. 'Involution' is playing at The Pleasance 10 Dome at Midday everyday (not Monday 18th).
Director, Melissa Dunne, succeeds in creating a sense of mystery throughout. Boundaries of reality and naturalism are bent and battered as some slick physical work and technical tricks, show us that this world is strange and wonderful. This is a place where anything could happen. And yet, unfortunately the play fails to ignite. Many of the characters seem sparsely drawn and fail to find answers to the questions that they pose. Okay, this might well be the point but it fails to serve as dramatic theatre. The pace throughout has no variation and there is no build in tension or excitement. The play cries out for a fast paced explosive ending as the plane crashes into the ground. As it was, we were left starting all over again and feeling that our characters hadn't actually gone anywhere.
Special mention must go to Laura Sykes who plays a wonderful Megan to her twin brother, Mark. Her performance sparkles and there is genuine and moving sibling chemistry between the two of them. It is this relationship that is most interesting as each of the twins struggle to find their true identity. There is an absolutely gorgeous moment where Mark tries on his sister's dress. As it is, good acting performances aside, the other characters fail to leave an impression. Underwritten and unfocused they tend to drift into obscurity.
The mystery and surreal nature of this piece is it's strongest asset. Unfortunately, there is no pay off and we feel slightly let down by the lack of ambition shown towards the end of the play. As it is, Gin in the Tea have made a good debut and are definitely a company to follow. With confidence from this production they now need to push on and take bigger risks as The Space Between My Head and My Body seems far too comfortable for viewers and performers alike.
This review is also available at http://www.fringereview.co.uk/
For exciting, raw and empassioned theatre check out another new play by another Royal Court Young Writer. 'Involution' is playing at The Pleasance 10 Dome at Midday everyday (not Monday 18th).
Joanna Miller - Dorcet
Joanna trained at the Royal Scottish Academy of Music and Drama. Credits whilst training include "The Bite of the Night", "Ivanov" (in association with The Tron), "Pericles" (as part of the first "Shakespeare In the City" festival at The Arches in Glasgow), "Here Comes A Chopper", "Electra", "Aladdin" and "The Seagull". Since graduating she has appeared in "The Revenger's Tragedy" at the Southwark Playhouse. TV and short film credits include "Fanny Hil" (BBC), "Taggart" (STV), "A Wake" (Capsule Films) and "2Act - Audition Day", an independent TV pilot starring Ian McKellen. She can currently be seen on the Channel 4 website playing Sally Harbottle in the interactive drama game "Bow Street Runners", to coincide with the TV series "City of Vice".
Monday, 11 August 2008
Involution gets 4**** in Broadway Baby
It is some time in the future and the Faith Party has taken control. People’s genes are ‘coded’ to be checked for their innate suitability for positions within society. Christianity is the law and God’s decision is that humanity cannot mutate genes to help those who are ill, we cannot play at creator. It is into this ‘brave new world’ that Rachel Welch has thrown her characters, giving this essentially relationship driven drama a much more powerfully charged edge than most and asking often difficult questions of both it’s actors and audience.
Cohen, a geneticist and Dorset are brother and sister and are both sufferers of DBD, a degenerative disease which attacks the colon. The play opens with them waiting with Tal, a Christian friend, for J who is coming to stay from Manchester to be with Violet his girlfriend who works for the Government. What follows in the confines of Cohen’s tiny ‘pod’ apartment is an exploration into the questions of responsible genetics and the soul, people’s hidden agendas and unrequited love.
Although this is a play which deals primarily with relationships and does so very perceptively and accurately, by setting it against a backdrop of religion and science Rachel Welch has written an incredibly interesting and moving play which fully contextualises each personal battle with society’s much bigger wars. Each relationship is tainted by ‘beliefs’ and each argument takes on a life and death importance due to the high stakes at risk for all concerned. This is not another ‘Closer’ but so much more. Welch’s characters are real people, dangerous but real, dealing with issues which people would die for as well as the pain of selfish actions and unrequited love.
Mokita Productions do well with these complex relationships, for the most part accurately portraying the multi-layered confusion and conflict within each character. Of particular mention are Ben Murray-Watson who brings out the churlishness of Cohen whilst being incredibly charming, Joanna Miller whose Dorset is a fluttering butterfly who has an underlaying and almost unbearably subtle layer of sadness and Jane Lesley as Violet who slithers into the group as venomous as a viper and yet is the only one who seems to speak it straight, the only one who fully recognises herself for who she is. Indeed on the whole the enormity of the issues and the heighten emotion is done justice, and although one or two scenes fall a little flat, the performers throw themselves into Welch’s text wholeheartedly.
Involution is by no means a flawless show, it sometimes feels too big for the small space it is in, the emotion is sometimes ‘played’ and not always felt and the ending is a trifle trite, but this is such an important show that these quibbles seem to melt in comparison. The theatre is meant to be making work such as this, which looks at the possible consequences of our society’s present actions and asks difficult questions without dictating answers. I left the theatre with a head full of ideas and thoughts which have stayed with me for hours after and I cannot say that of many shows (however brilliant they have been) that I have seen this year.
http://www.broadwaybaby.com/fringe/reviews/involution
Cohen, a geneticist and Dorset are brother and sister and are both sufferers of DBD, a degenerative disease which attacks the colon. The play opens with them waiting with Tal, a Christian friend, for J who is coming to stay from Manchester to be with Violet his girlfriend who works for the Government. What follows in the confines of Cohen’s tiny ‘pod’ apartment is an exploration into the questions of responsible genetics and the soul, people’s hidden agendas and unrequited love.
Although this is a play which deals primarily with relationships and does so very perceptively and accurately, by setting it against a backdrop of religion and science Rachel Welch has written an incredibly interesting and moving play which fully contextualises each personal battle with society’s much bigger wars. Each relationship is tainted by ‘beliefs’ and each argument takes on a life and death importance due to the high stakes at risk for all concerned. This is not another ‘Closer’ but so much more. Welch’s characters are real people, dangerous but real, dealing with issues which people would die for as well as the pain of selfish actions and unrequited love.
Mokita Productions do well with these complex relationships, for the most part accurately portraying the multi-layered confusion and conflict within each character. Of particular mention are Ben Murray-Watson who brings out the churlishness of Cohen whilst being incredibly charming, Joanna Miller whose Dorset is a fluttering butterfly who has an underlaying and almost unbearably subtle layer of sadness and Jane Lesley as Violet who slithers into the group as venomous as a viper and yet is the only one who seems to speak it straight, the only one who fully recognises herself for who she is. Indeed on the whole the enormity of the issues and the heighten emotion is done justice, and although one or two scenes fall a little flat, the performers throw themselves into Welch’s text wholeheartedly.
Involution is by no means a flawless show, it sometimes feels too big for the small space it is in, the emotion is sometimes ‘played’ and not always felt and the ending is a trifle trite, but this is such an important show that these quibbles seem to melt in comparison. The theatre is meant to be making work such as this, which looks at the possible consequences of our society’s present actions and asks difficult questions without dictating answers. I left the theatre with a head full of ideas and thoughts which have stayed with me for hours after and I cannot say that of many shows (however brilliant they have been) that I have seen this year.
http://www.broadwaybaby.com/fringe/reviews/involution
Saturday, 9 August 2008
Review of 'The Highwayman' at C3 * *
'The wind was a torrent of darkness among the gusty trees,
The moon was a ghostly galleon tossed upon cloudy seas,
The road was a ribbon of moonlight over the purple moor,
And the highwayman came riding—
Riding—riding—
The highwayman came riding, up to the old inn-door. '
Alfred Noyes 'The Higwayman' is a poem rich in dark and mysterious imagery. It's characters lay in streams of dramatic and dreamy verse. The Highwayman - our roving rider - comes chased and harried to the window of Bess, 'The landlord's black eyed daughter'. However, his wooing promises of return end in tragedy as King George's men come riding to the Inn, tieing up Bess and laying in wait. Bess, in order to warn her lover, shoots herself. But it's no use as our man is shot in the back as he turns to ride away.
Rachel Valentine-Smith's stage adaptation holds much promise and yet never quite delivers. We are introduced to Tim the Ostler, in love with Bess and yet 'as dumb as a dog'. His Iago-esque monologues suggest a deep melancholy of unrequited love and a relationship with The Highwayman of complexity and interest. Yet, this remains only as a wonderful potential as he fails to interact with anyone but the audience. It is a similar case with The Highwayman as his single scene fails to capture the depth which the poem gives him. Indeed, all of the characters are poorly drawn. Their brief interactions begging for more.
The performances throughout are good and an eerie atmosphere is maintained well. However, the actors are given so little to work with that they don't stand a chance of making us really care for them. An occasional film clip shown on a screen, of falling black blood and a horse, fails to help them and you get the feeling that it was a wave to the Total Theatre Awards.
At 35 minutes, this adaptation is far too short. Which is a shame, as with one or two extra scenes that fleshed out our characters, 'The Highwayman' really could have danced with us 'down the ribbon of moonlight'. As it was, we leave the theatre with heavy feet feeling like we've just watched half a show.
The moon was a ghostly galleon tossed upon cloudy seas,
The road was a ribbon of moonlight over the purple moor,
And the highwayman came riding—
Riding—riding—
The highwayman came riding, up to the old inn-door. '
Alfred Noyes 'The Higwayman' is a poem rich in dark and mysterious imagery. It's characters lay in streams of dramatic and dreamy verse. The Highwayman - our roving rider - comes chased and harried to the window of Bess, 'The landlord's black eyed daughter'. However, his wooing promises of return end in tragedy as King George's men come riding to the Inn, tieing up Bess and laying in wait. Bess, in order to warn her lover, shoots herself. But it's no use as our man is shot in the back as he turns to ride away.
Rachel Valentine-Smith's stage adaptation holds much promise and yet never quite delivers. We are introduced to Tim the Ostler, in love with Bess and yet 'as dumb as a dog'. His Iago-esque monologues suggest a deep melancholy of unrequited love and a relationship with The Highwayman of complexity and interest. Yet, this remains only as a wonderful potential as he fails to interact with anyone but the audience. It is a similar case with The Highwayman as his single scene fails to capture the depth which the poem gives him. Indeed, all of the characters are poorly drawn. Their brief interactions begging for more.
The performances throughout are good and an eerie atmosphere is maintained well. However, the actors are given so little to work with that they don't stand a chance of making us really care for them. An occasional film clip shown on a screen, of falling black blood and a horse, fails to help them and you get the feeling that it was a wave to the Total Theatre Awards.
At 35 minutes, this adaptation is far too short. Which is a shame, as with one or two extra scenes that fleshed out our characters, 'The Highwayman' really could have danced with us 'down the ribbon of moonlight'. As it was, we leave the theatre with heavy feet feeling like we've just watched half a show.
Wednesday, 6 August 2008
5* Review for Involution in 'Three Weeks'
Involution
Mokita Productions
Blazing a trail for exciting new writing at the Fringe, Mokita Productions perform a deliciously exciting but profoundly moving portrayal of life in the London of the future. Involution explores questions of religion, genetics and human anguish, with stirring performances that leave the audience hanging on every word, and with important questions to mull over in the pub afterwards. Involution shows us a world dependent on genetic coding, a world not a million years away from our own, which is the most terrifying and poignant message of the play. The plot was strong, the scenes were slick, there were beautifully crafted monologues, and some great comic moments, too. The members of this young company have fire in their bellies, and are joy to witness.
Pleasance Dome, 30 Jul - 25 Aug (not 18), 12.00pm (1.15pm), prices vary, fpp 208.
tw rating 5/5
[je]
Mokita Productions
Blazing a trail for exciting new writing at the Fringe, Mokita Productions perform a deliciously exciting but profoundly moving portrayal of life in the London of the future. Involution explores questions of religion, genetics and human anguish, with stirring performances that leave the audience hanging on every word, and with important questions to mull over in the pub afterwards. Involution shows us a world dependent on genetic coding, a world not a million years away from our own, which is the most terrifying and poignant message of the play. The plot was strong, the scenes were slick, there were beautifully crafted monologues, and some great comic moments, too. The members of this young company have fire in their bellies, and are joy to witness.
Pleasance Dome, 30 Jul - 25 Aug (not 18), 12.00pm (1.15pm), prices vary, fpp 208.
tw rating 5/5
[je]
Tuesday, 5 August 2008
Alfie Talman - J
Alfie Talman discovered his lust for acting whilst living in Argentina where he joined a theatre company touring South America. He returned to England and trained for a year at The Oxford School of Drama, completing his course last year. Involution’s London run was Alfie’s first professional outing and he is delighted to continue with the Edinburgh run. Alfie is also Assistant Producer with Mokita Productions.
A Theatre of Excellence
We all strive for it - at least those that take this industry seriously strive for it. Excellence. But what is it? I've been thinking about this for a while and recently read an excellent article in the Guardian by Lyn Gardner
http://blogs.guardian.co.uk/theatre/2008/06/the_e-word_in_theatre.html
A lot of this makes sense.
Excellence in theatre starts from the top. Without good and organised leadership the product will immediately fall on it's ass or at least not reach it's fullest potential. So for example, the producer must be caring, discerning, business minded and able to spot great potential. If things at the top are run correctly then this filters down to the director, the writer, the actors, the technicians, the venue producers, etc...etc...I guess, it is about respect, caring for your product and the people involved and keeping integrity. This is massive for me. Integrity. Treating people correctly and respectfully; sticking to what you set out to do, not compromising quality.
Of course, to achieve true excellence so many factors must be taken into consideration but it does start from the top. Leadership is absolutely essential. But then as the article points out, nobody has a true definition of excellence. Do they? Can true objectivity ever actually exist?
Mokita Productions and 'Involution' strive for excellence in everything we do. I'm really blessed to be working with people who value each other and the work to the point where they don't compromise - they are not interested in anything that is good or fine or just about okay. They are interested in creating extraordinary work with extraordinary people. Whether they and I achieve this, well, that is for you guys to judge. Or is that even important? Is it in the striving that we find excellence? Is it the journey or the destination?
To be extraordinary. Not much to ask for!
http://blogs.guardian.co.uk/theatre/2008/06/the_e-word_in_theatre.html
A lot of this makes sense.
Excellence in theatre starts from the top. Without good and organised leadership the product will immediately fall on it's ass or at least not reach it's fullest potential. So for example, the producer must be caring, discerning, business minded and able to spot great potential. If things at the top are run correctly then this filters down to the director, the writer, the actors, the technicians, the venue producers, etc...etc...I guess, it is about respect, caring for your product and the people involved and keeping integrity. This is massive for me. Integrity. Treating people correctly and respectfully; sticking to what you set out to do, not compromising quality.
Of course, to achieve true excellence so many factors must be taken into consideration but it does start from the top. Leadership is absolutely essential. But then as the article points out, nobody has a true definition of excellence. Do they? Can true objectivity ever actually exist?
Mokita Productions and 'Involution' strive for excellence in everything we do. I'm really blessed to be working with people who value each other and the work to the point where they don't compromise - they are not interested in anything that is good or fine or just about okay. They are interested in creating extraordinary work with extraordinary people. Whether they and I achieve this, well, that is for you guys to judge. Or is that even important? Is it in the striving that we find excellence? Is it the journey or the destination?
To be extraordinary. Not much to ask for!
Devising (Inspired by an awful show on the Fringe)
Having spent 3 years studying how to devise theatre, admittedly a little bit weirdly and postmodernly, I was really disappointed by what I saw watching **** ***** recently.
Devising starts with games and ideas and then the ideas take shape. You workshop them in different ways and somebody watches and takes notes and writes down little gems that occur in rehearsal. Devising needs an outside eye. You need a director to hold it all together - a writer to cut all the crap that actors love to throw in.
You CANT, and I repeat can't just throw in an idea half way through a devised piece that has no relevance to anything that has gone before. For example, let's say the premise of something is great. Okay, so who are our characters? What are their relationships? Where are the shades of grey? Okay, so it's going to be naturalistic is it? Great. Then you really cannot...cannot throw in a bit of physical theatre at the end because it looks nice or that's what your company specialises in.
Ideas need to be set up in the narrative and then fully explored and moulded and then shoved around but there must be a strong narrative line.
It really annoys me that companies can bring something to Edinburgh, fully funded by the arts council and lottery and put on complete crap because it just so happens to be topical and relevence to something oooh important in society. Oooooh maybe it'll get people thinking about something important. Ooooh, let's throw lots of money at it.
It drives me mad that great companies who thrive for excellence and integrity are completely overlooked because their application might not fit in with what is cool and in this week.
Anyway, back to devising. I love it. I worked with a group of 7 people for two years whilst training that were fantastic to devise with. But we needed an outside eye. We needed someone telling us that our acting was shit or that idea really wasn't right and there wasn't enough strength in that part etc...You cannot direct from the inside.
Devising starts with games and ideas and then the ideas take shape. You workshop them in different ways and somebody watches and takes notes and writes down little gems that occur in rehearsal. Devising needs an outside eye. You need a director to hold it all together - a writer to cut all the crap that actors love to throw in.
You CANT, and I repeat can't just throw in an idea half way through a devised piece that has no relevance to anything that has gone before. For example, let's say the premise of something is great. Okay, so who are our characters? What are their relationships? Where are the shades of grey? Okay, so it's going to be naturalistic is it? Great. Then you really cannot...cannot throw in a bit of physical theatre at the end because it looks nice or that's what your company specialises in.
Ideas need to be set up in the narrative and then fully explored and moulded and then shoved around but there must be a strong narrative line.
It really annoys me that companies can bring something to Edinburgh, fully funded by the arts council and lottery and put on complete crap because it just so happens to be topical and relevence to something oooh important in society. Oooooh maybe it'll get people thinking about something important. Ooooh, let's throw lots of money at it.
It drives me mad that great companies who thrive for excellence and integrity are completely overlooked because their application might not fit in with what is cool and in this week.
Anyway, back to devising. I love it. I worked with a group of 7 people for two years whilst training that were fantastic to devise with. But we needed an outside eye. We needed someone telling us that our acting was shit or that idea really wasn't right and there wasn't enough strength in that part etc...You cannot direct from the inside.
Sunday, 3 August 2008
Top 10 Tips for Flyering
1) Use a fun loving happy gimmick that has something to do with your show. Ours is Gemma, the sex robot. She is always happy.
2) Do not ask people if they want a flyer. They won't. Therefore, give it to them so that they can't they no.
3) Distance is very important. Within a metre is too close. You are crowding them. For best effect, begin with a sir/madam as they enter vocal range. Extend flyer and give them the name, venue and time. If they express an iota of interest - ie - take the flyer - then tell them that it is in Fringe Reviews top 10 pick of the fringe (Involution is!)
4) Never shout in somebody's face. This is Edinburgh but Glasgow is near enough that they might slap you.
5) Make your flyer design big enough and bright enough to be noticed. If people look at it, you've got them!
6) Always have your best line if they ask you what it's about. "It's um...this really real dramatic and funny...type...comedy about a World set in the future where the government..." tends not to keep them interested past the "um".
7) If a flyer is refused more than once then it is a cursed flyer and must be placed to the bottom of the pile.
8) Change flyer like no tomorrow. One yes equals two to the person behind them. If there's a crowd saying yes then you're laughing and on your way for lunch.
9) Never talk negatively about your play! People do this! I can't believe it. "Yeah, it's alright. Yeah. I dunno. Come see it. It's not great but..."
10) Set yourself challenges. How many flyers can you get rid of in 5 minutes? Can you get the guy looking pissed off and walking away from you to take one?
There's more but I said 10, so, I have to stick to it. Maybe more later!
2) Do not ask people if they want a flyer. They won't. Therefore, give it to them so that they can't they no.
3) Distance is very important. Within a metre is too close. You are crowding them. For best effect, begin with a sir/madam as they enter vocal range. Extend flyer and give them the name, venue and time. If they express an iota of interest - ie - take the flyer - then tell them that it is in Fringe Reviews top 10 pick of the fringe (Involution is!)
4) Never shout in somebody's face. This is Edinburgh but Glasgow is near enough that they might slap you.
5) Make your flyer design big enough and bright enough to be noticed. If people look at it, you've got them!
6) Always have your best line if they ask you what it's about. "It's um...this really real dramatic and funny...type...comedy about a World set in the future where the government..." tends not to keep them interested past the "um".
7) If a flyer is refused more than once then it is a cursed flyer and must be placed to the bottom of the pile.
8) Change flyer like no tomorrow. One yes equals two to the person behind them. If there's a crowd saying yes then you're laughing and on your way for lunch.
9) Never talk negatively about your play! People do this! I can't believe it. "Yeah, it's alright. Yeah. I dunno. Come see it. It's not great but..."
10) Set yourself challenges. How many flyers can you get rid of in 5 minutes? Can you get the guy looking pissed off and walking away from you to take one?
There's more but I said 10, so, I have to stick to it. Maybe more later!
Flyering! A Dogg Eat Dogg World
It all started ever so nicely nicely. The first few companies hitting the royal mile and passing out flyers and posters. There used to be a time when you would be careful not to cover somebody elses poster. Shock horror, someone has two posters up, well, it's fine to cover one then as that's fair, isn't it. But hell has descended I tell you. It's every company for itself. Every inch of space fought over by a crowd of rabid performers. It's getting nasty. It's getting dirty. It's getting down right shocking.
As you have probably seen, the mile is dotted with huge pillars that are covered in the latest layer of poster for the most fantastic show ever - of course. But it wasn't until the mass corporate machine excuses for companies moved in and destroyed the haven of good will and fairness that has so far presented itself at The Festival, that this was the case. We all know those shows that plaster an entire pillar, selfishly exposing themselves as greedy, non-fringe loving capitalists who couldn't care less for 'theatre'. "We just want to publicise our show" Bollocks. You're greedy and selfish and give no space for the poor company that could only afford a few hundred flyers and 20 odd posters. Come on people! We're all in this together.
It actually got to the point today, where companies were actually standing around their pillar in order to stave off rebel poster sticker onners. Surely, it's only a matter of time before war breaks out.
Luckily, Mokita Production values the performer above personal gain and we flyer responsively and fairly. Also, extremely skillfullly, we have a block colour blue flyer. One of ours stands out more than five of yours and you know it!
As you have probably seen, the mile is dotted with huge pillars that are covered in the latest layer of poster for the most fantastic show ever - of course. But it wasn't until the mass corporate machine excuses for companies moved in and destroyed the haven of good will and fairness that has so far presented itself at The Festival, that this was the case. We all know those shows that plaster an entire pillar, selfishly exposing themselves as greedy, non-fringe loving capitalists who couldn't care less for 'theatre'. "We just want to publicise our show" Bollocks. You're greedy and selfish and give no space for the poor company that could only afford a few hundred flyers and 20 odd posters. Come on people! We're all in this together.
It actually got to the point today, where companies were actually standing around their pillar in order to stave off rebel poster sticker onners. Surely, it's only a matter of time before war breaks out.
Luckily, Mokita Production values the performer above personal gain and we flyer responsively and fairly. Also, extremely skillfullly, we have a block colour blue flyer. One of ours stands out more than five of yours and you know it!
Saturday, 2 August 2008
Review of 'Pornography' at The Traverse * * * 1/2
Porn really is overrated. Ok. It's exciting at first. The brief rise in temperature, the sweaty fondle, the quick release of...what? Tiredness? Boredom? Perhaps there's something dangerous...thrilling? But, so what. What is left? A sticky mess and another pool of tissues flushed or thrown away. Do you love what you've just seen? Do you love her or him that has just bared their all to you? It's just fucking, right? No harm done. No connection made. Nothing lost. Right?
Much has been written about Simon Stephen's 'Pornography'. Written as a monologue it takes us into a capital city where communication consists of crackly i-pods and annoyed glances. A London of unspoken angst and fear of, well, pretty much everyone and everything. It's July 2005 and London is about to win The Olympic bid. Live 8 plays on every TV and radio and Pink Floyd wows crowds.
Director Sean Holmes envisages 8 characters - four lonely souls and two troubled couplings. We have the incestuous brother and sister; the old lecturer and his adoring, now grown up, student; the terrorist bomber, the rebellious teenager, the bitter and cynical old woman and the run up and wrung out city worker. We follow their lives and opinions up to and including the fateful day of the July 7th bombings.
Designer, Paul Wills sets us up in a dark and dingy abandoned tube station. Lines fly overhead and wires litter the stage. The isolation and loneliness for all is confirmed as each character takes their small beam of light, talks and moves off back into the darkness. This works brilliantly and allows us to focus on these poor creatures, their hopes and fears, their hatreds and hurts. There is nothing fancy about the presentation. These are the people of London. See it. Feel it.
And we do. An extraodinary, if sometimes a bit quiet, performance from Amanda Hale typifies the focus and involvement of all the actors. Sheila Reid makes us laugh at her ridiculous cynical views of the 'modern World' but then blows us away with 10 seconds of silence when she almost breaks down. But it is this moment that shows us the spirit of a London that has been, literally, set on fire by the despicable acts of 7/7. Her character smells barbicued chicken coming from a stranger's house. She knocks and asks if she could have some. At first, the recipient laughs in her face, destroying her then and there, but then repents and gives her some chicken. Her smile lights up the stage.
Yes, London doesn't talk to strangers. London doesn't listen to foreigners. London would prefer to listen to it's i-Pod rather than engage in well, anything else. But London is united. If threatened it'll huddle together and offer shelter and a beer.
Which is why the decision to change the last line in the play is slightly out of place. Holmes' production refuses to glimpse that hope, remaining lost in the dark, lonely World that we have watched descend into bomb-lit hell. Sticky tissues? Personally, I prefer reality.
Holmes' 'Pornography' is dire and bleak and offers us little light. In a World where terrorism is the norm and fear stalks the streets in the shape of a knife, we must cling to every glowing amber of hope that we can.
For another dark, yet funny and hopeful view of London, in the not-too-distant future, go and see 'Involution' at The Pleasance 10 Dome, Midday, everyday (except Monday 18th). For more information, go to this link.
http://www.pleasance.co.uk/edinburgh/listings/search/Involution
Much has been written about Simon Stephen's 'Pornography'. Written as a monologue it takes us into a capital city where communication consists of crackly i-pods and annoyed glances. A London of unspoken angst and fear of, well, pretty much everyone and everything. It's July 2005 and London is about to win The Olympic bid. Live 8 plays on every TV and radio and Pink Floyd wows crowds.
Director Sean Holmes envisages 8 characters - four lonely souls and two troubled couplings. We have the incestuous brother and sister; the old lecturer and his adoring, now grown up, student; the terrorist bomber, the rebellious teenager, the bitter and cynical old woman and the run up and wrung out city worker. We follow their lives and opinions up to and including the fateful day of the July 7th bombings.
Designer, Paul Wills sets us up in a dark and dingy abandoned tube station. Lines fly overhead and wires litter the stage. The isolation and loneliness for all is confirmed as each character takes their small beam of light, talks and moves off back into the darkness. This works brilliantly and allows us to focus on these poor creatures, their hopes and fears, their hatreds and hurts. There is nothing fancy about the presentation. These are the people of London. See it. Feel it.
And we do. An extraodinary, if sometimes a bit quiet, performance from Amanda Hale typifies the focus and involvement of all the actors. Sheila Reid makes us laugh at her ridiculous cynical views of the 'modern World' but then blows us away with 10 seconds of silence when she almost breaks down. But it is this moment that shows us the spirit of a London that has been, literally, set on fire by the despicable acts of 7/7. Her character smells barbicued chicken coming from a stranger's house. She knocks and asks if she could have some. At first, the recipient laughs in her face, destroying her then and there, but then repents and gives her some chicken. Her smile lights up the stage.
Yes, London doesn't talk to strangers. London doesn't listen to foreigners. London would prefer to listen to it's i-Pod rather than engage in well, anything else. But London is united. If threatened it'll huddle together and offer shelter and a beer.
Which is why the decision to change the last line in the play is slightly out of place. Holmes' production refuses to glimpse that hope, remaining lost in the dark, lonely World that we have watched descend into bomb-lit hell. Sticky tissues? Personally, I prefer reality.
Holmes' 'Pornography' is dire and bleak and offers us little light. In a World where terrorism is the norm and fear stalks the streets in the shape of a knife, we must cling to every glowing amber of hope that we can.
For another dark, yet funny and hopeful view of London, in the not-too-distant future, go and see 'Involution' at The Pleasance 10 Dome, Midday, everyday (except Monday 18th). For more information, go to this link.
http://www.pleasance.co.uk/edinburgh/listings/search/Involution
Friday, 1 August 2008
Emily Agnew - Director
Emily is the Artistic Director of Mokita Productions. For Mokita Productions she has directed rehearsed readings of The Forbidden Tree (Roger Mayhew) and Waiting on the Z Train (Sean Tyler), both at teh White Bear Theatre, Kensington. She also directed the London premiere of Involution. Her other credits include - as a director; Pluto, a new play by Jon Bonfiglio for GRIT Productions (Blue Elephant Theatre, Camberwell), Other Hands by Laura Wade (Cockpit), Huis Clos (Pleasance Stagespace, Islington) and As You Like It (Observatory Hill, Bristol). As an assistant director, The Only Girl in the World by Glyn Maxwell (Arcola Theatre), Les Liaisons Dangereuses (Pleasance Theatre, Islington) and The Marrowitz Hamlet (Wickham Theatre, Bristol)
Review of 'Pebbles on The Beach' at The Pleasance Courtyard * * * *
Joanna Pinto's Pebbles on the Beach begins with our main character, Leo telling us that today he is going to be "someone different". What follows is a surreal and beautiful journey into his past. Michael Armstrong (Leo) gives a gentle and charming portrayal of a man trying to understand where he went wrong. We learn that he left home at 17 years old to the distress of his father (the wonderfully strong Ian Draper) and moved to Brighton. There he embarked upon a life of a womanising accountant. Unhappy with relationships and his job he struggles to understand true intimacy that shows up in the face of roving backpacker, Suzannah (Jenny Rowe). As the story unfolds, a delicate tale of family love and tragic pasts builds itself around the four excellent actors - Annabel Cleare playing Maggie.
The characters weave between past and present with wonderful simplicity, allowing the relationships and the poetic text to be the focus of our attention. A low sound track of Brighton beach and sea-gulls entrances us and draws us into Leo's world. Gorgeously lit by Dan Staniforth, the stage basks in an early evening glow that warms us and whispers to us in it's haze.
Pebbles on the Beach is not risky drama. It doesn't push boundaries or have anything massive to say about life and love. But like a lover, gently prods you to address questions that at some time or other have haunted us all. Are we happy with our past? How do we choose to remember that which has hurt us? How much power do our memories hold over us and if you put your mind to it, can you just forget?
For a lunchtime piece of theatre (14.00) it leaves you satisfied and ready for the afternoon. Lovingly written, well directed with strong acting all round, it is definately worth seeing.
To book tickets for another fabulous lunchtime piece of theatre go to the Involution booking pages at:-
http://www.pleasance.co.uk/edinburgh/listings/search/Involution
The characters weave between past and present with wonderful simplicity, allowing the relationships and the poetic text to be the focus of our attention. A low sound track of Brighton beach and sea-gulls entrances us and draws us into Leo's world. Gorgeously lit by Dan Staniforth, the stage basks in an early evening glow that warms us and whispers to us in it's haze.
Pebbles on the Beach is not risky drama. It doesn't push boundaries or have anything massive to say about life and love. But like a lover, gently prods you to address questions that at some time or other have haunted us all. Are we happy with our past? How do we choose to remember that which has hurt us? How much power do our memories hold over us and if you put your mind to it, can you just forget?
For a lunchtime piece of theatre (14.00) it leaves you satisfied and ready for the afternoon. Lovingly written, well directed with strong acting all round, it is definately worth seeing.
To book tickets for another fabulous lunchtime piece of theatre go to the Involution booking pages at:-
http://www.pleasance.co.uk/edinburgh/listings/search/Involution
BEFORE reading a REVIEW please READ THIS FIRST
So being in Edinburgh there's a bit of theatre happening so um...I thought I'd write a bit of a review for shows that I liked. Now for all those who might read these.
1) I am an actor not a critic.
2) I am probably totally wrong in everything that I say.
3) I almost certainly didn't 'get it'
4) I most likely had had one too many to drink.
5) It's just one opinion.
6) You shouldn't read reviews anyway. They're bad for you.
7) I'm only writing reviews on pieces that I liked...
If you want to know what I thought was a big pile of shite then pm me!
1) I am an actor not a critic.
2) I am probably totally wrong in everything that I say.
3) I almost certainly didn't 'get it'
4) I most likely had had one too many to drink.
5) It's just one opinion.
6) You shouldn't read reviews anyway. They're bad for you.
7) I'm only writing reviews on pieces that I liked...
If you want to know what I thought was a big pile of shite then pm me!
Thursday, 31 July 2008
Describe Involution in 3 Words
Family Destruction Redemption.
Future Genetic Death.
Cohen and Others.
Colostomy Bag Shenanigans.
Chic Pea Extravaganza.
Where's The J-Love?
Distopia in London.
Deceitfulness. Anarchy. Rebellion.
My Sex Robot.
Please Add Others!
Future Genetic Death.
Cohen and Others.
Colostomy Bag Shenanigans.
Chic Pea Extravaganza.
Where's The J-Love?
Distopia in London.
Deceitfulness. Anarchy. Rebellion.
My Sex Robot.
Please Add Others!
The First Great Oblivion
Yesterday a madness and intensity was set free. Weeks and months and hours of hard work culminated in 70 minutes of release, mayhem and ultimately, the end of our first show of Involution at The Pleasance Dome.
Blogs are supposed to be an honest account of stuff and thoughts and opinion and stuff so I thought I'd be a bit honest in this one...and stuff.
It's been hard. It's my first ever Edinburgh and I'm probably taken this production far too seriously but to get the first get-in and get-out and a bit of a play done feels AMAZING! At the time of writing this, we've actually also done our second show. I remember why I'm an actor again.
Today, we played. We had fun on stage. It got real, man! Admittedly, we only had three in the audience but meh! It's early and The Festival hasn't technically started yet so an average of 15 for the first two shows ain't half bad.
It's scary shit. If you think about this whole being on stage thing too much it just becomes ridiculous. Prancing around, waving arms and nodding heads and standing still and just being someone totally different for an hour. Okay, I've been a professional actor for over 4 years now and have luckily had quite a bit of experience, but it never gets easy. Why should it? Life isn't easy. Relationships aren't easy. So why should portraying that, be easy!?
But coming out of that oblivion yesterday, was astonishing. We are in this now. We are at the festival. We are loving it. Mokita Productions and team Involution here for a month. Don't miss us!
Blogs are supposed to be an honest account of stuff and thoughts and opinion and stuff so I thought I'd be a bit honest in this one...and stuff.
It's been hard. It's my first ever Edinburgh and I'm probably taken this production far too seriously but to get the first get-in and get-out and a bit of a play done feels AMAZING! At the time of writing this, we've actually also done our second show. I remember why I'm an actor again.
Today, we played. We had fun on stage. It got real, man! Admittedly, we only had three in the audience but meh! It's early and The Festival hasn't technically started yet so an average of 15 for the first two shows ain't half bad.
It's scary shit. If you think about this whole being on stage thing too much it just becomes ridiculous. Prancing around, waving arms and nodding heads and standing still and just being someone totally different for an hour. Okay, I've been a professional actor for over 4 years now and have luckily had quite a bit of experience, but it never gets easy. Why should it? Life isn't easy. Relationships aren't easy. So why should portraying that, be easy!?
But coming out of that oblivion yesterday, was astonishing. We are in this now. We are at the festival. We are loving it. Mokita Productions and team Involution here for a month. Don't miss us!
Tuesday, 29 July 2008
Daniel Staniforth - Production Manager
Dan studied Psychology and Neuroscience at
Feeling Tech Tech Tech
It's hot for somewhere up North.
So. The tech. It’s a all about the lino. That amazing lino. Ooh, doesn’t it change the space. Do you reckon it’s central heated? Well, it is the future. Maybe, at Christmas it snows upwards and Dorcet and Cohen build snowmen and Talulah sticks chic peas on it for the eyes.
We have a lino floor. It’s very cool. It changed the space and everything.
The only problem is that for the first two hours of the tech we were looking at the lino contemplating it’s greatness and well, not doing too much else. Okay, us actors weren’t doing too much else. Our Production Manager, Dan Staniforth and Designer, Vicky Johnstone, were doing lots of things but actors don’t get involved in all that, do we? No, we must focus and run lines and drink tea and look at all the religious books backstage that make up the library of the chaplaincy where we are performing. Yes.
So two hours in we were…um…kind of behind schedule but that’s fine because we had 30 minutes left to plot the lights and do a top and tail of each scene and then do a getting out practice. This is the thing, it ain’t about doing the show. It’s about the get in and get out and not running over time and costing the company 50 quid for every minute that we run over.
Truth is the show is in fantastic shape anyway, so it’s just the technical stuff that needs sorting. That’s the glory of previews. Our first of which is tomorrow at 12
Victoria Johnstone - Designer
Victoria Johnstone’s designs for theatre include Unstated directed by Topher Campbell (Red Room: Southwark Playhouse and national tour), HOTEL MEDEA (Zecora Ura/Para Active: Shunt Vaults and international tour), The Dilemma of a Ghost by Ama Ata Aidoo (Border Crossings/National Theatre of Ghana: National tour – co-set designer), The Cow Play by
Sunday, 27 July 2008
M1 to Involution and Ikea
If anyone is thinking of hiring a van from The Kings Cross branch of 1Car1 then make sure you check that the seat-belts work!!
After much fannying around from the aforesaid company, we finally began the long journey from Canning Road, London, to Canning Street, Edinburgh.
I haven't driven in ages but used to do a lot in my earlier touring days - because my career has been that varied and outrageous that I can now refer to the past as being important and inspirational full of nationwide challenges and anecdotes! Cough. But driving up the M1 (and others) for 10 hours was actually quite enjoyable. There aren't many driving experiences similar to that of entering into the lake district and the northern reaches as the sun goes down and the mists clear. Excitement grows and the beauty of the north, stirs.
On arrival at around midnight it became clear that our flat was not a place to leave a van outside, as pounding on the door from the local police, soon had us realising, but a hasty unpack and trip to overnight parking, soon allowed us to sit back into our new one month home and relax for the night.
What followed the next morning was beyond understanding, but bear with me.
We needed to get a few things from Ikea. Now, I've never been to Ikea before but stories of getting lost amidst the shelves of Ikea Oblivion has filtered down to me through the years. I was going with two girls...I didn't expect too see daylight again for at least 3 days. Luckily, we only had the van for an hour longer and being late back to the drop of point would have cost Mokita Productions an extra 200 quid. Wandering through the airy and lightly decorated halls of the student warehouse of choice, with the Producer of the company had it's benefits. Suddenly the shelf-shopping extravaganza of majestic proportions became a frenzied rush from teacup to mattress corner to light bulbs and lunchboxes and before I knew it, we were escaping back into the sunny delights of Edinburgh.
But we're here now so hopefully the dizzy excite mental heights of an Ikea trip will be eclipsed!
After much fannying around from the aforesaid company, we finally began the long journey from Canning Road, London, to Canning Street, Edinburgh.
I haven't driven in ages but used to do a lot in my earlier touring days - because my career has been that varied and outrageous that I can now refer to the past as being important and inspirational full of nationwide challenges and anecdotes! Cough. But driving up the M1 (and others) for 10 hours was actually quite enjoyable. There aren't many driving experiences similar to that of entering into the lake district and the northern reaches as the sun goes down and the mists clear. Excitement grows and the beauty of the north, stirs.
On arrival at around midnight it became clear that our flat was not a place to leave a van outside, as pounding on the door from the local police, soon had us realising, but a hasty unpack and trip to overnight parking, soon allowed us to sit back into our new one month home and relax for the night.
What followed the next morning was beyond understanding, but bear with me.
We needed to get a few things from Ikea. Now, I've never been to Ikea before but stories of getting lost amidst the shelves of Ikea Oblivion has filtered down to me through the years. I was going with two girls...I didn't expect too see daylight again for at least 3 days. Luckily, we only had the van for an hour longer and being late back to the drop of point would have cost Mokita Productions an extra 200 quid. Wandering through the airy and lightly decorated halls of the student warehouse of choice, with the Producer of the company had it's benefits. Suddenly the shelf-shopping extravaganza of majestic proportions became a frenzied rush from teacup to mattress corner to light bulbs and lunchboxes and before I knew it, we were escaping back into the sunny delights of Edinburgh.
But we're here now so hopefully the dizzy excite mental heights of an Ikea trip will be eclipsed!
Wednesday, 23 July 2008
Rachel Welch - Writer
Rachel wrote "Involution" whilst taking part in the Royal Court Writer's Programme shortly after which it was taken on by Mokita Productions, who gave it it's premiere at the Pacific Playhouse in London. She has previously participated in the Soho Theatre Young Writer's Programme, during which she wrote the one-act play "Waking", which has been performed at various venues around the country, including the Edinburgh Festival in 2004. Her short play "Keeping Annabelle" was created for Soho Theatre's Script Slam and has been performed at the Short and Sweet Festivals in Australia where it was nominated for Best Comedy (Melbourne) and won the Best Script Runner Up Prize (Sydney). Other recent work includes short plays the Rat Snare, which was performed at the King's Head Theatre, and Notes to Self, which was performed at Theatre 503.
Pressure
Isobars are rising and the temperature is soaring as our latest 'dress' finishes in sweat and headaches.
Oh yes. London in the high 20s in a sweaty room above a pub. It's glamour and glory, baby!
Mokita Productions is putting itself into The Lions Den. I have to admit that this company has a special place in my heart for reasons that I might go into later. Let's just say that this team of people have been together since February this year when we first completed the London run of Involution at The Pacific Playhouse. Edinburgh is so much a bigger and a huger stage. Pressure doesn't cover it.
With half a day left of 'official' rehearsal time we are juggling with the rewrites and fondling with the whisky glasses, all in the hope that that magical thing will happen and it will all come together.
Surely, someone must be to blame for all of this mayhem? Surely, there's fingers to pointed and noses to be poked! Oh yes, Rachel Welch! Nowhere to hide now, love. So you thought that you'd write a 2 hour play and it'd do a little run in London and that'd be the end of it. Well no! Not likely. How about you cut a third from your play and we take it to Edinburgh and you re-write it completely and work tirelessly to get it under the 90 minutes with room to spare!?
Ha!
If you've ever written anything, you'll understand that cutting a third off your baby isn't the most pleasant task and so much credit must be given to Rachel for what she has achieved...but Rachel, if you change my speech one more time or give me a slightly shorter version of saying the same thing...ONE MORE TIME....
This isn't TV love!
Oh yes. London in the high 20s in a sweaty room above a pub. It's glamour and glory, baby!
Mokita Productions is putting itself into The Lions Den. I have to admit that this company has a special place in my heart for reasons that I might go into later. Let's just say that this team of people have been together since February this year when we first completed the London run of Involution at The Pacific Playhouse. Edinburgh is so much a bigger and a huger stage. Pressure doesn't cover it.
With half a day left of 'official' rehearsal time we are juggling with the rewrites and fondling with the whisky glasses, all in the hope that that magical thing will happen and it will all come together.
Surely, someone must be to blame for all of this mayhem? Surely, there's fingers to pointed and noses to be poked! Oh yes, Rachel Welch! Nowhere to hide now, love. So you thought that you'd write a 2 hour play and it'd do a little run in London and that'd be the end of it. Well no! Not likely. How about you cut a third from your play and we take it to Edinburgh and you re-write it completely and work tirelessly to get it under the 90 minutes with room to spare!?
Ha!
If you've ever written anything, you'll understand that cutting a third off your baby isn't the most pleasant task and so much credit must be given to Rachel for what she has achieved...but Rachel, if you change my speech one more time or give me a slightly shorter version of saying the same thing...ONE MORE TIME....
This isn't TV love!
Tuesday, 22 July 2008
What are we doing? Where are we going?
It's always a nervous and twitchy time. That first day of rehearsal. Pulses pumping that little bit faster as actor meets actor meets director meets actor. That first read through. Okay, that first read through. Who the hell are these people? I've gotta kiss these people, touch these people. cry in front of these people, bare my broken soul to people that quite probably, were serving Carlsburg extra cold to drunken 16 year olds the night before or cleaning up vomit from the latest children's party fiasco or, in my case, getting arrested for drink driving and causing near fatal injury to my girlfriend (corporate reconstruction don't you know!).
Ah, the actor's 'other' job!
But yeah, these are the people that make this work. These are the players. The relationships built here, the trust grown over weeks of work, the closeness of Company that bonds words into reality. Without it, this play and others like it, would fall on it's ass.
It's amazing to think that in just over a week's time, thousands of performers alike will be thrust together into a world of critique and judgement. Boy, that's scary. To think that every piece of emotional shrapnel pummelled around pub basements and 'my friends' brother's dance studio - hey, why don't we just rehearse in the park - will be placed a few metres away from...you! and me! Sitting there, waiting to be entertained, wanting to feel, to explore, to be shocked and moved and unbalanced.
What are we doing? Where are we going?
Why do we do this?
Isn't it obvious?
Be entertained. Feel! Explore something that you've never experienced before. Challenge something that has never before risen in you. Be shocked. Let waves of nausea sweep over you at the safe yet unsafe reality of what's before you. Be moved. Have your world shaken and walk away from what you've just seen, feeling inspired. Be inspired!
Ah, the actor's 'other' job!
But yeah, these are the people that make this work. These are the players. The relationships built here, the trust grown over weeks of work, the closeness of Company that bonds words into reality. Without it, this play and others like it, would fall on it's ass.
It's amazing to think that in just over a week's time, thousands of performers alike will be thrust together into a world of critique and judgement. Boy, that's scary. To think that every piece of emotional shrapnel pummelled around pub basements and 'my friends' brother's dance studio - hey, why don't we just rehearse in the park - will be placed a few metres away from...you! and me! Sitting there, waiting to be entertained, wanting to feel, to explore, to be shocked and moved and unbalanced.
What are we doing? Where are we going?
Why do we do this?
Isn't it obvious?
Be entertained. Feel! Explore something that you've never experienced before. Challenge something that has never before risen in you. Be shocked. Let waves of nausea sweep over you at the safe yet unsafe reality of what's before you. Be moved. Have your world shaken and walk away from what you've just seen, feeling inspired. Be inspired!
Samantha Hopkins - Gemma the Sex Robot
Samantha Hopkins graduated from Mountview Academy of Theatre Arts last summer. Whilst training she was cast in a wide variety of roles from virtuous Madame de Tourvel in "Les Liaisons Dangereuses" to feisty Sarah in "O Go My Man". She has played leading roles in a number of short films. She was a finalist for the 2007 Alan Bates Bursary offered by the Actor's Centre and assessed by a prestigious panel including Janet Suzman and Anton Lesser. Most recently she played the part of Mira (a blind girl) in “Pluto” by Jonathan Bonfiglio at the Blue Elephant Theatre for Grit Productions in association with Mokita Productions.
Monday, 21 July 2008
The Sex Robot
Hopefully, as we go along and with fingers crossed that I'll still be talking to them all - having been living in a small, tiny (one bathroom), one size fits all (eight, sometimes nine and occasionally 10 people) hell - bring your friends - lounge - I'm hoping to do a little profile on all the wonderful people involved in this project and to kick things off, I thought I'd start with the title character herself.
It's really difficult describing what 'Involution' is about because you give it the usual....mmm, hmm, hard hitting yet funny drama, hmm...mmm...really dramatic and real and funny....hmm...um...like...it's about all really real like real life issues that affect everyone and yeah...real drama and great story and...and yeah....oh yeah....it's got a sex robot in it.
Now, I don't know what images are conjured up in your mind if someone tells you that you're doing a play at The Edinburgh Fringe Festival and it's got a sex robot in it.
Maybe, a physical theatre retelling of Macbeth set against the IT revolution of the 1960s...err...A dark, yet satirical view of John Lesley's front room set to the music of The Bee Gees. Or no, maybe a postmodern look at the love affair between Hitler and Pinocchio. Do Dictators really do dolls?
So getting around this one is often tricky whilst maintaining the artistic integrity of the piece of theatre that is 'Involution'. Why is she important to the piece?
Imagine that nervous silence where you wished you had made the first move, or that cutting remark that you never quite got the nerve to respond to. Our robot girl - Gemma (played by Sam Hopkins), doesn't know the meaning of tact. She is a child - responding openly and truthfully to situations that occur. She is the purest form of human there can be - not tempered by self-consciousness or insecurity but saying it as she sees it. A wonderful expression of humanity in a fucked up world where people would prefer to bury truth before revealing it - even if in doing that, they saved the life of the one dearest to them. Yes, she's a robot, but does she see things that we don't? Does she respond to us like no-one else?
But in all seriousness, giving all artistic consideration, she is funny and hot. And not in that order. Plus she doesn't wear much.
It's really difficult describing what 'Involution' is about because you give it the usual....mmm, hmm, hard hitting yet funny drama, hmm...mmm...really dramatic and real and funny....hmm...um...like...it's about all really real like real life issues that affect everyone and yeah...real drama and great story and...and yeah....oh yeah....it's got a sex robot in it.
Now, I don't know what images are conjured up in your mind if someone tells you that you're doing a play at The Edinburgh Fringe Festival and it's got a sex robot in it.
Maybe, a physical theatre retelling of Macbeth set against the IT revolution of the 1960s...err...A dark, yet satirical view of John Lesley's front room set to the music of The Bee Gees. Or no, maybe a postmodern look at the love affair between Hitler and Pinocchio. Do Dictators really do dolls?
So getting around this one is often tricky whilst maintaining the artistic integrity of the piece of theatre that is 'Involution'. Why is she important to the piece?
Imagine that nervous silence where you wished you had made the first move, or that cutting remark that you never quite got the nerve to respond to. Our robot girl - Gemma (played by Sam Hopkins), doesn't know the meaning of tact. She is a child - responding openly and truthfully to situations that occur. She is the purest form of human there can be - not tempered by self-consciousness or insecurity but saying it as she sees it. A wonderful expression of humanity in a fucked up world where people would prefer to bury truth before revealing it - even if in doing that, they saved the life of the one dearest to them. Yes, she's a robot, but does she see things that we don't? Does she respond to us like no-one else?
But in all seriousness, giving all artistic consideration, she is funny and hot. And not in that order. Plus she doesn't wear much.
Involution
This is what we are performing!
“It’s human nature. To fix yourself you’re willing to change what it is to be human and bollocks to the after effects.” Would you like to know your genetic make-up? Can you ever hope to know yourself and your destiny without that knowledge? What do you do when your very idea of what it means to be human is threatened? And how do you feel about the Government knowing more about you than you do yourself? In a London of the not-too-distant future where genetic cures are possible but outlawed, Cohen is cursed with an inherited disease and is striving for a solution. Fighting through the courts to bypass the Government and let scientists make the next step in evolution, he also has to contend with his whimsical sister, Dorcet, who is more interested in Cybernetic Companionship and GM pigs, Talulah, who believes God will heal her, and the arrival of his friend J – who brings with him a history and a woman with the ability to redefine all of their destinies.
From exciting newcomer Rachel Welch, this energetic and entertaining play should not be missed.
Directed by Emily Agnew
CAST: Samantha Hopkins, Jane Lesley, Joanna Miller, Ben Murray-Watson, Sara Pascoe, Alfie Talman
JULY 30TH - AUGUST 25TH, 2008 (not August 18th)
"Utter brilliance"**** ANDREW HAYDON, TIME OUT
"Thought-provoking, touching and will hit all the right spots with theatre-goers.....chins will wag with ethical debate" ALAN TAYLOR - ExtraExtra
"There's comedy, there's tragedy, there's believable, impressive, engaging drama" PAUL LEVY, Fringe Review
"Miss it and you'll miss out!" SARAH WEED, London SE1 Magazine
"Challenging and powerful" MICHAEL SPRING, Fringe Report
Biggest plug I'll do all blog but considering I haven't actually told you what I'm doing yet, I thought it might help!
“It’s human nature. To fix yourself you’re willing to change what it is to be human and bollocks to the after effects.” Would you like to know your genetic make-up? Can you ever hope to know yourself and your destiny without that knowledge? What do you do when your very idea of what it means to be human is threatened? And how do you feel about the Government knowing more about you than you do yourself? In a London of the not-too-distant future where genetic cures are possible but outlawed, Cohen is cursed with an inherited disease and is striving for a solution. Fighting through the courts to bypass the Government and let scientists make the next step in evolution, he also has to contend with his whimsical sister, Dorcet, who is more interested in Cybernetic Companionship and GM pigs, Talulah, who believes God will heal her, and the arrival of his friend J – who brings with him a history and a woman with the ability to redefine all of their destinies.
From exciting newcomer Rachel Welch, this energetic and entertaining play should not be missed.
Directed by Emily Agnew
CAST: Samantha Hopkins, Jane Lesley, Joanna Miller, Ben Murray-Watson, Sara Pascoe, Alfie Talman
JULY 30TH - AUGUST 25TH, 2008 (not August 18th)
"Utter brilliance"**** ANDREW HAYDON, TIME OUT
"Thought-provoking, touching and will hit all the right spots with theatre-goers.....chins will wag with ethical debate" ALAN TAYLOR - ExtraExtra
"There's comedy, there's tragedy, there's believable, impressive, engaging drama" PAUL LEVY, Fringe Review
"Miss it and you'll miss out!" SARAH WEED, London SE1 Magazine
"Challenging and powerful" MICHAEL SPRING, Fringe Report
Biggest plug I'll do all blog but considering I haven't actually told you what I'm doing yet, I thought it might help!
This is my first post
We're going to Edinburgh on Friday. We're going to Edinburgh on Friday! We're going to...ok so you get the picture. If you can't tell already, I'm a little bit excited and probably a bit hysterical, overawed, blown away, blah!
Mokita Productions was set up in September as the brain child of Producer, Jane Lesley and Artistic Director, Emily Agnew. Following the sell out production of 'Involution' at The Pacific Playhouse in London, the play was invited to play The Pleasance 10 Dome every day of the Edinburgh Fringe Festival 2008, at midday.
Our producer out of the pure love for the theatre business and pure respect for her actors, decided that we really did need to do this play a lot and any days off during the festival would be self-indulgent and pointless. I mean, come on, 2 million people, 200,000 performers, 2000 err....events, 200 venues - 2 days off!? No!! Of course not, an extra 72 people must see the play. So, against all sense of righteousness and number crunching she decided that 1 day off was enough. August 18th. We will not be playing. So don't come and see us. Don't dare! Don't even think about it, because we will, a) be sleeping, b) be sleeping or c) be climbing a hill.
We love her really. I mean, all statistical jibes aside, this is the most fabulous, wide-ranging, ridiculous festival in the world. I mean, I haven't even been before and already the very air is tingling with the expectation of Edin bu rgh. It is the most wonderful opportunity to show off. The biggest marketplace to offer up and show your wares! The time to be shown up and blown out, the time to be counted or the time to fall hideously into a fit of TimeOut 3* tepidness. It really does have it all.
I'm Ben Murray-Watson. I'm playing the lead role of Cohen. There are five other actors in it but this page really isn't big enough for any other actor's name so I'll tell you more about them later!
I will endeavour to record all goings on and tantrums throughout the last week of rehearsal and the festival and throw in the odd melodramatic rant of an Edinburgh virgin. I hope that you enjoy my ramblings.
Mokita Productions was set up in September as the brain child of Producer, Jane Lesley and Artistic Director, Emily Agnew. Following the sell out production of 'Involution' at The Pacific Playhouse in London, the play was invited to play The Pleasance 10 Dome every day of the Edinburgh Fringe Festival 2008, at midday.
Our producer out of the pure love for the theatre business and pure respect for her actors, decided that we really did need to do this play a lot and any days off during the festival would be self-indulgent and pointless. I mean, come on, 2 million people, 200,000 performers, 2000 err....events, 200 venues - 2 days off!? No!! Of course not, an extra 72 people must see the play. So, against all sense of righteousness and number crunching she decided that 1 day off was enough. August 18th. We will not be playing. So don't come and see us. Don't dare! Don't even think about it, because we will, a) be sleeping, b) be sleeping or c) be climbing a hill.
We love her really. I mean, all statistical jibes aside, this is the most fabulous, wide-ranging, ridiculous festival in the world. I mean, I haven't even been before and already the very air is tingling with the expectation of Edin bu rgh. It is the most wonderful opportunity to show off. The biggest marketplace to offer up and show your wares! The time to be shown up and blown out, the time to be counted or the time to fall hideously into a fit of TimeOut 3* tepidness. It really does have it all.
I'm Ben Murray-Watson. I'm playing the lead role of Cohen. There are five other actors in it but this page really isn't big enough for any other actor's name so I'll tell you more about them later!
I will endeavour to record all goings on and tantrums throughout the last week of rehearsal and the festival and throw in the odd melodramatic rant of an Edinburgh virgin. I hope that you enjoy my ramblings.
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