Friday was the last day of the MFA Creative Producing course at Central for this emerging producer.
My final papers were submitted, my library books returned and my student ID expired. What an adventure!
I have learned much this year. I have received a wonderful introduction to the inner workings of the London theatre scene. I have been exposed to new ways of thinking. I have a better understanding of entrepreneurship and business strategy. And I have learned much about myself.
The next steps are yet to be determined as I look for employment and review visa requirements. I'd like to stay in London and gain some solid experience working in this market. But we shall see what comes along. I'm here for the summer and will endeavor to enjoy this great city as long as I'm here.
It has been a wonderful experience. Thanks for sharing it with me.
I'm going to sign off the blog for now but who knows what new adventures may prompt a return in the future! But for now...
Take care!
-m
Sunday, July 2, 2017
Sunday, June 25, 2017
"Meet Mister Toad from Toad Hall"
Twenty-seven years ago I was in a children's play at my local youth theatre called The Wind In the Willows. I played an evil weasel who was part of a gang who took over the glorious mansion that was occupied by Mister Toad. Here I am, nearly three decades later, sitting in the audience of the new West End musical The Wind In the Willows and remembering the lyrics I sang all those years ago: "Meet Mister Toad from Toad Hall". It was a bit surreal.
The West End version is not the same as the script and music I'm remembering. My production was made specifically for children's theatre and this is a brand new full-length, family-friendly extravaganza! And oh boy was it! But more on that in a bit...
The Wind In the Willows is a well-known children's book by Kenneth Grahame. It is particularly popular here in the U.K. but some Americans are familiar with the story. I for one am very familiar. Mister Toad is the centrepiece of the story and is a wealthy, carefree, adrenaline junkie who is always after the newest and fastest moving contraption. He has a need for speed and when he discovers the motorcar, well, he simply must have one. After he crashes his own, he "borrows" someone else's and crashes that one as well. He ends up in jail and this is when the weasels make their move to take over Toad Hall. Toad escapes jail and with the help of his friends, Mole, Rat and Badger, he appeals to the Court, overturns his sentence, and fights off the weasels, reclaiming his ancestorial home.
This production is absolutely huge. The costumes, the sets, the special effects. It is quite the spectacle; much bigger than the version I was in all those years ago. I have to say, I do believe my conversion into a producer it very near complete because even though I appreciated the production, my first reaction whenever a new spectacular came on stage was "How much did that cost?! It's only on stage for two minutes!" The budget for this show must have been tremendous.
The book (that's what we call the script of a musical) was written by Julian Fellowes. Fellowes is probably most famous for creating the television series Downton Abbey but also has a background writing for the stage, with credits including the stage version of Mary Poppins, School of Rock, and Half a Sixpence.
Composer and lyrist team George Stiles and Anthony Drewe are responsible for the music. They also worked on Mary Poppins and Half a Sixpence. The show that really launched their career was Honk! which is a very popular title for regional, community, and children's theatre to license and produce.
Rachel Kavanaugh is the show's director. She brings experience with the team having also directed the West End production of Half a Sixpence. Kavanaugh has extensive experience with London's Regent's Park Theatre and in the regions as Artistic Director of Birmingham Repertory.
The man that got us into those seats this past week was the show's producer, Jamie Hendry. We had a day with Hendry last week. We met him at the London Palladium where The Wind In the Willows is playing. He talked to us about being a West End producer and the process of mounting The Wind In the Willows. He also introduced us to Stiles and Drewe and they chatted to us about their process and career. Production Manager, Patrick Molony also spoke and gave us extremely valuable information about the logistics of a project of this scale. Finally, we toured the set getting the inside scoop on the complications and considerations from Molony. It was an exciting day for us and very insightful.
A week later we got to see the show. Knowing the backstory of the production made it that much more interesting. I have to say, I feel honored to have had the chance to get such an in-depth look into a huge West End show. I am truly in awe for Jamie Hendry and his entire team. Amazing.
I am entering my final week of the course this week. It's nearly over. The final papers are due on Friday and I'm wrapping everything up. I'll fill you in next Sunday, and let you know how it all finished.
Take care!
-m
*Photo rights- Jamie Hendry Productions.
The West End version is not the same as the script and music I'm remembering. My production was made specifically for children's theatre and this is a brand new full-length, family-friendly extravaganza! And oh boy was it! But more on that in a bit...
The Wind In the Willows is a well-known children's book by Kenneth Grahame. It is particularly popular here in the U.K. but some Americans are familiar with the story. I for one am very familiar. Mister Toad is the centrepiece of the story and is a wealthy, carefree, adrenaline junkie who is always after the newest and fastest moving contraption. He has a need for speed and when he discovers the motorcar, well, he simply must have one. After he crashes his own, he "borrows" someone else's and crashes that one as well. He ends up in jail and this is when the weasels make their move to take over Toad Hall. Toad escapes jail and with the help of his friends, Mole, Rat and Badger, he appeals to the Court, overturns his sentence, and fights off the weasels, reclaiming his ancestorial home.
This production is absolutely huge. The costumes, the sets, the special effects. It is quite the spectacle; much bigger than the version I was in all those years ago. I have to say, I do believe my conversion into a producer it very near complete because even though I appreciated the production, my first reaction whenever a new spectacular came on stage was "How much did that cost?! It's only on stage for two minutes!" The budget for this show must have been tremendous.
The book (that's what we call the script of a musical) was written by Julian Fellowes. Fellowes is probably most famous for creating the television series Downton Abbey but also has a background writing for the stage, with credits including the stage version of Mary Poppins, School of Rock, and Half a Sixpence.
Composer and lyrist team George Stiles and Anthony Drewe are responsible for the music. They also worked on Mary Poppins and Half a Sixpence. The show that really launched their career was Honk! which is a very popular title for regional, community, and children's theatre to license and produce.
Rachel Kavanaugh is the show's director. She brings experience with the team having also directed the West End production of Half a Sixpence. Kavanaugh has extensive experience with London's Regent's Park Theatre and in the regions as Artistic Director of Birmingham Repertory.
The man that got us into those seats this past week was the show's producer, Jamie Hendry. We had a day with Hendry last week. We met him at the London Palladium where The Wind In the Willows is playing. He talked to us about being a West End producer and the process of mounting The Wind In the Willows. He also introduced us to Stiles and Drewe and they chatted to us about their process and career. Production Manager, Patrick Molony also spoke and gave us extremely valuable information about the logistics of a project of this scale. Finally, we toured the set getting the inside scoop on the complications and considerations from Molony. It was an exciting day for us and very insightful.
A week later we got to see the show. Knowing the backstory of the production made it that much more interesting. I have to say, I feel honored to have had the chance to get such an in-depth look into a huge West End show. I am truly in awe for Jamie Hendry and his entire team. Amazing.
I am entering my final week of the course this week. It's nearly over. The final papers are due on Friday and I'm wrapping everything up. I'll fill you in next Sunday, and let you know how it all finished.
Take care!
-m
Show Poster
Mister Toad
The Weasels take over Toad Hall
*Photo rights- Jamie Hendry Productions.
Sunday, June 18, 2017
Six40 Theatre
This past week we presented a showcase I produced in the West End. Woo Whoo! Before we start campaigning for an Olivier Award, let me explain. Some months back I was referred to a group of three actors recently graduated from a drama conservatory called ArtsEd. The three actors were keen to put on a showcase to attract industry professionals such as casting directors and producers and show what they could offer. I agreed to join as their producer.
The process went something like this: We had several production meetings. I advised them to come up with a company identity and brand. They formed Six40 Theatre, the name stemming from the distances between their regions of origin. I dubbed them Creative Directors and created a website and social media accounts for the promotion of the showcase. They put the word out through several contacts that they were accepting submissions from playwrights. Scripts submissions were received and we selected two pieces to use for the showcase. We all reached out to our network and found two directors, one to direct each piece. With the playwright, who authored both scripts, on board and flexible about his work, we selected two scenes, one from each play, that best displayed the range of the actors. They started rehearsing and I created an online box office to take reservations. Admission was free but we wanted to track who was planning to come. I also worked with the venue to organize the contract and sort out the details of the performance day. The actors had already reserved the venue prior to my involvement. This fact and their clear vision and dedication are why I agreed to work with them. They were/are very together, thoughtful, and practical. Every producer's dream really.
The venue was one with which I was familiar as I have attended events there before. It is called Above the Arts and is part of the Arts Theatre complex. If Arts Theatre sounds familiar, stretch back to one of my earliest blog entries. I went to see American Idiot at Arts Theatre when I first arrived in London back in September 2015. Above the Arts, specifically, has played host to a few networking events I have attended. It is a lovely space, bright and airy with comfortable furniture and a fully stocked (and staffed) bar. It is a good meeting and networking space and is perfect for cabarets and singer/songwriter gigs. It may not be the ideal place for a play because it is not a traditional black box. But for our purposes, it worked. Our showcase was almost a kind of recital for actors, casual and simple. We carved out a performance space and set up chairs for the audience around the space. We did not have any theatrical lighting and just used the light as was. We defined the performance with some music played from a playlist on an actor's phone and speaker someone brought with them. The actors and directors supplied props and costumes that were common items easily acquired. I printed out a batch of one sheet programs and we made some theatre.
I love working like this. Keeping it easy and focused on the talent of everyone involved. Good theatre is good storytelling. If you have a big budget and can get Julie Taymor to create something of opulence like she did for The Lion King, great, but theatre can be just as effective with only a makeshift stage, an interesting text and talented actors and directors.
I was thrilled with our final result. And with the audience turn out. We had an afternoon "lunch-break" show at 12:30 and a post work show at 7. Some industry personnel came and lots of supporters and friends of the company members. Our houses were ample and frankly, any more bodies in the space would have made the heat unbearable even for our short 40-minute presentation. It was a warm day and there was no air con in the space.
The piece was called Emerging Artists Showcase and the ethos behind it was to present new talent to the theatre community. So there we were, all of us, actors, writer, directors, and the producer emerging on the London scene right there in the heart of Theatreland, a couple doors down from Audra McDonald reprising her Tony Award-winning role in in Lady Day at Emerson's Bar and Grill and in throwing distance of a dozen other legends of show business. It was a delight. I do hope to work with Six40 again soon.
The deadlines are closing in and I am working on those final assignments for my course. We are coming to the end and I am excited and ready to strike out and forge a new chapter in my career.
I'll keep you posted!
Take care!
-m
The process went something like this: We had several production meetings. I advised them to come up with a company identity and brand. They formed Six40 Theatre, the name stemming from the distances between their regions of origin. I dubbed them Creative Directors and created a website and social media accounts for the promotion of the showcase. They put the word out through several contacts that they were accepting submissions from playwrights. Scripts submissions were received and we selected two pieces to use for the showcase. We all reached out to our network and found two directors, one to direct each piece. With the playwright, who authored both scripts, on board and flexible about his work, we selected two scenes, one from each play, that best displayed the range of the actors. They started rehearsing and I created an online box office to take reservations. Admission was free but we wanted to track who was planning to come. I also worked with the venue to organize the contract and sort out the details of the performance day. The actors had already reserved the venue prior to my involvement. This fact and their clear vision and dedication are why I agreed to work with them. They were/are very together, thoughtful, and practical. Every producer's dream really.
The venue was one with which I was familiar as I have attended events there before. It is called Above the Arts and is part of the Arts Theatre complex. If Arts Theatre sounds familiar, stretch back to one of my earliest blog entries. I went to see American Idiot at Arts Theatre when I first arrived in London back in September 2015. Above the Arts, specifically, has played host to a few networking events I have attended. It is a lovely space, bright and airy with comfortable furniture and a fully stocked (and staffed) bar. It is a good meeting and networking space and is perfect for cabarets and singer/songwriter gigs. It may not be the ideal place for a play because it is not a traditional black box. But for our purposes, it worked. Our showcase was almost a kind of recital for actors, casual and simple. We carved out a performance space and set up chairs for the audience around the space. We did not have any theatrical lighting and just used the light as was. We defined the performance with some music played from a playlist on an actor's phone and speaker someone brought with them. The actors and directors supplied props and costumes that were common items easily acquired. I printed out a batch of one sheet programs and we made some theatre.
I love working like this. Keeping it easy and focused on the talent of everyone involved. Good theatre is good storytelling. If you have a big budget and can get Julie Taymor to create something of opulence like she did for The Lion King, great, but theatre can be just as effective with only a makeshift stage, an interesting text and talented actors and directors.
I was thrilled with our final result. And with the audience turn out. We had an afternoon "lunch-break" show at 12:30 and a post work show at 7. Some industry personnel came and lots of supporters and friends of the company members. Our houses were ample and frankly, any more bodies in the space would have made the heat unbearable even for our short 40-minute presentation. It was a warm day and there was no air con in the space.
The piece was called Emerging Artists Showcase and the ethos behind it was to present new talent to the theatre community. So there we were, all of us, actors, writer, directors, and the producer emerging on the London scene right there in the heart of Theatreland, a couple doors down from Audra McDonald reprising her Tony Award-winning role in in Lady Day at Emerson's Bar and Grill and in throwing distance of a dozen other legends of show business. It was a delight. I do hope to work with Six40 again soon.
The deadlines are closing in and I am working on those final assignments for my course. We are coming to the end and I am excited and ready to strike out and forge a new chapter in my career.
I'll keep you posted!
Take care!
-m
Sunday, June 11, 2017
Lewes
Yesterday I decided to get out of the city. I took a day trip to a lovely little village called Lewes. It was a very easy journey, just a little over an hour on the train from London. Lewes is in Sussex which is South of London and not too far from the Brighton and the coast.
For a small town, there is a lot to see in Lewes. After walking from the train station past some adorable cottages and terrace houses that had been around for over hundred years, I found myself at the Anne of Cleves House. Anne of Cleves was the fourth wife of King Henry VIII and is one that survived. When Henry decided he didn't want to be married to Anne of Cleves anymore, she immediately conceded to a divorce. This gracious exit from their marriage left a positive impression on Henry and he gave her many gifts in their divorce settlement. Eventually, the two even become friends and Anne was welcome at court and referred to as The King's 'Sister'. One of the gifts Anne received from the King was this house in Lewes. The house was not occupied by Anne as she had other, more stately properties, but she rented the home to a wealthy middle-class farmer. The home is a museum and patrons are free to wander around at their own pace and discover how life was lived by common people in Tudor times.
After the Anne of Cleves House, I made my way to the historic High Street. Along the way, I took a detour through the magical Southover Grange Gardens. This is a fairly land filled with beautiful flowers, majestic trees and open meadows. The weather was absolutely perfect on Saturday so the gardens were host to people enjoying picnics or sunbathing. The Gardens were my favorite part of the whole trip. I honestly could have stayed there the whole day. But, up the hill, I went... eventually, to the High Street.
The High Street is British for Main Street and is most often a busy commercial shopping street and central location. Lewes' High Street is filled with old fashion shop fronts that no doubt stretch back many decades. Craft and antique shops are easy to find and if one needs a cup of tea or a pint of lager, those are readily available as well.
The center piece of the High Street is certainly Lewes Castle. The Castle was built 1000 years ago. It began with Norman William de Warenne just after the Battle of Hastings in 1066. The Barbican was added in the 1300s. The West Tower is the highest point of the castle and from the top one can take in stunning views of the countryside. The museum offers archaeological artefacts from the earliest days of the settlement through the Roman occupation and Saxon invasions, up through the Medieval period.
I highly recommend a trip to Lewes. I can see myself escaping there again for some relaxation, especially in the Gardens. Next time, however, I might wear some sunscreen.
I have a busy week coming up. Still working on my final assignments
and projects for the course. I'll keep you posted!
Take care!
-m
For a small town, there is a lot to see in Lewes. After walking from the train station past some adorable cottages and terrace houses that had been around for over hundred years, I found myself at the Anne of Cleves House. Anne of Cleves was the fourth wife of King Henry VIII and is one that survived. When Henry decided he didn't want to be married to Anne of Cleves anymore, she immediately conceded to a divorce. This gracious exit from their marriage left a positive impression on Henry and he gave her many gifts in their divorce settlement. Eventually, the two even become friends and Anne was welcome at court and referred to as The King's 'Sister'. One of the gifts Anne received from the King was this house in Lewes. The house was not occupied by Anne as she had other, more stately properties, but she rented the home to a wealthy middle-class farmer. The home is a museum and patrons are free to wander around at their own pace and discover how life was lived by common people in Tudor times.
After the Anne of Cleves House, I made my way to the historic High Street. Along the way, I took a detour through the magical Southover Grange Gardens. This is a fairly land filled with beautiful flowers, majestic trees and open meadows. The weather was absolutely perfect on Saturday so the gardens were host to people enjoying picnics or sunbathing. The Gardens were my favorite part of the whole trip. I honestly could have stayed there the whole day. But, up the hill, I went... eventually, to the High Street.
The High Street is British for Main Street and is most often a busy commercial shopping street and central location. Lewes' High Street is filled with old fashion shop fronts that no doubt stretch back many decades. Craft and antique shops are easy to find and if one needs a cup of tea or a pint of lager, those are readily available as well.
The center piece of the High Street is certainly Lewes Castle. The Castle was built 1000 years ago. It began with Norman William de Warenne just after the Battle of Hastings in 1066. The Barbican was added in the 1300s. The West Tower is the highest point of the castle and from the top one can take in stunning views of the countryside. The museum offers archaeological artefacts from the earliest days of the settlement through the Roman occupation and Saxon invasions, up through the Medieval period.
I highly recommend a trip to Lewes. I can see myself escaping there again for some relaxation, especially in the Gardens. Next time, however, I might wear some sunscreen.
I have a busy week coming up. Still working on my final assignments
and projects for the course. I'll keep you posted!
Take care!
-m
Anne of Cleves House
(photo from visitsoutheastengland.com)
Southover Grange Gardens
(photo from panoramio.com)
Lewes High Street intersection
(photo from www.beenthere-donethat.org.uk)
Lewes Castle
(photo from dayoutwiththekids.co.uk)
Sunday, June 4, 2017
Birthday Break
Yesterday was my birthday. Yay!
To celebrate I did nothing and it was lovely. I took it easy all last week and yesterday just enjoyed a day of relaxing. After so much focus on the paper that was due the week before it was delightful to just unplug.
Coming up this week, I am back in the swing of things. I have some assignments to finish and I really need to get out and see a show. My dear parents sent me Theatre Tokens as a birthday gift, so I really don't have any excuse now. Theatre Tokens are gift certificates for tickets to productions all over the UK. They are issued by Society Of London Theatre (SOLT) and there are hundreds of productions and venues that accept the vouchers in exchange for a ticket. Truly the perfect gift for a theatre professional like me. Thanks, Mom and Dad!
That's about it for this week. I'll keep you posted on what shows I see!
Take care!
-m
To celebrate I did nothing and it was lovely. I took it easy all last week and yesterday just enjoyed a day of relaxing. After so much focus on the paper that was due the week before it was delightful to just unplug.
Coming up this week, I am back in the swing of things. I have some assignments to finish and I really need to get out and see a show. My dear parents sent me Theatre Tokens as a birthday gift, so I really don't have any excuse now. Theatre Tokens are gift certificates for tickets to productions all over the UK. They are issued by Society Of London Theatre (SOLT) and there are hundreds of productions and venues that accept the vouchers in exchange for a ticket. Truly the perfect gift for a theatre professional like me. Thanks, Mom and Dad!
That's about it for this week. I'll keep you posted on what shows I see!
Take care!
-m
Sunday, May 28, 2017
SIBs
The paper is in! Assignment complete!
So what have I been researching and writing about for these past few months? Ladies and gents, the answer is (drumroll please), Social Impact Bonds.
Melanie, what the heck is that?
Well, I'm so glad you asked.
A Social Impact Bond is a funding device designed to for not-for-profits who wish to run a program with minimum risk to funders, in particular, government agencies.
Did your head explode? Well, hang on, I'll explain.
In the current economic landscape when government agencies are being scrutinized for wasteful spending and need to gather data and analytics to prove the tax payers monies are going to fruitful enterprises, the Social Impact Bond or SIB is one way to tick the boxes. Not-for-profit agencies can experiment with new and unproven programs and get a pledge of funding from government agencies, or, trusts and foundations, who may also be keen to minimize risk. The SIB brings in an investor or investors who takes the financial risk. Much like a commercial business investor, the SIB investor agrees to supply the upfront capital needed to launch and run an inaugural program. If the program is a success, the investors capital plus interest is reimbursed by the funder, which may be that government agency I mentioned. If the program fails the investor, just like in the commercial business world, takes the financial hit and loses their money.
When the SIB is arranged, the three major parties involved; the non-profit organization or service provider, the funder, and the investor(s) design an agreement to qualify what constitutes a successful outcome for the program. During the course of the program the service provider, or, if agreed, an outside analytics agency, will process all the data and metrics gathered during the program. This can take years so, it's not a quick process. For a theatre company, this would not be the best way to raise money for a single production but, this could work if the company was looking to begin a new division or augment an existing program, for example, outreach and education. A SIB at a theatre might look something like this:
Theatre Company X wishes to build an education program to visit schools in underprivileged areas and introduce students to Shakespeare’s plays with a goal to improve engagement with and understanding of his work. Arts Council England or ACE (England's version of the National Endowment for the Arts) is willing to fund the program pending successful results and proof of achievement of the goals set forth in the SIB agreement with Theatre Company X. A High Net Worth Individual (HNWI) (e.g. a wealthy individual) has agreed to be the investor in the SIB agreement and provide the upfront capital to produce the program. If the program is successful, then ACE will pay the HNWI the amount of their original investment plus interest. The program will take six months to build and book into schools. There will be another ten months of initial trial within the school system. Students active in the first year of the program will be monitored for the following two years to determine if their engagement with and understanding of Shakespeare’s plays has improved. This will be calculated through whichever means is established in the SIB agreement. This may include test scores, trips to the theatre, participation with theatre groups, or other activities. After four years, the inaugural results will be clear and program success and recoupment of investment determined.
So that's a SIB. They were introduced in 1988 but have only really been in use in the past 10 years. SIBs first gained traction in the social sector and have been used for programs relating to an assortment of social concerns, for example, prisoner rehabilitation, education in underprivileged areas, and homelessness to name a few. Shakespeare's Globe in London is the first arts organization to initiate a SIB. They launched theirs in 2015 as a capital campaign to extend their education and research facilities and program. It is too early to tell The Globe's SIB is a success but as the Arts sector's need for new ways of fundraising continues to grow, our eyes will be on the Globe's SIB to monitor their progress.
The course is still in full swing and I am on to my last two assignments due at the end of June. Full steam ahead as I design a professional development plan and write a reflective essay on my scholastic experience. I'll keep you posted!
Take care!
-m
So what have I been researching and writing about for these past few months? Ladies and gents, the answer is (drumroll please), Social Impact Bonds.
Melanie, what the heck is that?
Well, I'm so glad you asked.
A Social Impact Bond is a funding device designed to for not-for-profits who wish to run a program with minimum risk to funders, in particular, government agencies.
Did your head explode? Well, hang on, I'll explain.
In the current economic landscape when government agencies are being scrutinized for wasteful spending and need to gather data and analytics to prove the tax payers monies are going to fruitful enterprises, the Social Impact Bond or SIB is one way to tick the boxes. Not-for-profit agencies can experiment with new and unproven programs and get a pledge of funding from government agencies, or, trusts and foundations, who may also be keen to minimize risk. The SIB brings in an investor or investors who takes the financial risk. Much like a commercial business investor, the SIB investor agrees to supply the upfront capital needed to launch and run an inaugural program. If the program is a success, the investors capital plus interest is reimbursed by the funder, which may be that government agency I mentioned. If the program fails the investor, just like in the commercial business world, takes the financial hit and loses their money.
When the SIB is arranged, the three major parties involved; the non-profit organization or service provider, the funder, and the investor(s) design an agreement to qualify what constitutes a successful outcome for the program. During the course of the program the service provider, or, if agreed, an outside analytics agency, will process all the data and metrics gathered during the program. This can take years so, it's not a quick process. For a theatre company, this would not be the best way to raise money for a single production but, this could work if the company was looking to begin a new division or augment an existing program, for example, outreach and education. A SIB at a theatre might look something like this:
Theatre Company X wishes to build an education program to visit schools in underprivileged areas and introduce students to Shakespeare’s plays with a goal to improve engagement with and understanding of his work. Arts Council England or ACE (England's version of the National Endowment for the Arts) is willing to fund the program pending successful results and proof of achievement of the goals set forth in the SIB agreement with Theatre Company X. A High Net Worth Individual (HNWI) (e.g. a wealthy individual) has agreed to be the investor in the SIB agreement and provide the upfront capital to produce the program. If the program is successful, then ACE will pay the HNWI the amount of their original investment plus interest. The program will take six months to build and book into schools. There will be another ten months of initial trial within the school system. Students active in the first year of the program will be monitored for the following two years to determine if their engagement with and understanding of Shakespeare’s plays has improved. This will be calculated through whichever means is established in the SIB agreement. This may include test scores, trips to the theatre, participation with theatre groups, or other activities. After four years, the inaugural results will be clear and program success and recoupment of investment determined.
So that's a SIB. They were introduced in 1988 but have only really been in use in the past 10 years. SIBs first gained traction in the social sector and have been used for programs relating to an assortment of social concerns, for example, prisoner rehabilitation, education in underprivileged areas, and homelessness to name a few. Shakespeare's Globe in London is the first arts organization to initiate a SIB. They launched theirs in 2015 as a capital campaign to extend their education and research facilities and program. It is too early to tell The Globe's SIB is a success but as the Arts sector's need for new ways of fundraising continues to grow, our eyes will be on the Globe's SIB to monitor their progress.
The course is still in full swing and I am on to my last two assignments due at the end of June. Full steam ahead as I design a professional development plan and write a reflective essay on my scholastic experience. I'll keep you posted!
Take care!
-m
Sunday, May 21, 2017
Dog Day
This past week's highlight has to be the visit from some furry friends. I live in student accommodations called Nido. The Nido staff are great about planning community events. Most of the time these are parties with bands or DJs. Those events are not usually my scene. But this past Wednesday Nido hosted Dog Therapy Day and that was lovely. Ned and Dash were brought by an organization that specializes in cheering people up with a little K9 attention. This was a lot of fun. Ned is a German Shepard mix and Dash a King Charles Spaniel. Dash, coincidently is also the name of Queen Victoria's favorite King Charles Spaniel. Many of the residents gathered in the lobby to hang out with our tail wagging visitors. Treats were provided so we could bribe the pups in our direction. It was fun to hang out with the dogs and unwind a little.
My focus has been and continues to be the final case study. It's due on Friday and I'm moving into the final stretch. These case study projects are all about research and academic rigor. My natural writing style is not the tone and technique that is needed so I have been visiting the writing centre at school to make sure I'm on the right track. I'm feeling good and ready for these last few days of work on this project. After which, I will move on to the last two assignments of the course.
Next weekend, there are bound to be some celebrations in having finished the case studies. I'm looking forward to them!
Take care!
-m
My focus has been and continues to be the final case study. It's due on Friday and I'm moving into the final stretch. These case study projects are all about research and academic rigor. My natural writing style is not the tone and technique that is needed so I have been visiting the writing centre at school to make sure I'm on the right track. I'm feeling good and ready for these last few days of work on this project. After which, I will move on to the last two assignments of the course.
Next weekend, there are bound to be some celebrations in having finished the case studies. I'm looking forward to them!
Take care!
-m
Sunday, May 14, 2017
Egyptian Extravaganza!
So last night I went to the Egyptian Extravaganza. My friend and classmate Soha was the producer of this immersive theatre piece. It was an enjoyable evening. The show is a work-in-progress and they are looking to develop the piece further but I am so proud of what they accomplished and on a shoestring budget. The performers were delightful. They were bubbling with energy and welcomed the audience in with open arms.
What makes a theatre piece immersive is the audience is actually in the environment of the show. In this case, we were ushered into the lower level of the venue and entered a series of rooms that were decorated with rich fabrics and furnishing representing Egypt. Trinkets and props were places around the rooms, electric candles flickered and there was even the fragrance of incense in the air. Upbeat music from the 1920s played and the audience mingled and soaked up the atmosphere. Then the actors burst onto the scene and the show began. They represented a multitude of characters from ancient Egypt and from the 1920's when British archaeologist Howard Carter discovered King Tut and put him on display for the world to see. Carter's exhibit helped to create a fashion frenzy in 1920's Europe that brought Egyptian inspired consumable goods to the shops and closets of the trendiest.
As the play compared the true history with the fictionalized plots that ended up in films and pop culture of the 20's, the question arose about cultural appropriation and where are the ethical boundaries when celebrating a culture of which one has no experience. The show was presented in a fun and light hearted tone but did bring the audience to some questions worth contemplating in the end. Well done to Soha and her company!
This week is all about the writing. It's countdown time and this research paper needs to be completed and polished. I'll keep you posted!
Take care!
-m
What makes a theatre piece immersive is the audience is actually in the environment of the show. In this case, we were ushered into the lower level of the venue and entered a series of rooms that were decorated with rich fabrics and furnishing representing Egypt. Trinkets and props were places around the rooms, electric candles flickered and there was even the fragrance of incense in the air. Upbeat music from the 1920s played and the audience mingled and soaked up the atmosphere. Then the actors burst onto the scene and the show began. They represented a multitude of characters from ancient Egypt and from the 1920's when British archaeologist Howard Carter discovered King Tut and put him on display for the world to see. Carter's exhibit helped to create a fashion frenzy in 1920's Europe that brought Egyptian inspired consumable goods to the shops and closets of the trendiest.
As the play compared the true history with the fictionalized plots that ended up in films and pop culture of the 20's, the question arose about cultural appropriation and where are the ethical boundaries when celebrating a culture of which one has no experience. The show was presented in a fun and light hearted tone but did bring the audience to some questions worth contemplating in the end. Well done to Soha and her company!
This week is all about the writing. It's countdown time and this research paper needs to be completed and polished. I'll keep you posted!
Take care!
-m
Sunday, May 7, 2017
Crafts and Class
This past week we had one of our rare class meetings. It was lovely to see everyone and receive more input on our final writing assignments. The due dates are approaching! I've also been utilizing the writing centre at Central to check in with the tutors and get advice on how best to construct the case study and other essays. They have been very helpful and it is nice to have some one on one instruction.
Also this past week, the design students at Central had their craft exhibition. These designers are all undergrads in their final year. The exhibition is a chance to show their abilities to the industry and the Central community. I was impressed when I saw the exhibition last year and this year was more confirmation of the incredible talent that comes out of our school. There were costumes, props and puppets displayed. Lighting and sound designers had demos and laptops with portfolios. Set designers and scenic artists had pieces of their work available for viewing as well. It was inspiring and I collected all their business cards in case I need to hire one of them for a show one day.
Coming up this week, I have a workshop on taxes and other government fees that producers need to think about when planning and running a show. And there are two shows I want to see that run only this week. I'll keep you posted.
Take care!
-m
Also this past week, the design students at Central had their craft exhibition. These designers are all undergrads in their final year. The exhibition is a chance to show their abilities to the industry and the Central community. I was impressed when I saw the exhibition last year and this year was more confirmation of the incredible talent that comes out of our school. There were costumes, props and puppets displayed. Lighting and sound designers had demos and laptops with portfolios. Set designers and scenic artists had pieces of their work available for viewing as well. It was inspiring and I collected all their business cards in case I need to hire one of them for a show one day.
Coming up this week, I have a workshop on taxes and other government fees that producers need to think about when planning and running a show. And there are two shows I want to see that run only this week. I'll keep you posted.
Take care!
-m
Sunday, April 30, 2017
Familiar Faces and Places
Trish is back! My good friend and classmate Trish has been in Germany most of the year working for the Hamburg Ballet. This past week she returned to London and we were happily reunited. Trish and I are not only close friends but we work very well together. This makes us excellent study buddies who can keep each other on task (most of the time). For a portion of the week, we set up shop in the library at Central and focused in on our case studies which are due at the end of May. It was lovely to get out of my room, be social and get some work done. We are on track, with a session at the writing centre and a lecture on our papers coming up at the end of the week.
On Tuesday morning I attended a breakfast networking event for producers. I went to this same event a couple of months ago, and although it is an early start, it is a wonderful opportunity to meet others in the industry and get an update on all that is happening around town.
On Wednesday I was back at my beloved ITC for another workshop. This time on fundraising. The focus was on applying to government funders, like Arts Council England, and trusts and foundations. Raising investment from private individuals or acquiring corporate sponsorships are other avenues but detailed strategy on those resources will have to wait for another workshop. The instructor was an excellent teacher and taught from practical experience gained over thirty years in the industry. I have never been disappointed with an ITC workshop and look forward to the next one I can attend!
This week I am pushing to finish my first draft of the case study so I have plenty of time for revision and edits. We have class on Friday, so that should give me more insight. What else will the week bring? Who knows, but I'm up for more networking, more learning, more walks in the park and more of fabulous London!
Take care!
-m
On Tuesday morning I attended a breakfast networking event for producers. I went to this same event a couple of months ago, and although it is an early start, it is a wonderful opportunity to meet others in the industry and get an update on all that is happening around town.
On Wednesday I was back at my beloved ITC for another workshop. This time on fundraising. The focus was on applying to government funders, like Arts Council England, and trusts and foundations. Raising investment from private individuals or acquiring corporate sponsorships are other avenues but detailed strategy on those resources will have to wait for another workshop. The instructor was an excellent teacher and taught from practical experience gained over thirty years in the industry. I have never been disappointed with an ITC workshop and look forward to the next one I can attend!
This week I am pushing to finish my first draft of the case study so I have plenty of time for revision and edits. We have class on Friday, so that should give me more insight. What else will the week bring? Who knows, but I'm up for more networking, more learning, more walks in the park and more of fabulous London!
Take care!
-m
Sunday, April 23, 2017
Back and Busy
Last week was Easter and I was wrapped up in all sorts of activities mainly to do with school and career. I'm afraid the blog was abandoned for the day, but, we are back this week and busy.
I have been working on my assignments and attending meetings. Some of the meetings are about particular projects and some are simply getting-to-know-you meets or catch ups with existing friends and colleagues. Talking to people, building relationships, and finding out what is happening around town to a crucial part of building my place in the industry.
The weather has been amazing and today I did spend some time at Hampstead Heath enjoying the sunshine and spring blooms. Coming up this week I have a workshop at ITC, more meetings and writing and research days scheduled.
I am hoping to go to the theatre this week but the first draft of my case study is the priority. There is not much else to report. I'll check in next week to let you know how it goes.
Take care!
-m
I have been working on my assignments and attending meetings. Some of the meetings are about particular projects and some are simply getting-to-know-you meets or catch ups with existing friends and colleagues. Talking to people, building relationships, and finding out what is happening around town to a crucial part of building my place in the industry.
The weather has been amazing and today I did spend some time at Hampstead Heath enjoying the sunshine and spring blooms. Coming up this week I have a workshop at ITC, more meetings and writing and research days scheduled.
I am hoping to go to the theatre this week but the first draft of my case study is the priority. There is not much else to report. I'll check in next week to let you know how it goes.
Take care!
-m
Sunday, April 9, 2017
Brilliant Pitches and Market Stalls
This past week's highlight was a workshop on how to deliver brilliant business pitches. I ventured to East London on Friday to attend the workshop at an organization called General Assembly. GA is not arts or theatre based. Their focus is tech innovation. They offer workshops on coding and design as well as product management, social media marketing and search engine optimization. This is fantastic for me because it helps me diversify my sources of information and acquire business training from other sectors.
The workshop was a wonderful education. The instructor explained about the psychology of the pitching process and how to use that to our advantage. He also went through how to best structure the presentation. It was a new angle on the pitching process that I hadn't really heard about before. However, it was interesting because there were similar ideas to those I was taught when training for auditions as a performer. What is a pitch but an audition? It is an opportunity to convince someone that you, your team and/or your product can solve their problem and are right for the job. As I broaden my knowledge about business, finance, marketing, and technology, I find that the various sectors and career paths have much more in common than we probably think when we are focused on our own worlds.
The weather in London has been fantastic of late and Friday was no exception. After the seminar, I had the chance to meander through Spitalfields Market. Spitalfields is a marketplace that is a collection of market stalls and small shops where independent retailers and artists sell their wares. Spitalfields is open daily and has some unique merchandise options. It also boasts fantastic street food vendors with flavors from all around the world. If you are in East London, make sure to check out Spitalfields.
Coming up this week I continue my research for my second case study and have some meetings set up to network with emerging artists that may be interested in partnering with a producer.
Until next week...
Take care!
-m
The workshop was a wonderful education. The instructor explained about the psychology of the pitching process and how to use that to our advantage. He also went through how to best structure the presentation. It was a new angle on the pitching process that I hadn't really heard about before. However, it was interesting because there were similar ideas to those I was taught when training for auditions as a performer. What is a pitch but an audition? It is an opportunity to convince someone that you, your team and/or your product can solve their problem and are right for the job. As I broaden my knowledge about business, finance, marketing, and technology, I find that the various sectors and career paths have much more in common than we probably think when we are focused on our own worlds.
The weather in London has been fantastic of late and Friday was no exception. After the seminar, I had the chance to meander through Spitalfields Market. Spitalfields is a marketplace that is a collection of market stalls and small shops where independent retailers and artists sell their wares. Spitalfields is open daily and has some unique merchandise options. It also boasts fantastic street food vendors with flavors from all around the world. If you are in East London, make sure to check out Spitalfields.
Coming up this week I continue my research for my second case study and have some meetings set up to network with emerging artists that may be interested in partnering with a producer.
Until next week...
Take care!
-m
Sunday, April 2, 2017
Cancellations, Cathedrals and Cinemas
Saturday Remi and I attempted to go to a show. I had been wanting to see The Wild Party since I first saw the advert some months ago. I booked tickets for the second to last performance, the Saturday matinee, this past April Fool's Day. Turns out, the joke was on us. Remi and I met, grabbed lunch and headed to the theatre only to see a slew of patrons in the lobby filling out forms. I figured it was some kind of survey and proceeded to the box office. Alas, I was also handed a form. Turns out one to the performers was ill and they had to cancel. There was an evening performance but didn't have any seats left. The form was so I could receive a refund for the tickets. It was a disappointment but that's how it goes with live theatre. I hope the performer recovers soon.
Remi and I decided to see a film. However, we had some time to kill between the ticket refund form and the film we wanted to see. We decided to have a look inside Westminister Cathedral, which was on the way to the cinema. Westminister Cathedral should not be confused with Westminister Abby. The Abby is near the Houses of Parliment/Big Ben and is where the monarchs of the UK have their coronation ceremonies. The Abby is part of the Chuch of England. Westminister Cathedral is a Catholic church. It was built between 1895 and 1903 and is absolutely breathtaking to behold. The exterior is unique in that it is striped with grey stone and red brick. The interior does not have any stained glass windows but the gilded mosaic tile work in each of the side chapels is truly stunning. The architect, John Francis Bentley, designed the building in the Neo-Byzantine style. In all my touring around Europe, I have never seen a Cathedral like this one. If you are ever in London, do visit and see the wonder for yourself.
Next, we to headed to the cinema. Remi had heard wonderful things about a film out of Romania called Graduation. The beauty of living in large metropolitan cities is that seeing a foreign film in the cinema is really no problem at all. Off we went to see the film. It was very good. It was a crime drama wrapped in a domestic drama about a girl on the brink of high school graduation who gets attacked just outside of her school on the first day of a very important series of final exams. If she does well on the exams, she is guaranteed a place, on scholarship, at Cambridge University in England. This opportunity would allow her to get away from her small Romanian town and make a better life for herself abroad. Her father, a local doctor, wants this for her more than anything but sees his daughter struggling to regain her equilibrium after the attack. He sets out to make sure his daughter gets the chance he never had. The film was well done and I won't be surprised if we see it nominated for a foreign language film Oscar at next year's Academy Awards.
After the film, Remi and I walked around town, discussed the film and slowly made our way to some dinner. During our stroll, we found ourselves just outside of Houses of Parliment/Big Ben. There, at a crosswalk, waiting for the light to change, Remi struck up a conversation with a group of three Americans. As it turns out, one of the ladies is from Spartanburg, SC (as am I, if you don't know)! What a small world!
We didn't get to see the show, but all and all, it turned out to be an interesting and wonderful day in London!
Coming up this week: more research and academic writing. I'll let you know if I make it to a show this week. Or, if I meet anyone from my hometown!
Take care!
-m
Remi and I decided to see a film. However, we had some time to kill between the ticket refund form and the film we wanted to see. We decided to have a look inside Westminister Cathedral, which was on the way to the cinema. Westminister Cathedral should not be confused with Westminister Abby. The Abby is near the Houses of Parliment/Big Ben and is where the monarchs of the UK have their coronation ceremonies. The Abby is part of the Chuch of England. Westminister Cathedral is a Catholic church. It was built between 1895 and 1903 and is absolutely breathtaking to behold. The exterior is unique in that it is striped with grey stone and red brick. The interior does not have any stained glass windows but the gilded mosaic tile work in each of the side chapels is truly stunning. The architect, John Francis Bentley, designed the building in the Neo-Byzantine style. In all my touring around Europe, I have never seen a Cathedral like this one. If you are ever in London, do visit and see the wonder for yourself.
Next, we to headed to the cinema. Remi had heard wonderful things about a film out of Romania called Graduation. The beauty of living in large metropolitan cities is that seeing a foreign film in the cinema is really no problem at all. Off we went to see the film. It was very good. It was a crime drama wrapped in a domestic drama about a girl on the brink of high school graduation who gets attacked just outside of her school on the first day of a very important series of final exams. If she does well on the exams, she is guaranteed a place, on scholarship, at Cambridge University in England. This opportunity would allow her to get away from her small Romanian town and make a better life for herself abroad. Her father, a local doctor, wants this for her more than anything but sees his daughter struggling to regain her equilibrium after the attack. He sets out to make sure his daughter gets the chance he never had. The film was well done and I won't be surprised if we see it nominated for a foreign language film Oscar at next year's Academy Awards.
After the film, Remi and I walked around town, discussed the film and slowly made our way to some dinner. During our stroll, we found ourselves just outside of Houses of Parliment/Big Ben. There, at a crosswalk, waiting for the light to change, Remi struck up a conversation with a group of three Americans. As it turns out, one of the ladies is from Spartanburg, SC (as am I, if you don't know)! What a small world!
We didn't get to see the show, but all and all, it turned out to be an interesting and wonderful day in London!
Coming up this week: more research and academic writing. I'll let you know if I make it to a show this week. Or, if I meet anyone from my hometown!
Take care!
-m
Westminister Cathedral - photo credit Panoramio.com
Sunday, March 26, 2017
Finance
This past week's big event was a workshop on Finance for the Arts at ITC. The workshops at ITC are always extremely informative and I highly recommend their program to theatre-makers in the UK. The workshop was run by an accountant who both teaches at a local University and does accounting for arts organizations.
The day was spent learning the vocabulary and examining the various spreadsheets and documentation that go along with financial reporting. This is useful information for producers and managers to keep things running smoothly with their project or company. In addition, financial reports are required by the government for quarterly or yearly taxes. Most company boards also require financial reports so they may be assured the company is properly managed.
There are standard procedures and practices enforced by laws that require documents be calculated and presented in certain formats. Both the US and UK have these standards. Managers at arts organizations can see to the daily bookkeeping but it is recommended that a certified accountant is consulted for the major reports and tax submissions. These professionals are up to date on the laws and can make sure all is arranged according to the requirements.
I hope to return next month for more workshops at ITC. They cover a wide range of topics of interest to those in management positions.
Coming up this week, I re-visit Angry Birds. This is a new musical I worked with last winter for the BEAM festival. They are presenting a sample of the production to industry personnel and I have been asked to assist in the logistics of the event. I'll let you know how it goes.
Until next week...
Take care!
-m
The day was spent learning the vocabulary and examining the various spreadsheets and documentation that go along with financial reporting. This is useful information for producers and managers to keep things running smoothly with their project or company. In addition, financial reports are required by the government for quarterly or yearly taxes. Most company boards also require financial reports so they may be assured the company is properly managed.
There are standard procedures and practices enforced by laws that require documents be calculated and presented in certain formats. Both the US and UK have these standards. Managers at arts organizations can see to the daily bookkeeping but it is recommended that a certified accountant is consulted for the major reports and tax submissions. These professionals are up to date on the laws and can make sure all is arranged according to the requirements.
I hope to return next month for more workshops at ITC. They cover a wide range of topics of interest to those in management positions.
Coming up this week, I re-visit Angry Birds. This is a new musical I worked with last winter for the BEAM festival. They are presenting a sample of the production to industry personnel and I have been asked to assist in the logistics of the event. I'll let you know how it goes.
Until next week...
Take care!
-m
Sunday, March 19, 2017
Finally, Back to the Theatre
Leave it to my good friend Remi to finally pull me back into a theatre seat. I have been so preoccupied with projects and plans that it has been far too long. Remi called me yesterday morning and said he was in the queue for tickets to Who's Afraid of Virginia Woolf? and would I like to join him for the show? Well, yes. So we met that evening to see the modern American classic by Edward Albee and I am so glad we did.
Remi had bought rush tickets. Rush tickets are tickets that are sold the day of the show. Usually, they are at a discounted price to encourage students, artists and others looking for a lower ticket price to come to the show. Sometimes they are "leftovers" but often producers offer Rush tickets to give a chance to see the show to those who can't get a ticket because it is a sold out or the regular ticket price is a bit steep. This often requires joining a line first thing in the morning or just before the show, depending on the rules of that particular Rush. Remi was an early bird on this occasion.
The play was at the Harold Pinter Theatre which is a West End venue. I had been there before to see the musical Sunday Afternoon. It is a lovely theatre. The tickets Remi scored were box seats. Although box seats sound very posh, I don't usually care for them because the angle means the full visual of the stage picture is cut off. But with the architecture of the Harold Pinter and the staging of this single set, small cast play, the sightlines weren't too bad. We really didn't miss anything. If it had been a big musical the sightlines might not have worked so well. The box did provide some lovely perks. We were in comfortable, movable chairs as opposed to fixed theatre seats. This meant we could adjust and get in and out of our seats without climbing over other patrons. And we had lots of leg room and space for coats and bags. In fact, there was a coat tree in the box. The box also had access, through a second door, to a private lounge area complete with a private washroom. Unfortunately, I didn't discover this until after the play and spent both of the two intervals running downstairs to the ladies' loo. Oh well, good leg stretch. After the show, however, we explored and admired the private lounge.
The play itself was very good. It starred the amazing Imelda Staunton, Conleth Hill, Imogen Poots and Luke Treadaway. It was directed by James MacDonald. Set and costume design by Tom Pye and lighting design by Charles Balfour. Virginia Wolf is a domestic drama, set in a New England University town and takes place over one evening. Martha (Staunton) is the Unversity President's middle-aged daughter and she is married to George (Hill). After a formal welcome party hosted by the University, George and Martha return home to await the arrival of Nick (Treadaway), a new Biology professor and his wife, Honey (Poots). George and Matha want to personally welcome the young couple to the community. As the night progresses, secrets and conflicts within the couples and between the couples start to arise.
Many might remember the film version of the play starring Elizabeth Taylor and Richard Burton. It is a very intense play and I am in awe of the energy these actors must harness to get through the show every night. They did a fantastic job and as an American, I give the all-British cast a special shout out for doing beautiful American accents. Staunton and Hill were very well paired as George and Martha and truly captured all the complexities and layers of the characters and their relationship to each other. The set too was spot on, designed to be an American Craftsman style New Englan home.
I am so glad Remi called. It was a brilliant night at the theatre.
Coming up this week, I have some meetings and a workshop to attend at ITC.
I'll let you know how it goes.
Take care!
-m
Remi had bought rush tickets. Rush tickets are tickets that are sold the day of the show. Usually, they are at a discounted price to encourage students, artists and others looking for a lower ticket price to come to the show. Sometimes they are "leftovers" but often producers offer Rush tickets to give a chance to see the show to those who can't get a ticket because it is a sold out or the regular ticket price is a bit steep. This often requires joining a line first thing in the morning or just before the show, depending on the rules of that particular Rush. Remi was an early bird on this occasion.
The play was at the Harold Pinter Theatre which is a West End venue. I had been there before to see the musical Sunday Afternoon. It is a lovely theatre. The tickets Remi scored were box seats. Although box seats sound very posh, I don't usually care for them because the angle means the full visual of the stage picture is cut off. But with the architecture of the Harold Pinter and the staging of this single set, small cast play, the sightlines weren't too bad. We really didn't miss anything. If it had been a big musical the sightlines might not have worked so well. The box did provide some lovely perks. We were in comfortable, movable chairs as opposed to fixed theatre seats. This meant we could adjust and get in and out of our seats without climbing over other patrons. And we had lots of leg room and space for coats and bags. In fact, there was a coat tree in the box. The box also had access, through a second door, to a private lounge area complete with a private washroom. Unfortunately, I didn't discover this until after the play and spent both of the two intervals running downstairs to the ladies' loo. Oh well, good leg stretch. After the show, however, we explored and admired the private lounge.
The play itself was very good. It starred the amazing Imelda Staunton, Conleth Hill, Imogen Poots and Luke Treadaway. It was directed by James MacDonald. Set and costume design by Tom Pye and lighting design by Charles Balfour. Virginia Wolf is a domestic drama, set in a New England University town and takes place over one evening. Martha (Staunton) is the Unversity President's middle-aged daughter and she is married to George (Hill). After a formal welcome party hosted by the University, George and Martha return home to await the arrival of Nick (Treadaway), a new Biology professor and his wife, Honey (Poots). George and Matha want to personally welcome the young couple to the community. As the night progresses, secrets and conflicts within the couples and between the couples start to arise.
Many might remember the film version of the play starring Elizabeth Taylor and Richard Burton. It is a very intense play and I am in awe of the energy these actors must harness to get through the show every night. They did a fantastic job and as an American, I give the all-British cast a special shout out for doing beautiful American accents. Staunton and Hill were very well paired as George and Martha and truly captured all the complexities and layers of the characters and their relationship to each other. The set too was spot on, designed to be an American Craftsman style New Englan home.
I am so glad Remi called. It was a brilliant night at the theatre.
Coming up this week, I have some meetings and a workshop to attend at ITC.
I'll let you know how it goes.
Take care!
-m
Sunday, March 12, 2017
Sunday, March 5, 2017
Commuting for Class
This past week brought around a rare class meeting. This second year of our MFA is a very independent one. So, attending class is rare. It was nice to see everyone. In class, we discussed our experience with the first case study and did some planning for the second one. The class was held at Central's temporary classroom space called Bankside. The location is near London Bridge, quiet the other side of London from Central's main campus at Swiss Cottage. Central is in the process of building a new building at Swiss Cottage because the school is growing fast. In the meantime, there is Bankside to handle the overflow. Our group had never had class at Bankside before. It was interesting to get the change of scenery. The location is right in the middle of a very vibrant area near the busy Borough Market and Shakespeare's Globe Theatre.
After our morning class, I high-tailed it back to Swiss Cottage to crash the marketing seminar being offered to the first year producers. We are often invited to attend the first year seminars and I have taken full advantage. Most of the ones I have attended have been new additions to the course. New guest speakers and workshops that we didn't have when we passed through our first year. This marketing seminar is one we did have last year but I wanted a refresher.
Coming up this week are some meetings. Work will continue on all my projects and assignments. I will also try to get to the theatre because it has been a few weeks. I'll keep you posted!
Take care!
-m
After our morning class, I high-tailed it back to Swiss Cottage to crash the marketing seminar being offered to the first year producers. We are often invited to attend the first year seminars and I have taken full advantage. Most of the ones I have attended have been new additions to the course. New guest speakers and workshops that we didn't have when we passed through our first year. This marketing seminar is one we did have last year but I wanted a refresher.
Coming up this week are some meetings. Work will continue on all my projects and assignments. I will also try to get to the theatre because it has been a few weeks. I'll keep you posted!
Take care!
-m
Sunday, February 26, 2017
Oscar Night
Well, tonight is the big night in Hollywood. The Academy Awards excitement is on! Alas, I will not stay up to watch this year as the awards are on in the middle of the night here in the UK. I will have to catch up with the results tomorrow morning.
I have always enjoyed awards shows. Even though the nominees only represent a small fraction of the amazing work and talented artists producing incredible material, it is lovely to celebrate the industry and the art. Many of the speeches are inspirational and can give a nice boost to those of us watching at home, hoping one day to be a part of a successful and recognized body of work.
I think it is safe to say that most of us don't go into this field for the fame, but if our work is recognized and successful it means we can reach more people with our stories and messages, and ultimately that is what we want to do. We want to reach people. We want to connect. We want to be a part of a greater communication and hopefully, evolution.
So to all those attending the Oscars, all those tuning in, and all those who dream, I wish you a very good night!
Until next week...
Take care!
-m
I have always enjoyed awards shows. Even though the nominees only represent a small fraction of the amazing work and talented artists producing incredible material, it is lovely to celebrate the industry and the art. Many of the speeches are inspirational and can give a nice boost to those of us watching at home, hoping one day to be a part of a successful and recognized body of work.
I think it is safe to say that most of us don't go into this field for the fame, but if our work is recognized and successful it means we can reach more people with our stories and messages, and ultimately that is what we want to do. We want to reach people. We want to connect. We want to be a part of a greater communication and hopefully, evolution.
So to all those attending the Oscars, all those tuning in, and all those who dream, I wish you a very good night!
Until next week...
Take care!
-m
Sunday, February 19, 2017
Class in Session
This week we had a class! Well, technically the first year MA/MFAs had a class and the second years were invited to crash. It was a session on starting a production company. I have taken workshops like this a couple of times before, but this time there was a slightly different angle. In the past, I have learned about all the laws and official procedures and requirements of setting a company but Friday's session spoke to why we would want to set up a company. This was a great way to really ponder what drives us as producers. What is it that attracts us and what are we passionate about? We also looked at what we need to learn before we are ready to start a company. Where are the gaps in our knowledge? What resources are available to help us fill those gaps? This way of thinking was fantastic. We often get so busy in the doing of things, we can forget the why. And we often skip the strategy that can ultimately make us a success. I enjoyed the session and it was wonderful to see some old classmates and spend some time with the new producer class.
The rest of the week was taken up by meetings and research. I'm discussing my next case study and looking into viable topics. I also had the course committee meeting. I am my class representative for the committee that discusses the pros and cons of the courses and the school as a whole. It is always interesting to go to these meetings and hear what is going on with other courses and what students from all departments would like to see happen at Central.
This week I expect more meetings and more research! After all, I am in school.
I'll keep you posted!
Take care!
-m
The rest of the week was taken up by meetings and research. I'm discussing my next case study and looking into viable topics. I also had the course committee meeting. I am my class representative for the committee that discusses the pros and cons of the courses and the school as a whole. It is always interesting to go to these meetings and hear what is going on with other courses and what students from all departments would like to see happen at Central.
This week I expect more meetings and more research! After all, I am in school.
I'll keep you posted!
Take care!
-m
Sunday, February 12, 2017
Art
Art. That is the name of this past week's theatre offering. I was able to catch the Wednesday matinee of this modern masterpiece at the Old Vic Theatre. Art by French playwright Yasmina Reza first opened in Paris in 1994. A couple of years, later playwright Christopher Hampton adapted the text into an English language version and the paly was a hit both on Broadway and in the West End. The revival at the Old Vic is directed by Matthew Warchus and stars Tim Key, Paul Ritter and Rufus Sewell.
I was thrilled to get to see Art on stage after hearing about it for the past couple of decades. The play is a comedy with some moving moments sprinkled in. It centers on three men who have been friends for about fifteen years. Indeed, friendship is the theme and I think particularly male friendship. It is called Art because one character buys a piece of modern art that he adores and the other two don't feel the same. The art is the catalyst that opens up truths about their friendships and what they really think of each other and why they have been friends for so long.
The chemistry between the three actors was excellent. The actors played well together, volleying back and forth with perfect timing. The design was simple and neutral, suggesting the starkness of an art gallery and allowing the action to move between locations with ease. Three chairs graced the set, each in a different style to represent the three characters. Very smart choices by the design team and the director.
I was also happy to finally get to the Old Vic. The Old Vic is one of London premier theatres, first opening in 1818. Many of the world's most famous actors have trod the boards at the Old Vic. It is a beautiful space.
This coming week I have work to do on some of my assignments for school and maybe another trip to the theatre. I'll keep you posted.
Take care!
-m
Sunday, February 5, 2017
Back to the Theatre
Amongst some relaxation and rebooting as I prepare for the next case study and other projects, I did manage to catch a show this past week. My friend and collaborator Diana and I headed off to Trafalgar Studios on Thursday to catch Buried Child by Sam Shepard. Buried Child is a modern American classic that premiered in 1978 and won the Pulitzer Prize for Drama in 1979.
The production we saw was imported from America and stars Ed Harris as Dodge and Amy Madigan as his wife, Halie. Harris and Madigan are a real life couple as well, having met on the film set of Places in the Heart and then marrying in 1983.
Dodge and Halie live in the corn belt of Illinois in the late 70s. They have suffered the loss of a son and have two others of questionable mental stability. Dodge was a farmer but his health is in decline and he doesn't move from the sofa. Halie is still active and much of her dialogue is focused on being a good Christian and concerns about her sons, including the deceased one. Reputation seems to be of great importance to her. After Halie heads out for the day, Dodge gets a surprise visit from his grandson Vince and his girlfriend, Shelly. And this is where the mystery really kicks in. Dodge doesn't seem to recognize Vince and neither does Vince's now mentally damaged father, Tilden. It is all extremely frustrating for young Vince and very uneasy for Shelly. During the course of the play, the history of the family starts to unravel. Secrets come out and old wounds reopened.
Buried Child is in every sense a drama and Shepard wrote the play to illustrate the demise of this kind American family. The kind of American family depicted by Norman Rockwell. The vision of the American family that is associated with middle-class white America during the 50s and 60s. Major socio-economic and political shifts came about in the late 60s and 70s that had a major impact on people like Dodge and Halie and their world was greatly changed. Shepard captures the sense of this in his play as a backdrop but the family's story is also its own. The play is about these particular people and their strained relationships with each other and themselves.
Diana and I were left with a lot to talk about at our post-show coffee chat. Frankly, I feel I need to study the play in more depth. Another watch or a read would be good because the material is very rich and dense. I'm sure I didn't get it all the first time around. It was wonderful to see the play on stage and with such an accomplished cast. I have long admired Ed Harris in his film and television work. It was a treat to see him on stage. The rest of the cast also did a fantastic job. There was a true sense of ensemble amongst them.
I hope to catch another show this week. Perhaps a comedy next time around. I'll keep you posted!
Take care!
-m
The production we saw was imported from America and stars Ed Harris as Dodge and Amy Madigan as his wife, Halie. Harris and Madigan are a real life couple as well, having met on the film set of Places in the Heart and then marrying in 1983.
Dodge and Halie live in the corn belt of Illinois in the late 70s. They have suffered the loss of a son and have two others of questionable mental stability. Dodge was a farmer but his health is in decline and he doesn't move from the sofa. Halie is still active and much of her dialogue is focused on being a good Christian and concerns about her sons, including the deceased one. Reputation seems to be of great importance to her. After Halie heads out for the day, Dodge gets a surprise visit from his grandson Vince and his girlfriend, Shelly. And this is where the mystery really kicks in. Dodge doesn't seem to recognize Vince and neither does Vince's now mentally damaged father, Tilden. It is all extremely frustrating for young Vince and very uneasy for Shelly. During the course of the play, the history of the family starts to unravel. Secrets come out and old wounds reopened.
Buried Child is in every sense a drama and Shepard wrote the play to illustrate the demise of this kind American family. The kind of American family depicted by Norman Rockwell. The vision of the American family that is associated with middle-class white America during the 50s and 60s. Major socio-economic and political shifts came about in the late 60s and 70s that had a major impact on people like Dodge and Halie and their world was greatly changed. Shepard captures the sense of this in his play as a backdrop but the family's story is also its own. The play is about these particular people and their strained relationships with each other and themselves.
Diana and I were left with a lot to talk about at our post-show coffee chat. Frankly, I feel I need to study the play in more depth. Another watch or a read would be good because the material is very rich and dense. I'm sure I didn't get it all the first time around. It was wonderful to see the play on stage and with such an accomplished cast. I have long admired Ed Harris in his film and television work. It was a treat to see him on stage. The rest of the cast also did a fantastic job. There was a true sense of ensemble amongst them.
I hope to catch another show this week. Perhaps a comedy next time around. I'll keep you posted!
Take care!
-m
Sunday, January 29, 2017
Part One, Done!
I am thrilled to say that part one of my thesis project is in and done. The thesis set up for us called a sustained independent project (SIP) and for the MFAs on our course, this must take the form of two case studies. So, my first case study has been submitted. What is a case study? It is what it says on the tin, an in-depth study of a particular case. Usually, there is some kind of question or hypothesis that is to be proved through the case study. My case study examined the career of Max Stafford-Clark and looked to see how he exemplifies a producer.
Max Stafford-Clark is a director and an artistic director. He has been associated with an assortment of organizations throughout his 50+ year career. Sometimes there is a question about if artistic directors are considered producers. And it can get confusing, especially if there is someone called 'producer' on staff at the theatre company. For my part, and as supported in my case study, I say artistic directors are a type of producer. If they work for a larger organization, there may be marketing staff, fundraising staff and so on but there are still many details that fall to the artistic director that are also very often duties that a producer would handle. The one big difference is that a producer may be freelance and not necessarily a staff member of a theatre company whereas an artistic director would be a permanent member of staff.
So why Max Stafford-Clark? Well, his has been a career that centers on new plays and playwrights. He has formed two companies in his lifetime that service new writing and play development. He was also the longest-serving artistic director at the Royal Court Theatre which is one of London's key houses for new writing. Max Stafford-Clark is still at work as artistic director at Out of Joint, one of the companies he founded. Over the last five decades, Max Stafford-Clark has conceived and refined his now esteemed method of dramaturgical workshops. This is a research and exploration phase utilizing actors to help the playwright craft the script. After some weeks of workshopping, the playwright then takes all he has gathered and goes away to write the script. He returns some months later and the company begins a more traditional rehearsal period that leads to the premiere presentation of the play. Max Stafford-Clark's work is very much akin to the kind of work I would like to do. Hence, he made an excellent subject for me to study.
And that is what I have been working on for the last few months. We have another case study due in May and in the coming weeks I will need to decide on my topic. But for now, I am relaxing and enjoying the work I have completed.
That's the report from London. Until next week...
Take care!
-m
Max Stafford-Clark is a director and an artistic director. He has been associated with an assortment of organizations throughout his 50+ year career. Sometimes there is a question about if artistic directors are considered producers. And it can get confusing, especially if there is someone called 'producer' on staff at the theatre company. For my part, and as supported in my case study, I say artistic directors are a type of producer. If they work for a larger organization, there may be marketing staff, fundraising staff and so on but there are still many details that fall to the artistic director that are also very often duties that a producer would handle. The one big difference is that a producer may be freelance and not necessarily a staff member of a theatre company whereas an artistic director would be a permanent member of staff.
So why Max Stafford-Clark? Well, his has been a career that centers on new plays and playwrights. He has formed two companies in his lifetime that service new writing and play development. He was also the longest-serving artistic director at the Royal Court Theatre which is one of London's key houses for new writing. Max Stafford-Clark is still at work as artistic director at Out of Joint, one of the companies he founded. Over the last five decades, Max Stafford-Clark has conceived and refined his now esteemed method of dramaturgical workshops. This is a research and exploration phase utilizing actors to help the playwright craft the script. After some weeks of workshopping, the playwright then takes all he has gathered and goes away to write the script. He returns some months later and the company begins a more traditional rehearsal period that leads to the premiere presentation of the play. Max Stafford-Clark's work is very much akin to the kind of work I would like to do. Hence, he made an excellent subject for me to study.
And that is what I have been working on for the last few months. We have another case study due in May and in the coming weeks I will need to decide on my topic. But for now, I am relaxing and enjoying the work I have completed.
That's the report from London. Until next week...
Take care!
-m
Sunday, January 22, 2017
Almost There
Another week of writing and organising the 'ole case study. Note the 's' instead of 'z'. That's been a part of the process. British English versus American English. The tiny discrepancies between the too are part of the puzzle. I really need to use British for my formal writing assignments as Central is a British institution. Aside from cleaning up the bibliography and some other odds and ends we are nearly there. The due date is Friday and I am well on track to reach the deadline.
In other news, we just obtained a new flatmate. A young man from South Africa has come to do a post grad degree in aviation. So we look forward to getting to know him and learning more about life in South Africa.
My friend Diana returned from the States this week and we were able to catch up and contemplate the next step for her script that we workshopped in December. We have many ideas percolating but the immediate goal is to submit the case study.
That is really is all there is to report this week. I hope to get out and see a show this week. I'll keep you posted!
Take care!
-m
In other news, we just obtained a new flatmate. A young man from South Africa has come to do a post grad degree in aviation. So we look forward to getting to know him and learning more about life in South Africa.
My friend Diana returned from the States this week and we were able to catch up and contemplate the next step for her script that we workshopped in December. We have many ideas percolating but the immediate goal is to submit the case study.
That is really is all there is to report this week. I hope to get out and see a show this week. I'll keep you posted!
Take care!
-m
Sunday, January 15, 2017
Writing, Editing and Rewriting.
The title says it all. Not much to report this week as I have been buried in the paper. I was able to meet my friend Remi for a break on Friday but that is about the extent of the social excitement. Don't think that I am feeling chained to my desk, though. I am really enjoying this process, the challenge of constructing this case study within the parameters and the knowledge I am gaining. All is well and we carry on!
Until next week...
Take care!
-m
Until next week...
Take care!
-m
Sunday, January 8, 2017
Great Gabler
One of my all-time, favorite plays ever written is Hedda Gabler by Henrik Ibsen. Ibsen is one of the great contributors to the art of theatre. He is a Norwegian playwright who lived between 1828 and 1906. His famous canon includes the titles: Peer Gynt, A Doll's House, Ghosts, and The Master Builder, just to name a few. For theatre scholars, he ranks along with other masters such as Shakespeare, Chekhov, and the Greeks.
I had the chance to see Hedda this past week at the National Theatre and was not disappointed. The original play is written in Norwegian so, when a production is done in English a translation must be created. Typically a translation of a play, especially classics, is more than just a direct conversion. An English-speaking playwright usually takes on the project working with a literal translation of the words in the text. The playwright crafts the literal into a more poetic delivery for the stage. The story stays the same and the playwright usually tries to keep ahold of symbolism and metaphors in the language set forth by the original writer but, rearrangements of sentences for better flow is often needed. There is an art to the "translation" of a play. Often times the word "translation" isn't even used. Sometimes "adaptation" or "version" is used, which refers to the craft of refining a play script and not just exchanging the words between the languages.
On Thursday, I had the privilege of seeing a new version of Hedda Gabler by Patrick Marber. Marber is an accomplished, modern, British playwright and has also penned screenplays such as; Closer (from his stage play) and Notes on a Scandal. His version of Hedda was absolutely exceptional. It was clean and concise and perfectly distilled for the modern audience.
The play was directed by multi-awarding winning, Belgian sensation Ivo van Hove. Hove's recent works include; Lazarus (London- West End, currently running), The Crucible (Broadway, 2016) and A View From the Bridge (Broadway, 2015/16; London-Young Vic, 2015). Hove's direction was truly inspired. The use of space and props to enhance and punctuate the storytelling were brilliant. The design was contemporary, leaving the traditional bustle skirts behind and giving way to a minimalist set and ingenious use of light and sound. The two stand out performances where Ruth Wilson in the role of Hedda and Rafe Spall in the role Brack. These two made deliciously disturbing music together on stage and shed new light on a story and characters I thought I knew like the back of my hand. I went certain I would enjoy the play but beyond that, I was unexpectedly and delightfully surprised. It was an excellent afternoon.
The coming days are crunch time for me. With the deadline for the first section of my thesis quickly approaching, I will be buried in the writing of it. If I feel secure enough, I may escape to another show this week. However, I must see how close to completion I get.
Until next week-
Take care!
-m
I had the chance to see Hedda this past week at the National Theatre and was not disappointed. The original play is written in Norwegian so, when a production is done in English a translation must be created. Typically a translation of a play, especially classics, is more than just a direct conversion. An English-speaking playwright usually takes on the project working with a literal translation of the words in the text. The playwright crafts the literal into a more poetic delivery for the stage. The story stays the same and the playwright usually tries to keep ahold of symbolism and metaphors in the language set forth by the original writer but, rearrangements of sentences for better flow is often needed. There is an art to the "translation" of a play. Often times the word "translation" isn't even used. Sometimes "adaptation" or "version" is used, which refers to the craft of refining a play script and not just exchanging the words between the languages.
On Thursday, I had the privilege of seeing a new version of Hedda Gabler by Patrick Marber. Marber is an accomplished, modern, British playwright and has also penned screenplays such as; Closer (from his stage play) and Notes on a Scandal. His version of Hedda was absolutely exceptional. It was clean and concise and perfectly distilled for the modern audience.
The play was directed by multi-awarding winning, Belgian sensation Ivo van Hove. Hove's recent works include; Lazarus (London- West End, currently running), The Crucible (Broadway, 2016) and A View From the Bridge (Broadway, 2015/16; London-Young Vic, 2015). Hove's direction was truly inspired. The use of space and props to enhance and punctuate the storytelling were brilliant. The design was contemporary, leaving the traditional bustle skirts behind and giving way to a minimalist set and ingenious use of light and sound. The two stand out performances where Ruth Wilson in the role of Hedda and Rafe Spall in the role Brack. These two made deliciously disturbing music together on stage and shed new light on a story and characters I thought I knew like the back of my hand. I went certain I would enjoy the play but beyond that, I was unexpectedly and delightfully surprised. It was an excellent afternoon.
The coming days are crunch time for me. With the deadline for the first section of my thesis quickly approaching, I will be buried in the writing of it. If I feel secure enough, I may escape to another show this week. However, I must see how close to completion I get.
Until next week-
Take care!
-m
Sunday, January 1, 2017
Happy New Year!
Welcome to 2017! I, for one, am very excited about the new year and all the possibilities it brings.
This past week was one of reading, note taking and rest. There were no exciting adventures to report. I spent an industrious week with my research material. The deadline for the first case study section of my thesis comes at the end of the month. With many of my student neighbors still away, the environment was quiet and conducive for my studies.
New Year's Eve was also low key, spent at home with one of my flatmates. We did, however, pop a bottle of bubbly and watch the countdown and London fireworks on the telly. Today, the first day of our new year has kicked off right with some good work done on the research.
This coming week will be more of the same but I am planning a trip to the theatre later in the week, so, there will be something of interest to report next week.
In the meantime, enjoy the New Year!
This past week was one of reading, note taking and rest. There were no exciting adventures to report. I spent an industrious week with my research material. The deadline for the first case study section of my thesis comes at the end of the month. With many of my student neighbors still away, the environment was quiet and conducive for my studies.
New Year's Eve was also low key, spent at home with one of my flatmates. We did, however, pop a bottle of bubbly and watch the countdown and London fireworks on the telly. Today, the first day of our new year has kicked off right with some good work done on the research.
This coming week will be more of the same but I am planning a trip to the theatre later in the week, so, there will be something of interest to report next week.
In the meantime, enjoy the New Year!
London New Year's Eve Fireworks Photo Credit visitlondon.com/Stewart Marsden
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