Tales from a rehearsal room floor: COMING UP - week 3

I make no qualms for saying this-- this is a hard show. But it's been a fantastic week

After the first 2 weeks of exploring and trying things out, this has been the week where we've begun refining and putting scenes together. Merging from one scene straight into the other. Albeit very very slowly, with an air of "what the hell happens next?" But we shall get there.

The process of merging scenes is very physical, so there is a lot of movement in the piece (i may have mentioned) - so we all hit a point of pure body ache this week. 

However, we've also had music in the room - written specifically for the show, to underscore and enhance what we're doing. And it sounds totally brilliant. An extra level to the show, which I do not doubt audiences will love (I hope)

There have also been initial costume fittings this week. With only 5 of us in the cast playing 20 characters, the costumes are very versatile. And with minimal pieces to represent certain characters (eg- a cross for the vicar) it's fair to say I can already see myself coming on with the wrong thing (at least, before we open!)

Personally at times my head has been going "what am I in, at this moment? Was my shirt last taken off on the left or the right?"

Oh, and the show also now has mask work and cartwheels in it. I'll leave it like that


So as we finish for the week, satisfied with where we are, we have our final week of rehearsals to look forward to. And the start of running the show in its entirely.

Eeeekkkkk!!!!

Ps- the full rehearsals shots can be seen 
http://www.watfordpalacetheatre.co.uk/page/coming-up#-Gallery

Tales from the rehearsal room floor: COMING UP -week 2

I hurt. It might be from moving a lot, or possibly (and more likely) laughing a lot. 

I thought last week was tiring...little did I know. Week 2 of rehearsals come to an end, and we're all feeling it. 

There are a number of set movement pieces in the show, so mostly this week we've been physicalising scenes, merging them together and getting a "flow" going. Literally non-stop moving. Think Brecht meets India. 

And of course working on a good old song number.  But don't worry, I'm not singing it. Your ears are safe.

Going through the scenes with lesser movement; we're briefly blocking them, knowing where we generally will be, and examining the script as we go. Really starting to build up the relationships between characters. If Coming up was a building, then this week has really been about laying some foundations. Albeit in a rather "spirit of chaos" way. Nothing is naturalistic here. 

But-- it's not all been exhaustively hard work. Oh nope. 

We're open to make choices, so for me that's a flag to play. And as an ensemble we've really played this week, meaning we've laughed a lot as well. 

Halfway through the rehearsal process now, so I look forward to more laughs next week. (And work!) 

Tales from the rehearsal room floor: COMING UP (Week 1)

"Lets get physical. Physical"- Thank you Olivia Newton-John for aptly summing up this first week of rehearsals. Even as I type this, my head keeps bobbing asleep (a bit like when you see someone fall asleep on a stranger on the tube-- but probably less funnier)

For the next few weeks I'll be doing a brief weekly blog on the rehearsals for COMING UP. A new writing piece, on at Watford Palace Theatre from the 10th- 24th October. (http://www.watfordpalacetheatre.co.uk/page/coming-up) 

The story itself is a magical, evocative, physical tale of broken family ties & the need for connection. Set in India.- Mumbai (Bombay) in the present day, &  Mangalore in the 1940s. All through the portal of an important family book.....

So be prepared for a fair bit of time jumping. This is not your standard, run-of the mill, kitchen sink drama. There are vicars, tigers, Nespresso coffee machines & more. Leave naturalism at the door, and expect proper theatre story-telling.

It all started as standard: the initial meet and greet on the Monday. Get to know the people in the building; who you'll be working with; first sit down read through of the script & a view of the set design. Great. We're doing well. Pass along the plates of biscuits please.

But that's it. No resting on them laurels for anyone hereon in, as the rest of this week has been quite the physical experience! It has involved a fair bit of stretching, walking, lifting, rolling, running, balancing & jumping. Even as I think about it, I start to ache. (anyone giving free massages?!)

With a cast of just 5, and about 20 characters in the play, its fair to say there's a lot of multiple personality disordering going on; as well as creating the physical language we need to show and inhabit. All in a way that serves the brilliant text & is entertaining storytelling for the audience.

So we've got to play a lot this week. Discovering different walks for the numerous characters; exploring the times & places of India; creating images that will help the audience's imagination and thinking about our inner animals (the monkey, the goat, the antelope, the contemporary dancer)*** to help us. Everyone has been pitching in with ideas. If it works, it works. If it hasn't, we've let it go.

Additionally we've spent time on some of the initial scenes- delving into characters & the text. Making the story come to life at its core: familial relationships & discovering who you are. 

Coming up (*ba-doom*. *groan*)  to the end of the first week, I can say it has been a complete ensemble experience. Knackered-- but in a completely satisfactory way. 

Lets see what week 2 brings.

(***please note, no real animals or contemporary dancers were harmed in our inner thinking.)

FULL SHOW DETAILS & TO BOOK: http://www.watfordpalacetheatre.co.uk/page/coming-up

Dear future Film Makers: Its OK to be Inclusive

There's a website, that advertises castings for short films & projects, which i visit often. (I won't name it, out of respect. And this is an article from findings based on one site)

Here you'll get the breakdowns from wannabe film makers. Those who want to "do it", "make it big", be "the next Spielberg".

Some are from reputable film schools, based across the UK. Completing courses, and producing final short films as a testament to what they've learnt, Others from people who want to give it a go, and follow instinct.

So, imagine my dismay recently, when going on the site to prospectively apply for suitable roles, when I learn that the majority (and I'm talking 90% majority) - all want to cast only Caucasian actors.

Simple stories, ones about families, ones about couples meeting, falling in love, zombie raves-- you get the drift.

Basically stories, all sorts--- that according to some future film makers-- BAME people don't have,

Seemingly we don't have families, or get into couples, or fall in love, or even partake in zombie raves.

One particular breakdown (which prompted me to blog this)- was a casting for someone to play cancer.

The actual disease.

And guess what.

Cancer is "Caucasian only".

WT actual F

BAME people aren't even disease worthy (though maybe that's a good thing!)

Its makes me feel sad that those training/wanting to make films don't feel as though they can be freer. Is it what they're being taught? Or is it deliberate choice? (I really hope not the latter!)

Come on now, future filmmakers of the UK-- open your minds. Just a little. Think outside of that box.

You have such brilliant minds, and wonderful concepts-- worthy of being great directors & film makers.

Tell human stories. For we ALL have those experiences. (especially zombie raves)

Just feel free to be completely inclusive. Its OK. 

Is Theatre being led by the wealthy elite? Do audiences really care about diversity?

ACT FOR CHANGE 2015

Hosts- Danny Lee Wynter, Daniel Evans & Kobna Holdbrook-Smith
Panel Chair- Shami Chakrabarti
Panel- Adrian Lester, Phyllida Lloyd, Cush Jumbo, Mark Lawson, Jenny Sealey, Chris Bryant

Diversity. Inclusion in the arts. 

It's a biggie. 

And the basis for Act For Change's debate at the National Theatre on 2nd June 2015. I was lucky enough to be there, and live tweeted through he event (RSI calling) - but here is a shortish summary of the event.

The event is launched with actors reading anonymous testimonials of rather shocking experiences within the theatre industry, relating to all manner of diversity & inclusion. We're talking racism, sexism, homophobia, and disregard for disability in the most blatant of senses, and proof, that there's work to be done.

UK Theatre

First off, let's remember, that diversity within theatre is ahead of diversity on screen. Marginally, but still ahead. It's a sentiment echoed by critic Mark Lawson. A silver lining at least.
However, I suspect that's as far as we'll get (for now)

Kobna interviews Rufus Norris (NT AD) on how he thinks the NT do at diversity. Rufus mentions that the NT needs to reflect its London and UK audience, but when it comes to putting quotas in place (onstage and backstage), he's more undecided. 

Phyllida Lloyd (director) argues that quotas are needed, because if they're not- the "white men won't miss us". Further she mentions that if the same classical repertoire is dominating the theatre scene, then it sets the notion that plays can only be done & viewed in a certain way. 

It's a sentiment echoed by MP Chris Bryant, that we can't keep doing the same cannon of theatre in the UK. 

The Race Factor

But when we're looking at diversity in theatre, in reference to race, where do we start? 

Actor Adrian Lester points out that BAME people have existed in the UK since 1800s, so the constant churning out of "white" costume dramas just isn't realistic, going on to add- that when you don't show that realism, then writers, directors and casters are working within a "myth". One TV writer even mentioned, through Mark, that unless you specify the race of a character, then directors don't get the point.

Startlingly Mark also mentions that another friend once reckoned that "costume drama is popular because the audience prefer watching white people only"  

Perhaps in theatre responsibility lies with the artistic directors, that they should stop hiring associate directors who are their "mirrors"- the "keys to the building" need to be given to more diverse hands, as Phyllida states. 

As some may say, responsibility for change begins at the top. Or perhaps more diverse stories are needed to be told. Either way- the race factor of diversity in theatre, isn't quite there yet. 

Disability

And how about disability in theatre, does that fare better? 

Graeae AD Jenny Sealey says that it's a real fight for inclusiveness, not only on stage but also in existence. She quotes as someone stating that "people don't go to the theatre to be reminded of the tragedy of being handicapped" A real lack of access to work, makes it all the more difficult for performers with a disability. Where are the funds to help?

Audience members follow on with the issues, being given a fair chance to get into drama schools. If they're not able to get in, then how can they be "excellent"?  We're reminded that disability transcends race, gender or class. As one person mentioned to me- "anyone can become disabled at any point of their life" 

But it's not all bad news, as Rufus announces plans to have a show on at the NT that will be "very focussed on disabled issues" 

I guess with both race and disability, the more we see it, the more we learn & the less we "fear"

Education 

What's the solution?

Actress Cush Jumbo, mentions education-  let's make new TV and theatre shows that not only educate, but re-educate.  Audience members agree- stating that education needs broader stories/plays in the classroom rather than just the classics. Diversity in theatre begins in education. 

Phyllida gives the example of taking one asian actress into a bangladeshi school, where the kids had never had that sort of exposure, of seeing someone as they were, on stage. It inspired them. 

Education should be able to show all children, that people like them, do exist/work and are successful in the arts. As Chris mentions, the "arts are the spiritual NHS" of the UK

Political

And what about the political support?

Chris states that we haven't even started with diversity in the arts. More needs to be done. There is a fear that future cuts will hit theatres outside of London, the hardest cuts are coming & the BBC licence fee needs to be kept- it funds so much opportunity. Ed Vaizey, sat in the audience, mentions that there have been changes made. 

Although it seems, those changes might not be in the right direction.

Summary

What now?

Well the frustration at the lack of change is evident, but things can be done, starting with the individual. "Theatre is the most glorious way of changing perceptions, but not enough of us are doing it. That's boring" 

Cliche i know, but if at first you dont succeed, then try again. Write. Take action. Network. Tell your story. Inspire others.

Shami Chakrabarti, chair of the panel, let's us know that we have a power in theatre & the arts, & we need to use it well.  A statement I wholeheartedly agree with.

Is theatre being led by the wealthy elite? There's a sense that perhaps, it really is.

Do audiences care about diversity?- Well lets show them diverse, and let them decide.

Lets not be having this same debate again in 10 years time. We're stronger now together than we ever have been.

Devoted & Disgruntled: What are we REALLY going to do about Race and Diversity in UK Theatre?

Feb 2014

The things I learnt & the things I heard- Race & Diversity.

The learning & The listening:

I was lucky enough to attend the D&D session on 27th Feb – What are we going to do about Race & Diversity in UK theatre?

From my viewpoint, here are a few brief things I learnt, & heard: 

There is a collective voice out there, within theatre that is one of hope. Hope in the sense that things will change. I’d never realized how strong and united that voice was until yesterday.

Session 1: 12 Angry Men- where does the buck stop with casting?

In the first session-I heard fantastic debates around who makes the decision when it comes to allowing a play to be “blind cast”. Where does the buck ultimately stop? Director, caster, producer or writer?

We live in a society that is incredibly diverse, and surely theatre should reflect that. Changes are coming, but it’s a lot slower than we want. People see actors of race going abroad to get work, esp. the US—but when the work is actually more readily available out there- then why the hell not? Surely in the UK we should be retaining and growing the incredible talent we have.
I heard someone say, that if you ask a person to think of an actor, they will generally think of a Caucasian actor. Ethnic actors tend to be seen as “other” – fillers. Certainly I was alarmed to hear that, but sadly the more I think of it, the more it rings true.

What has to happen for these changes to occur? Personally I’d like to think if we had more writers of ethnicity, then maybe that would make a difference. However, if “people” are not accepting ethnic writers’ work unless it conforms to the ethnic stereotyping, then that just pushes us further back.

Session 2: What did you do at school to get you where you are today?

When it comes to education- it’s quite clear- Arts is as important in the education system, and just as valid, as any subject.

Through discussion, it was interesting to learn that as actors who went to school, and then into training, your imagination sort of gets stifled. At school you’re encouraged to be as creative as you like; the world is your oyster. But as you go through, you get more and more pigeonholed. In my experience, spending my training in shows with a turban on my head. (Incidentally I’m not Sikh)

Luckily for me, that was a bit of a driving force to want to dispel the stereotype. That as an actor I can play a part that doesn’t require a cod Indian accent, or a funny head shake.
But ultimately, if you’re learning as a child that you could play anything in a play, then this should be encouraged in drama school training. Of course, there are obvious restrictions, but race & diversity shouldn’t be one. I’m sure it will happen, but again, just not as fast as people want or like it to occur.

Overheard/In Conclusion:

Certainly through most of the day, I heard some rather encouraging comments that have inspired and pushed me to want to do more.

However, I did also hear comments about people saying that they were championing things to change for black actors in the industry, and that some who had been networking, hadn’t actually talked to any black person as yet.

Race & Diversity means everyone. There is no monopoly on that term to any one race- its all, Black, White, East & South Asian. Let’s be careful not to make it just about one. 

Ultimately there is far more strength in numbers.