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    Interview: Off Main Stage bring Christmas cheer

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    Polly Waldron and Cameron Corcoran on Christmas Tales

    OffFest Nominated Off Main Stage (read our 4 star review of their most recent production Wolf here), are all set to bring some Christmas cheer to White Bear Theatre this December with three seasonal stories: Freaks, Bike and Scrooge. Ahead of the show, Cameron Corcoran and Polly Waldron discuss why they decided to make not one but three Christmas plays.

    What can we expect from Christmas Tales then?

    Well there are three plays. They’re about Christmas. Freaks is about two sisters clearing their dead aunt’s house over Christmas. Bike is about a step-mum buying her step-daughter an extravagant gift, and Scrooge is about – can you guess? I guess Scrooge is different because it’s a modern one-man version, where Scrooge is a lawyer with grand ambitions.

    Is there an over-arching theme within the three plays?

    I think we wanted something to show the audience that was cheerful for a change; we have a track-record for putting on plays that have a very dark tone. This was a chance to bring the lightness in and maintain what works for us: the absurdity of being. The over-arching theme, then: togetherness.

    So why Christmas?

    I mean it’s the most beautifully absurd thing, isn’t it? It’s like being British we hold back our emotions and our generosity and then we just unleash it over the Christmas period. It’s the best reminder that we’re human beings. It’s fun. Our plays are fun. Maybe if it was Christmas every day like Slade wishes we’d always be kind…

    Cameron Corcoran and Emily Wallace rehearsing Bike

    Tell us about the writing process you go through?

    We’re both big believers in having a script in the room, but that it’s not sacred: it’s limited to one person’s imagination and when you’re in a room there’s multiple imaginations to feed off. We can’t let the script get in the way of creativity, but of course we are faithful to the story being told, but sometimes rehearsals create a magic out of nothing and we always know that the script will develop for the better over the process – this is the sixth project we’ve done together and it’s worked for us so far…

    Annoying each other yet?

    Always.

    How are rehearsals going?

    Strangely. We are doing three plays, Polly is in Freaks, I’m in Bike and Tom Newton is in Scrooge. Due to schedules, we often have to rehearse the plays in separate locations, so we haven’t always been able to be present for each teams’ work in process. When we are though it’s reassuring to see that the work looks great and is actually really funny… and heartfelt… and relevant to the times we’re living in.

    Why should we come and see the play?

    Great question! They are human stories that we can all relate to. They’re exciting, provocative at times, sometimes uncomfortable, but deeply into the spirit of Christmas… and they’re all very funny. It’ll get you into the Christmas mood… and they serve a good pint downstairs.

    Our thanks to Cameron and Polly. You can visit Off Main Stage’s website here and follow them on Twitter here.

    Christmas Tales plays at the White Bear Theatre on 19 and 20 December. Further information and bookings can be found here. More

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      Feature: Adriana Randall on Method Acting

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      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

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      What are the Rules About Vaping at Theatres in the UK

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      Watching a movie with friends is an entertaining and relaxing experience. Many add to this experience by sharing a vape while watching the screen. Many gatherings of young people include vaping, whether it’s a game night, movie night, or a party. This is just something fun that doesn’t require any effort or attention and improves the vibe of the place.

      While you have the freedom to vape whenever you want in your house, it’s not the same in public places. There is no blanket ban on vaping in most places, but it is frowned upon.

      For example, it’s unlikely anyone will ask you to stop vaping in a pub, but this might not be the same in restaurants.

      No Theatre Allows Vaping.

      Theatres are a great source of entertainment and people wouldn’t be wrong to want to vape while watching a movie on a big screen. However, no theatre in the UK allows vaping indoors.

      While many people like the smoke and smell of the vapes, not everyone shares the same taste. Even if they were to enjoy the vibe, one wouldn’t want their kids to be influenced by it. If you are vaping around kids in the theatre, it’s likely they would want to do the same.

      There is also talk about how the smoke can worsen the quality of air indoors and that it contains particles of nicotine. This means we can’t blame them if they don’t want vapes around them when sitting in a closed hall. If you want to enjoy a movie while vaping, you should look for a small local theatre that might not have any specific rules.

      Another option, which can be pretty expensive, is to get a home theatre. You will need to buy a big LCD and some good speakers. With the right setup, it can provide a better experience than the theatre.

      Follow the Etiquette.

      Just because you love vaping doesn’t mean that everyone shares the same sentiment. Everyone is entitled to their opinion, and they have the freedom to choose their lifestyle. This world is just as much theirs as it is yours.

      If you want to do something that is still a little controversial, and rightfully to some extent, you should be one compromising instead of asking others to live with it.

      You should learn about the etiquettes of vaping indoors and follow them to the best of your ability. Respect others and educate yourself. If someone asks what you are doing or tells you how harmful it is for you and them, stay polite and answer them with facts. This way, they might become more open-minded.

      On the other hand, if you are to misbehave, they will associate this behaviour with vaping and vapers. It will only add to the superstitions and controversies already surrounding the vaping community.

      Vaping is Considered Almost The Same as Smoking

      Many people can’t differentiate between vaping and smoking. Some even consider it worse.

      This is one of the biggest reasons why many people have to avoid vaping in public. While it isn’t something a kid should do, many unjust negative stereotypes have been associated with it.

      The government hasn’t imposed any law on where you can’t vape. It’s the rules created by individual business owners. If we don’t follow their rules while on their property, they have the right to ask us to leave.

      If you are to find yourself in such a situation, it’s best to stay polite and adhere to their rules. If they are providing a good service, you have nothing to complain about. They create these rules to please the majority. If vapers were in the majority, they probably wouldn’t have these rules in the first place. More

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      Guest Post: Abuse of Power Isn’t Always So Black and White

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      Clayton Black on Daybreak Theatre’s Malpractice

      New stage play, Malpractice, explores the abuse of power by the authorities from the perspective of two individuals driven by personal tragedy. We asked Clayton Black to tell us more about this new thriller that is heading to Bread and Roses Theatre in May.

      Malpractice is a play that explores what happens when the people we trust to serve, defend and represent our best interests betray their values and duty to serve their own agendas.

      The last few years have presented many high profile cases that typify this ‘abuse of power’ and privilege at varying scales: from the seemingly perpetual lies, scandal and double standards for which certain members of the political class remain largely held unaccounted for, to tragic events such as the murders of George Floyd and Sarah Everard by law enforcement officials. These scandals have reverberated around the world, creating a palpable sense of fury, solidarity and igniting a movement that demands change and justice. But these are just the cases that made headlines and successfully occupied our collective social consciousness and attention span for a sustained period of time. Make no mistake: for every Sarah Everard and George Floyd, there are many more men, women and children whose names we’ve never heard and whose stories were never told. Their loss will forever remain a hole in the hearts of those who loved them. For the rest of us, they are little else than footnotes in humanity’s dark history.

      Whilst Malpractice is not directly inspired by or even addresses any of these events, I have certainly been influenced by them in its creation. But where Malpractice significantly departs from these real-life events is that it does not seek to recreate and re-vilify them. Rather, my intention has been to create new scenarios where the abuse of power committed by the two main characters – a lawyer and detective – are nested in the context of personal tragedy: heinous acts motivated by greed, hate and blatant disregard for human life are easy to hold in contempt and reject, but we rarely see in black and white when people are driven by grief and suffering. Humans have an instinctive response of empathy and compassion that enable us to find reason and justification in even the darkest and brutal of acts. Looking at the world today, it’s easy to conclude that the laws that are meant to be a reflection of our ethics, morality and values are written and enforced by people who often have the knowledge, means and position to escape consequences of their actions. Malpractice asks the audience where the line between vengeance and justice exists and, if presented with such exceptional personal circumstances and the position and power to evade consequences, how they would see fit to act.

      Whilst Malpractice can’t help but be a commentary on wider society but really it’s a manifestation of my personal cognitive dissonance. When I read the news each day, I am sometimes shocked to find myself simultaneously overwhelmed and desensitised to the dystopian reality humanity is creating for itself on a daily basis. Most of the time I experience an overwhelming sensation of resignation and reluctant acceptance: I tell myself “that’s the way the world works”, “some things will never change” and “go along to get along”.

      But there are moments when I – a generally mild-mannered person who has never demonstrated a meaningful ounce of political or social activism – grow weary of this pattern. There are moments I wonder at what point tacit acceptance of the social paradigms that enable such abuses of power make me an accomplice. Like many of us probably do, I like to imagine that if presented with opportunity, I would behave and act differently. But no man is an island: how many of us know the hearts and minds of anyone well enough to say that, under the right circumstances, we can’t be either bought, broken, corrupted or cowed?

      The production is written, directed, produced and starring Clayton Black, who plays the lawyer. He is joined by the talented Fiona Munro and Mike Younis, who play the detective and the victim, and together provide the emotional core and moral ambiguity of the play. Philip Gill, Carol Morgan and Richard Bobb-semple the prosecutor, judge and public defender who represent institutions and values of society being undermined and manipulated by ‘bad actors’.

      Malpractice is a drama/thriller for the modern day that blends topical world events with compelling characters and motives, and unabashedly dives head-first into dark subject matter that intends to slightly unsettle viewers. The play itself is completely impartial and dispassionate and offers no judgement of the actions of the characters: it is left to the audience to form their own conclusions based on their own values and beliefs.

      As always, our thanks to Clayton for his time in writing this guest post.

      Malpractice is being performed at the Bread & Roses Theatre in Clapham from the 17th-21st May, 2022. Further information and bookings can be found here. More