Guest Blog: The Tiger Who Came To Tea rehearsal diary

So it’s the week before rehearsals start for our summer run at Cadogan Hall with The Tiger Who Came to Tea and time to start preparing. 

Even though this time round all of the company have worked on the show before we haven't all worked together as a team so I know that we won’t be wasting any moments of our precious rehearsal time. Being prepared as much as you can before rehearsals begin is essential.

For me that involves a good study of my script and notes. David Wood’s scripts are incredibly detailed and there are pages before ‘action’ begins that are a perfect guide to help get you back into the mood of our production. 

Detailed notes on character, how the set works and the feel of the piece serve as a great ‘jump start’ for our Tiger journey. Thankfully I have also made copious notes on Emma Clayton’s choreography that will help when we are putting our musical numbers back on their feet on Monday morning! 

Guest Blog: Emma Naomi - Deathwatch

It has been a privilege to have my London debut at The Print Room. The Coronet is steeped in history; a fantastic and eccentric venue. And what a play! It's been a challenge but a good one. I feel "Deathwatch" requires a physical and vocal rigour that consolidates the training I have had. Anything less and the play cannot survive. This is also the smallest ensemble I have ever been a part of; there are only four of us.

During our first week we worked very closely with David Rudkin who translated the text from its original French. Any questions and problems we had were addressed early on in the rehearsal process. The fact that the play has been translated from another language hasn't changed my approach to the text. I am trying to do justice to the characters I'm playing and that will always be the case. I would say, however, that a great deal more research is required to understand the context of the characters' lives.

Deathwatch is my second theatre job, the first playing Mercy Lewis in The Crucible, Bristol Old Vic. I was lucky enough to find I had won the part on our last day of third year and it allowed me to relax and research over the summer. The ensemble took me under their wing and I had a fantastic time.

Guest Blog: Trainee Producer Marcos Melo - Tricycle Takeover 2016

Marcos is a Trainee Producer at Tricycle Theatre, assisting with the Takeover 2016: Paradise Festival.

I have had the pleasure of popping into a richly cultured venue, known as the Tricycle Theatre, on a weekly basis for the past 6 months now, and each time I learn something that has benefitted me as a person and as a professional. My notebook looked like it was being bullied by my pen by the end of the 2 hour meetings as ideas, things to research and advice whizzed across from one end of the table to the other. Naturally this was inspiring, but at times it could be overwhelming as I sometimes struggled to keep up with the pace of what was being said, leaving me disappointed as I probably missed out on some gems.

Guest Blog: Setting out to stage Hamlet Peckham

Anthony Green

Actor and director Anthony Green writes about his production of Hamlet in Peckham and the values of fringe theatre.

Hamlet is produced countless times every year; our production is about solutions. Not only is the play about solutions but the story behind the play is also about solutions. Hamlet has a problem and spends the entire play figuring out how to solve it, which is the perfect metaphor for how we went about producing this production. 

Over half our actors for this production were cast through open online auditions. We saw over 2,200 audition tapes in search of the best people and the remaining actors were cast from previous productions and acting classes. We signed up to the Equity Fringe Agreement which is a growing initiative about fairness and protection which chimes directly with our values.

Guest Blog: Benjamin Wells - Being part of a big cake

Being part of a show such as The Tiger Who Came to Tea is like being part of a big cake.

So, I'm sorry Forrest, put your chocolates down for a second because I'm going with a more baked variety of analogy. You have some really important parts like the producers - who I suppose are the oven - providing the necessary means to bring all the parts together. The writer, directors and creatives who would be the flour and butter that form the base of the whole creation. Actors and crew would be the sugar, a sweet ingredient uniting the other elements together so you start to get the shape and texture of the production. All these elements are important, no, vital to a good production, without any one of these the cake would simply not rise and have a very soggy bottom... hopefully only in the metaphorical sense.

But what gives a production that 'wow' factor? What is the proverbial icing on the cake? What is it that would make Mary Berry wobbly at the knees and Paul Hollywood give you his icy blue eyed stare of approval? Well that, in my opinion, would be you! The wonderfully honest theatre-going audience.

Guest Blog: Rachel Creaser – Performing arts opportunities for all

Pursuing your dream is never an easy feat, and forging a career as a performer in the arts is most certainly a path fraught with obstacles. But it’s important to remember that the arts are for all – regardless of your background. 

It’s hard to have missed news stories in recent months which have highlighted the lack of actors entering the industry from less-privileged backgrounds: The Stage reported in May this year that ‘Only 10% of actors are working class’; and comments from industry professionals such as BBC casting director Julia Crampsie have revealed: ‘I go into drama schools every year, and it’s getting less diverse.’ 

Drama training is important if you’re serious about entering the world of performing arts. Not only does it equip you with the required skills to thrive in the industry, but it also gives you the opportunity to meet and work with potential future collaborators from all different walks of life. 

Guest Blog: Benedict Barber - Real Magic Definitely Exists!

Real magic is the misinterpretation of the trick/illusion in the mind of the spectator. The hand is NOT quicker than the eye! This is the biggest fallacy in our business. It is simply not possible for me to move my hand faster than you can see it.

It is, however, possible for me to redirect your attention.

Therefore in my opinion, and according to the late and great Tommy Wonder (my favourite close up magician of all time), magic is the result of redirection of the audience’s attention on the behalf of the performer.

Misdirection sounds too haphazard to me. Let’s just call it redirection shall we?

If 3 people see a car accident, 3 honest people, within a matter of seconds they will give different reports as to what happened. This is not intentional deception; it is the way the mind works. This is the way all good magicians work - we play with your mind, we create illusions on all levels with what you see, what we say, helping you to perceive and believe what we want.

Guest Blog: James Perkins - Design and Deduction

James Doherty in Eventide

I go through the same process every time I make a new design. I begin with an empty space. Then I do my best imitation of Sherlock Holmes, and from this, a design emerges.

Perhaps I should explain myself. Sherlock Holmes once explained his process of deduction by remarking that ‘once you have eliminated the impossible, whatever remains, however unlikely, must be the truth’. I’m paraphrasing slightly, but so was he – Arthur Conan Doyle, a doctor as well as an author, was probably drawing on his scientific background when he came up with the idea, because it owes a lot to null theory, the basis of all scientific research.

In null theory, rather than seeking to prove a fact (apparently this is difficult to do), you work to disprove every possible alternative fact (apparently this is easier). Rather than proving a positive, you hem in the truth by disproving one thing after another until the space left for the truth to inhabit is so small, there could only be one thing in there. This is how scientific research is conducted; it’s how Sherlock Holmes solves crimes; and it’s how I make my work.

#SummerSays: Knowing Your Worth

How many times have you done something because you've felt you had to? How often have you been in a situation where all you long for is to be at home with your own comforts and your Mac? I've had many of those times, playing far too much of the yes game, when I should have stuck to my gut instinct and remembered that it's invariably right.

Remembering your worth is not about being a big deal, or thinking that your time is more special than others. It's about carefully nurturing yourself and having confidence in the knowledge that you are capable of great things. You have to know that you are good enough and worth it, as once you master belief in yourself, nobody can steal that love from you. It’s not pride, it’s self-respect. You cannot expect to see exciting changes or progression if you surround yourself with negativity and worry, so don’t give part-time people or things a full-time position in your life.

Guest Blog: Robert Hands - The multi-roling actor

The experience of playing multiple parts in a theatre production has been a part of my career from its very beginning. 

My first professional job as an actor was with the now defunct English Shakespeare Company. When I joined them two days after graduating from drama school, they were doing a world tour of 'The wars of the Roses', the seven play history cycle going chronologically from Richard II right the way through to Richard III. My contract was a 'play as cast' contract. This essentially meant that I was obliged to play whatever they wanted me to as well as to understudy. I played a large assortment of servants, soldiers and Lords some (but not all ), with a few lines, as well as having some thirty six understudies to learn. 

I loved every minute of it. Even playing these tiny parts I relished the challenge of making them all different . It made me focus on ways in which they were different from me. Their different energies, their voices, the way they moved. I loved it at the time and I've always relished it when I've had the opportunity to do so since.

#SummerSays: Finding your Big Deal

Rosalie Craig

‘BIG DEAL’ - a term I call my boss when I can sense his mood and know in that exact moment I am able to get away with it. 

In life, I am pretty sure it is vital for everyone to have something and someone who inspires them. If you are reading this, then you probably already have a passion for something, and possess many creative colours that you must hold onto forever. 

At college, my best friend and I would spend hours talking about incredible performers like Rosalie Craig who would come in and sing to us and somehow make sense of even the trickiest Sondheim. Then there were the teachers who lit a fire in your belly which you never knew existed. Those are the people that get your creative colours flowing; the people that at that time inspire you. Then before you know it, you have left college and you are on your own ready to start again; using all your inner strength to get yourself to where you want to be. If you are anything like me, you will want to be finished and successful as soon as possible, but it is worth reminding yourself that your patience and tenacity will be fully worth it in the end. It is having somebody who can be part of the chapters in your book; who can provide you with the skills needed to progress you to the top of your ladder.

#SummerSays: Calling Café Nero!

It's your first week as an intern. You're getting up every morning ready to take on the world of musical theatre, film and television. You've brushed up on all knowledge, researched so much you've stalked a casting directors dog on twitter and have your notebook and pen as your BBF.

Suddenly, you're surrounded by stacks of filing, pieces of paper and envelopes. You've been looking forwards to fielding exhilarating phone calls, yet you've been sat franking, stamping, told you're in charge of the filing cabinet and then comes the pinnacle - The coffee run...

Guest Blog: Lise Bell - Transferring Happy Birthday Without You to the EdFringe

It’s mid July and I have just under two weeks before I pack my set, my actor (and best mate) Sonia Jalaly, and our taxidermy cat into a van and take off for Scotland, ready to unleash Happy Birthday Without You on to the Edinburgh Fringe Festival. Although I’ve been working in, and producing theatre for five years, I’ve never taken a show to Edinburgh before, and it is as terrifying and thrilling as I always thought it would be.

I had my first brush with the Fringe in 2010, when, fresh out of University, I worked as a Stage Manager for one of the big Edinburgh venues. It was a crazy month, and I would be lying if I said I enjoyed every minute of it. As almost everyone who has spent a month at the Fringe knows, it is a real test of stamina. You have the mid month flu, complete with hallucinations, you have the sleepless nights and hungover mornings and the points at which you just don’t think you can carry on. But it is addictive. No other festival compares. You can see one show that leaves you questioning your own mortality, and the next moment be belly laughing to a newly discovered comedian. Ever since, I have been hooked on going. But still, I never thought I’d be one of the brave souls taking a chance with the unforgiving crowds, spoilt with the choice of over 3,000 shows.

Guest Blog: Neal Foster - "one of the greatest joys of my life"

It’s another hot day in London and we’re trying on all the different costumes for our brand new Horrible Histories show called Barmy Britain – Part Three and just in case all the clothes aren’t warm enough, we’re putting on furs, wigs, crowns and gloves! 

In just 70 minutes we go from Stone Age, Viking, Medieval, Tudor, Stuart, Georgian, Victorian periods to World Wars One and Two! Our main problem at this stage is to stop laughing. 

For the first time in my life I’m acting and directing at the same time, which is very tricky. It’s amazing how difficult it is to judge how the scenes are working when you’re also performing in them. So I’ve enlisted the help of Alison Fitzjohn to watch rehearsals, as she’s been in all the Horrible Histories shows since they started in 2005. In fact this year is the 10th anniversary of Horrible Histories live on stage and during the run of Barmy Britain – Part Three! we’re celebrating with a special Gala Performance on 27th July at the Garrick Theatre featuring HH writer Terry Deary and illustrator Martin Brown. It should be ninety minutes of mayhem, with Terry and Martin making their West End debuts. 

Guest Blog: Bringing The King of Tiny Things to the stage

Work for family audiences is often chock full of imaginative theatricality and silliness and fun, and that’s part of what drew us into making that work in the first place, and of course also because we started our own family (Noah and Finn, now 3 and almost 1 respectively). 

There’s nothing like sitting through bad children’s theatre with your children to galvanise you to make something better. And while our latest show The King of Tiny Things does have lots in it for the very young - a deceptively simple plot and a highly visual style combining spectacular and dynamic circus with stunning puppetry - there is genuinely something in there for all ages. The story follows two little girls, sisters Jeanne and Chrissie, camping out in the garden for the first time and fearful of what the darkness holds. But they need not fear for a tiny winged creature - the magical King of Tiny Things appears and leads them on a moonlit journey introducing them to a series of insects and creatures in need of their help, each created using a different circus discipline (a juggling slug, a contortionist caterpillar, a trio of acrobatic baby bats). An adaptation of the book (of the same name) by celebrated children’s author Jeanne Willis and illustrator Gwen Millward, it’s an enchanting story but by no means sanitised dealing, as it does, very directly with ideas of death and loss.

Guest Blog: The challenge of playing the Fallen Woman

Violetta Valéry in La Traviata is a strong, compelling role that has inspired successful films such as Pretty Woman and Moulin Rouge. She is a woman who desperately tries to be free from her life as a courtesan and the binds of society. Freedom is finally found in the form of love but it is tragically taken away from her. 

Violetta was at the top of my list of roles to play but is also, quite frankly, a bit frightening. Even the greats have said how notoriously difficult the role is. Renee Fleming said “Sometimes I wonder if Verdi actually just didn’t like the soprano he was writing it for” and before going on stage for the act one cabaletta, Sempre Libera, she thinks to herself “Well let’s see if we get through it tonight.” 

So why is Violetta a challenge, even to singers at the top of their game? Well, she is on stage for most of the opera, so stamina and good vocal technique is a must. You have to be physically and vocally fit to play her, a good night’s sleep before is also important. As an actress you have to live and breathe every second of this complex woman’s journey and constantly keep that dark cloud in the form of her illness hanging over her throughout. Plus, in a smaller space like the Tricycle Theatre, the audience need to see every thought and emotion clearly. Playing illness and fragility to the point of death convincingly is no mean feat. There can be no room for “park and bark” where opera singers just stand and sing, fabricating their emotions. If the audience are to be taken on Violetta’s journey right through to the end, the actress playing her needs to be completely invested in the character.

Guest Blog: Oliver Michell - author of The Tulip Tree

“He’s a pound-shop Enoch Powell and we’ve got to watch him.” 

So Russell Brand described Nigel Farage on Question Time in December 2014. Powell is notorious. He is mentioned on average three times daily in the UK press. His observation, made in relation to Joseph Chamberlain, that "All political lives, unless they are cut off in midstream at a happy juncture, end in failure, because that is the nature of politics and of human affairs” is misquoted daily in a British newspaper. 

At the 2014 Edinburgh Fringe members of the Oriel Theatre Company stood on rain-swept street corners, handing out flyers for The Tulip Tree and listening to opinions about Enoch Powell. A Welsh Labour supporter remembered arguing with Powell after a meeting and being answered in flawless Welsh. One passerby was convinced that he was a film star. I asked in which films he thought Powell had appeared; it became clear that he was thinking of Sidney Poitier. The number of people who had seen Powell speak in person was striking. Powerful oratory and piercing blue eyes were the only two points of consensus. 

Guest Blog: Beth Shouler - Tricycle Takeover 2015

Beth Shouler, Director of Tricycle Young Company, writes a Guest Blog for West End Frame about the Tricycle Takeover 2015 which runs until Sunday 29th March 2015.

The Tricycle Theatre has been overrun with young people aged under 26 and the work they’ve made: plays, performances, films, talks, workshops, music and art. There’s a palpable buzz of anticipation around the building. There are pieces of set, costume and props in just about every room, corner and crevice you can store something. Already I’ve come in this morning to find a camping chair on my desk and a fake death certificate. As you do.

I’ve just joined the Tricycle as the new Young Company Director. Last year I came to the Takeover Festival and it was magical, so when I got the job I was thrilled. 

I’m directing three plays and created one film with four ensembles: Press Road Young Company 10-14s, Young Company 11-14s, 15-18s and 19-25s. I started the year asking them questions and trying to get to the heart of what stories they wanted to tell. The performances they’re all working on are very different in style, as are the rehearsal processes, but all the groups are headed in quite a political direction. Some of the material is hilarious but there is a deeper subtext which illustrates the anxieties and questions young people have regarding their future and there is some real anger about being dismissed by those adults who call young people politically apathetic.

Guest Blog: Bryony Lavery’s Frozen is revived at the Park Theatre

Mark Rose

Mark Rose writes about Bryony Lavery’s Frozen, produced by The Blueprint Theatre Company at the Park Theatre. Mark plays Ralph in the production which he has also co-produced.

It is no easy feat to get a production off the ground these days. As a small production company of three people, all with other commitments and time constraints, we have to be absolutely certain we are working with material that will make all the hard work and sacrifice worthwhile.

Bryony Lavery’s Frozen is in the consciousness of many people. There are those who never saw its original incarnations at Birmingham Rep or The National Theatre but are nevertheless aware of it and the impression it made at the time.

Critically lauded and award winning the play was an unqualified success in the UK and transferred to Broadway, where it was equally feted. So from Birmingham to London, to Broadway and back again, what is it about a play written nearly 20 years ago that resonates wherever and whenever it is presented?

The answer is in the writing. Bryony has taken a near-unpalatable subject and forged it into a piece of art; it has humanity and heart, it is bold and theatrical, it dares us to examine our reactions to a monstrous act and forces us to ask hard questions.

Guest Blog: Bring It On The Musical rehearsal diary (Part 3)

Sarah Flinton

It's half term around the country, all across England kids are celebrating a week off school, but we're in the studio still trying to perfect our toe touches. As much as we all probably need some time off, there's something about this show that makes us not care that everyone else is on holiday...

This week has been a busy one, starting with the entire cast trying on costumes. Finally we got to see what both Jackson and Truman's cheer uniforms were. Given none of us have ever done any cheerleading before you can imagine how excited we all were, there will probably be tears when we have to take off those uniforms for the last time on 7th March.

Now that we know our costumes will look like real cheerleaders, we had to make sure our stunts and routines were up to scratch. The Broadway version had the advantage of hiring actual professional cheerleaders who've been basket tossing since they could crawl. So we spent over 6 hours running the cheers and going over lifts, god only knows how the boys are surviving 6 hours of consecutively lifting us girls!