Tag Archives: immersive theatre

Secret Theatre – Secret Studio Lab

A secret location, a closely-guarded plot line and the need for sensible shoes – music to the ears of any immersive theatre fan. Secret Studio Lab have a few productions under their belt on both sides of the Atlantic, and the latest Secret Theatre promises a visit to a city island to immerse yourself in their summer tragedy of love. But the biggest tragedy of all is that this production massively under-delivers on several aspects vital to immersive theatre.

I’m not sure what came first: the choice of play, or the location – but neither really compliments the other. The key to successful site-specific work is to create something which nestles perfectly in its setting – to make it feel as if the piece were written just for that space. So a marketing suite for the swanky new blocks of flats being built on City Island, surrounded by a moat of gravel, and desolate concrete piles with steel girders protruding through the ground isn’t exactly an obvious choice for the text in question, even if the story is set in East London. If you are going to stage the work on an island, there are other more fitting texts in this playwright’s repertoire.

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My ticket was courtesy of Bargain Theatre. To read the review in full, please click here.

Countdown to Edinburgh Fringe

I’ve never been to Edinburgh Fringe before. (I know, right?) I haven’t been deliberately avoiding it, it’s just been a lack of the fates aligning for me to have enough annual leave to go away for a week in August.

So I have my accommodation and trains booked. I have spent weeks drowning in spreadsheets and maps, meticulously planning how best to pack in everything I want to see, both cost effectively and efficiently so that I’m sticking to venues in the same locale rather than madly criss-crossing the city. This is all good in principle, but I do have a talent for cutting it fine and being easily distracted, so my military precision may all count for nothing.

Last night I begrudgingly accepted that with 8 shows all starting around 2 o’clock, and only 6 days in which to see them, I’d have to let a few things slip. It’s heartbreaking, because so much sounds so promising. The more you look, the more you find. So unless Professor McGonagall can lend me a Time-Turner for the week, I’m going to have to deal with a lot of FOMO (Speaking of which, I should probably find time to go and have a cup of tea in the cafe where J.K. Rowling wrote Harry Potter).

But I’ve found some real gems which I’m hoping will be good. Most of my picks seem to fall into the following categories:

  • Comedy
  • Circus
  • Friends’ shows
  • Shakespeare-based
  • Confined spaces/darkness
  • “Please wear sensible shoes”

Some shows fit into more than one category – although I’m yet to find a comedy Macbeth performed to one audience member at a time in a series of dark cupboards in Edinburgh Castle and told through the medium of circus – if someone wants to make that, I promise I will come and see it. Admittedly I dreamt a week ago that I went to see Thunderbirds on Ice which also had audience participation.

So I have a hugely diverse bunch of shows to see: improvised lost Jane Austen titles, 1940’s Hitchock-inspired circus, a Shakespeare where the audience play the other characters, a series of conversations in the back of 3 cars, a choose-your-own-adventure where the audience determine the order of the scenes, frank explorations of mental health, my friend’s older brother trying to transmute base metals into gold, Game of Thrones spin-offs, and a steampunk scavenger hunt. It will be nothing if not eventful. I am quite concerned that I will be torn between the need for sleep and the need to see more shows.

So here are my picks, all beautifully listed for you with links (some of these I’ve managed to see in London previews):

Comedy

Austentatious: An Improvised Jane Austen Novel
Fake It ’til You Make It
John Robertson – The Dark Room: Symphony of a Floating Head
Sooz Kempner – Character Activist
Thrones! The Musical
Will Seaward Has a Really Good Go at Alchemy
Will Seaward’s Spooky Midnight Ghost Stories II
Winter is Coming. Again.

Circus/Physical Theatre

Blind Man’s Song
Bromance
Close Up
Hitch!
Ockham’s Razor: Arc and Every Action…

Shakespeareish

Hell Hath No Fury
Mrs Shakespeare
Richard III
Titus Andronicus: An All-Female Production
To She or Not to She

Immersive/Confined Spaces/Darkness/Sensible Shoes

Awakening, Sweet and Sour Sensory Composition
Comfort Slaves
Father Time
Fiction
Helpless Doorknobs
Jethro Compton presents Sirenia
Phantasmagoria
Tate Postmodern
This Time Tomorrow
We This Way

Other

Citydash
Down & Out in Paris and London
I, Elizabeth
Much Further Out Than You Thought
My Beautiful Black Dog
The Eulogy of Toby Peach
We Can Make You Happy
Whiskey Tango Foxtrot

New Atlantis – The Crystal

In the last year or so, I’ve noticed a growing trend of theatre looking towards the future – imaginings of the world yet to come.  Not the Back To The Future world of hoverboards and self-tying shoelaces, but very plausible scenarios.  A greater reliance on technology, more frequent outbreaks of civil unrest, a strain placed upon resources.  All of these things are present in the brave new world of New Atlantis, a pertinent piece as we approach the General Election in May.

new atlantis

They couldn’t have picked a better building than The Crystal in Royal Victoria, East London (although if you’re not familiar with the area, I’d recommend allowing a little extra time to get there) – all futuristic space-agey glass, vast airy high ceilings and loaded with sustainable engineering – perfect headquarters for the organisation that replaces the failed United Nations in 2036.  But in 2050, the Secretary General calls a meeting to announce that she no longer has the energy to fulfil her duties and must step down; it is now down to us as ‘Agents’ to vote for a new leader from 3 possible canditates.  A little bit King Lear with added “press the red button now” features.  All the while, there is the threat of destabilisation from the ominously named Generation Alpha.

We are introduced to the gravity of the situation through a large screen broadcast: Secretary General Dr. Bryony Weller (Tricia Kelly) speaks with the sort of oratory skill frequently seen in world leaders, yet with a quiet vulnerability.  Her age is rather poignant: hinting to the youngish audience that this will be us in 40 years time, approaching old age and regretting not doing more about climate change when we could still make a tangible difference.  We are encouraged to explore the building for an hour and educate ourselves on the various policies of each candidate by engaging with characters and real scientists.  There are some nice bits of science-fiction styling to the actors’ costumes, whereas the scientists are easily identifiable by their boiler suits.

My ticket was courtesy of Bargain Theatre – you can read the review in full here.

New Atlantis is on until 25th January 2015 at The Crystal, Royal Victoria Dock, London E16 1GB.   For tickets and more information, go to http://www.enlightenmentcafe.co.uk/ 

My picks for 2015

With 2015 only days away, I’ve already got my eye on several shows coming up in 2015:

The Railway Children at King’s Cross Station
16th December 2014 to 6th September 2015
Already in preview at its new specially built home in King’s Cross, I first saw this stage adaptation of E. Nesbit’s famous tale when it was at Waterloo’s old Eurostar terminal.  If the words “My Daddy! Oh my Daddy!” cause you to have something in your eye all of a sudden, you should definitely make time to see the wonderful staging of this enchanting family show.

The Ruling Class at Trafalgar Studios
16th January 2015 to 11th April 2015
James McAvoy returns to the stage as Jack, “a possible paranoid schizophrenic with a Messiah complex, who inherits the title of the 14th Earl of Gurney after his father passes away in a bizarre accident. Singularly unsuited to a life in the upper echelons of elite society, Jack finds himself at the centre of a ruthless power struggle as his scheming family strives to uphold their reputation.” 

The Nether at The Duke of York’s Theatre
30th January 2015 to 25th April 2015
A very well-earned transfer of this exceptional play from its stint at The Royal Court earlier in 2014 – the vast majority of the original cast will be reprising their roles.  Set in the unspecified near future, the script tackles the uneasy subject of how to deal with paedophilia.  It presents the audience with a very real dilemma – yet it never tells you how you should feel about it.  You decide that for yourself.  I will definitely be going back for a second viewing.

The King’s Speech – UK Tour
5th February 2015 to 8th June 2015
This is the stage adaptation of the film which won more awards than you could shake a sceptre at. It had an outing on the West End a few years ago, but it was perhaps timed a little too close to the DVD release for it to fly. This production is starting in Chichester and touring the country from there, with Jason Donovan playing Aussie speech therapist, Lionel Logue. Perhaps now the time is right for this show to return to the stage.

Jason Donovan King's Speech

A View From The Bridge at the Wyndham’s Theatre
10th February 2015 to 11th April 2015
A recommendation from a fellow theatre blogger, Jake Orr.  In his words: “The most breathtaking synergy between direction, design and text I’ve seen in theatre… …Seriously, if you’ve not seen the show it is transferring to the West End in 2015, book now and hold your breathe at the end, you won’t have a choice but to.”  I’m prepared to take it on good faith that it’ll be every bit as amazing as described!

The Producers – UK Tour
6th March 2015 to 11th July 2015
Much as I hate to be swayed by a celebrity cast, I do love Ross Noble (he joins the cast from 18th May). A musical about making the worst musical ever – with songs like Springtime For Hitler is my kinda show.

Gypsy at the Savoy Theatre
28th March 2015 to 25th July 2015
Just about all of my more musically-inclined theatre blogging friends have been raving about this ever since they saw it at the Chichester Festival Theatre.  Again, I’m willing to believe them that this is going to be good.

Imelda-Staunton-Momma-Rose-co-in-Gypsy.-Photo-Johan-Persson-e1413325106852

The Audience at the Apollo Theatre
21st April 2015 to 25th July 2015
I saw the cinema screening of The Audience starring Helen Mirren – a fantastic play based on the imagined conversations between Her Maj and the Prime Minister du jour.  All 12 of them.  Kristin Scott Thomas takes to the stage in a play which is a fascinating insight into the woman who has the right “to be consulted, to encourage and to warn”.  For those who would happily do away with the monarchy, this play might persuade you that there’s a lot to be said for one piece of continuity that holds fast from one government to the next.

Shakespeare’s Globe New Season
From 23rd April 2015
In a bid to repair the damage done by my English teachers at secondary school and sixth form college (and University, to be honest), I’m slowly working my way through seeing lots of plays at Shakespeare’s Globe in the hope that they’ll be less boring on stage than they were in the classroom.  The Merchant of Venice was the first play I saw when the Globe opened (I was studying it for GCSE, which kind of ruined it) and I’m also looking forward to Measure For Measure, which has some familiar characters like Falstaff, so I’m hoping it’ll be funny rather than the painfully dull chore that it was for A-Level.

You Me Bum Bum Train
Dates to be confirmed
All aboard! YMBBT – one of the greatest immersive theatre companies in existence – have set the wheels in motion for a 2015 show. It’s all very secretive, but reportedly, audience members are sent through one by one into a series of situations which you probably wouldn’t encounter in your everyday life. From driving a JCB digger to conducting an orchestra to leading a dawn raid with armed police, you become the star of the show. What they have lined up this time is a closely guarded secret and the less you know, the better.  Apparently.

Of course there’s loads I want to see – the full list is here.

Top 10 Theatre Shows of 2014

You’re asking me to pick just 10?

I’ve basically binged on theatre this year, totting up over 50 different shows, some with multiple visits. Thank goodness reviewing has permitted me to see a few shows for free (Thank you to Bargain Theatre and #LDNTheatreBloggers for letting me see shows with you/on your behalf and lessening the impact on my bank balance). The vast majority of what I’ve seen this year has been of a really high standard, which has made it hard to choose. I should point out that the ranking on the first few is purely arbitrary – they’ve made it into my top 10 ahead of 3 or 4 other shows that I really really liked.

10. 1984 – Playhouse Theatre
Oh God, this was harrowing. I can’t say it was an enjoyable play to watch, but as a piece of theatre, it was incredible. Every bit as visceral, unnerving and horrifying as I expected it to be. For theatre that moves you to feel something, it doesn’t get much better than this.

9. Ring – Battersea Arts Centre
This was probably the best piece of audio theatre that I’ve experienced this year. This show proves just how heightened your sense of hearing becomes when you’re sitting in complete darkness (and I really do mean complete darkness). It plays tricks with your mind and your perception of the space around you. Definitely worth “seeing” again.

8. Forbidden Broadway – Vaudeville Theatre
Just the right balance between jazz hands and acerbic wit, Forbidden Broadway packs in showtune after showtune, each with new lyrics. If you’d seen the shows in question, it was hilarious – even if you hadn’t, the humour was well pitched for the uninitiated.

7. Good People – Noel Coward Theatre
From the very beginning, Imelda Staunton gave one of the greatest performances on the West End stage. She machine-gunned through her desperate pleas to her boss, barely stopping to draw breath. She was fragile, unlikeable at times, yet funny and sweet. A very complex character, with faults and foibles.

6. The Knight of the Burning Pestle – Sam Wanamaker Playhouse
Pure Jacobean silliness and my first visit to the breathtakingly beautiful candlelit Sam Wanamaker Playhouse at Shakespeare’s Globe. This was a well observed satire about badly behaved audiences, with a good dose of slapstick thrown in. A play outside of a play filled with mirth and mayhem.

5. The Nether – Royal Court
Probably one of the best “this could really happen” plays I’ve seen in recent years. The uncomfortable dilemma of how to deal with paedophiles, brilliantly written and cleverly staged (another incredible set by Es Devlin) – yet it never told you what to think or how to feel. I was stunned into silence for 5 minutes after. A real thinking play.

4. Titus Andronicus – Shakespeare’s Globe
Gloriously gory and wickedly funny, I first saw Lucy Bailey’s production of Titus Andronicus 8 years ago and was thrilled at the prospect of a revival. It didn’t disappoint – the ever accelerating cycle of revenge and politics played out in a mêlée of tit-for-tat violence and careful manoeuvres, all the while, making us laugh at some pretty chilling stuff.

3. The Play That Goes Wrong – Duchess Theatre
A sheer comic delight – everything that could go wrong, did go wrong. Things fell to pieces, stuff went missing, people couldn’t get on (or off) the stage… but meanwhile, the cast did everything they could to downplay – and adapt to – the chaos unfolding around them, and valiantly carried on with the show. A fresh take on the old art of coarse acting.

2. Let The Right One In – Apollo Theatre
This was more than just another teen vampire love story – the staging was exceptional. As a portrayal of the horror genre, they made good use of suspense – there was a tortuous wait for the impending ‘jump’. There was a real elegance to the scene changes, making the whole thing completely seamless.

1. The Drowned Man: A Hollywood Fable by Punchdrunk
Could it really be anything else?  The show that changed my life and redefined everything I know about theatre? From the multi-layered stories to the performance logistics of 32 actors each having to be in the right place at the right time. From the meticulous detail in the set to the glorious choreography, to the sheer inter-connectedness of everything, I take my hat off to everyone involved. I still miss this show, but I’m just thankful that I had the chance to go as many times as I did.

Possibly the best Christmas present I could ask for (short of them reopening Temple Studios), they’ve released footage of the final finale.  I am in that crowd somewhere, on the verge of tears.

Here’s to another year of fantastic theatre!

The Drowned Man (Punchdrunk) – 17th and final time

It’s all over.

I don’t think I will experience anything quite like last night again for a long time to come.  If you had told me a year ago that my first ticket would lead me to see The Drowned Man: A Hollywood Fable a total of 17 times, I wouldn’t have believed you. I was so nervous that I wasn’t even sure if I was going to like it.  But I did; given the number of friends who only visited the show for the first time a few weeks ago and are now kicking themselves for not going sooner, I’m glad that I discovered it when I did.

So yesterday, 600 of us descended on Paddington for the last hurrah, 99% returning visitors, but word spread like wildfire that there were a few first-timers in our midst (God help them. It’s overwhelming enough first time to an ordinary show – what they must’ve made of the levels of delirium that pervaded every big scene is anyone’s guess).  I joined the queue 2 hours before the doors opened and the line was already snaking halfway around the building – there were many familiar faces and a real party mood, tinged with sadness that it was the last show.  Inside, there was a lovely crowd – none of the elbows-out ruthless attitude which I’d feared.  People held doors for each other, apologised quietly for bumps and trodden-on toes, and made sure people behind them had a good view too (and did their best when a room was packed to the rafters).  Everyone I shared space with was polite and considerate.  Well done fellow audience.

But with 30 characters and scenes running simultaneously all over the building, how the hell are you supposed to choose how to spend your last show?!  Even with access to The Drafting Room (which has a board indicating who’s where doing what at any given time), it was going to be tough to see everything.  I had initially toyed with the idea of floor loops (an hour in the basement, a couple of scenes on the ground floor and the rest in the town and studio – I’ve spent enough time up in the desert recently to lay that to rest) but I realised that there were just a few scenes which I hadn’t seen since my early visits – scenes I just needed to see one last time.  Anything else was a bonus.

We got in about 20 minutes later than I was used to, so my initial plan went out the window.  As we stumbled through the box maze, I could hear the first thumps and strings of Burning Hell for the hoedown in the bar.  The atmosphere was electric, the crowd stood 4 or 5 deep clapping and cheering in a way that’s usually reserved for the finale.  I spotted the return of Badlands Jack (River Carmalt) and broke the ‘no speaking’ rule in my excitement.  I watched that hoedown scene 3 times over and not once did the performers falter.  If I could bottle that feeling and sell it, I would be very rich indeed.

I finally got to what happens to Mary (Laure Bachelot) after her affair with Dwayne – her dance in the trees and woodchips is wracked with guilt and self-loathing.  I later managed to catch Alice and Claude Esteé (Pascale Burgess and Ira Mandela Siobhan) doing their synchronised chair dance in the casting office, dripping with megalomania. This was soon followed by Alice’s dance with Lila (Kath Duggan) on the boardroom table, still smooth and slightly sinister, to the doom-jazz of Street Tattoo by Bohren & Der Club of Gore.  I later wandered down to the ground floor to catch Wendy’s dance through the trees and later to Stanford’s Party.  Four of the scenes on my to-do list.  Utter perfection.

But with more performers than roles, it would’ve been a shame for some to not get their share of the glory.  But Punchdrunk are experts in performance logistics and the way they handled this was so ingenious that I pity anyone who missed it.  At various points, there would be a handover from one actor to another and I was lucky enough to see the role of the PA switch from Stephanie Nightingale to Fania Grigoriou.  They stood in a crowded corridor with Mr Stanford (Sam Booth), he took off Fania’s white mask, both girls slapped him, he handed the mask to Fania who positioned herself opposite Steph.  Simultaneously, Steph removed the string of pearls from around her neck and placed them around Fania’s neck as Fania placed the white mask on Steph’s face.  Slick as hell.  I only wish I’d seen more of these handovers.  Bit by bit, we had a whole new cast take to their roles (some of whom had done more than one role that night) – a real who’s who of Punchdrunk performers.

I also caught the dance between Dwayne, Faye and Mary (Oliver Hornsby-Sayer, Sonya Cullingford and Kate Jackson) in the town – as flirty and fun as ever.  I had one of my fingernails painted red by the Drugstore Girl (Anna Finkel) while I waited for the fight between Andy and Miguel (TJ Lowe and Georges Hann) – this was the very first scene I saw on my first visit.  It was wonderful to have that feeling of bringing things full circle.  Two last scenes ticked off my to-do list and the building was now my oyster.  So I followed Miguel.  After his anointment by the Dust Witch and dance in the sand, he offered his hand and took me back to his tent for me to wash him (I should’ve wrung the sponge out a bit more as I utterly soaked his trousers – sorry Georges!) – a nice little perk which I’d never had in 16 previous visits.

But the finale.  Oh the finale.

After what must’ve been a physically, mentally and emotionally demanding final show, the entire cast pulled out all the stops for one final blistering performance of the hoedown dance.  As they squished everyone into a line for a final bow, the roar from the crowd was deafening and went on for several minutes.  There were many quivering bottom lips and welling eyes at the outpouring of appreciation from the audience.  A fitting and well deserved tribute to a cast who have given so much of themselves to us in the past 12 months.  We then watched rapt as Stanford walked out of the gloom and put a gun to his head and fired the final shot – an inevitable end which ties in nicely with the words in the original blurb stating that the studio closed overnight in mysterious circumstances.

Someone said to me that there are several stages to a Punchdrunk addiction; you come out the end of your first show thinking “I need to find out what’s going on”.  So you go back and scratch the surface of the two love triangles and some of the other characters.  Around visits 3-4 it becomes “I need to see everything”.  So you start to fill in the gaps by following characters and certain actors which naturally leads to “I need to follow X”.  You start to have favourite scenes, dances and actors.  This then develops into “I need to see Y playing Z”.  The more you go, the more you discover that something really sinister is going on, even if it’s barely referred to in speech, there’s plenty of evidence on paper as you read letters and rummage through drawers.  Where is George Buchanan?  What is the Truth Manifesto?  What is Petit Plan and why is the Doctor prescribing it to everyone?  Which brings us neatly back to…. “I need to find out what’s going on”.  I was just about to move onto that final stage.  It’s probably best for my bank balance that I didn’t.

So after many tears and hugs in the bar, we took one last look at the microcosm which had become so familiar, walked back down the metal gantry to collect our belongings and stepped out through those big red concertina doors into the fading daylight for the final time.  It hurt like hell to leave, but I’d had a show which had left me feeling very satisfied.  There are not enough thank yous in the world for the cast and crew who have worked so hard to make this the show that it has been.  Now to let my bank balance recover and save up for the next one.  I’ll see you in the queue next time we mask up.

But for now, I’ll leave you with my favourite piece of music from the show.  If I just close my eyes, it’s 30th October 1962 and I’m stood in Encino by the fountain.  At the end of Straight Street, Dwayne and Mary are dancing by the red Studebaker and through the window of the Drugstore, I can see Harry Greener peddling tins of Miracle Salve from a battered suitcase to a girl behind the counter.

I am home.

The Drowned Man (Punchdrunk) – A final farewell

In little over a week, I will walk out of Temple Studios for the final time.  Those words fill me with dread, but it is true.  I fully expect to be a weepy, mascara-streaked wreck, along with countless other Punchdrunk addicts with whom I will share that last, precious show.  Several have become friends through a facebook group, resulting in many evenings of standing in a queue together (sometimes pre-show drinks in a pub) before wandering alone for 3 hours through the gloomy world of Temple Studios and then re-convening in the bar for excitable post-show analysis.  People I never knew a year ago who are the sole source of my addiction – habit-enablers, every last one of them.

I never expected this to happen.  Seriously.  (I would’ve budgeted for it for a start).

A year ago, when I booked my first ticket I was some semblance of a normal, rational person.  The people who had seen Les Mis 7 times?  Weird.  Just weird.  Why not go and see something else?  I’d seen a few London shows twice and even seeing The 39 Steps 3 times seemed borderline ridiculous (it is good though – if you haven’t seen it, you should go. /tangent).  My typical budget for theatre is around the £30 mark and I will move heaven and earth to find a good seat for the cheapest price I can get.  I winced at spending £45+ for that first ticket, thinking to myself “this had better be worth it…”

My first visit was utterly overwhelming.  It took me about 3 days to get my head around everything I’d seen (and not seen).  Various friends went and we tried to compare scenes – only they’d been on an entirely different journey to me, so it was hopeless.  Other friends were deeply suspicious and remain so to this day (I like to think they just fear what it’ll do to their bank balance if they go just once).  I even persuaded my hairdresser to go – she never even knew anything like this existed, but she loved it.  If you are prepared to give it a chance, I actually think Punchdrunk are remarkably accessible compared to many other shows which are a bit ‘out there’.

But it took 4 months for me to go back.  I thought a second (perhaps third) time would be enough to see all of it.  I must’ve seen most of it, surely?  No.  After that second visit, I had sand in my shoes, (stage) blood in my hair and a head full of questions.  I started to buy tickets in 2s and 3s, wondering if that would ever be enough to see all of it.  A series of Q&A sessions only served to reinforce my admiration for the show, the design, the meticulous detail (right down to the smell of TCP in the doctor’s office), the choreography, the sheer logistical nightmare of running scenes simultaneously, requiring performers to walk into opposite ends of a room at precisely the same moment and start a scene with the absolute surety that the other person will be there exactly on cue, the constant self-referencing which neatly ties one aspect to another.  One of the directors had estimated that to watch every single scene in some sort of order would take around 12-15 hours.  Their cast are trained in multiple roles so there are something like 86 possible permutations.  It is mind boggling in every single way.

Yet they make it look so easy.

It very definitely isn’t.  I’ve seen a few immersive/promenade/contemporary things in the last year, some more successful than others.  Part of the problem is that Punchdrunk have set the benchmark so high in every respect that it’s hard to draw comparison.  I have found myself in other productions getting annoyed that a tangle of cables hasn’t been boxed in, that ‘fine dining’ has been served on paper plates with plastic cutlery, that there are bottlenecks when moving audience from one location to another, that there is a short wait for it to be my (or my group’s) turn to see a scene.  But this is what you let yourself in for with experimental theatre – the ideas are often great and each respective company has clearly expended their every last resource and ounce of creativity to make it work to the best of their ability – if I wanted something safe and predictable, I’d go and sit in a numbered seat in an auditorium.

So it is with the impending 17th visit to The Drowned Man that I look back on everything I’ve experienced.  Theatre going won’t be the same ever again.  Whilst I will be incredibly sad once it’s all over, I find solace in knowing that they have many ideas, if they can just find the right building.  It has also taught me many things; I will be directing a play at my own theatre for February 2015 and this has given me the confidence to be brave with my set design and lighting – to not be afraid of the careful use of silence.

So I would like to say thank you to Punchdrunk, to their performers for their boundless stamina and the exquisite tenderness of those 1:1 encounters which, for a fleeting few minutes at least, were for me and me alone.  To their backstage crew/front of house team who tirelessly keep the nuts and bolts of the show ticking over with such finesse – I will forever remember Summer 2013 to Summer 2014 as the year when one theatre production suddenly and unexpectedly consumed my every waking moment (and some very lucid dreams too).  I wish I’d accepted sooner that I’d be going as many times as I did – I might’ve stood a chance of following characters one at a time in a more methodical fashion rather than running around trying to see everything.

Time to start saving up for the next one…

 

Before this starts getting too morose, one of the things that came out of the facebook group was an immense amount of fan art – there are some incredibly talented designers in our midst.  I, however cannot draw very well.  Especially not freehand on a computer, given that I am naturally left handed and use a mouse with my right hand.

None of these things prevented me from expressing myself by the medium of MS Paint.

I apologise for the following pictures.  They are unsuitable for those who wish to treasure their memories intact and for those with a weak bladder.  If you should wish to open the Pandora’s Box of my scenic interpretations, you will find them here.

Felix and Maxine – I am so sorry.  Facebook made me do it.