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!
Thursday, 31 July 2008
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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