Features and Interviews

Subterms

    More stories

    • 75 Shares129 Views

      in Theater

      Interview: Tellling The Truth for Pinocchio

      by

      Justin Audibert and Eve Leigh on Unicorn Theatre’s Pinocchio

      This Christmas at the Unicorn Theatre there’s not just one, not two, but three shows for families to choose from, both live and streamed. We were delighted to have the opportunity to chat with Artistic Director Justin Audibert and Playwright Eve Leigh about one of them, Pinocchio, and ask them about what they are getting up to with this classic family favourite.

      Hi Justin, Hi Eve! It’s fabulous to get a chance to chat with you about Pinocchio – the Play at the Unicorn this season. I was going to start very rudely with “Duh, why Pinocchio AGAIN? Everyone does that!”, but having seen the incredible Gulliver‘s Travels you guys came up with earlier this year I now know better than to doubt you. What prompted you to choose this play?

      EL: We’re in a moment that many people describe as “post-truth.” In a post-truth world, what is the value of telling the truth? Why teach our children to tell the truth? What kind of behaviour is encouraged in a world where your word is assumed to essentially be worthless?

      I wanted to make a version of Pinocchio that was incredibly joyous and satisfying as a seasonal play, that also, quietly but persistently, asked these questions. How are we in relation to each other?

      JA: Eve spoke with such a clarity of vision about how she felt the story sang to her that I was compelled to commission, and she duly delivered with her first draft. But what additionally surprised and moved me so much was how rich and true to life the relationship between Pinocchio and Gepetto was. In this version you see Gepetto struggling to be a good parent just as much as Pinocchio is struggling to be a good boy, and that is where the heart of the story lies.

      The story originated in Italy way back in 1883, in Carlo Collodi’s brilliant book: are you going for a traditional style of Christmas show reflecting its heritage, or can we expect some twists and tech?

      EL: Justin will talk more about this, I’m sure, but this is a playful, theatrical production that makes great use of puppetry and a very physical ensemble!

      JA: We have all the festive bells and whistles that you could possibly want; sparkles, dances, live music, a set so delicious that you want to eat it right up, but we also have not shied away from the danger, darkness and surrealism of the original. Collodi mixes light and shade up so powerfully in the novel and we have been inspired to do that with this production. Any moment you find yourself belly laughing you are probably in for a nasty shock thirty seconds later…

      I see there are puppets in the show, designed and made by the amazing Chris Pirie, and you have the fantastic Laura Cubitt directing puppetry and movement – both top talent! Can you tell us a bit about this?

      EL: Chris taught Jean Chan, our wonderful designer, when she trained at Royal Welsh College of Music and Drama so she was the first person she thought of when we realised we wanted to play with scale and puppetry in the production. Chris works with such love, care and attention to detail, but he also has a very funny sense of humour. I think the children will be scared of his hulking dogfish and I think the parents will be chortling away at his interpretation.

      Laura has been someone I have wanted to work with for ages because I have followed the shows she has made and her work as a performer. It’s been a dream collaboration. She has such a wide range of skills and influences that have fed into the show. Special mention of course has to go to the delicate work she has done with Peyvand Sadeghian, our Pinocchio, in slowly turning the character from a marionette puppet into a real boy. Also, she has done some wonderful work with Susan Harrison in creating Marmalade the Cat and in giving us a Blue Fairy in Eleanor Wyld with a whole heap of world weariness, but also true magic. It’s been such a lovely experience.

      What about the rest of the cast? I’m presuming there are also some humans onstage?

      EL: For me, something that’s given the production a lot of richness is that Peyvand, playing a puppet, is also a professional puppeteer. I feel like you can really see that in what they bring to Pinocchio –  there’s just a specificity and delicacy in their performance that helps the production language between puppets and actors come together.,

      JA: Tom Kanji as Gepetto likewise brings such a tenderness to his portrayal and yet such a vulnerability and humanity. He isn’t the doddery old man in the Disney film; he is so much more rounded and flawed. And then Tom gets to absolutely let his comic chops rip in portraying the raffish and dastardly Fratello who leads Pinocchio astray. Additional shout outs to Pinocchio’s sticky fingered, studious best friend Polpetta (Eleanor Wyld), who is maybe the pinkest thing on the planet and to Sam Pay’s utterly terrifying bully Mommo, part giant manbaby part arsonist. My personal favorite character though is Eleanor as the toy obsessed Duchess, with a golden wig from the heavens. It has to be seen to be believed.

      Using puppetry as part of the production, I’m guessing it will be taking us on adventures to places we wouldn’t normally get to go. What can you tell us?

      EL: Did you ever wonder if there were glow-in-the-dark fish skeletons inside a shark’s belly? WONDER NO MORE (and spoiler alert).

      JA: Ha ha ha! Eve, I can’t believe you’ve spilled those beans! We also do some very fun and magical flying too – well, it is Christmas after all.

      Many of the audience will know the story from the Disney movie, which has some fabulous songs in it. Will you be having music too?

      EL: Yes we do! Our brilliant music is by Barnaby Race, played mostly on the accordion by Sam Pay and sung by the cast.

      The original story is about Pinocchio’s moral development, which sounds a bit heavy going on paper. Will there be themes that are fun and relevant to today’s audiences at Christmas?

      EL: Absolutely. I’m tempted to list some of the more obviously fun and ridiculous things the production has – con artists! A murderous ginger cat! The Blue Fairy as played by Carol Kane from Unbreakable Kimmy Schmidt! – but really, what the production is about is the ways in which we are real to each other. We can’t understand that we’re real until we understand that other people are real, that the impact we have on other people is real. Being reminded that we’re real, that other people are real, and that our actions matter, could not be more important going into this winter.

      JA: Amen to that. We want to spread joy, laughter and hope with this beautiful show this festive season.

      Many thanks to Justin Audibert and Eve Leigh for taking the time out of their busy schedules to talk with us. Pinocchio runs at the Unicorn Theatre from 6 November – 31 December 2022 and is aimed at ages 7+. Check the website here for full dates plus a range of access performances. More

    • 63 Shares149 Views

      in Theater

      Interview: Diving into The Drought

      by

      Playwright Nina Atesh and Director Chloe Cattin talk about The Drought

      A psychological horror in an original setting with a tight, smart script and performances to match.

      That’s how we described The Drought in our review when it played at King’s Head Theatre. With the play now returning to Old Red Lion Theatre as part of Grimfest, we caught up with its writer Nina Atesh and director Chloe Cattin to talk about life on the seabed.

      Tell us a little about The Drought, what can audiences expect?

      Nina: The Drought is a story set on a Victorian British Navy ship, several months into an unexpected disaster where all the ocean all over the world has disappeared. The crew have left their ship, and the only two people remaining aboard are the Captain and his steward. I would say don’t expect your typical horror story. There are no jump scares – not a lot of graphic gore. What I tried to create with this play is a sense of desperation, a chilling dread in the wake of something terrible and unimaginable happening… and what that does to the human mind. Essentially it is a story about madness – but there are other major themes in there of colonialism, hierarchy and servitude. 

      Chloe: Nina has written a beautiful play – even on the second run of it, it still brings up questions and interpretations in the rehearsal room. I think audiences can be expected to be confronted with their own humanity. The pandemic is still quite recent – our lives were disrupted for a time and we entered into our own modes of survival. That’s where we meet the Captain and his Steward – in survival mode. They cling and claw onto what is familiar in the midst of this unspeakable happening.

      How did you feel the run at King’s Head theatre last month went? Reviews, including ours, were quite positive, you must have been pleased? Have you made (m)any changes for this second run?

      Nina: This is my first ever play – so to have it debut at the King’s Head was just an incredible experience! It’s a really hard time for Fringe theatre at the moment, so the support I had from the theatre and the audiences was so great. The feedback was really positive, I was certainly surprised considering we didn’t have the chance for previews or any R&D’s in the lead up. I just kind of threw the production in at the deep end! But I had faith in the story, and a lot of faith in the performers, who are all incredible – so I think it worked out well for us. As a writer, you’re always thinking of tweaks, or what could be done differently. I watched the show every night, and I knew we had another run coming up in November so I came away sort of buzzing to get back into the script again. There hasn’t been a great deal of time to make too many drastic changes, and you’re always limited by what you can do on a Fringe stage(!) but there are certainly some things I took away from that first run that we’re trying to inject into the upcoming one. 

      Chloe: Alex McCarthy and Nina did such a wonderful job for the run at the King’s Head. Alex – for his beautiful direction and sound design and Nina for her incredible script. It’s exciting to have another chance to work on the play in a different space because every performance is site specific in a way. It’s not a question of transposing the play from one venue to another but looking at what challenges and opportunities the space yields. So whilst the script has had a few tweaks, the staging has changed quite a bit.
      The King’s Head Theatre was laid out in the traverse so the actors could be seen by the audience from all angles – there was nowhere to hide! The two sides of the audience were seeing two sides of the story. We performed on the set of another show as well so had a few elements we had to work with at the last minute.
      In the Old Red Lion, there is a more traditional, end on, configuration and the space is ours for our entire run so we can really settle in! It feels more intimate and confrontational, almost claustrophobic. Walking up the stairs up to the theatre feels like a ship. It feels a bit more immersive.

      Chloe, you are taking over as director in Old Red Lion, have the cast been welcoming or have you had to stamp your authority down immediately? Tell us a little about first working on the show in King’s Head and now moving to directing it in ORL? 

      They’re such a great group, it’s lovely to be working together again after the first run!

      The creative team made it clear early on that I shouldn’t have a carbon copy of the show at the Old Red Lion but to use the second run as an opportunity to take on the feedback from the first run, and have another iteration of the show. Alex said he wasn’t ‘precious’ about the work but just to make it even better. Which is quite a unique position to be in as an associate director because usually the originating artist is very specific about what they want. 

      As the stage manager for the King’s Head run, I got to know the production on a technical level – doing pre-show checks, writing lists, giving the actors calls, operating sound and lights and generally holding the space for the cast and creative team. Whilst operating the sound and lights, you get a feel for how the piece breathes and moves with the performers. As a director I’ve still got all those elements in my head but I’m now in a position to influence the piece with feedback from the first iteration and my own understanding of the play.

      Nina, take us a step further back in the development of the show: how did Andrew Callaghan, Jack Flammiger and Caleb O’Brien come together to become your naval trio?

      We did group auditions and funnily enough, Andrew, Jack and Caleb all auditioned together. For me it was a thing of just seeing these performers instantly gel, and thinking to myself almost as soon as they walked through the door – oh my god. This is our cast. These are my characters! There was an instant dynamic there, and they brought things to the characters I hadn’t even thought of whilst writing it. I think that’s what you look for in a performer – someone who can see things between the lines. It was a fascinating process for me, someone who’s come from a performance background myself and being on the other side of it was just so thrilling. I remember loving that day – it was such a rewarding part of the process. 

      Listening to our recent podcast where we chatted with Nina and a couple of the cast, it sounded like The Drought became a very collaborative process once the script met the rehearsal room, can you expand a little on that?

      Nina: Yes, it really was. Again it’s that thing of the actors finding so much in these characters, that you don’t want, or even need, to push them back and say – no he wouldn’t do that, or say that – because they understand the story and their characters so well, that it’s easy to make those edits in the rehearsal room because you know they work and make sense. I remember Andrew (who plays the Captain) coming in on one of our first rehearsals with this whole fleshed out background for the character, with a family and a career history and everything! And I just thought wow… this guy knows the character even better than I do!
      What was great about the creative process too, is that the team weren’t afraid to question things in the script, maybe even things about the characters or their intentions that I had overlooked. So it was a really fun process. I think writers can have a tendency to be quite insular – can get stuck away in their own little world and then just shield themselves from the rehearsal room. I’m the complete opposite of that – I want to see it grow and take a shape. I think it makes you realise things about your own writing that you never would’ve thought of before. The Drought is one of those stories with lots of unreliable narrators… there’s a lot of deception – who is telling the truth? So it’s really important for a play like this to be worked through in a way that is collaborative.

      Chloe: And it’s still a very collaborative process going into the Old Red Lion! It’s my favourite way to work as a theatre maker! Everyone takes an active part in the making of the work, the work is never done. The actors know these characters so well and are constantly interrogating the work. Nina’s encyclopaedic knowledge of the Navy is indispensable in staging the work too. It really is a very collaborative process. 

      You are back in rehearsals this week; we imagine it’s a somewhat different process when everyone knows each other already and has at least some familiarity with the script. How has it been going?

      Nina: Honestly I couldn’t wait to get back into rehearsals, not just to get stuck into the play again, but also because I genuinely just enjoy everyone’s company! It sounds cliche – but they really are just a lovely bunch to work with. I think there’s been enough time since the first run that it feels a bit fresh, but not too long that it’s been easy to get back into the swing of it and immerse ourselves back into this world. It’s a different space so it’s interesting to think of the set up of the cabin (which is where the whole play takes place) and think about new things we can do with the set with the extra time we have.
      Chloe: There’s a shorthand not only with the group but with the play itself so we have been able to dive right back in! It’s so rare to get the opportunity to work on a play again, to look at it with all the experience of the first run but with the novelty of a new space. 

      Moving on from The Drought, what is next for you both and for Pither Productions? Is there anything coming up you can tell us about?

      Nina: The British Navy and Victorian expeditions really are enveloping my life at the moment! There’s some very very brief and early stage discussions about possibly adapting The Drought for TV but that really is dependent on some higher up the food chain powers that be! For now I’m just really enjoying it being on stage, and would love to take the show on tour next year if we can get the funding for it. But away from dried out earth and hairy sea captains… I’d love to bring more horror on to the stage. I’m really keen to promote more of these chilling, atmospheric tales that can have such an impact in small intimate venues like fringe theatres – and not just for the Halloween season(!) So I plan on spending this winter putting pen to paper again and maybe writing something new. So watch this space… 😉 

      Chloe: I’ve got a busy and varied season of work coming up! After The Drought, I am directing a rehearsed reading of The Prophet of Monto by JP Murphy which we have just cast. Then I’m directing a Christmas show Deck the Stalls, an anti-panto written by Lydia Brickland, for a mini London tour in December. I’m also prepping for Dead Positive by Hannah Kennedy which has a run in February next year. We’ve also just finished casting it so it’s wonderful to have it slowly come together.

      Our thanks to Nina and Chloe for taking a break from rehearsals to chat with us. All photo credits: Bethany Monk-Lane 

      The Drought plays at Old Red Lion Theatre from 1 – 4 November . Tickets and further information can be found here. More

    • 63 Shares149 Views

      in Theater

      Feature: Shaftesbury Theatre: Dramatic Transformation

      by

      How Shaftesbury Theatre’s exciting renovations are helping put heart into the art of the West End

      The Shaftesbury Theatre, currently home to & Juliet, this week revealed the latest stage of its £10 million ‘Dramatic Transformation’ programme, and Everything Theatre was invited along to see what they’ve been up to. It’s an impressive project; but the tour revealed that what’s unique about the theatre is more than just the building itself.

      The Shaftesbury is the largest independent theatre in the West End. A gloriously ornate Edwardian structure, built in 1911, it has withstood two world wars and a more recent global pandemic. Our host, Executive Director James Williams, explained not only how the Grade II listed building has been carefully future-proofed with a massive investment in its infrastructure, but spoke with passion of community connections, networks and wellbeing.

      In 2013 a series of building improvements began, including installation of offices and an impressive £5 million flytower, which are visible from the roof. The foundations and steel legs for this were installed during just two eight week dark periods back then, and the top section followed, in 2015. The theatre remained open throughout, with construction work during the day and performances of Memphis and The Illusionists each evening. In 2016 a lift was fitted down to stage level, where there is an accessible dressing room and toilet for performers with mobility issues.

      The seed for further improvements began when Camden Council announced its intention to develop Princes Circus, including pedestrianising areas around the site. Realising that the theatre owned the land beneath the road, they seized on the opportunity to extend their basement premises. This week sees the launch of the beautiful 1911 stalls bar, constructed 3.5 metres underground. The renovation process revealed layers of the past, such as the bare bricks of the bar, which have been kept. The white tiles of the former heating plant also remain, but the space is now innovatively reinvented as a cosy hospitality area: the new Taffner Suite, named in honour of the late Don Taffner Sr (former Chairman of the Shaftesbury’s Theatre of Comedy Company and father of the current Chairman, Donald Taffner Jnr).

      The theatre’s beautiful historic ceilings have now been renovated, allowing for working platforms in the technical void above the dome ceiling. Formerly technical staff would be unable to stand when working above stage.

      Further refurbished public spaces have also been unveiled, including over fifty new toilets, a state of the art air-conditioning system and reconfigured seating in the auditorium. Access needs have been enhanced with the fitting of a public lift from street level to the stalls, along with thirteen new wheelchair spaces and removeable seats, which will eventually be installed throughout.

      All of these improvements set the theatre up for a great future. But clearly there is more to it than bricks and mortar. James spoke of the Shaftesbury as above all a space for people; a place to “feed the soul”. Wellbeing is at the heart of many of the changes. A flat space set back from the steels of the flytower offers a peaceful rooftop recreation area for staff, whilst the stylish entertainment spaces open the building to new visitors by day, for meetings and creative events. And it’s good relationships in the industry, at the council and in the local community that forge the distinctive, independent personality of the Shaftesbury, making it unique.

      This is a fabulous West End theatre that truly has a beating heart beneath its art. Its new features will allow it to welcome customers new and old to fabulous shows for many years to come.

      & Juliet is booking at the Shaftesbury Theatre until Saturday 25 March 2023. Details are available at https://www.shaftesburytheatre.com/events/juliet/ More

    • 63 Shares149 Views

      in Theater

      Interview: Now with Not Now

      by

      Max Elton and Matthew Blaney talk Not Now

      Finborough Theatre 1 – 26 November.

      In advance of David Ireland’s Not Now opening at Finborough Theatre in November, we chatted with Director Max Elton and actor Matthew Blaney about the play, playwright and bringing the show to London audiences.

      What can you tell us about the show.

      Max: The show is about a young man, Matthew, who is about to travel to London for an audition at RADA. The timing is not good, his father has just died, and in his place, his Uncle Ray emerges as confidant. The question is, is Ray able to help him navigate this difficult time, or is he a bit useless? David Ireland writes two types of plays. In one type babies are brutally murdered and dogs are romanced. This is the other type – though I think giving away anything more at this stage would be a bit of a spoiler and we wouldn’t be caught dead doing that. I think people will laugh a lot and feel like they’ve been treated to a deeply satisfying evening at the theatre – all in about 50 minutes. 

      Matthew: The play takes place in real time, in Ballybeen, East Belfast, where my character Matthew (an aspiring actor) prepares for his RADA audition that afternoon in London. It’s the day after his father’s funeral. He’s rehearsing the opening soliloquy from Richard III when his Uncle Ray interrupts him. Matthew is naturally feeling underprepared and is having second thoughts about going at all, and what unfolds is an examination on grief, identity, loyalty and love between the two men. It’s also feckin hilarious. 

      Ballybeen is where David’s from originally and listening to interviews he’s done in the past, and discussions in rehearsal, Matthew feels alot like how he may have been as a youngster; Matthew’s a very sweet kid: angry and awkward, but also very sincere. There’s a decency that slowly reveals itself in him I also find very touching.

      Max, you directed the very successful Yes So I Said Yes at Finborough last year, what was your first exposure to David Ireland and what made you want to direct his plays?

      Before Yes So I Said Yes, I’d directed The End of Hope at Soho Theatre which was a lovely show. I had come across it after seeing Cyprus Avenue at the Royal Court Upstairs. My response to David’s writing was completely different to anything else I’d ever seen. His characters get pissed off about the same sort of things that I get angry about. I don’t come from Northern Ireland and I don’t share the same history as many of David’s characters but on some level I strongly identify with them.

      Matthew, were you familiar with David Ireland?
      He’s the best! I’m delighted he’s known now in London and that his work has travelled successfully. He was writing for the Lyric Theatre in Belfast when I was taking classes at the Drama Studio nearly ten years ago. I was hooked right away – I distinctly remember Can’t Forget About You was a breath of fresh air.

      David Ireland has previously said that he thinks he is only ever writing for a Belfast audience but his work clearly has wider resonance and success. In London, Not Now will be his third play at Finborough and the Royal Court staged Cyprus Avenue to great success. What do you think is behind his success?

      Max: David’s flair and insight are on a different level to the vast majority of playwrights working today. He’s a one off and that quality resonates with people, wherever they’re from. 

      Matthew: He doesn’t shy away from the darkness. Certainly with Cyprus Avenue. I think audiences everywhere crave a safe space to be challenged, and seeing the horrors we are capable of doing to each other. Not Now is a quieter piece, but the anger is similar.

      Did you know each other before coming together for Not Now, had you crossed paths socially or worked together previously?

      Max: They had not but I was aware of both Matthew and Stephen. I’m thrilled to be working with both of them.

      Matthew: Unfortunately not. Stephen’s brilliant to watch and learn from, and I’m excited for audiences to see what he’ll bring to Uncle Ray.

      How has the first week of rehearsals gone, are you discovering anything new about the text or characters now that you are together in the room?

      Max: Rehearsals have been very exciting. Reading Not Now only gives you a glimpse of the iceberg with regards to its depth. We’re several feet under sea level now. 

      Matthew: It stops being funny very quickly! For us I mean – the jokes are class but it’s all coming from a painful place. You’ve got to really go there a little to find the truth behind the words, which Max has been encouraging us to do. By the time we get it up and running, the audiences should be reminding us we’re in a comedy again.

      Matthew, as a Northern Irish actor and given some of the plays themes of identity, how does it feel to bring this to London? Is there a little extra joy or satisfaction in taking on a role where you are playing a Northern Irish character in a play by a Northern Irish playwright? 

      I think it’d be difficult to tackle this without the lived experience, which David obviously has. I’m excited for people’s response to the play. The identity question is clearly a frustrating one (as the text explores) which hit me hard personally at Drama School. I’m delighted to bring some of that into my performance, and for audiences to see the complexities unfold in a very immediate and intimate way.

      Many of our ET team list The Finborough as one of our favourite London venues, tell us a little about working with the team? Max, we believe this is your third production here, you must enjoy working with Finborough?

      Max: I think Neil (McPherson – Artistic Director, Finborough Theatre) is brave enough to program work that other Artistic Directors shy away from. It is heartening to know that Neil prioritises excellent writing above all other factors when programming the space. 

      Matthew: Everyone’s been fantastic. I’m very chuffed to be a part of the team, and to get onto the stage pronto. 

      Max, originally you were due to bring back Yes So I Said Yes after its successful run last year but some scheduling issues got in the way. Was there a sudden ‘oh s**t’ moment when you realised you won’t be able to go ahead?

      Yes there was an ‘oh shit’ moment. It was very sad and it made me want to run away and start applying for jobs in the civil service. 
      There are many good days working in theatre and those of us able to do it should consider ourselves very lucky but the bad days can be really very miserable. That said, out of the ashes has come the opportunity to work on a play that I loved the first time I read it so the Department of Digital, Culture, Media and Sport will have to wait until at least the new year.

      Tell us what you each have coming up after Not Now finishes? 

      Max: I’m directing a version of The Government Inspector by Nikolai Gogol at St Mary’s University, which I’m very excited about. Gogol characters can be truly repulsive but there’s something very clear and true about the way they act that I find very funny. 

      Beyond this I’ll be returning to my day job of repeatedly emailing Artistic Directors and Producers to assure them that I do indeed “hope they’re well” and am available for coffee at 1 hours notice.

      Matthew: I’m going to be doing a few nights at The Hope Theatre next year in January with a new play called The Best Pints by Jack Gallagher. He’s also a brilliant writer from back home and that’ll be nice to kick start the new year for sure.

      You can follow Not Now Play on Twitter. Our thanks to Max and Matt for taking the time to talk to us. Our thanks also to 19th Street Productions and credit to Lidia Crisafulli for the rehearsal photos.

      Not Now plays at Finborough Theatre from 1 November to 26 November. Tickets and further information can be found here. More

    • 75 Shares169 Views

      in Theater

      Feature: Singing Along at Musical Con

      by

      Excel Centre 22 – 23 October

      We sent Lily Middleton along to the first ever Musical Con to find out just what it is all about, and whether it could become an annual event for the legions of musical theatre fans.

      I think we’ve found the place where we belong

      [embedded content]

      Strolling from Custom House station up to the ExCel Centre and it’s easy to spot my fellow musical theatre fans. Whilst I’m sporting a “The show must go on” charity t-shirt, there are also a plethora of Queens from Six, residents of Oz, students of Westerberg High and much more. We’re all heading to the first ever Musical Con – a convention for fans of musical theatre.

      The convention is a mix of performances, panel discussions and opportunities to meet the stars as well as workshops for budding performers. There is a small selection of stalls with musical theatre themed gifts, temptingly charming embroidery kits and the newly launched Musicals magazine. If you’re looking to train in the industry, there are plenty of theatre schools on hand to offer advice and guidance. I met Sam Rowe, a musical theatre student at Trinity Laban with dreams of being Javert in Les Mis, who is there to inspire prospective students. He stresses how everyone in the industry must be a fan to start with, and there’s no shortage of them in this hall today.

      There’s a lot going on at Musical Con. And sadly, this is slightly to the detriment of the event. It’s very loud. Very, very loud. When watching the incredible Jenna Russell, she caveats her performance of one of Sondheim’s most exquisite songs, by saying “This is gonna be hilarious. It’s such a quiet little song.”, and she comically wonders what her friend, Sondheim himself, would have made of the situation.

      The whole event is in just one hall at ExCel, so the music and shouting from the workshops easily carries across to the main stage. It’s distracting at best, but at worst it completely spoils the performances on stage. In the ‘Backstage’ area, home to many fascinating talks, there are headphones on each chair (the type you’d have at a silent disco) but again it’s quite hard to focus. You can’t help but feel sorry for the stars on stage, battling with the general volume of the event. We had to keep leaving the event space every now and then to give our ears a break.

      Musical Con has also received some criticism online around accessibility issues, from not being clear in advance of the event for fans who were trying to work out if it would be possible and safe for them to attend, to issues on the day for those that did go. There is very little seating around the main stage; as a result you either have to stand for long periods of time, hope you can find a chair or just sit on the floor – not an option for all attendees.

      Having said that, when this event is good, it’s fantastic. The opening performance on the main stage featured six West End icons performing a real mix of classic show tunes and more recent hits. Highlights were Ben Forster with his goosebump-inducing performance of ‘The Music of the Night’, Alice Fearn charming us with ‘Into the Unknown’ and Trevor Dion Nicholas thrilling the crowd with ’Friend Like Me’. And it was an absolute treat to hear the crowd erupt when Layton Williams burst onto the stage in his icon-making role from Everybody’s Talking About Jamie.

      But my personal highlight was witnessing four past Elphabas, Alice Fearn, Louise Dearman, Laura Pick and Nikki Bentley, discuss their experiences of playing this iconic role in Wicked and performing some of Elphaba’s showstopping songs. Watching them perform ‘Defying Gravity’ together was an overwhelming experience, a real treat for the fans in the room.

      A new event will always have issues, but Musical Con has some work to do for next year to make the event more accessible and find a way of controlling the noise levels. It’s also an expensive day, at £45 for the most basic day ticket and up to £195 for a weekend VIP ticket. At first, I questioned whether the event felt worth the money, and when you can’t get a seat at the Backstage talks stage to hear the panel discussions, or need to leave the event space just to avoid a headache, it feels hard to justify.

      However, most of the visitors I spoke to were flying high on the buzz of the day. A sibling pair had travelled from Glasgow and said they hope it happens every year whilst friends who’d travelled for 2½ hours to be there loved the variety of things to see. A group of Phantom cosplayers told me about their “stand-off with Les Mis” with glee, before explaining how they felt the event was a safe space, where they can be whoever they want to be without judgement. It’s a place for musical theatre fans to come together and freely share their passion.

      Hopefully Musical Con will iron out its teething problems and address the communication and accessibility issues to make this event a safe and welcoming staple in the musical theatre calendar, for all its audiences.

      Musical Con took place on 22 and 23 October 2022. Check the website here for future announcements for 2023. More

    • 75 Shares149 Views

      in Theater

      Feature: Adriana Randall on Method Acting

      by

      Why method acting is more suited for the stage than the screen

      All images courtesy of Adriana Randall
      Adriana Randall is a film and theatre actress, and experienced theatre producer. A trained method actor, Adriana found the switch to film acting challenging in some unexpected ways. She also gained unique insights as an executive producer on a number of films into the world of method acting.

      She trained in method acting at the Lee Strasberg Theatre and Film Institute, having previously been at University College London. Since graduating with a degree in Method Acting, Adriana Randall landed key supporting roles in a number of films, including The Price of Desire and Experimenter.

      Below, Adriana argues why The Method is different for acting on the screen versus on the stage.

      Adriana says: “I found that, even after the two-year conservatory programme in method acting, you still are not totally prepared for acting on screen. For me personally, there is a huge difference in the necessary method preparation for theatre versus film acting.”

      The development of The Method

      Method acting was, of course, developed in the theatre. At its core, The Method encourages expressive and sincere performances through living, breathing, and identifying with the character’s inner world.

      Based on the acting methodology formulated and developed by Russian theatre expert Konstantin Stanislavski in the first half of the 20th century, method acting is all about truly experiencing the part.

      Three key practitioners are widely considered to have built on Stanislavski methodology to create The Method:

      Lee Strasberg for the psychological insights.Stella Adler for the sociological insights.Sanford Meisner for the behaviour insights.

      Together they created the method acting approach when they worked at the Group Theatre in New York.

      Method acting on stage versus on screen

      Adriana Randall argues: “Method acting is all about saturating yourself in the real-life sensory experience of the subject that you’re portraying. In order to bring the requisite truth to the character, you have to become the character, not the actress. This takes a lot of time, focus, energy, and the kind of approach that is more difficult to deliver when acting on film.

      “For me personally, it was immediately more difficult to keep the level of focus you need on a film set. The nature of film production means a lot of distractions all around you. Added to this is the time constraints and the sheer number of people executing their own parts to play in the process.

      “So, while you’re trying to immerse yourself in the psychological makeup of the character, there’s the costume designer or make up artists needing to complete their tasks between takes. There is a lot of chat and downtime on a movie set between cast and crew and a totally different pressure on the actor compared with theatre. You have to account for that.

      “On stage and in plays you have time to focus and prepare in your private space beforehand. There are far fewer people involved in the whole process compared with on film sets with more space and time to focus.

      “Of course, when you step on stage it’s with the knowledge that all of the preliminary preparation is complete. Your character unfurls and develops on stage and your body becomes the instrument to play your emotions. There’s no interruptions or stopping and starting.

      “On camera, by contrast, you complete take after take using different camera angles that it becomes very difficult to maintain the level of energy and focus that method acting demands. You can find that you’ve wasted efforts on a shot that ends up being a wide or establishing scene, rather than on you.

      “So, if you are full of the complexity of emotions that are necessary to bring your specific character to life and subsequently find out that the camera was not on you, this can take its toll on the next shot and the next. This can make it extremely tiring to maintain.

      Final thoughts

      “I’ve found that film acting is more about technique and repetition while theatre acting allows you to live and act more in the moment. Acting on stage allows time to feel your way into the character and enjoy the linear experience of the story unfurling. You may find that your reactions on stage aren’t controlled in the same way as they are on film, but they tend to be more real.

      “That’s not to say that the method acting techniques (many of which I learnt at the Lee Strasberg Theatre) before you go on stage don’t count. If you do the work before, then sooner or later you will find a plethora of real-life emotions to draw on.

      “At Lee Strasberg, I learned through the technique of dedicated relaxation followed by sensory and emotional memory exploration. It can feel difficult graduating from a school of method acting into a space where you have to make fast choices for your character scene by scene. There is also the added pressure on the film and television set of being under time constraints, and it can be extremely difficult to maintain the depth of sensory experience that keeps you grounded in authentic characterisation.

      “Method acting goes far beyond the surface portrayal of a character and, I think it can be argued, often separates good actors from great actors. You need to tap into your lived experiences, emotions, that you have gained over your many years. Lee Strasberg himself always said that method acting is what all actors do when they’re acting well. Immersing yourself in The Method can result in the performance of your life. However, transitioning to film acting brings with it new challenges that must be overcome for the actor keen to fully inhabit their character. In many ways I would have liked to have done post graduate degrees in pure method acting (if the even exist).”

      About Adriana Randall

      Adriana Randall is a professional film actor, and a feature-film producer and theatre producer (West End and Broadway) with her father David Randall at Marzipan Productions where she has multiple co-producer credits. Adriana made her motion picture debut in The Price of Desire. For more information on Adriana, please visit her personal website or theatre production company. More

    • 113 Shares129 Views

      in Theater

      Feature: A look at five of London’s top theatres

      by

      Whether you see a slightly smaller production in locations like Chiswick or you’re opting for a larger show at one of London’s major theatres, the capital of England is home to an array of top theatre shows in a number of respected venues.

      For some, the opportunity to see a West End musical has to be taken. For others, though, a dramatic play or amazing opera performance is their preference. Ultimately, whatever tickles your fancy, London most definitely has you covered. So, instead of staying indoors and staring at your mobile phone’s screen, be it your Twitter timeline or a game of Kingdoms Rise slots, book yourself a ticket to one of London’s finest productions. You won’t be short on options given the extensive selection of productions in this creative and hugely talented city either. You’ll have a truly memorable evening, too.

      From long-running classics to new and exciting smaller productions, let’s take a look at some of the top theatres in the city to consider. After all, these types of theatres tend to house the very best shows.

      National Theatre

      While going on a tour of the National Theatre is an interesting experience in itself, the comprehensive selection of different shows being hosted there is what separates it out from many other London venues. Located on South Bank, the National Theatre building has three auditoriums – the Olivier Theatre, Lyttleton Theatre and Dorfman Theatre – and champions a varied programme throughout the year. Some of London’s top productions are on offer there, alongside some newer shows with emerging talents. Given that it’s such an iconic venue, it’s well worth visiting.

      Shakespeare’s Globe

      A beautiful reconstruction of the Globe Theatre, an Elizabethan playhouse for which William Shakespeare wrote his plays, this is the perfect location to experience UK traditional theatre in all its glory. Some of Shakespeare’s best work is on show here, alongside a diverse range of other offerings. Overall, this replica of Shakespeare’s Globe theatre is the perfect place to see a show.

      Regent’s Park Open Air Theatre

      Only open in the summer months given the grim winter weather that can dampen London’s spirits, the Regent’s Park Open Air Theatre is a glorious spot to soak up an array of different productions. From comical offerings to drama-themed productions, this particular option offers up a season of Shakespeare and has managed to win over thousands of theatre-goers over the years. If you’re a fan of Shakespeare’s work and want to experience its beauty while immersing yourself in Regent’s Park’s greenery, then Regent’s Park Open Air Theatre is a truly fantastic option.

      Young Vic

      An iconic London venue, the Young Vic is an extremely influential London theatre that has become famous globally for hosting innovative and thought-provoking work over the years. Serving up a mixture of world-famous stars and rising talents, the diverse nature of productions at the Young Vic makes it an instant favourite with many theatre-goers. Offering excellent shows on the whole and cheaper tickets compared to many other theatres in the city, the Young Vic is a great theatre destination to consider.

      [embedded content]

      Adelphi Theatre

      A go-to favourite for many theatre-goers who visit the famous West End, the Adelphi is located slap-bang in the middle of the Strand and has hosted a number of iconic shows in its time. A lovely venue offering an excellent atmosphere and good views wherever you manage to find a seat, it tends to feature comedy and musical theatre productions, although other types of shows have also been popular there. Hit productions in recent times include Evita, Chicago, and Kinky Boots. More

    • 125 Shares199 Views

      in Theater

      Interview: Chanel Waddock on playing Desdemona in Frantic Assembly’s Othello

      by

      This autumn, Frantic Assembly Theatre Company set off on a ten date tour with their version of Shakespeare’s masterpiece, Othello. This production began its life back in 2008, was revised for 2014 and has now been updated once more for 2022. We had a chat with Chanel Waddock, who is playing Desdemona, to find out a bit about how a 400 year-old text fits in to our 21st century world.

      [embedded content]

      Hi Chanel. I think the last time I saw your work was on a TV screen in This Is Going to Hurt with the fabulous Ben Whishaw. It must be such a completely different challenge working with Frantic Assembly, who are renowned for their amazing physical theatre and precision choreography. How are you finding it?

      Hey! This is my first time working with Frantic Assembly and it has been magic! I first encountered Frantic’s work when one of my secondary school drama teachers showed me some YouTube videos of chair duets (Big up Sandhurst Secondary school and the gem that is Jason Hanlan) I then saw Lovesong, at the Lyric Hammersmith on a school trip, and still to this day it’s one of my favourite pieces of storytelling!  From then on I’ve followed all their work, and to now be in a production of theirs is very special, from being the wide-eyed teenager sat in the stalls of the Lyric Hammersmith.

      Yes, I guess TV and theatre demand different things and the process is very different. I love how Frantic concentrates on the physical just as much as the vocal. I think the stat is 70-93% of communication is non verbal. Focusing on the physical to enhance, to match and to do justice to the written word of the work has been super exciting. It has been such fun exploring how we conduct ourselves in this world of the pub.

      The legend that is Scott Graham [Artistic Director of Frantic Assembly] talks about the three universes of touch; before the touch, the touch and after the touch, an approach to character and storytelling I will definitely be nicking going forward – thanks boss man 😉 . The team really is filled with masters in movement.

      Othello is such a classic, respected play, but it has been around for ages – written in 1603! This being a Frantic Assembly production, I take it it’s not a dusty, fusty interpretation? Are you even using Shakespeare’s original text? Tell us a bit about how the production makes the story relevant in a contemporary context.

      Yes, we are speaking in Shakespeare’s original text, although I’m sure it may not feel like it to the ear and eye of the audiences sometimes.

      I personally enjoy work that reflects the world today socially, politically and undeniably emotionally. As much as Othello was written hundreds of years ago, the story transcends time and Frantic’s version of Othello, set in this claustrophobic pub riddled with hierarchy and the value of reputation, seems to have no expiry date. So many current issues and events feel present in the text and in this production. Thinking about Desdemona – especially in Frantic’s setting, this world of machismo and toxicmasculinity – it got me thinking about the spike in domestic abuse cases being reported during the pandemic; cases of sexual assault and violence against women; records within our monarchy of sexual misconduct and the rank abuse of power within Westminster; the US Supreme Court’s decision to overturn Roe V Wade and the ramifications that has on women’s bodily autonomy today. I think a play that tackles universal and immortal topics will always have as much life as it once did when it was originally written.

      You’re playing Desdemona, one of Shakespeare’s most loved tragic heroines. Is it a big responsibility playing her? And how does it feel to be the woman at the centre of this very masculine story?

      I love watching the endurance of people – people coping, people being wobbly, people being misunderstood and how that all manifests. That’s exactly what Frantic’s Othello is, especially for Desdemona – a woman in a man’s world filled with misinformation. I knew I wanted my Desdemona to be bold, bright, brave and ballsy. She is an active fighter and I wanted her fight to be felt.

      Of course I needed to honour what the story demanded and required (even though, at moments Chanel the actor didn’t want certain destinies for Desdemona). I think when playing a well known character of Shakespeare’s you have the weight and ghost of people’s ‘interpretations’ that have been done before. I wanted to purge myself of that and put my print and stamp on Desdemona that is bubbling with my authenticity as an artist. The responsibility I felt the most was to represent a strong, multifaceted woman, which felt current and truthful for audiences and specifically young woman watching.

      I believe there’s exciting music in the show too; can you tell us a bit about that?

      Frantic are a big fan of the musicians Hybrid. Frantic worked with them when they originally did the production in 2008 and the music stayed for the production in 2014 and our current show in 2022. 

      And you’re going to be touring until February; is this a production that will travel well around different parts of the country?

      Yes, we kick started the tour in Leicester, we have now done Liverpool and I’m currently talking to you from Plymouth. We go all over, up and down.

      Many thanks to Chanel for taking the time to tell us about this exciting new production, and we wish her and the company well!

      Othello is now touring until February 2023. Full toud dates can be found here.

      It completes its run at the Lyric Hammersmith from Thursday 19 January – Saturday 11 February. Bookings and further information for Lyric dates can be found here. More