There is a whole lot of thesis going on right now with my first case study due in January but I did manage to escape to the theatre this past week.
On Tuesday, I was finally able to catch Murder Ballad at Arts Theatre. I had heard about Murder Ballad a few years ago. It did well Off-Broadway in New York. Indeed, it is a small cast musical with just four characters set in the Big Apple. The show is a musical completely sung through with all the "dialogue" set to music, much like Les Miserables. The music, however, is not a series of typical show tunes. Murder Ballad has a rock music score written by Juliana Nash, who also penned lyrics. Julia Jordan conceived the show and wrote the book as well as lyrics. The story features a Narrator who leads us through the love triangle of Sara, Tom and Michael. Sara was played by British musical star Kerry Ellis. Tom was delivered by Ramin Karimloo, who is likely best well known for playing the Phantom in Andrew Lloyd Webber's sequel to Phantom of the Opera, Love Never Dies. Scottish sensation Norman Bowman took on Michael and Victoria Hamilton-Barritt served very well as the Narrator.
The performances were excellent. The small ensemble of four had fantastic chemistry and each is a brilliant musical actor. The directing by Sam Yates was spot on. I must mention movement director, Michela Meazza and fight director, Owain Gwynn as their contributions provided beautiful and efficient physical flow from the actors, and very exciting, clever fight scenes. The ingenuity of the set, lighting and video design was truly a standout. There were many locations, passages of time and external influences on the scenes. These were handled flawlessly by the combined work of set designer Richard Kent, lighting designer David Plater and video designer Laura Perrett. Their imagination and creativity enhanced the story telling in Murder Ballad and brought the production value to another level.
I am thrilled I was able to see the show as it is due to close this week.
I hope to catch a couple more shows in between my research and my meetings in the coming days.
I'll keep you posted!
Until then...
Take care!
-m
Sunday, November 27, 2016
Sunday, November 20, 2016
Miniaturists 60
This week I spent a lot of time buried in books and in meetings about my upcoming workshop. However, I did get the chance to catch a show today and it was a wonderful inspiration for my project.
In East London there is is an Off-West End theatre called Arcola Theatre. They present a fantastic program of work throughout the year and strive to be topical, diverse and supportive of new works and talents. Today they hosted Miniaturists 60 which is a writer/producer curated event featuring new short plays. It is not unlike 8Squared/New Writers' Night which I helped produce last academic year at Central. Arcola has two performance spaces and Miniaturists 60 was presented in their main space, Studio 1.
Studio 1 is a three-quarter thrust set up with stadium-style seating and a mezzanine level that seats just shy of 200 patrons. I loved the space. I have spent a fair amount of time in three-quarter thrust theatres with stadium-style seating and have come to truly appreciate the inclusion and intimacy the audience has with the play and its performers. If you don't know, three-quarter thrust means the audience is arranged on three sides of the stage and stadium-style seating means each row of seats has its own level as the layout steps upward away from the stage. Stadium-style seating is fantastic for short people like me because the person in front is a level down and thus, their head is not an obstruction.
The program itself consisted of six short plays by different writers. The first called Lifeboat by Laura Amy Riseborough was a one man, direct-address piece that was absolutely hilarious. Direct-address means that the actor speaks directly to the audience. In this case, he eventually zeroed in on his target, a young lady. I'm sure the woman must have been warned that he would be focused on her but she was not "in character". The actor took on the role of a man desperately and clumsily navigating the world of romance.
Next up was The Fool on the Hill by Afsaneh Gray. This short had a message about diversity and fear and how we, as humans, often clump ourselves in our social groups made of similar people and find it difficult to welcome the new and different into our mini-societies.
Three Men and Some Baggage by Nick Myles was next. This told the tale of friends and unexpressed feelings of attraction. The play examined how when a new love interest comes around the threat can prod us into terrible behavior if we haven't been brave enough to express our true feelings to our dear friend and crush.
We finished the first half with Blinkers also by Laura Amy Riseborough. This was another adventure through hilarity from a writer I am now keen to learn more about. A woman arranges a date to a dining-in-the-dark restaurant experience because she can't bear to "face" her boyfriend when she breaks off the relationship. The whole scene was played in darkness and the couple struggled to communicate and to eat in the "messiest" break-up of all time.
After an interval, we came back to Disclaimer again by Laura Amy Riseborough for another spin through the comic genius of this writer's text where a woman with a few body image issues was finally getting frisky with the man she desires. For anyone who has ever looked in the mirror and then worried about getting intimate with someone, this play makes us laugh at our insecurities instead of cry.
We finished the night off with One Day Before I Die by Rosie Kellett which gave us a new explanation as to why someone might "ghost" us. If you don't know, "ghosting" is a term used most often in the dating world for when you are seeing someone and communicating with them on a regular basis and then all of a sudden they stop returning messages, answering the phone and showing up. They disappear, like a ghost.
It was a fantastic evening. Lots of laughs. And so great to see new work especially in the short format, which is very underserved. I will definitely be looking out for more Miniaturists 60 events as I understand they happen several times a year.
In the meantime, it's back to the books!
Until next week....
Take care!
-m
In East London there is is an Off-West End theatre called Arcola Theatre. They present a fantastic program of work throughout the year and strive to be topical, diverse and supportive of new works and talents. Today they hosted Miniaturists 60 which is a writer/producer curated event featuring new short plays. It is not unlike 8Squared/New Writers' Night which I helped produce last academic year at Central. Arcola has two performance spaces and Miniaturists 60 was presented in their main space, Studio 1.
Studio 1 is a three-quarter thrust set up with stadium-style seating and a mezzanine level that seats just shy of 200 patrons. I loved the space. I have spent a fair amount of time in three-quarter thrust theatres with stadium-style seating and have come to truly appreciate the inclusion and intimacy the audience has with the play and its performers. If you don't know, three-quarter thrust means the audience is arranged on three sides of the stage and stadium-style seating means each row of seats has its own level as the layout steps upward away from the stage. Stadium-style seating is fantastic for short people like me because the person in front is a level down and thus, their head is not an obstruction.
The program itself consisted of six short plays by different writers. The first called Lifeboat by Laura Amy Riseborough was a one man, direct-address piece that was absolutely hilarious. Direct-address means that the actor speaks directly to the audience. In this case, he eventually zeroed in on his target, a young lady. I'm sure the woman must have been warned that he would be focused on her but she was not "in character". The actor took on the role of a man desperately and clumsily navigating the world of romance.
Next up was The Fool on the Hill by Afsaneh Gray. This short had a message about diversity and fear and how we, as humans, often clump ourselves in our social groups made of similar people and find it difficult to welcome the new and different into our mini-societies.
Three Men and Some Baggage by Nick Myles was next. This told the tale of friends and unexpressed feelings of attraction. The play examined how when a new love interest comes around the threat can prod us into terrible behavior if we haven't been brave enough to express our true feelings to our dear friend and crush.
We finished the first half with Blinkers also by Laura Amy Riseborough. This was another adventure through hilarity from a writer I am now keen to learn more about. A woman arranges a date to a dining-in-the-dark restaurant experience because she can't bear to "face" her boyfriend when she breaks off the relationship. The whole scene was played in darkness and the couple struggled to communicate and to eat in the "messiest" break-up of all time.
After an interval, we came back to Disclaimer again by Laura Amy Riseborough for another spin through the comic genius of this writer's text where a woman with a few body image issues was finally getting frisky with the man she desires. For anyone who has ever looked in the mirror and then worried about getting intimate with someone, this play makes us laugh at our insecurities instead of cry.
We finished the night off with One Day Before I Die by Rosie Kellett which gave us a new explanation as to why someone might "ghost" us. If you don't know, "ghosting" is a term used most often in the dating world for when you are seeing someone and communicating with them on a regular basis and then all of a sudden they stop returning messages, answering the phone and showing up. They disappear, like a ghost.
It was a fantastic evening. Lots of laughs. And so great to see new work especially in the short format, which is very underserved. I will definitely be looking out for more Miniaturists 60 events as I understand they happen several times a year.
In the meantime, it's back to the books!
Until next week....
Take care!
-m
Sunday, November 13, 2016
Master... of the Library
A Masters Degree usually requires some kind of big thesis research project. Mine is no exception. To do this research one usually has to spend some time in the school's library at some point. I spent a good deal of time there last week. And this week, I plan to be there again. At present, I have twelve library books stacked up on my desk at home and three were recently returned. These are just the books I will need to comb through. Videos, articles, interviews, and online resources make up even more of the materials that add to my research. Make no mistake my friend, this is full throttle academia right now.
This past week also brought a lecture with a professional dramaturg and playwright. The session was set up for the first year MA/MFA producers but as this guest was a new addition to the course, I didn't get the chance to hear her speak last year. So, I sat in on the session. She talked about how producers interact with writers and specifically how to give feedback on someone's script submission. This was perfect as I am in the midst of feedback sessions with my writer right now. I'm really lucky that my writer, Diana, is also a friend but knowing the best ways to communicate with a variety of writers was certainly a valuable lesson, no matter the circumstance.
This week I will attend a few more lectures and I have an interview with a playwright to get his perspective on the workshop process. I may try to fit in seeing some shows but, it all depends on how many of these twelve library books I get through.
Now, once more into the fray!
Take care.
-m
This past week also brought a lecture with a professional dramaturg and playwright. The session was set up for the first year MA/MFA producers but as this guest was a new addition to the course, I didn't get the chance to hear her speak last year. So, I sat in on the session. She talked about how producers interact with writers and specifically how to give feedback on someone's script submission. This was perfect as I am in the midst of feedback sessions with my writer right now. I'm really lucky that my writer, Diana, is also a friend but knowing the best ways to communicate with a variety of writers was certainly a valuable lesson, no matter the circumstance.
This week I will attend a few more lectures and I have an interview with a playwright to get his perspective on the workshop process. I may try to fit in seeing some shows but, it all depends on how many of these twelve library books I get through.
Now, once more into the fray!
Take care.
-m
Sunday, November 6, 2016
Dashing Through the Shows...
This past week was another big ball of crazy and there is no sign of it letting up anytime soon. Multiple meetings with an assortment of people happened. The main topic at these meetings was the the workshop for the dramaturgical development of a new play that is part of my thesis. I've spent lot's of time with Diana, the writer, discussing her script and the workshop. It is all coming into focus as the days go by.
I also saw three shows this week. Well, really, two and a half (I'll explain)...
On Tuesday I saw The Hotel Cerise by Bonnie Greer at Theatre Royal Stratford East. This is a new play based on, the classic, The Cherry Orchard by Anton Chekhov. The play moves the location from turn of the century Russia to contemporary Michigan where a once affluent African American family is struggling to keep their home and hotel which, in it's glory days hosted famous jazz musicians, civil rights leaders and an assortment of influential people from various sectors. And naturally, the property has a cherry orchard which symbolizes beauty, abundance and a sanctuary from the troubles of life. I have to note, the play had an incredible set with tall white tree shapes that made up the walls of the mansion. The effect was elegant and majestic. The cast was an ensemble of twelve and delivered some lovely moments with the dramatic story.
On Thursday I found myself attending two performances. I had already accepted a complementary ticket to the English National Opera's performance of Bizet's The Pearl Fishers when the producing team Homer Simpson, offer me a ticket to see Hans Teeuwan: Real Rancour. The Pearl Fishers was a show I booked this summer for the incoming BA students when I was working at Central. There were extra tickets so staff and I were offered the spares. Prior to Thursday, I had never seen an ENO production, never seen The Pearl Fishers and never seen anything at the London Coliseum where the performance was held. Hans Teeuwan: Real Rancour was also an association of mine from work over the summer. Producer Zoe Simpson, hired me for a few days work on this UK tour. I felt it was important to go in support of the show and to thank Zoe in person. Plus, I wanted to see what I had been working on. The opera started at 7:30 and Hans Teeuwan, a stand up comedian, didn't start until 9:30. So, I went to both. I went to the opera and caught the first act then darted over to Leicester Square to see the comedy.
One day I will find out what happens to the forbidden love that was blooming in the coastal village. My guess, since it is opera, is that it doesn't end well. What I did see was a fabulous spectacle. During the overture, a scrim was down and lighting effects were used to establish an underwater environment. Aerial acrobats "swam" into view from the top of the proscenium. Three of them dove and fluttered via wire rigging and made us feel we were watching an under the sea dance. The aerialists swam off and the scrim gave way to a shanty town coastal village populated with a humongous chorus that sang us into the story. We were introduced to the main characters and set up for what I suspect is the demise of the forbidden lovers. The music was beautiful. Bizet never disappoints me. His most famous work is probably Carmen. This was as far as we got before intermission. I wish I could have seen more but I had to dash.
Leicester Square is only about a five minute walk from the London Coliseum. I arrived to meet my friend Remi. I was offered two tickets so, I invited Remi to come along. We had time for a quick catch up before going into the Leicester Square Theatre for ninety minutes of stand up comedy. Hans Teeuwan is Dutch but as with so many northern Europeans, his English is flawless. We had a good laugh but in retrospect, it was a little odd going from the classical and traditional atmosphere of the opera to the debaucherous topics of Hans' stand up comedy. But variety is the spice of life!
This week I have some lectures at school and more workshop preparation. No shows scheduled thus far, but you never know what last minute plans will manifest.
Until next time...
Take care!
-m
I also saw three shows this week. Well, really, two and a half (I'll explain)...
On Tuesday I saw The Hotel Cerise by Bonnie Greer at Theatre Royal Stratford East. This is a new play based on, the classic, The Cherry Orchard by Anton Chekhov. The play moves the location from turn of the century Russia to contemporary Michigan where a once affluent African American family is struggling to keep their home and hotel which, in it's glory days hosted famous jazz musicians, civil rights leaders and an assortment of influential people from various sectors. And naturally, the property has a cherry orchard which symbolizes beauty, abundance and a sanctuary from the troubles of life. I have to note, the play had an incredible set with tall white tree shapes that made up the walls of the mansion. The effect was elegant and majestic. The cast was an ensemble of twelve and delivered some lovely moments with the dramatic story.
On Thursday I found myself attending two performances. I had already accepted a complementary ticket to the English National Opera's performance of Bizet's The Pearl Fishers when the producing team Homer Simpson, offer me a ticket to see Hans Teeuwan: Real Rancour. The Pearl Fishers was a show I booked this summer for the incoming BA students when I was working at Central. There were extra tickets so staff and I were offered the spares. Prior to Thursday, I had never seen an ENO production, never seen The Pearl Fishers and never seen anything at the London Coliseum where the performance was held. Hans Teeuwan: Real Rancour was also an association of mine from work over the summer. Producer Zoe Simpson, hired me for a few days work on this UK tour. I felt it was important to go in support of the show and to thank Zoe in person. Plus, I wanted to see what I had been working on. The opera started at 7:30 and Hans Teeuwan, a stand up comedian, didn't start until 9:30. So, I went to both. I went to the opera and caught the first act then darted over to Leicester Square to see the comedy.
One day I will find out what happens to the forbidden love that was blooming in the coastal village. My guess, since it is opera, is that it doesn't end well. What I did see was a fabulous spectacle. During the overture, a scrim was down and lighting effects were used to establish an underwater environment. Aerial acrobats "swam" into view from the top of the proscenium. Three of them dove and fluttered via wire rigging and made us feel we were watching an under the sea dance. The aerialists swam off and the scrim gave way to a shanty town coastal village populated with a humongous chorus that sang us into the story. We were introduced to the main characters and set up for what I suspect is the demise of the forbidden lovers. The music was beautiful. Bizet never disappoints me. His most famous work is probably Carmen. This was as far as we got before intermission. I wish I could have seen more but I had to dash.
Leicester Square is only about a five minute walk from the London Coliseum. I arrived to meet my friend Remi. I was offered two tickets so, I invited Remi to come along. We had time for a quick catch up before going into the Leicester Square Theatre for ninety minutes of stand up comedy. Hans Teeuwan is Dutch but as with so many northern Europeans, his English is flawless. We had a good laugh but in retrospect, it was a little odd going from the classical and traditional atmosphere of the opera to the debaucherous topics of Hans' stand up comedy. But variety is the spice of life!
This week I have some lectures at school and more workshop preparation. No shows scheduled thus far, but you never know what last minute plans will manifest.
Until next time...
Take care!
-m
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