Archives: Theatre

Spent the vast majority of the day/evening today back in the auditorium of the Royal Theatre in Northampton where we were running the technical rehearsal of Vikings and Darwin, the Youth Theatre show for the RNT’s New Connections festival.

I can’t describe how great it felt to be back in the Theatre and working on something.

I had the morning off, which I spent catching up on piles of work which were still demanding my attention, then had a huge drama with the file I was delivering to the Royal. Somehow the PowerPoint presentation that was being used to facilitate the projection had stopped recognising and playing the video. Cue two hours of mad scrambling to-and-fro between computers, re-encoding video to try to get it to be accepted by stupid, stupid, stupid PPT. I profoundly hate PPT. but what can you do? It’s by far the easiest way to control projection when it’s not running as a full movie, but need prodding for each new element.

Crisis averted, I arrived at the Theatre about 4pm and settled in to a seat to watch the lighting plotting session that was in full-flow whilst we waited for the projection screen to arrive and be hung.

As soon as it was up, we got to work making everything fit, then the cast arrived in the early evening and we began running through it, making the necessary adjustments and changes as we were going.

The cast departed around 9.30pm and we carried on plotting and working through the cues until 10.45, at which point I escaped back home, getting back at about 11.30 and taking myself almost directly to bed for a 7am start the next day.

Up again around 8am – second lie-in in a row! – and ran K down to nursery before popping in to see a friend who’s right at the end of her pregnancy and trying desperately not to let Baby come along yet. She was feeling awful today and really struggling, but she’s almost full term and there shouldn’t be any issues, which is something I tried to reassure her of.

I ran home quickly before popping down to the nursery to film an interview with K and the nursery manager for her course, which she then has to come home and edit into something coherent for her tutor to observe her clinical practice. Or something.

Had a look around the nursery, too, which is absolutely lovely. It’s a private nursery just down the road from where we live and it’s so beautifully set out with so many stimuli for the children. I dropped in on the babies (3-18 months) who were all unbelievably cute and gorgeous. The nursery itself is a large private house that’s been converted for use and the back garden is jam-packed with awesome play equipment which really let’s the kids throw themselves around and have fun.

Popped home again (lots of popping today, clearly) for half-an-hour before going back to collect K and coming home to polish up the multi-media stuff for the Royal’s scratch performance tonight, when I’ll finally get chance to see the whole piece as one and work a little on the timing of the various elements.

The majority of the afternoon was spent between Photoshop and Final Cut Pro, making logos and composites in the former and editing together a montage of war footage in the latter, all of which went pretty quickly and easily, to my surprise. I wasn’t sure I’d get it all done for the rehearsal/performance tonight, but in the end I did it fairly comfortably, which I was really chuffed with.

Headed to Northampton and dropped K at her appointment, then went on to catch up with a couple of friends I’ve not seen in ages. Suze, who I’ve worked with extensively for nearly 8 years, gave me some really good ideas of how to try to engage the Youth Theatre groups we’ve been struggling with recently, which I’m hoping I’ll be able to put into practice over the next term to try to pull the young people into the sessions and get them to engage.

After a quick coffee and catch-up, I moved on to the scratch performance, which started a little late but was hugely useful in working out how and when my pieces can slot in most unobtrusively, in order to best support the work that the group are doing on the stage.

Late start meant late finish again, getting away from the Royal around 9pm, which was quite a bit later than I’d wanted to get out, then picked K up from her bro’s house where she was babysitting while our niece was out with them for her birthday meal. I did get to see J, though, to wish her a happy birthday, which was really nice because I wasn’t expecting to see her.

Dinner, then, was incredibly late, getting home as we did around 11pm, which then meant I wasn’t getting to sleep until well after midnight as I was wide awake from the food. Ho hum. At least I get a proper lie-in, veg-out session tomorrow morning. Bliss.

Between organising some other bits and pieces today (and having a “lie-in” until 8am) I spent a lot of the day putting together the multi-media stuff for the Royal’s New Connections project, which was quite good fun.

In order to get it all to run properly and easily for the technicians operating it on the night, the best way of working it is to put it all into a Powerpoint presentation, which can then either be automated or run with single-push button progression. The only problem with that is that I absolutely hate Powerpoint. Apart from anything else, it’s so inflexible – there’s so many things I want to do with the transitions and other things, but you have a choice of 3 or 4 options which have no adaptability and no ability to customise them to your wants/needs. Frustrating to say the least.

In the evening I headed into MK Theatre to talk to their script writing course writers about possibly directing a show-case of their work, or part of it. Not sure if it’s going to work out with my dates and availability at the moment, but we’ll see if we can make it work somehow. It’d be great fun to work on some new pieces, but also educational to work with new writers on the first performances and developing/evolving the script.

Hurriedly rushing off from there, I headed over to Northampton to the Royal for their last rehearsal before the scratch performance of their piece for the National tomorrow. Frustratingly, they didn’t get around to a full run-through as the stagger-through took too long, which meant I didn’t really get to look into the timings for the piece, but I did at least get to sit down and go through the presentation with the director, who was very complimentary and had a couple of notes for me to take away.

A later night finish than I’ve had in a while, not leaving until 9.30pm, but it actually feels pretty cool to be back and involved in some proper live performance – something I’ve not really done for almost 3 years now. Exciting stuff.

As part of what I think industry and teaching call “continuing professional development” – in other words, learning new stuff – I spent my day today at the Castle Theatre in Wellingborough training as an Arts Award adviser.

Arts Award is a qualification that young people from 11-25 can take which can not only help boost their confidence and push them out of their comfort zone, but also, potentially, set them up for moving forward with a career in the arts. Encompassing all art forms from theatre and film to stone masonry (really), young people can do projects on Bronze, Silver and Gold levels to achieve certificates which will doubtless then carry weight with applications to Arts colleges, universities and – potentially – lead to avenues for employment.

It’s a great scheme and a really exciting thing for me to be able to deliver. Initially, I’m looking to set up a scheme within the Grove in Dunstable, but I can also register myself as an independent centre meaning I can run and assess young people on the award independently of a venue. It’s a great string to my bow and could open a lot of doors for me.

Yesterday I ploughed through a huge heap of work and finished off very proud of myself for getting through my to-do list, then had a really hard session at the Grove with the Youth Theatre. There are two participants who are really hard to engage and it’s totally baffling me – I don’t know what to do to get them into the fold. Having tried just about all areas of drama this term, the other practitioner in the sessions and myself are at our wit’s end trying to find out why they come and what they want from the sessions – it seems impossible to please them.

On a brighter note, the rest of the group really enjoyed it and seemed to get a lot out of it and we got some really good feedback to signpost where they’d like to go next term, which makes things much easier for us in eliminating the guess work from the planning process.

Got back and chilled out with K watching some random TV as she unwound after her exam which , after considering she’d probably just about managed a pass with 50%, she rocked up to uni today to discover she’s got yet another 1st. Can people please comment on here to show her that she needs to stop underestimating herself and realise that she’s actually pretty damn clever. Enough said. Love you.

Tonight I experienced quite possibly the most mesmirising stage performances I may ever have seen, with the possible exception of So I Killed A Few People at the Edinburgh Fringe in 1999, but for very different reasons.

I was at Milton Keynes Theatre to watch the phenominal acting talents of Sir Ian McKellan and Patrick Stewart alongside Simon Callow in Waiting For Godot and they truly blew me away.

I have to confess that I’m not actually a huge fan of the play – in fact, I’ve never managed to read it all the way through as I got a trifle bored with it (sacriledge I know, but the arts are all about personal opinion) – but they made it a remarkable experience.

There’s an old acting lesson that states that acting is not about acting, it’s about reacting and that couldn’t have been more clearly illustrated than in tonight’s performance. McKellan and Stewart are constantly working in support and opposition to each other, always adding depth and flavour to whatever’s going on in the scene without ever battling to steal the audiences attention.

Didi and Gogo are difficult roles to play – emotions varying wildly, constantly on-stage but rarely actually doing anything – but they played them both with the deftness of touch that made sense of the unfathomable.

I could sit here and write about them all day, but I’d soon run out of superlatives and end up on a Lucky-style meaningless rant, so I’ll take my thinking hat off now and leave it at that.

Suffice to say that it’s still touring round the country and lands in London at the end of May at the Theatre Royal Haymarket and if you – or anyone you know – are interesting in a career in performance, don’t waste your money on silly summer schools which purport to teach you all you need to know in a week, or wile away your time at a second-rate acting school on a three-year degree course*, just save your cash and buy a front-row stalls seat to watch these masters in action. You’ll learn more in 2-and-a-half hours in the Haymarket than most acting course can teach you in a year.

*noted exceptions being the top-notch London training centres like RADA, LAMDA, E15 and Mountview. Possibly LIPA, too.

I tried my hardest to get up early today, but instead succeeded only in rolling out of bed at 8, which gave me enough time to sort myself out and have breakfast before heading over to the Grove for a bit of new term training ahead of the re-jigged Youth Theatre turn.

I have to say I was somewhat surprised to find that there was a new Youth Theatre leader their, who will be taking the Tuesday night sessions that I’m also working from now on, in addition to my Sunday sessions from last term. I was disappointed to find out at a meeting of the leaders, although I suppose Christmas is a hard time to contact people about things.

We nevertheless had a really productive day, going over all the do’s and don’ts and whys and wherefores of leading Youth Theatre sessions, as well as a little role-play (natch) and then some hard-core term-planning in the afternoon.

We didn’t get as much done in the afternoon as I think The Boss wanted us to, but it was important for us to take the time to feel each other out and put ideas forward. It was hard, though, because having never worked with two of the people there, you don’t really know where your boundaries are in discussing ideas and having disagreements, so it was a little “eggshells” for most of the session, although we did manage to hammer out a general direction for it all.

While I’m at the Theatre, K’s having a terrible day back home, due to some careless editing in the local rag which leaves her incredibly upset. I head home as soon as I can to pick her up from her ‘rents, where she’s escaped to in order to hide from the world (her avoidance method of choice).

I pick her up and we head home, where I rustle up some grub and we eat before veg’ing out on the sofa in front of some Sky+ TV before heading to bed around 10ish.

For most people who know me and have ever had any kind of a discussion of musicals with me, you’ll be well aware, no doubt, of my “issues” with Joseph and his Amazing Technicolour Dreamcoat (which, apparently, is a registered trademark, according to the writing on the back wall of the set…).

I think the best description of my attitude towards Joseph is “jaded”.  Having worked at Milton Keynes Theatre – one of the country’s biggest receiving houses – for nearly seven years, on and off, I have seen Joseph pass through, in one incarnation or another, five or six times.  It’s a great, vibrant, fun show, but after the third or fourth year, having seen the comings and goings, the shabby sets and sometimes dodgy backing performers, you can get a little tired of it.

Which is why sitting in the audience of the Adelphi on the Strand last night I felt a tremor of fear rippling through me.  Lee Mead was a classmate of my cousin’s at a local drama school in Southend way back in the day, so they have been following his progress carefully since he first popped up on the BBC’s show about the show’s lead.  I have to say he was always a clear winner of that, so I figured that the show must be worth going to see to find out if I was right or not.

In addition (and probably more importantly), K is possibly the only person in the world who loves Joseph so much she not only knows it word for word, but when we was still single-figured in age she managed to wear out the tape of the original London cast recording with Jason Donovan, and yet has NEVER actually seen the show.  To say she was excited is like saying people think Michael Jackson is a little on the odd side.

The show itself was outstanding, I must admit.  It’s got an absolutely fantastic cast who are all consummate professionals to a man, woman and child.  The quality of the singing and dancing was fantastic.  Having read the notices when the show first opened, it appear to suggest that they had simply jazzed up the sets from the touring production, but this was like nothing I’ve seen on the tour – they’ve re-imagined it (to steal a pseudo intellectual arty-farty term from the movies) and come up with something very similar in concept by with many more modern flourishes.

I’m told that the whole production is based on the 90s Palladium version, starring first Jason Donovan and then the slightly left-field but equally acclaimed Philip Schofield. It certainly has a much bigger feel to it than the touring version and is a lot busier with set moves and scene changes.

The whole thing is technically remarkable, very much akin to the proverbial duck on the water – the staging is incredibly simplistic and the technical side appears incredibly simple.  But sitting and watching the vast variety of pieces coming to and fro around the two revolves centre-stage, it is easy to imagine the manically-paddling feet of the technicians backstage.

Talking to one of the cast after the show (which I’ll come to later), he was explaining how the technicians are almost as precisely choreographed as the performers on stage, such are the quick-change demands of the props and set dressings that are almost constantly on the move.

As is my wont at most theatre I go to now, with several friends working in the theatre and knowing some of their friends, I tend to scan the programme for names I may recognise in passing.  Imagine my surprise when, glancing down the cast list, I came across the name of a good friend of mine from my early days working the bars at MKT.  A friend who ran away from MK and his “cosy” box office job to enroll and subsequently take by storm the Guildford School of Acting.

Not having had his number for some years, I legged it around to stage door during the interval (not as simple in Town as it is in MK or Northampton, it must be said) and dropped him a note with my number on it to see if he wanted to catch up.  I was a mite nervous of meeting him as I was informed by K that she had been horrible to him when she knew him before.  That was before I realised she had meant when they were 8.  I figured he’d probably got over it by now.

So after the show we ambled round to stage door, dodging the throngs at the front of the theatre waiting for Mr Mead, and met up with JS and headed to a quiet little bar just around the corner for a drink and a catch up.

JS is one of my friends I’m most proud of – he’s gone out and done what he’s always wanted to do.  So many people who work front of house in theatres spend a lot of time talking about how they want to be on the stage singing, dancing, acting and everything else.  JS actually got off his arse and went and did it.

He auditioned like mad, got into a great drama school, did three years of hard graft and came out at the top of his class.  After jobbing for a year or so post-graduation, he joined the original cast of the new Joseph from the start and opened the show in the West End, where he’s now done a full 18 months and still has 6 months on his contract.  Not only that but, as a Swing, he has the hardest performing job in the West End.

Not many people know what a Swing is, other than it being a name at the end of the list of characters in most musical programmes.  A Swing is, in essence, a cover-player.  They are there to fill in the gaps when anyone is off sick or injured.  There are two types of swing – an on-stage swing or an off-stage swing.  An off-stage swing is essentially an understudy for a lot of roles, an on-stage swing is basically a performer in the show who plays whoever he’s needed to play.

In Joseph, for example, that means that JS has to know the part of every male character in the show, bar Joseph, Jacob and the Pharaoh – all three of which have their own understudies. That equates to 11 different roles that he has to know inside-out and be able to play at the drop of a hat.  And he rarely plays the same role more than a week at a time and often changes role every night.

Next time you’re in the Theatre and glancing down the first few names on the cast list, take a look down the bottom and spare a thought for the hardest working performers in the Theatre – eight shows a week of they-know-not-what, but rarely put a foot wrong.

All in all, it was an awesome night – a great show (albeit with a few slightly odd stylistic decisions – the less said about the random psychedelic 60s sequence the better) and a great time catching up with an old friend.  Who could ask for more.  I want to say a big thanks to my Ma and Pa for getting the tickets for us as a first 2nd birthday present – it couldn’t have been better.

Ok, so I know I’m WAY behind on this at the moment, but I will endeavour to update a few of the days from last week sometime tomorrow or maybe today when I get back from my final shift at the Theatre – yes, I’m leaving.

It’s been a great week and I’ve got through a lot of cool stuff, but right now I’m in a mini-actress crisis for the short I’m shooting over the weekend.  I’ve now had two actresses attach themselves then bow out, through no fault of their own, but it’s left me a little high-and-dry with a shoot scheduled for this Saturday and Sunday.

Did some camera tests on Monday, which was great and I’ll try to blog about later.

The most significant thing is, ironically, something I can’t talk about at the moment, but I have the potential opportunity to produce one of the most exciting projects – no, scratch that, THE most exciting project – that has ever wandered through my vision.

I honestly can’t say anything about it now as I’m in really early negotiations and it could easily (too easily for my liking) all fall apart and not happen, so all I’ll say is that it’s a major documentary on an event of next year.

I promise I’ll be back to fill you in on the last week or so soon.

So far this week has been pretty tiring, although I’m actually enjoying it quite a lot.

On top of my usual Sunday session at the Grove Youth Theatre, I went along and did the Tuesday night session, too, as I’m unavailable this weekend as I’m away with Live Life Then Give Life for a weekend of planning and other fun stuff (more on that next week).

Working with the younger groups was certainly challenging, as they’re all from very different backgrounds to the kids who went to the MK Theatre Youth Theatre.  But there’s still something energising about working with youngsters who still have that energy and vitality, not to mention still clinging on to their imaginations in the face of all their school teachers and (often) parents trying to drum it out of them.

There’s nothing sadder to me in modern society than how early children start to lose their imaginations.  Many of us could (and do) jump to blame the whole thing on Xboxes, Wiis, PlayStations and all the rest, but in truth it’s just as much the fault of parents and teachers as it is the computer games and TV industries.

Children who are creative, who day-dream and enjoy their own little fantasy worlds are seen as being behind other children and somehow inferior.  It is celebrated when a child can focus and concentrate on a Maths problem for half-an-hour, but derided if they spend the same half-hour lost in a world of their own creation.

Theatre is the one art form that can really help to encourage, develop and nuture an imagination.  Not only in performing and “play-acting”, but also simply by being part of an audience.  The magic of Theatre is often lost on the majority of the population now – that sense of amazement and wonder which casts a spell over young people seems to ebb away as we grow.  At the pantomimes every year, the adults go along because they want to recapture a little bit of that spirit, but we all know that we only boo the baddie because we know that’s what we’re supposed to do.  For the children, though, they put their whole heart and soul into it – they really mean it when they boo, it’s not simply customary.

It shouldn’t just be every Christmas that children can explore their theatrical imaginations though and it’s not just pantomimes that can engage them.  The beauty of taking children to the theatre is that they are often the least critical audience who will take up a seat in any auditorium.  If they see characters that they know and/or love and can engage with (not always in a physical/vocal sense), they get completely lost in the performance.

More than that, though, theatrical shows give children a chance to develop their imaginations as they can’t present everything that a child may see on TV.  Take something like Noddy or Lazy Town Live – it’s impossible to recreate the look of the TV show, but you can recreate the feel of the show and it up to their imaginations to complete the illusion.

If you find yourself feeling cynical about the rubbish that’s churned out on TV (for old and young alike) or you see you child drifting into dream-less oblivion, pick yourselves  up some tickets to go and see a show and even if you can’t bear the show, watch your little one’s face instead.  I guarantee it’ll be a picture.

I was planning on going back over the last two weeks and updating the day-to-day entries of the blog to reflect all that I’ve been up to, but I soon realised that a) I’d be here all day and b) I’m not even sure I can remember exactly when whatever happened to me in the last fortnight happened.

To sum up, if you can’t be bothered to read this entire post, I have started two jobs, started a new screenplay project with a friend, pushed a short film project towards production, acquired another short film script, begun developing a slate of documentaries, watched my brother leave for a tour of duty overseas and won a Charity Times Award with the Life Life Then Give Life team for Campaigning Team of the Year.

So, biggest news first, I guess (apart from the Award, which I’ve obviously already covered), I’ve got a job.  Two, to be precise.

A couple of weeks ago, I was looking for some part time work up to my sixteen-hour-per-week limit to retain my benefits (and beyond which I’d need to work a considerable amount more hours) and noticed an ad in the local paper for a hotel looking for part-time bar staff for lunchtime shifts.  After going over to introduce myself and fill in an application form, I text my old boss at the Theatre in MK to ask for a reference for the bar work, since she was the last person who employed me as bar staff (albeit five years ago).

She replied positively, but then said that if I wanted bar work then they could offer me a job.  Without much fanfare, I went back for a training day a week last Monday and started my first shift of paid work for two-and-a-half years on the next night.

It’s a very bizarre mixture of feelings being back at the Theatre.  On the one hand, it’s pleasantly familiar – I know most of the managerial staff (even if high turnover means the bar staff are all new to me) and also where to find most of the things I need during a shift.  The bars haven’t changed much, apart from some of the stock having changed – Becks to Tuborg, for instance, and the appearance of Magners in the fridges.

At the same time, while it’s a safe and comfortable environment to start back into a working life, it also feels a little like a step backwards.  I’m now back doing what I was doing in 2003, before my work with the Education Department and the Youth Theatres in MK and Northampton and before the experience I gained as a Production Assistant/Youth Theatre Production Manager at the Royal.

I guess the way to look at it is that as long as I have the income I need to pay all of the bills, the Theatre work is only three or four evenings a week, which frees me up to work on my own projects during the day time, for which I have a lot more time free now that K has started at Uni.

Thursday was her official first day and it was a bit of an epic one.  The commute means that we have to be up at 6am to get to the station for 6.45/7ish for the 7.11am train to Euston.  Luckily, looking at her timetable for the term, it seems that she only needs a 6am start two days a week, getting a lie-in on Mondays and Thursdays and having Fridays off.  It is very much an atypical Uni course however, having as it does, a full timetable of lectures and lab time.  Monday mornings and Fridays are all the time she has off, Tuesdays, Wednesdays and Thursdays are all 6-8 hour days.  It’s intimidating for her and it’s going to be tough, but I know she can do it and I’m sure she’ll be fantastic as a Speech Therapist – even if that is four years away right now.

As well as starting at MK Theatre, I also went to catch up with my old Education boss at MK, who has now moved to the Grove Theatre in Dunstable, about 20 minutes down the road from me.  Whilst catching up with her, it emerged that she had another Youth Theatre Assistant position opening up to help out with running the Sunday afternoon YT sessions for the eldest two groups of the Grove YT.

Naturally, I jumped at the chance to leap back into the deep end and get my hand in again.  Last Sunday, I enjoyed my first day working with the YT in the first session of term and enjoyed it immensely.  It’s hard work – much harder than the MKYT, actually – but the young people who attend the sessions offer much greater opportunities for rewarding work.

As well as the Grove’s YT, I have also just started work on the school’s project I’m doing with Suze and her newly minted Catalyst Theatre Arts Ltd company.  At the moment, it’s not 100% clear what my role will consist of, as I’m largely there to support the school and do what they need me to do to ensure they make the most of the project.  It’s exciting for me as it’s the first time I’ve worked and been engaged as a “proper” artist, being seen as a practitioner in my own right and not as an assistant or general helper.

Personal project-wise, I’ve now got a producer on board my short film, which will be going into production over a weekend in early November.  We have offers out to cast at the moment and are hopefully of getting a couple of recognisable names, although it largely depends on their schedules, as I’m keen not to push our shoot dates back.

I went to a Screen South roadshow this week, which highlighted the pots of money on offer for short films in the South East of England, but all of them require the director (that’s me) to have a show-reel of stuff they’ve shot before.  This is a bit of a classic Catch-22, but since this film can be shot for next to nothing, I’m hopeful that even though I’ll miss this funding round, the script I’m developing at the moment will be a possibility for the next round.

I’ve also just started writing a feature project along with a friend of mine who’s as keen as me to get writing again.  It’s a low-budget British horror-comedy which we’re hoping will be quite saleable, or at leat easy and cheap for us to make ourselves if that turns out to be the more likely option.

Beyond the fiction stuff I’m working on at the moment, I’m also developing a trio of documentaries.  Two of them are quite immediate and one is longer-term planning.  One, in fact, I’ve already started shooting a video diary for and am currently working on establishing links with the Armed Forces to see if I can take it further.

It’s been a manic two weeks and blogging really took a back-seat to all the other things I was running around doing, but I’m sincerely hoping that having more time in the day to achieve the things I need to will enable me to keep a more day-to-day blog of the things I’m up to.  I’m aware of how great a resource blogs can be to keep tabs on people and gain encouragement for the kind of life it’s possible to lead post-transplant, so I really do hope I can keep it up.  Please keep checking back and feel free to berate me if I’m lax again.