Slider

Subterms

    More stories

    • 150 Shares99 Views

      in Theater

      News: At least two pantos are going ahead. Oh yes they are!

      by

      Author: Everything Theatre

      in Features, Features and Interviews

      1 October 2020

      1,146 Views

      Guildford Fringe Theatre Company announce two live shows

      With pantomime season being cancelled up and down the country, it’s really great to see at least two are still going ahead in Surrey this Christmas, both from the capable hands of Guildford Fringe Theatre Company. Whilst a little out of our usual London catchment area, we all need some good news about panto season, don’t we?

      First up is the family offering of Beauty and the Beast. This will be playing at The Borough Hall, Godalming, from 12 – 26 December.

      Tickets for this can be purchased at www.GodalmingPanto.com

      The second show, D!CK The Adult Panto, is distinctly for the grown-ups. You can catch this at The Back Room of The Star Inn, Guildford, from 25 November – 9 January. This will be the ninth Adult Panto for Guildford Fringe, following sell-out success in recent years. 

      Each theatre venue will operate at a greatly reduced capacity to allow for social distancing. Face coverings will be mandatory. Group bookings will allow a maximum of 6 people to sit together. For full details of health and safety measures, visit www.GuildfordFringe.com.   More

    • 75 Shares179 Views

      in Theater

      News: BAC announces exciting new season

      by

      This season is also about radiating some LOVE into the world.Tarek Iskander, Artistic Director and CEO, BAC

      Even during lockdown the team at Battersea Arts Centre has been busy with online and community-based activities. But theirs really is a building that shouldn’t be left standing quiet for too long, so it’s an absolute pleasure to share the news of their upcoming season of events. These will be a mix of both live and online shows, and quite frankly, there is so much to choose from we really recommend you head to their website to check it all out.

      The main season is entitled Make/Love, which is, in their own words, “an ambitious season of daring and intimate work“. With show titles such as Come To Bed With Me, Sex With Cancer and We Will Still Breathe, it seems safe to say that BAC is, as ever, aiming to be creating the conversation around us.

      The summer’s successful Comedy in The Courtyard shows are being brought indoors, so what else could they be called but Live from the Grand Hall? There will be a good selection of comedy and live music, all livestreamed into your home.

      It might be a cliché, but there really is something for everyone this autumn. What’s even more amazing is that many of the announced events will be free.

      So what are you waiting for? Hit the button below and find out more! More

    • 175 Shares189 Views

      in Theater

      Interview: Matt Steinberg tells us about Outside Edge, a theatre company working with addictions

      by

      Outside Edge has spent the last 20 years as the UK’s only theatre company and participatory arts charity focused on improving the lives of people affected by any form of addiction; both those with addictions and those around them. When we saw an appeal via Crowdfunding, we wanted to find out more and offer our support. And what better way than an interview with Artistic Director, Matt Steinberg.

      What initially brought you to Outside Edge?
      Like many Artistic Directors, I spent the first part of my career as an actor turned freelance director. I’m originally from Canada and when I moved to the UK in 2011 I figured I’d be very fortunate if I managed to eke out a freelance career in a new country. It really never occurred to me that within seven years I’d be an Artistic Director. And Outside Edge isn’t just a theatre company, it’s also a participatory arts charity, so to my great surprise I’m now the CEO of a small social welfare charity with health and wellbeing outcomes; I definitely never expected to find myself doing that sort of job in a totally different sector!
      A few years ago I was at a tricky point in my career. I had directed a couple of successful fringe productions, assisted a bunch of great directors at great theatres and I had a strong professional network, but I couldn’t make the leap from producing on a project-to-project basis to being hired by a theatre company. I was too old or experienced for early-career development schemes and not experienced enough for Associate Director schemes. Basically, I was experiencing what another director referred to as the early-mid-career bottleneck effect where there are too many equally qualified candidates trying to land a very small number of jobs. 
      After a while I became pretty disheartened and wasn’t sure how I fit into the industry. So I applied to the Clore Leadership programme with a pitch that I wanted to drive change in the sector and help artists to develop sustainable careers in the theatre. In my application I said that to do this I MIGHT eventually one day CONSIDER being an Artistic Director. To my surprise the Clore offered me a place on the course. Then shortly after someone suggested that I start to apply for leadership roles, since that’s what I was planning to focus on during my Clore residential. 
      At first I resisted the suggestion, but since it was just meant to be an exercise to help me re-articulate my skills and experience, I thought I’d give it a try. The first Artistic Director job that came up on ArtsJobs was for a small theatre company and participatory arts charity that was focused on addiction, so the rest (as they say) is history.
      All of this occurred within three months of being accepted on the Clore course, which finished the Friday before I was meant to start at Outside Edge. So when I turned up for the two week residential my question was no longer, “Should I possibly consider thinking about becoming an Artistic Director?”, it was now urgently, ‘How the hell do I actually be an Artistic Director?”
      How do the two parts, theatre company and social welfare charity, work together?
      Outside Edge was founded 20 years ago by an actor, playwright and director named Phil Fox, who was also a recovering heroin addict and alcoholic. When Phil was in the midst of active addiction he struggled to maintain his creative practice, but through reengaging with his craft he found that he could support his recovery. He was driven to make work about his lived experience, but he also wanted to share with other people how creativity and drama could help them to remain sober. So from it’s earliest days Outside Edge has been both a producing theatre company and a recovery support service. 
      We still work from this model, whereby we produce new pieces of theatre about issues related to addiction, which may or may not be created by people with lived experience, and we deliver a series of free weekly drama activities for people affected by addiction. For example, last year we co-produced a play about chemsex at the Soho Theatre using a cast and crew of trained professionals, but we also presented a play at the VAULT Festival that was devised and performed by a mixed group of trained professionals and community participants about their lived experience of moving from addiction to recovery. We really don’t hold a distinction between community and professional artists. At the end of the day the audience judges the quality of the work onstage and not a performer or writer’s background or training.
      Now we’re starting to see theatres reopening, what plans have you got for the coming months?
      We’re in the final stages of assessing scripts for the Phil Fox Award for Playwriting, which is our inaugural competition for plays about issues related to addiction. It’s a really thrilling moment for us because we’re meeting so many new playwrights and building relationships that will help us generate new work over the coming years. 

      In the short-term, we’re focusing more on growing our participatory arts offer. We’ve had a 40% increase in need since the start of lockdown for our arts-based recovery maintenance activities and we don’t anticipate this will decrease any time soon. We’ve gone from delivering 5 weekly groups (and a Drama Taster Session project in treatment facilities) before lockdown to 9 weekly groups over the course of this year. We’ve just expanded our activity offer from West London into South London and we’re about to partner on a dance/creative movement group with the incredible Fallen Angels Dance Theatre who also work with people affected by addiction. So we are busier than ever before, but any work we present on stage over the coming months will be created by people with lived experience of addiction while we build our pipeline of new work as a producing theatre company.
      How have you coped with an increase in people approaching you for help?
      The average number of people attending each of our sessions has increased by almost half since the start of lockdown. Considering that we’ve practically doubled the number of weekly sessions we offer shows just how much people need a stable, consistent recovery maintenance activity during this challenging period of time. One of our participants told us after one of our drama sessions that he was, “grateful for this safe space. It’s keeping me sane. It’s keeping me alive.” So we knew almost immediately that for some of our most socially isolated participants we would become an important lifeline for the foreseeable future.
      We’ve always offered pastoral care in addition to our creative activities, but we never expected this part of our work to become as central as it has been during the Covid-19 crisis. Many of the people we support are incredibly vulnerable and have a range of very complex needs. From the start of the pandemic we had to refocus a lot of our resources on making sure people were safe, had enough food to eat and were able to connect with services in the local community, including their recovery support network. We discovered very quickly that a lot of our beneficiaries were digitally excluded or had poor digital skills, so a significant amount of work over the past six months has been around getting people online and fundraising to keep people connected. This was urgently necessary because, like most other organisations, we moved all of our activities on to Zoom in the space of two weeks.
      Because of this increase in demand for one-to-one support, we’ve had to hire another staff member to help us continue to operate smoothly. We’ve also become much more sophisticated with how we use volunteers. In many respects Covid-19 accelerated plans we had for expanding our participatory arts and pastoral care offer, we just didn’t expect it to happen quite so quickly!
      You’re currently crowdfunding, with a target of £2,500, is this funding for a specific project?
      Our current campaign is to help us cover some of the unexpected costs associated with this increase in need we’ve seen due to Covid-19. As social distancing measures continue, and with the possibility of stricter lockdown rules on the horizon, we’re especially focused on continuing to make sure our activities remain accessible for as many people as possible. This means that we need to be ready to supply more digitally excluded people with technology, mobile data plans and other types of support to make sure that they can remain connected to our activities and their wider support networks.

      There has been plenty of talk recently about how the arts need to rethink how they work in and with the local community, what could they learn from Outside Edge?
      Everything we do at Outside Edge is done WITH our beneficiaries. This means that the people accessing our activities play an active role in designing our offer. For example, we undertook a consultation process at the very start of lockdown with our participants about what they wanted from us and what they needed to feel safe. The feedback and suggestions we received allowed us to work in partnership with them to meet the needs of the community and to design new activities that were actually effective in addressing their needs. This produced a weekly Theatre Club that allows participants the chance to socialise online to discuss a streamed production (with amazing Q&A guests such as Michelle Terry, Roger Allam and Rupert Goold!), a Peer-led Check-in every week where they can support each other in their recoveries and a group that will get people physically moving through dance/creative movement. We would never have come up with these ideas without an in-depth consultation process and by creating space for the beneficiaries to speak with each other and with our staff. The result is that together we were able to come up with some wonderfully creative and very innovative solutions!
      I should say that one of the challenges we face is that it’s very difficult to co-produce arts activities with our community because many of them don’t come from a background where they were exposed to different forms of art, let alone different types of theatre. When we recruit people from drug and alcohol treatment facilities we usually find that about 50% will tell us that our Drama Taster Sessions are their first time participating or engaging in drama or theatre. Over the past couple of years we’ve started to arrange lots of free Theatre Trips for our participants to attend a broad range of productions so that they have a wider vocabulary to use when we ask them what they would like us to offer. This has led to some really unexpected projects, such as a module in Acting Through Song that we designed with them following a Theatre Trip to see a musical at LAMDA. 
      And is there anything you’d like to see Outside Edge do that right now just isn’t possible, maybe because of time/ resources? 
      Outside Edge is experiencing a really thrilling period of growth and, as a very small organisation, we’re all enjoying the challenges associated with punching above our weight. With the Phil Fox Award for Playwriting it feels like the first time we’ll be in a position to identify a pool of plays that we want to develop and build seasons around. As an Artistic Director this opportunity to discover new stories, build interesting creative teams and develop new audiences is a dream come true. 
      In terms of our participatory arts offer, we really want to continue to build on the incredible ideas that have come out of lockdown and maintain all of our new groups. Thanks to our online offer we’ve enjoyed meeting more participants from outside of London (and even outside of the UK) and we’d love to do more work across the country so that access to our activities isn’t based on a postcode lottery.
      There must be so many great success stories, is there any in particular that you think epitomises just what Outside Edge is all about?
      One example of Outside Edge’s ability to nurture new talent is a vivid story from eight years ago when we toured a production to a drug and alcohol treatment centre. The play presented was about a mother whose children were being taken away from her due to her addiction. In the final moments of the production, a client named Sonya Hale who had been in and out of the criminal justice system her entire adult life stood up and said, “That’s me! That’s my life!!” Sonya had not encountered theatre before, but once she left treatment she started attending our drama workshops, performed in our productions and eventually began to write plays for us.  Eight years later Sonya is sober, her son has been returned to her and she is now an acclaimed playwright whose plays have been performed at The Southbank Centre, The Big House, Latitude Festival and East15 University. Rehearsed readings of her first play Glory Whispers were performed at Theatre503 after winning Synergy Theatre Project’s national prison scriptwriting competition. Her monologue play Dean McBride was a finalist in the inaugural Heretic Voices competition, and was performed at the Arcola Theatre. Sonya’s story has been featured in the Evening Standard and she received a Jerwood Arts commission from Clean Break Theatre Company and HighTide Theatre Festival. Sonya is also an Outside Edge Theatre Company Associate Theatre Facilitator and leads our writers group. She said of her time as a participant, “Outside Edge, more than anything, has given me the greatest gift ever. Belief. Belief in myself and in the wonder of life itself.”
      Finally, what would you say with someone with an addiction, or those close to them, who think theatre just isn’t for them?
      They should just listen to one of our participants who is in recovery themselves: “Definitely go for it! It can be daunting to let your guard down and be silly, I found it difficult too, but as a result of stepping out of my comfort zone I’ve gained so much.”

      Our thanks and appreciate to Matt for taking time out of what is clearly a busy time for Outside Edge to talk to us. An organsation that we believe deserves as much attention as possible. More

    • 138 Shares189 Views

      in Theater

      Interview: How Keeley Lane zoomed to the top of the beanstalk.

      by

      With many families stuck at home with children during this summer’s lockdown, Zoom has offered some incredible ways for them to come together in a creative environment. Always keen to learn about new ways to present a show, we turned to Buglight Theatre’s Keeley Lane, whose Zoom production of Jack in the Beanstalk has been a big hit with families.
      Was Zoom always your preference for producing an online show?
      Zoom was the perfect platform as it truly allows for interactivity. If there wasn’t the capability for the audience to impact the piece then I wasn’t interested in making it at all. I personally would rather watch a good series or film than streamed theatre, so this needed to offer something different. And panto fitted well as it’s the perfect genre for interactivity.
      Did you find the Zoom features liberating?
      I’d never done a panto or family theatre before so it was all brand new. I’m not sure without the constraints of lockdown I would have ever developed and directed a panto, but it was a really fun, creative challenge.  It was liberating in some ways to be theatrical, and not to create a ‘shit’ film. We needed to remember constantly that this is theatre and play with its conventions, e.g. having the beanstalk as a real vegetable growing in front of Ms Pinch’s imaginary window.  
      Was it difficult to avoid compromising visual quality when working remotely? 
      We had to embrace the constraints of the visual quality: we had fab costume etc but not the budget to have our backgrounds all designed. But for the future, with a bigger budget I’d love to have a visual designer on board to create our virtual videos and backgrounds. I think with this though you forgive that it’s not perfect – it’s live theatre on Zoom and everything could go wrong, so that’s really exciting to be part of.  
      Tell us a bit about the audience interaction, and what considerations you have to make regarding that? 
      The interaction was crucial to the piece for me. I wanted the audience to feel active, not passive, so the interactions needed to feel imperative; for example, giving us magic words to help the beanstalk grow or helping Ms Pinch tell Jack & Dazey they had to get jobs.
      The fact we could spotlight people at any time I think meant the audience wanted to be more active and dance away at home so that we might select them. We had a system for letting people in to the show and were careful who we spotlit on Zoom. The host can hide anyone’s video at any time or throw them out, so it’s relatively manageable. 
      Is it difficult for actors to adapt to the small screen rather than a live stage? 
      Yes, a lot of what you have to play with is eye line and perspective to try and make it look like the actors are in the same room or place. If we had had longer I would have developed this further. We found that the further away from screen the characters were we lost connection with them, hence a lot of big faces in the screen. We pushed this a lot, playing with them really close up to camera as it’s the only thing we had much leeway with really: we didn’t have the luxury of space and depth as you would on stage. Interacting with the backgrounds and having something in front of you, such as Ms Pinch’s iron and window, allowed us to place them in the space. This is something that with more time and money I’d want to explore further. 
      [embedded content]
      The performances still needed the same energy as the big stage and so it meant the actors were occasionally projecting where we didn’t need to. It’s a hard line between having a lack of energy and too much on these little screens. We kept re-iterating we wanted big panto performances to get those expressive faces but maybe didn’t bring the vocal down as much as we could have at certain moments.
      What has the audience response been regarding paying for online content? 
      The reaction was brilliant – we even had a few viewers saying they were happy to donate a little more because there were five in their party. I think people appreciated the fact we were valuing our artists and paying them, so were happy to pay the price for that. There is a lot of free online content available, which is fantastic, but I worry it will devalue what we are all doing. 
      Do you feel online productions can offer a successful alternative revenue stream, or is it just a necessity in the current climate? 
      I don’t think these shows offer a great alternative financially. I do however think that regardless of whether lockdown continues or not they should be available to people. Lockdown has really highlighted how isolated a lot of people already were.
      When I did the Big Telly show on Zoom, in the Q&A afterwards there was a lady from NYC who is severely disabled and can’t leave her house easily. She said it was the first live show and audience she had been a part of in a long time. Seeing and participating in the audience was so special to her. She urged this work should continue.
      Another lady with autistic children expressed that while relaxed performances are good in venues this was a revelation, as her kids could scream and shout at home without bothering anyone and there wasn’t the usual bother of getting to the theatre. So I do think this sort of work offers an alternative accessibility package to venues and audiences.   
      Having created an entire family show in Zoom what’s next for you?   
      If panto can’t happen this Christmas we hope that a venue will pick up Jack & The Beanstalk for us to offer it to audiences far and wide with a bit more of a budget behind it.    
      We’re also developing a family show called Glow – hopefully in venues, but we will have a Zoom alternative as well. It’s about Gwen the Glow worm who has lost her glow, and the audience will help her to find it. It’s an introduction to mental health and resilience for young children. We just need the funding to make this happen.
      Glow was actually set to be our first family show before lockdown happened so we’d love to progress this. With Glow I think there will be puppetry classes, but we are developing it for both online and in person. 
      We’re also working on how to grow as a company and maybe go for NPO status next time round, so lots of work to do as an organisation. 
      The company I worked with on my first zoom show, Big Telly, are fantastic and are really pushing the boundaries with all of this. They are working with a gaming company to bring us Alice in Wonderland on Zoom. It’s set in a theme park: I cannot wait to see what magic they have for us. The danger with these Zoom shows is they get a bit samey, but I know with them they will really push forward to realise the next new thing!  

      As always, our thanks to Keeley for taking time out to chat with us. With panto season looking less likely as we approach the end of the year, we do hope Jack and the Beanstalk will available again for families to enjoy. More

    • 75 Shares169 Views

      in Theater

      Interview: Welcome to London’s newest venue

      by

      Personally, I think you can never have too many theatres, but perhaps I’m biased.

      You may think that the midst of a pandemic might not be an ideal time to open a brand new theatre, but that is exactly what is about to happen in Camberwell’s SE5. So we thought we’d have a chat with Georgia Leanne Harris, Golden Goose’s Artistic Director, to find out about the theatre, what we can expect from them, and of course, what Covid-19 has done to their plans.
      What was the initial inspiration for a brand-new London venue?
      Personally, I think you can never have too many theatres, but perhaps I’m biased. In reality we stumbled across a space that had such great potential, and that wasn’t really being used, and thought, ‘this could be something special’. The inspiration for the venue actually started with the venue itself; it was an opportunity we didn’t want to miss, and all of our plans have grown from there!
      What does Golden Goose offer that may not be available in many other venues?
      I suppose the obvious thing is that we’ve got quite a lot of space! With a lot of fringe theatres having small, black box rooms, we’re hoping to offer another option. We’ve got space and height to allow for those slightly larger casts or a band that some venues just don’t have the room for, and (when we’re allowed to be at full strength), we have the capacity to allow in some good crowds to share the work. 
      How has your thinking had to change due to the current situation?
      It’s absolutely changed how we launched this theatre. We’ve had to adapt like everyone else and look at how we can sustain and support artists and work with the new ‘normal’. We can’t currently host enormous shows, so instead we’ve sought out shows with smaller casts that we can offer space to. This means we’re still supporting artists and actually launching a theatre.
      We’re so incredibly proud of all the artists in our opening season. They are shows that are touring safely, that have come from cancelled events, that are revivals with important things to say. Our building and our community are going to build slowly and safely, but we’re thrilled to be able to adapt so that we can still exist as a new building at all!
      What can we expect to see at Golden Goose?

      I don’t think you can expect a certain type of show from us. We want to become the kind of venue where we ask artists what they want to say and work out how we can facilitate it. At the moment, we’re looking at runs ranging from a couple of nights, research and developments, rehearsed readings, all the way up to runs of 3-4 weeks for fully funded shows who feel they can sustain them.
      We do want to produce in-house shows once or twice a year as well, and this is something we’re looking to do in the spring. But for now, we have an amazing revival of Mark Lockyer’s Living With The Lights On which is full of chaos and hope. We have a UK premier of the musical Now. Here. This‘, and a poignant comedy Howerd’s End which looks at the life of Frankie Howerd and how he was forced to keep his love life a secret.  
      We also can’t wait to welcome Eating Myself by Pepa Duarte, which explores nurturing ourselves, women’s relationships with food and what it means to be Peruvian. And we have lots more coming this year that we aren’t even telling you about yet!

      How are you going to become a vital part of the local community?
      We really want to engage with the local area and provide a space that feels welcoming. Whilst it just isn’t safe or practical right now to have an ‘open doors’ policy, we would love to find a way of creating a place for people to sit and work in our bar during the day, and welcoming local artists into our space.
      We’re also planning further down the line working with teens in the area; offering drama classes and workshops about careers in the creative arts, as well as workshops for locals of all ages from practitioners in various fields. While our community engagement is likely to really kick off in the new year (when we can hopefully start to gather a little more safely) we will still be reaching out this year and making contact to say, ‘we are here, what can we do?’.
      All set for opening night then?
      Of course, we’d love to have a big launch night but that just isn’t feasible right now! Perhaps we’ll throw a delayed welcome night when we host our first in-house production, just so we have some excuse for a party! To me, just welcoming audiences into a building for the first time, especially after so much time apart, and having that first shared experience is a party in itself! 
      Thanks to Georgia for taking the time to talk to us about Golden Goose. The venue opens the doors to its first show on 13 October. We hope to see you all there. More

    • 138 Shares199 Views

      in Theater

      Interview: Chloe Nelkin on Positivity and where we go from here

      by

      I think one of the things we will learn from this nightmare is the power of the people involved in the arts community

      Chloé Nelkin Consulting has been a leading name in the world of theatre PR since it was founded in 2010. A decade on and it’s a name that anyone involved in theatre is likely to have come across, having worked with countless shows and some of the best fringe venues in London.
      And right now, with theatreland in the dark, and venues and those who work in the industry not knowing when they will be able to work again, what better time to hear from Chloé Nelkin herself about how we can stay positive and prepare for when we can finally take our seats again.
      Before we talk about the current situation, tell us a little about CNC, and why you’re such a respected name within the theatre scene?
      Firstly, thank you so much for such a kind introduction.  It really means a lot to me that we have great relationships with outlets like you. CNC is a PR and marketing agency working across the arts with a strong commitment to theatre from West End shows to small-scale pieces staged by new writers at the start of their careers, and of course the Edinburgh Fringe – a platform I’m hugely passionate about and which represents an important part of our year.
      Edinburgh is an incredible launchpad for new writers and new companies (take a look at schemes such as the Pleasance’s Charlie Hartill Theatre Reserve), trying out work for the first time on this giant stage. We’ve looked after some pretty epic shows in our time including the very first appearance of Phoebe Waller-Bridge’s Fleabag and Sabrina Mahfouz’s Chef.  But our support of new companies isn’t just limited to the Edinburgh Fringe.  It’s so special to me that we work with people and companies as they grow, helping pave their way to becoming the superstars of the industry.
      We only work on projects we love and with people we like and that means we’re able to stay honest and really committed to everybody we’re supporting.  I hope this ethos is why we have such close friends in the industry.
      How is CNC coping with the shutdown?
      Our work is built on relationships and, although we have lots of coffee or cocktail catch ups, a lot of what we do is over the phone or email.  So, while it’s bizarre to be at home, it’s also a transition that’s very easy to make as long as we have wi-fi!  I’ve become very au fait with Zoom and FaceTime and Teams and all these platforms mean we can actually see people and still speak face-to-face. 
      Are you concerned that some venues and productions companies may not survive the shutdown?
      Of course. It’s a concern shared by many in the industry but I also think it’s too early to get a true sense of what the theatre landscape will look like when we reopen. What is for sure is the amazing fighting spirit that exists among companies. I’ve had such inspiring conversations with creatives who are using this time to plan, create and think ahead, companies who are refusing to dwell on dire straits but planning ways to make their postponed shows even better and even more accessible. The whole theatre community is joining together as one large support group and I hope that this, combined with government and ACE initiatives, will enable as many companies and people as possible to get through these difficult times. 
      What advice would you have for shows that either closed early, or never even got to the stage?
      Know that you are not alone, make the most of the supportive community who surround you and ensure you are a part of the conversation – even in a small way.  Think about what assets you have that you can share – videos from the rehearsal room, rehearsal pictures, backstage footage, script extracts. Find ways to excite people about your project. Host Q&As on your social platforms explaining the origins of the work. Also use this as a time for development. Ask yourself what you would have done differently had you had an extra couple of weeks and, if possible, use this weird hiatus to implement those changes. 
      What do you think of the digital offerings that many venues and companies are putting online, and what advice would you give them?
      Not everyone has the resources to share work digitally and it’s important to be properly equipped to do this and not feel pressured to jump on the bandwagon. I think the way the industry has risen to the challenge of providing digital resources is incredible.  Take a look at HighTide’s Lighthouse Programme, Hoopla’s improv classes on Zoom or #OperaHarmony run by Ella Marchment.  Even though doors are closed, audiences still exist and it’s inspiring to see venues tackling this head on.  Remember to support initiatives from your colleagues and in turn they will support you.  As with normal show openings, there’s a lot of competition and we don’t want to drown each other out so it’s important to be respectful of each other in this regard.
      What positives do you think we should take from the current situation?
      I think everyone in this industry works crazily hard, often working long hours and not having much time to unwind and restore our energies.  Many people will struggle with the period of lockdown and isolation that we find ourselves in but let’s try to use this time for us – make sure you’re getting fresh air, remember to exercise, hydrate, go to bed at a decent time and find ways to relax and not worry all the time. 
      And what can everyone do to help?
      Many theatres, including those we work with, are asking the public to consider donating their tickets rather than having a full refund.  Of course, not everyone is able to do this but for those who can even the smallest contribution can offer major help. This is an unprecedented situation for any government and they continue to roll out new initiatives all the time to support not just the arts, but all the amazing businesses in the UK.
      On a non-monetary level, join the community and let people know you’re out there. Do you have skills to swap?  Can you offer advice to anyone who is struggling? Maybe just take a second to like someone’s post on social media if you think they’re doing something interesting and important.
      Will theatres be less likely to take risks on emerging talents when they reopen, or will this enforced break allow for a whole new generation of talent to emerge?
      I actually think we are going to end up with a combination of these situations – small new companies may have been knocked badly by the financial implications of our current situation and may take a while to rebuild and feel ready to take the risk of staging work.  But it doesn’t mean we won’t hear these voices, either in collaboration with other companies or through digital channels. 
      I truly believe in the fighting spirit of those in the arts and I do think that maybe people who haven’t yet broken into the industry will be using this time to learn from their future colleagues and to be creative. Take note of what other people are doing and ask yourself what you think works and what doesn’t.  Ask yourself what you would do better. Maybe, now is the time to develop a mini-plan which you have never had the time to do. As I mentioned before, now could be the time to re-consider on an already finished project and ask how you can make it better. There will, no doubt, be a huge appetite for theatre once buildings reopen but we are also going to have to entice audiences back through the doors with a host of amazing work. 
      What has been clear is how the whole theatre world has tried to rally around and support each other, for example New Diorama inviting the Bunker to host a final closing party at their venue. But is there more the industry could do to work together to ensure we all come through this bigger and stronger?
      I think one of the things we will learn from this nightmare is the power of the people involved in the arts community and I’m filled with joy seeing the shared positivity and hope which is galvanising others.  People are swapping skills, organising large-scale Zoom chats for colleagues in similar roles across the country and offering their services pro bono.  We are already working together in unprecedented ways.  It’s important to remember you are not alone.  If you need help right now, even just for a chat, don’t be afraid to ask.  Let the industry support you!  When the crisis ends, we will be closer as an arts community than ever before – better placed to work together, to help each other and to produce amazing arts projects that the world will be eager to receive.  
      And finally, what are you most looking forward to when we do return to normal?
      A lot of our future shows have quite uncertain dates right now but we’ll definitely be sharing news about the amazing things that are coming up as soon as we’re able to. I’m really proud of some of the fantastic companies CNC works with and there will be a lot of truly brilliant things to tell you about. In the meantime, stay tuned in to some of the venues we work with such as the Pleasance, Polka, Ovalhouse and The Actors Centre to see what they’re up to. 
      As for me, I can’t wait to commute, to get back into the office and see the CNC team in person, to hug someone hello and have proper face-to-face meetings.  I’m excited for normality.  But, in the meantime, I’m staying positive, taking my one walk a day and exploring the amazing part of London I live in and thinking ahead for when the doors reopen. 
      ============================================Everything Theatre would like to thank Chloe for taking time to talk to us, and as she says, this is a time we should all support each other. So, if anyone would like to talk to us for an interview, email us at info@everything-theatre.co.uk More

    • 63 Shares99 Views

      in Theater

      Interview: Say It Again, Sorry?

      by

      Say It Again, Sorry? Are a theatre company that don’t think theatre should be experienced from the comfort of your seat. Instead they hope to inspire and encourage people not only to be in the audience, but to be involved with all aspects of the show. Inbetween rehearsals, Everything Theatre caught up with the team to discuss their upcoming show, and how they plan to get the audience to take part.
      You’ve got two shows in the pipeline for 2020, want to tell us a little about them?
      Firstly, we have our interactive theatre production, The Importance of Being… Earnest?  A twist on Wilde’s classic play where the entire audience and cast come together to create the best live theatre show possible, after the star actor playing Ernest fails to arrive on cue. The show is being streamed live across the nation so the show must go on. It’s reflective of the audience who participate – which means it is different every night. Audience members are cast in lead roles and encouraged to break every theatre ‘rule’ they’ve most likely ever been told or adhered to. The show has been likened to a delicious mixture of The Play That Goes Wrong, Austentatious and Shit-faced Shakespeare  . 
      Second, we have Easel Peasel, an interactive art show which offers everyone the opportunity to express their inner Picasso! It is a joyous production that’s been performed at festivals such as Glastonbury, Wilderness and The Big Draw Festival since its creation in 2018 and will be on tour again this summer. Everyone that takes part is invited back to a pop-up exhibition to see their artwork displayed. A public vote will pick one lucky winner to receive not only the Peasel’s Choice Award but also an arts bundle sponsored by CASS ART. 
      And how difficult is it to be working on two productions at the same time, especially as both are completely different in what they are offering the audience?
      It is a challenge. Especially with cast often performing in both productions throughout the year. We are very lucky that we have a large core team – each company member has different roles to support each other and the smooth running of each project. Louise Goodfield is the Producer for Easel Peasel which allows the Artistic Director, Simon Paris to focus on The Importance of Being…Earnest?  The nature of the industry means that multiple shows and projects are a necessity, especially if a company wants to create new work and balance the books financially. You have to adapt and plan long-term strategies.
      You run open rehearsals for your shows, do you feel this helps to make acting more accessible?
      In our experience, yes. Not just acting, it also makes the creative process of theatre-making more accessible too. It allows a wonderful variation of experience in the room. With ‘closed rehearsals’ there is no way to learn what goes on in a rehearsal room unless you pay a fee or already know someone in the company. Closed rehearsals do have their uses, but it also means the show can only become the sum of who is present in the room. Allowing people to give feedback and participate allows more voices to have a say on aspects we may have missed because we are so involved in the project. At the same time, allowing others to be part of the process can build relationships, confidence and trust between audiences and theatre-makers.
      Your shows have a lot of audience participation, is this risky if you don’t get a very reactive audience to play to? And would you still recommend your shows to people who just want to sit at the back with their head down to avoid being drawn in
      Opening up a show in this way is always a risk but the skill is in how the actors cultivate an atmosphere where someone wants to be reactive, and how even being unreactive is also the right choice in the moment if needs be; the show can change someone’s mind about themselves as an audience and about interactive theatre in itself.
      We would definitely recommend our show to anyone! There are varying levels of interaction, some interactive moments you won’t even have to leave your seat – others will include full make-up and costume, so there is something for everyone. Even watching one of your friends or family members on stage who is a little more confident is hilarious enough for us to recommend to those who are a little shy. Audience members will never be forced to do anything against their will but we’ve had many people coming to the show that have said ‘I don’t want to be picked or interacted with’ and then after the show are very enthusiastic about how much fun they had getting involved. It is hard for us to convince anyone before they have actually seen it, that it is for everyone. In this respect, we can only let our work and our audiences speak for us. They often tweet us afterwards! The show is clearly advertised as interactive, the game is not hidden so it won’t be a huge surprise (we hope!). 
      Easel Peasel is certainly a very different affair, it looks more like an art class, is that a fair assessment?
      It’s more of an experience than a class, an opportunity for people to express themselves before they have the chance to judge what they are doing or decide whether their creations are good or not. People are often surprised with what great paintings they have managed to create in such a short amount of time. Then allowing other people to see and appreciate their art allows the audience to feel a sense of release and accomplishment that they have put something ‘out there’, just for the sake of creating.
      With the audience being encouraged to paint their masterpieces on a portable easel, are you constantly surprised by the quality (or not) of what is produced?
      Yes! We are so glad you asked that question. People can be incredibly imaginative with very few tools. We are lucky to witness the creativity of each individual that we come across. Sometimes you cannot tell the ages of any of the artists, we only give people five minutes to create something, and for most – this is exactly what they need to create something bold and fantastic! 
      What are the plans for the coming year with both the current shows?
      The Importance of Being… Earnest? will open at The Omnibus Theatre in Clapham 10th March -15th March. It then heads to Brighton Fringe at the Warren (The Hat) 6th-8th May and from there, to Edinburgh Festival Fringe for the entirety of August.
      We are currently programming Easel Peasel for a UK festival tour and hope to take the show to Edinburgh Festival Fringe with CASS ART to the Royal Mile as a companion to The Importance of Being… Earnest? 
      And finally, do you have any other mad ideas lined up for your next production that you want to share with us?
      Haha! Yes, we are very excited you called them mad – the madder the better! We are very keen to test the very boundaries of what we have already created and step further into the unknown. There are talks of creating a children’s show at the moment and a large-scale outdoor production.
      Watch this space.
      The Importance of Being… Earnest? will be at Omnibus, Clapham from 10 to 15 March. Tickets available at https://www.omnibus-clapham.org/the-importance-of-being-earnest/
      It will then run at Brighton Festival 6 – 8 May, tickets at https://www.otherplaceticketing.co.uk/5473/the-importance-of-being-earnest More

    • 138 Shares179 Views

      in Theater

      Interview: The creators of unReal City talk virtual reality at BAC

      by

      Playing as part of BAC’s Going Global season, unReal City blends intimate live performance by learning disabled artists with virtual and mixed reality, exploring what personal connection means in a world that is increasingly digital.
      Prior to its opening on 2 March, the makers of the experience spoke to Everything Theatre about what audience members can expect when they plug in, and the relationship, both now and in the future, between theatre and virtual reality.
      unReal City is a virtual reality experience for two people, can you tell us a little more about it?
      The audience will be entering a Virtual Reality showroom for studio apartments that are currently being built as part of a new Smart City development. The city is still being built, though some of the first residents are already in place. The city is designed to be fully accessible to residents from all areas of the community, including those with learning disabilities and autism.
      The unique aspect of unReal City is that the entire city can be accessed through Virtual Reality. This is particularly beneficial for residents who may have a variety of access needs, or who do not wish to leave the security of their apartment. Using Virtual Reality, they can visit any location from the comfort of their own home.
      This technology allows for greater inclusivity and offers more independent living for residents who might otherwise require special Supported Living quarters. 
      However, does the technology also prevent us from making real connections with each other and our physical environment? Does it dilute the effort that is necessary to genuinely engage with other people? Does it make our lives too streamlined and care-free?
      It is running alongside other more traditional theatre at the BAC, is this a good fit?
      BAC have an incredibly eclectic programme and are among the best venues for ensuring diversity in the productions they stage. This includes diversity of identity and experience, but also different forms of performance. It feels completely right that we start developing this VR experiment at this wonderful venue. 
      How long has this taken to bring into existence since the initial idea was mooted?
      Tristan and Nick began discussing the idea 18 months ago. After bringing in artists from Access All Areas to develop it further, the piece began to take shape.
      Initially, we ran workshops in the streets around Liverpool St Station, encouraging AAA artists to think about the effect that the city had on them as neuro-diverse or learning-disabled people. In parallel, we explored Smart Cities and the increasing use of technology in connecting and simplifying our relationship to the built environment. This grew into wider questions about how the online world affected us as disabled and neuro-diverse people, and as non-disabled and neuro-typical people.  
      More and more we realised that we were making a piece that was relevant for everyone, regardless of whether we’re disabled or not. New technologies throw up so many questions about how we connect and make connections with others – this is relevant for all of us. 
      Now, we’re staging a month-long work-in-progress run. There is so much to explore and question with this project, and it feels right to do that in stages. This is the first “prototype”, and the first time the public will get a glimpse of our ideas.
      It’s for two people at a time, can you tell us why that is when VR is so often a sole experience? Is there interaction between the two audience members?
      The experience can be enjoyed solo or in pairs. Interaction between audience members is welcomed but not obligatory. There will be, however, live interaction with the artists, both inside and outside of the VR world.
      The show info states “blending intimate live performance…” does that mean that there is more to this than putting on a headset and being immersed in VR?
      Yes – you will be able to interact with each other, with the artists and with the environment. 
      Do you feel that VR is going to become a more integral part of theatre in the future?
      VR will probably remain an “event” activity for a while yet – i.e. an experience that is created and curated for a festival, a special performance (like ours) or perhaps a commercial event or new technology show.
      Whilst there is a market for individuals to buy VR headsets and access VR-ready games and films at home, this hasn’t fully taken off yet. 
      Regarding theatre, you could argue that in the UK it has always been a little slow to embrace change and new ideas, particularly where new technology is concerned.
      The technology itself also has some catching up to do. In the tech world, Magic Leap was meant to be the new MR (Mixed Reality) benchmark – a bridge between VR and AR (augmented reality). In reality, Magic Leap turned out to be a slightly disappointing product that needs another two or three further developments before it can be really satisfying for users.
      Whether VR, AR, MR or XR – an umbrella term for mixing all of these media – will, or even should, become a more integral part of theatre is still unclear and up for debate. For us, these are fascinating new technologies that perhaps still haven’t been fully exploited artistically.
      And what is the future for unReal City come the end of March?
      We have ideas but won’t know for sure until we’ve gone through this current process – that will guide us for the way forward. For now, we’re excited to share this experimental stage with audiences for the first time.
      =========================================================
      unReal City plays at BAC between 2 and 28 March. Each show lasts approxiametly 30 minutes and can be booked up between 12.15 and 10.15. Bookings can be made online at https://www.bac.org.uk/content/45653/whats_on/whats_on/shows/unreal_city More