“Fear of doing something ‘wrong’ must be replaced by fear of ‘doing nothing’ ”

SOUTH WEST THEATRE SYMPOSIUM at SALISBURY PLAYHOUSE 10th February 2017

Theatre Fest West Symposium 2017 (Credit Simon Ward) 2

In partnership with Theatre Bristol, Take Art, Somerset and Activate Performing Arts

On 10th February over 100 artists and industry professionals gathered from across the South West for practical action and meaningful conversations about what we are doing in our region to ensure there is diversity and equality (of all forms) in the arts. If you were unable to make it along or would like to catch up on the conversations, you can listen to the opening provocations here and images of notes from discussions here.

“Fear of doing something ‘wrong’ must be replaced by fear of ‘doing nothing’ ” Jamie Beddard (Co-Director, Diverse City)

Jamie Beddard’s rousing provocation opened the South West Theatre Symposium at Salisbury Playhouse on 10th February 2017, alongside Paula B Stanic (writer), Cassandra Wye (storyteller) and Hannah Petley (director) who each shared inspirational and insightful words about their experience making work.  Jamie’s was a powerful reminder that in these times of political uncertainty “we must paint the world differently, shine lights in the shadows, understand and empower those on the peripheries, include and highlight the untold stories and ensure we are not playthings for the rich and powerful.   Our responsibility has never been greater if we are to ensure diversity, equality and fairness underpins the world we want to be part of” (Jamie Beddard).

Theatre Fest West Symposium 2017 (Credit Simon Ward) 3

We celebrated the brilliant things people are already doing to drive change – Heather Williams and Nathan Bessel from Myrtle Theatre gave a presentation on their journey making Up Down Boy and Up Down Man, and Nathan reminded us that these explorations and conversations need not be limited to language, performing a beautiful movement piece and at another point in the day standing and raising his fist in the air, promptly joined by everyone else in the room – united, joyful and empowered.

Anna Coombs spoke about her journey setting up Tangle,  South West England’s African Caribbean Theatre Company as a response to the community in which she grew up, bringing the work of African and Caribbean artists to areas where there is little inter-cultural interface, about how collaboration is key to achieving artistic excellence.

Sarah Blowers from Strike a Light spoke with Sarah O-Donnell and Naomi Draper, who shared their stories about creating GL4 Festival on the Matson Estate, Gloucester. How, after Sarah B impulsively drove to the estate and gate crashed a Residents Meeting at the community centre, Naomi and Sarah O became festival producers, brought theatre to their estate for the first time and championed it for their local community.

Jamie Beddard and Becky Chapman ran a session on Losing the Fear and Shame, exploring ways to overcome barriers to change, ran a What If session where we could break out and think big, and guided people to write pledges on postcards which were posted back to them a couple of weeks after the event. We had break-out sessions run by Mark Helyar from Take Art and Dave Orme from Salisbury Playhouse, Wendy Petitdemange from Activate, Richard Conlon from Blue Apple, Phoebe Kemp (Equity Deaf and Disabled Members’ Committee), Ruth Kapadia from ACE (who also ran surgery sessions throughout the day) as well as spontaneous sessions which came about as a result of the day’s conversations.

At the end of the day we gathered together to write a new manifesto for making work in the region. Here it is:

MANIFESTO

Diversity is integral to excellence

Leave the building/ silo

Have honest conversations

Don’t be scared of failure

Avoid assumptions

Hold each other

Communicate without fear or judgement

Trust ourselves that it will happen

Offer and ask for help

Create a space for us all

Create with integrity

Collaboration and co-operation over competition

Expand time

Bring whole self to each process

The overwhelming message from the day was just to start doing something, no matter how small, that it’s OK TO FAIL – we can learn something from our failures, that collaboration is key to artistic excellence, and that some things take time, so start small and keep going.

For Jo Newman’s full blog on the event click here

Photos by Simon Ward

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The Echo’s End cast visits Beacon Hill

Last week, the Echo’s End cast, along with the director and stage management team, headed up to Salisbury Plain to visit the area where the play is set. Oliver Hembrough, who plays Jack Howard, tells us a little more about their visit. 20170302_120255

There’s a moment in the brilliant new BBC show This Country where Kurtan lies on his back on the grass, cloudspotting, and says to the lads lying either side of him – forgive me for misquoting – ‘you look up at ‘em, and it makes you think how insignificant they are, doesn’t it’.

It’s a brilliantly complex, poignant joke, and its intelligence was driven home yesterday when the company of Echo’s End visited Beacon Hill above Bulford, where our play is set.

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We travelled out in two cars, surprising a stoat that hared across the road in front of us, then trekked up Beacon Hill past the vast chalk kiwi, first dug by New Zealand soldiers in 1919 while they waited to be demobilised. The view from the top leaves you thinking of Kurtan. The metaphor was emphasised when a tank lowered hugely past us where we stood, attended as it rumbled through the vast landscape by a slightly less poetic sort of motorway breakdown white van that seemed to have been cast in the role of 20170302_122826cheerleader, or hype man, to its enormous master. Around us, buzzards circled in a sky that will be more densely patterned with birds in another month’s time, when spring arrives in full force. On the Norfolk Broads and on Salisbury Plain, the skies loom larger than anywhere else. Makes you realise how insignificant they are.

 
Echo’s End runs in the Main House at Salisbury Playhouse from Wednesday 29 March to Saturday 15 April 2017. For tickets or more information please contact the Ticket Office on 01722 320333 or visit www.salisburyplayhouse.com

A playful exploration of how we perceive time

We asked Sylvia Rimat to tell us a little about her latest production, This Moment Now.

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What inspired you to create This Moment Now?

I’m very interested in processes of the mind. With previous projects I explored for instance memories/remembering and decision making. The show on decision making, If You Decide to Stay, opened up a number of questions around time and the universe so I felt inspired to develop a new project that looks at time more closely. I’m interested in our personal experience of time, which changes depending on situations and over a lifetime. But I’m also fascinated by broader concepts of time, in physics and philosophy, such as entropy and Einstein’s space time. I wanted to explore how/if we can connect our personal experiences with those concepts and wanted to raise questions around what time is as such.

What can audiences expect from the production?

this-moment-now-photo-credit-paul-blakemoreThere will be live drumming, video interviews with young and elderly people, movement/dance, Skype calls to test space time, a very special guest and some nice cups of tea.

What do you enjoy most about creating work in the south west?

I love the network of inspiring athis-moment-now-6_18098667966_ortists and arts organisations which have been crucial for developing my work. I live in Bristol and am a member of artist collective Residence. We share space, equipment, knowledge and opportunities. We support each other rather than seeing each other as competitors for funding and opportunities. This is crucial, especially in times when it’s harder to get funding.

This Moment Now is in The Salberg on Thursday 16 February as part of Theatre Fest West. For tickets or more information please contact the Ticket Office on 01722 320333.

Photos by Paul Blakemore.

A gig for kids

We asked Kid Carpet a few questions about The Super Mega Rockin’ Rock Show – the perfect half term treat for 4-10 year olds.

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How did you start producing theatre shows for family audiences?

I started making theatre for children and families as a kind of naturally organic accident. After making a bunch of albums and touring non-stop to rock venues, festivals and nightclubs for 4 or 5 years, my partner and I decided to start a family. After the baby popped out I found it really difficult working at night. A year or so later as I was having that serious chat with myself about where my career was going I noticed that I had about 200 recordings of songs and skits made on my telephone whilst child-caring. Listening to those recordings I thought maybe I should make an album for kids. A few weeks later I saw a shout-out from Theatre Bristol and The Tobacco Factory asking for fresh ideas for theatre shows, especially from non-theatre artists. Looking back over those recordings I decided to apply for the residency to make a theatre/rock show/cinema experience that would make me feel like I was in The Muppets, Bagpuss, Tiswas and The Beastie Boys all at the same time. A year later and Kid Carpet & The Noisy Animals was on tour and my ‘career’ was rescued from impending oblivion.

Can you tell us a little about The Super Mega Rockin’ Rock Show?

Super Mega Rockin’ Rock Show is like a ‘best of’ my work for children and families. There are songs, videos, interactive audience participation bits, games and puppeteering, all presented as a gig for kids.

We get to meet Gorilla, Badger, Bear and Hedgehog (The Noisy Animals), we adventure through the story of their first show while occasionally nipping off into space, having a quick Penguin Race and flying on some Golden Eagles before we end up at a gloriously anarchic stage invasion and Dance Contest. Bring yer Dad, he’ll love it.

Actually, a Dad wrote to me yesterday after seeing Super Mega Rockin’ Rock Show in October and this is what he said: “We loved the show. So many children’s events are patronising, boring or just a bit rubbish. Your show is the opposite of all these things.”

What will the song writing workshop involve?

In our song writing workshop we will make up some brilliantly simple songs from scratch, brainstorm ideas, write lyrics, form bands, choose a really good band name and do our first gig. It doesn’t matter if you’ve got no experience of making up songs or playing music, we’ll make something fantastic and have plenty of fun doing it.

The Super Mega Rockin’ Rock Show is in The Salberg on Wednesday 15 February as part of Theatre Fest West. For tickets or more information please contact the Ticket Office on 01722 320333 or visit www.salisburyplayhouse.com. The song writing workshop is now sold out.

Destiny, choice, friendship… and tap dancing Vikings.

Award-winning comedy cabaret duo House of Blakewell will be spending a week in Salisbury working on a new musical as part of Theatre Fest West. We asked Harry and Alice to tell us a bit more about the production and the process of creating the show.

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Tell us a bit about yourself and your relationship with Theatre Fest West

We’re Harry and Alice, also known as House of Blakewell – we’re a duo that make alternative musical theatre with a strong comedy-cabaret flavour. Harry went to school in Salisbury (his first job was as a Box Office Assistant at the Playhouse!) and has worked here as a composer/sound designer on Bike, Hedda Gabler and Night Must Fall. Alice also trained in Bristol, but strangely we haven’t performed in the South West until now, so we were really excited to be included in the programme. It’s such a great opportunity for us to share our work with an audience while we’re still in the process of making it.

Could you briefly describe what your show is about?

thor-loki-2It’s loosely based on the Norse gods Thor and Loki, as described in the Eddas (collections of myths written by Icelandic poets in the Middle Ages.) It’s about the two characters and their attempts to prevent the day of Ragnarok – the end of the world – but really it’s about destiny, choice, friendship and embracing change, in order to create a better world. With tap dancing Vikings.

What do you expect audiences will take away from your piece?

Hopefully they’ll leave with a smile on their face, humming the tunes!

What’s been the biggest challenge/most exciting moment so far?

We normally work as a duo, but in this show we have a cast of five. It was initially slightly intimidating allowing other people into our creative process, but the first time we had the full company in a kick line singing in four-part harmony was amazingly joyous!

How important are Research and Development weeks and sharings when creating a new musical?thor-loki

Very important! There’s an old showbiz saying, ‘Musicals aren’t written, they’re re-written’. This is probably because there is so much to coordinate – music, lyrics, choreography – while also making sure that the dramatic rhythm works and the story is clear. Some of these elements are things you can only discover once the show is being performed live in front of an audience. In the old days, musicals used to have out-of-town tryouts, where things would get rewritten and restaged before going into town, but the advantage of workshop performances is that they allow us to try stuff out, adapt and gather feedback as part of our writing process. We can’t wait to share it with you!

House of Blakewell will be sharing Thor & Loki  at 6pm on Friday 17 February as part of Theatre Fest West. Tickets are FREE and can be booked via the Ticket Office on 01722 320333 or at www.salisburyplayhouse.com.  

A tale of nosiness gone wild

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Nikki Sved, Artistic Director of Theatre Alibi, talks about Fish Eye – a tale of nosiness gone wild.

Can you tell us a little about Fish Eye?

Fish Eye is about a one woman mission to discover the whereabouts of a stolen side6g5a0135board. Pam justifies extreme measures with her deep suspicions of her neighbours. When she knits surveillance cameras into hand-knitted toys and plants them in her neighbours’ houses she discovers that things are even worse than she initially suspected…

What was the inspiration behind this production? 
Daniel Jamieson, the writer, was alarmed by the notion of the Snooper’s Charter which gives the government access to a huge amount of our data. All our emails,
our search history – it’s all at their disposal.  He wanted to explore whether it’s possible to find the truth amidst all the information, and whether it’s worth losing our privacy over.

maggie-obrien-in-fish-eye-credit-steve-tannerTheatre Alibi has been producing theatre for 35 years – what do you find most exciting about the south west theatre scene?

There are a lot of great storytellers in the South West; Kneehigh and Travelling Light to name but a few. There’s a strong culture of Theatre Making, with work that is created in a collaborative way using all that theatre has to offer from puppetry to music to film; all the means we have at our fingertips to tell a good story.

Fish Eye is in The Salberg at Salisbury Playhouse on Saturday 18 February as part of Theatre Fest West. For tickets or more information please contact the Ticket Office on 01722 320333 or visit www.salisburyplayhouse.com.

Production photos by Steve Tanner

Inspiration for the mind, heart and soul.

The Castle Builder is a Vic Llewellyn and Kid Carpet production which comes to The Salberg at Salisbury Playhouse as part of Theatre Fest West. We asked Kid Carpet a few questions about the show.

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Can you tell us a little about the style of The Castle Builder?

The Castle Builder is part rock gig, part lecture/documentary investigation and presented as a theatre show. We were attempting to write and devise a play about Outsider Artists who make massively weird constructions, follies and buildings and as that idea developed we staged a couple of test or scratch performances in Bristol and changed what we presented each time. We had a booking for a third such event but had no time to rehearse as I was touring with one of my shows for children and families. I remember saying to Vic, “look it’s ok, I’ll do the songs, you can do the talky bits and we’ll take it in turns”. It turned out that the format worked really well for us and spoke more directly about the characters and work that we were investigating. The show embodies the spirit of the artists we discuss with songs, dancing, tenderness and mayhem and we have the strange enigma of a guest ‘maker’ building something unique from furniture which Vic has just smashed to bits. It’s a wonky, shonky show which fits the subject perfectly.

What inspired you to create The Castle Builder?

Vic and I first worked together in 2012 while performing in The Lost Present, a Christmas show. During a dressing room discussion Vic told me about a book he was writing about a castle he’d seen in Norway. He was on a tourist boat trip around the coast and asked the tour guide about a castle he could see on the clifftops. He was told a story about ancient Vikings which all the tourists and The Rough Guide writer aboard the boat thought was wholly plausible. The truth about that castle was far stranger than what they were told.

We decided we’d like to make a show together about the castle in Norway. We found the blurred line between reality and fiction as inspiring as the actual castle builder. We began looking at other castle builders and found thousands of inspirational people and their works. Inspiration for the mind, heart and soul.

What do you enjoy most about producing theatre in the south west?

I love making work close to home. I want to be with my family and friends and not running away from them. Theatre in the south west is really supportive; there are many talented, clever and generous people in the field who readily offer their advice and help, there’s tons of work being made and hopefully that will continue to expand and develop.

The Castle Builder plays in The Salberg on Wednesday 15 February. For tickets or more information please contact the Ticket Office on 01722 320333 or visit www.salisburyplayhouse.com.

Family feuds, love, The Lord of the Rings and the boundary line…

Lloyd Gorman plays Mike in the Salisbury Playhouse, New Wolsey Theatre Ipswich and Queen’s Theatre Hornchurch production of Worst Wedding Ever. Lloyd’s recent theatre credits include the West End production of Sunny Afternoon and the UK tour of Our House.

Worst Wedding Ever - Chris Chibnall - Salisbury PlayhouseDirector - Gareth Machin
Designer - James Button
Lighting - Peter Hunter

Andy - Oliver Bennett
Scott - Rudi Dharmalingam
Mike - Lloyd Gorman
Graeme - Richard Hurst
Mel - Martin Hyder
Brian - Glyn

Lloyd Gorman (centre) in the 2014 production of Worst Wedding Ever. Photo by Robert Workman.

Can you tell us a little about Worst Wedding Ever and the character you play, Mike?

In a world where the average cost of a wedding is between £20-£25k, Worst Wedding Ever follows Rachel and Scott’s attempt to get married on a budget. Whilst the couple wants a simple, registry office wedding, Rachel’s family wades in and hijacks the arrangements to create the ultimate DIY wedding with a marquee and portable loos.  But sometimes having your family too involved in your wedding plans can lead to disastrous (and often hilarious) consequences.  It’s a modern farce with a heart! My character, Mike, is a singer in a band that is drafted in at the last minute (much to the annoyance of a member of Rachel’s family) to play at Rachel and Scott’s wedding.

You were in the original cast of the 2014 production – why do you think it was so popular with audiences?

The characters, situation and relationships are incredibly relatable to and familiar.  It’s really entertaining, and laugh out loud funny.  It’s emotionally generous.  It’s about family feuds, love, pain, The Lord of the Rings and the neighbour’s boundary line.  I think we can all relate to at least one of those!

What was it like working on a brand new show?

It’s really nice to work on something brand new as there are no preconceptions and no comparisons. It leaves you feeling freer in the way you approach the character and gives the cast and creative team the chance to leave their lasting mark on a project.  Obviously there’s always the chance that it could be a complete flop and not sell a single ticket, but luckily that didn’t happen with Worst Wedding Ever!

Worst Wedding Ever was written by Broadchurch-creator and soon-to-be Head Writer of Doctor Who, Chris Chibnall – what is it like working with him?

It’s great. He’s supportive, flexible, non-precious but secure in what he wants – a real team player who appreciates every facet of putting something together. The writing is cheeky, warm, funny and very human. And most of all, he’s a really nice guy!

Have you ever been a member of a band? Did you play for weddings?

I was in bands when I was growing up, but haven’t actually been in one full time and as an adult.  I’d like to be, but it’s one of those things that I never get round to organising!  I’ve been to some weddings with cracking bands but I’ve only played at one wedding myself…but it was a little tamer and less dramatic than in Worst Wedding Ever.

Are there any surprises in store for the Worst Wedding Ever audiences?

Maybe I should keep the surprises a surprise!  There’s loads of unexpected stuff going on in Worst Wedding Ever.  You’ll hear a band in the foyer as you come in, you’ll see characters appearing from all sorts of unexpected places, and I really wouldn’t keep two Rhodesian Ridgebacks in a confined space for too long.  Cryptic enough?  Come and see it, you won’t be disappointed.

Worst Wedding Ever runs in the Main House at Salisbury Playhouse from Thursday 2 to Saturday 25 February 2017. For tickets or more information please contact the Ticket Office on 01722 320333 or visit www.salisburyplayhouse.com. It then plays at New Wolsey, Ipswich (Wednesday 1 to Saturday 11 March) and Queen’s Theatre, Hornchurch (Wednesday 15 March to Saturday 1 April).  

A technicolour trip through the last proper youth movement

Nora, Dora and Kat from In Bed With My Brother explain more about their latest production, We Are Ian.

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Can you tell us a little about We Are Ian?

We Are Ian is about our mate, Ian. Ian is 46. Ian is from Manchester. Ian is a former DJ and a Painter and Decorator by trade. As three women in our twenties doing theatre, we don’t have much in common with Ian. But Ian was our age in 1989, the height of the Acid House movement in the UK. It’s a technicolour trip through the highs and lows of the last proper youth movement, told straight from the horse’s mouth. Mainly, the show is a lot of fun; not conventional, but it’s a fast-paced spectacle – a visual and often hypnotising whirlwind with a surprising political punch. we-are-ian-credit-matt-austin-1

What inspired you to create this piece?

Ian asked us to make a show about him. Originally he wanted us to make an epic 12 part drama about his entire life, but we had other ideas… As a working class man, Ian’s voice is not often one that is heard in theatre so it was really important to us that his was the only one present in the piece. His stories, humour and just general being is what has inspired this show. It’s as crazy, fun and vibrant as Ian is.

What do you enjoy most about the producing theatre in the south west?

All three of us met whilst studying together at Exeter University and we decided to stay down here after being given the graduate residency at the Bike Shed Theatre. There is such a great, creative community down here and what we love about being part of this community is how supportive and nurturing everybody is. It’s difficult sometimes talking about theatre in the South West because London is supposed to be the centre of the universe, but there needs to be more recognition for regional theatre-making; there’s more time, more affordable space and there’s a lot of talent. And also, everyone’s your friend, and there’s loads of cider, which is always good.

We are Ian is performed in The Salberg on Friday 17 February as part of Theatre Fest West. For tickets or more information please contact the Ticket Office on 01722 320333 or visit www.salisburyplayhouse.com.

Photos by Matt Austin

Everyone loves to see the little guys win

The fantastic Stuff and Nonsense returns to The Salberg in February half term as part of Theatre Fest West. We asked performers Katie Underhay and Peter Morton to tell us more about the production.

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Can you tell us a little about 3 Little Pigs?

Katie: Tall Pig, Middle Pig and Tiny Pig need to build themselves a house, but they can’t seem to catch a break from the wolf! There are only two of us in the cast, so we play and puppeteer multiple characters throughout the show. It gets pretty frantic swapping puppets and changing bits of costume and I think that adds to the frenetic vibe of the whole thing!

Peter: 3 Little Pigs is the story that you expect but told in unexpected and satisfying ways with an ending that gets the whole audience huffing and puffing. It is a show that revolves around the characters; the audience falls completely in love with Tall, Middle, and Tiny Pig and even have a soft spot for J. Arthur Wolfington Smythe. 3-little-pigs-image

Why do you think the story remains so popular with young people and families?

Peter: It’s a tale that has stood the test of time, the concept is beautifully simple: 3 pigs building houses to keep away from the wolf. Like all good old stories with these facts the narrative can be woven by the teller who can embellish and add detail and create a different ending to suit their audience. Everyone who comes to the show has their own preconceptions of the story and it’s fantastic to play with the audience on this.

Katie: It’s one of those stories where the plucky, unlikely heroes beat the big scary baddy and I think that resonates with everyone – whether you’re a 6 year-old relating it to a bully from school, or a 30 year-old thinking of standing up to a co-worker who has been walking all over you!

Everyone loves to see the little guys win. And this show in particular is amazing with families. I think the parents are expecting to have to ‘sit through’ a baby-show, but within the first minute, they’re laughing themselves and you can tell that they are really surprised and relieved! We talk to the audience during the show and you can see that 2, 4, 9 and 60 year olds are all having an amazing time which is so nice as a performer.

What do you enjoy most about working on productions using puppetry?

3-little-pigs-alternative-2Katie: I’ve always loved puppets. It was a fantastic realisation when I finally worked out you could work with them as a career! I love creating characters and as an actor you’re pretty limited because you know that your character is always going to look a bit like you do. But when somebody gives you a chubby little pig puppet and that’s your basis for a character it opens up so many ideas you probably wouldn’t have thought of! This production is quite unique because we play the same characters as puppets and actors, so the voice and movement we create for the puppet also has to translate to the way I act the character. It’s an unusual challenge but always keeps you on your toes. I’ve performed in 3 Little Pigs over 150 times and I keep thinking of new ways to make my acting versions of characters more similar to the puppeteering!

Peter: Puppets are a fantastic way to present the characters in this story. Whereas an actor is a person who we all know is someone who isn’t really “Tall Pig” (they are “Peter the touring actor who exists outside the show”), the Tall Pig puppet is Tall Pig. The puppets are created to play the role and therefore the audience sees only the character in the show. I love working with puppets because of the investment the audience can have in a piece of foam and cloth. There is no thought in the audience’s mind that, as the wolf goes to eat tiny pig, that it is just a puppet and doesn’t really matter! No, IT’S TINY PIG!!! WHO’S GOING TO SAVE HIM!!?

3 Little Pigs is in The Salberg on Monday 13 February 2017 as part of Theatre Fest West with performances at 1pm and 3.30pm. For tickets or more information please contact the Ticket Office on 01722 320333 or visit www.salisburyplayhouse.com.