STREET THEATRE: ADD TOURISTS – AND THE LOCALS

The pilgrims start arriving early. On foot, by bus, underground, taxi and private car they come in droves. 

HARRODS of London was buzzing yesterday. Arriving in the street outside at 9.50, I realised it didn’t open till 10, but there was no shortage of action. People were milling around. From overheard conversations, many were visitors, either foreign or from the country, and we were keen to get inside.

I’d come on a pilgrimage too because the nephew of friends, Nicholas Kirkwood, is now designing and selling shoes. They’re available in Harrods and I wanted to see them for myself.

During the wait, I walked round to Pont Street and spent a quiet moment in that outpost of the Scottish Church in London. Its calming austerity was a sharp contrast to the consumerist worship I was about to plunge into.

Back at Harrods, the performance began when a top-hatted gentleman in the iconic green coat opened the door for me and spoke the first line of dialogue ” Good morning, Madam.” It was to be repeated every time I caught the eye of any staff member. Genuine smiles accompany the words, despite the obvious non-Harrods’ customer costume I’m wearing. Indeed, I have to go into the food hall before I encounter more than a couple of people who are there to buy.

The feeling of being on a stage set is enhanced by the way the shop is dressed and lit, and by the loud upbeat soundtrack of popular, but not heavy, music throughout. People are here for one of London’s free interactive tourist attractions. Only in the millinery department do I see a sign saying ‘No photography’.

The set is salted with shoes. All the big brands have little side aisles, shops within shops, with doors that can be closed. The big clothing brands have their own shoes dotted among their displays. Eventually, as in the V&A ten minutes later, I have to ask for directions. ‘Is there a dedicated shoe salon?’

I find it and spend my own pilgrimage sashaying among the stands of shoes my ankles would not thank me for. Never mind a shoe horn, I’d need the kitchen steps to get onto them.

I don’t spend my pilgrimage to the Nichols Kirkwood display on my knees, but catching sight of a price tag en route, £690, nearly brings me to them. Nicholas’s shoes are lovely colours, electric blue with peacock green, pink and he doesn’t show any prices.

I spend a little time up and down escalators and am bewildered by the stout poles blocking the entrance to all the ups. Notices explain. It is forbidden to take buggies on this escalator. Clearly the management know their cast.

A Doll’s House by Henrik Ibsen adapted by Zinnie Harris

A Doll’s House is a play I’ve seen more than once and studied. It isn’t a happy work, but it does have a lot to tell us about the ways in which our best endeavours for the ones we love the most can blow up in our faces and cause life-long harm. This version by Zinnie Harris, staged by the Royal Lyceum Theatre and the National Theatre of Scotland, has lost none of the intense moral centre of Ibsen’s original.

Harris took the play out of the banking world and into the political one where trust is equally important. Trust is all the politician has to allow him (and they were him) to lead his flock by the even-handed use of power that can be frighteningly all-embracing. At the core of the work is the issue of whether wrong-doing is ever justified. Thomas tells the embattled Nora everyone always has choices. Do we? What kind of choices? Choices might be to not buy a small car for the country cottage so one can re-decorate the drawing room, but equally might be not to put the heating on because then you can’t buy food. Thomas says they would face consequences together and then when he has to is unable to see beyond what he would lose and falls into the myth Nora created to save him from the stigma of being known to suffer from mental paralysis. I had pneumonia, he says without pausing for breath.

Excellent performances by the cast kept the pace moving along and the audience quiet. Lucianne McEvoy as Christine and Brian McCardie as Kelman were a delight to watch. Amy Manson was an engaging Nora.

On a personal note, I was really pleased the pears used in the scene we bloggers were privileged to see  pre-opening, had been abandoned.

Run continues. Well worth your time.

In Before the Act A Doll’s House

A Doll’s House by Henrik Ibsen adapted by Zinnie Harris is the next production in 2012-13 subscribers’ season at The Royal Lyceum Theatre in Edinburgh.

As regular readers of this blog know, that’s my favourite place. An invitation as a social media person to join a session in the main auditorium for one of the press calls for A Doll’s House, was a wonderful surprise. I accepted, but where were the rest of you? This production is a joint one with the National Theatre of Scotland and the NTS run regular social media opportunities. In Glasgow, they sometimes have to cap numbers.

All the more opportunity for me and John from Blip Photo blog – hope I’ve got that name right. We spoke with Graham McLaren, the director, Zinnie Harris the playwright and several of NTS’s staff on-site. I am amazed by how many people support the two actors we saw run through one of A Doll’s House’s climactic scenes.

Amy Manson as Nora and Brian McCardie as her protagonist Neil Kalman (Krogstadt) were locked in combat on the fully dressed stage and played the scene over several times for different press requirements. Graham and Zinnie spoke of the need for people now to understand how the problems arising from women’s lack of power are still with us. Although the people we see on stage were distinct products of their social and cultural mores, parallels can be found.

The morning was a great experience and I’m looking forward to seeing the whole play. Preview is tonight at 7.45 pm and it runs until 4th May.

Box office 0131-248 4848

SHAKESPEARE (RE)PRODUCED SOUTH MORNINGSIDE PRIMARY

SOUTH MORNINGSIDE PRIMARY’S Stage Club turned in a well rehearsed and expertly crafted evening of Shakespeare for the modern outlook last night at Edinburgh’s Churchhill theatre in Morningside Road.

Romeo and Juliet were first up with their internet romance enabled by laptops in the bedroom and mobiles in the back pocket. The young romantic leads, Adam Harrower and Aaliya Bradley, gave excellent performances with little trace of nerves and were well supported by their choruses of TAGS AND CAPS.

Several of the children appeared alone or in small groups on stage, performing with confidence and in some cases remarkable presence. A solitary child, Luke Pudney, filled the space created by the opening curtains and twice four children filled the space in front of the curtains. They were the organisers of the trouble-causing Masked Ball and the News Reporters. They broadcast with that well observed air of brashness and will this work expressions one sees on TV.

A Modern Midsummer Night’s Dream was second and yet again demonstrated that script’s adaptation-friendly nature. Writer Stephen James Martin had written a piece full of one-liners and directed his young cast to pitch perfect delivery. Naomi Wilson as Sharmain, Hermia to you and me, has a comic touch sometimes lacking in older performers. She also sang beautifully. Yossi Pechar was a superb Puck drawing the eye with star-quality ease.

The whole cast was word perfect and showed no panic when one or two sound cues caused hesitation early on. Excellent music, dancing and friendly war-of-the-sexes banter made this a remarkable production of a much loved play.

Congratulations to the whole back-up team who did a sterling job bringing this school production to a delighted audience of parents, rels, grannies and granddads. Martin’s scripts were a delight and the children’s appreciation of him when he took a reluctant curtain call was evident. But there was costume, make-up, dancing, stage-fighting and a fantastic lighting-score which all added to the overall professional feel.

Oh and two trays of ice-cream in the interval.

Friday and Saturday 12th-13th April at 7.30 pm

Scottish Association of Writers

I’m heading for the Scottish Association of Writers’ conference (SAW) at Erskine Bridge Hotel, weekend of 22nd-24th March. It’s a really buzzy weekend meeting up with friends in the writing world from all over Scotland and meeting new people.

In past years the SAW has awarded me The Hebridean Award for drama. The Hebridean Award was a sponsored competition for several years and it was for a two-hander for two women. My play CLINICAL KNOW-HOW was the first winner in a year when Chris Ballance was the judge. Clinical Know-How is available to licence from the author and is a good festival play, but would also be an awareness raising piece for women’s groups. Black comedy full of sharp one-liners and social observations.

I’ve also been privileged to win the Helensburgh Trophy for the regular drama competition with my play LOVE TO DEATH. It’s set in a rehab and is now published by Plays4theatre. The link to their catalogue, my page in their catalogue, is here:

http://www.plays4theatre.com/bookdetails.php?pr=712

This year at SAW, I’ve entered the sketch competition with one I wrote earlier. Whether it catches John Binnie’s eye: wins or sinks, it’s likely to be performed. The programme now includes performance of the entered sketches by the entrant’s clubmates on Friday night. It was good fun last year, so I thought I’d give it a go.

As with all things that were ‘not until…’ the conference is now next weekend and I need to remember to print off copies of the sketch. There’s nothing more excrutiating than watching four or five try to read their ‘bit’ from one copy.

Scottish Association of Writers is an umbrella organisation of writers clubs/workshops etc in Scotland. It started when Edinburgh, Glasgow, Aberdeen and Greenock clubs came together over forty years ago and is still going strong.

Time and The Conways

Currently playing at Edinburgh’s Royal Lyceum theatre, Time and The Conways by JB Priestley is a must see.

Priestley takes time to draw the audience into the post demob world of Mrs Conway and her six children. Alan and Robin have miraculously escaped the carnage and returned home undamaged from the trenches. Kay is celebrating her twenty-first birthday and her sisters, Madge, Hazel and Carol are helping.We watch with 21st century disbelief as they fidget through a huge pile of dressing-up clothes and false moustaches. A simpler time then – it was simpler even when Priestley wrote Time and the Conways, first produced in 1937.

The current production is a collaboration between Dundee Rep and the Royal Lyceum. It’s directed by Jemima Levick and she’s ably supported by Designer Ti Green, Lighting designer Mark Doubleday and composer Philip Pinsky. The costumes were the responsibility of Dundee Rep and they are fabulous. Nor should one forget to mention the ageing of the characters between the first act and the second. Make-up, padding, wigs, movement – the whole package carried the characters forward to the late thirties in a beilievable way.

The performances of Emily Winter as the lead character, Kay, Irene Macdougall as Mrs conway and Richard Conlon as Alan Conway were very nearly perfect, but that’s not to forget the rest of Time and the Conways able and engaging cast.

The story is reminiscent of the Cherry Orchard, although no ancient retainers are shut up for the winter, and shows just how easily comfortable optimism can lead to disaster.

Another week in Edinburgh and then transferring to Dundee Rep. You should go…

Abigail’s Party

Abigail’s Party by Mike Leigh has been on my want to see list for a long time. Just at this moment, I’m disappointed.

I saw Abigail’s Party years ago during an August afternoon in a Fringe venue performed by a group of non-drama students. I thought the chap cast as Tony in that production was so bad because he’d been drafted in to fill a space. Now I realise it wasn’t him – it’s the part.

Women shouting their glee over discovering they’re entertaining a professional footballer is long gone, but not completely. Maybe Leigh has a point when Beverley, the ghastly heroine, played by Hannah Waterman, gets over-excited by mono-syllabic Tony and his legs.

I had no recollection of the ending of Abigail’s Party. Certainly the A-B-C of don’t pull a rabbit out of the hat to cheat the audience is all there, but you do have to piece it together later.

The cast work hard, but I can’t help thinking it would have enjoyed a better vibe if we’d been allowed a bit more seventies music.

All of that said, the play pointed up in the late seventies how very difficult it is to imbue taste despite opportunity. When I was working in London in the seventies, the flat had a host of pictures sold by the thousand. They were moody studies of heads: children with a single tear falling down their cheek, a beautiful girl/woman with a flower in her hair – beyond sentimental. A friend took them to sell at the church where he was training to be a Curate. The lady running the church fair said, ‘Oh no! These are too good to sell. We’ll use them as raffle prizes.’ There simply is no accounting for taste.

Disappointed, Edinburgh.

The King’s has lovely new seating – I may have mentioned this before. You can dedicate a seat. £300 for one, £500 for two. Visit: www.edtheatres.com/dedications or phone 0131-662 8087

Theatre Broad tour Ira Levin’s Deathtrap

Theatre Broad, directors Carol Metcalf and Tangee Lenton, are to tour Ira Levin’s Deathtrap which they produced to great acclaim in 2007.

I’ve been dropping gently teasing hints over the last week or so, but the news is out today. Creative Scotland are funding Theatre Broad for this tour of Deathtrap. Ira Levin’s comedy/thriller is a tour-de force of modern American writing. You will not want to miss this.

Call back for news of casting and progress or check things out over on Theatre Broad’s own website. Wonderful news for the company, the play and the small towns on the list of tour venues.

Growing The Audience: Bums on Seats

Growing the Audience is something we’d all like to do. I was at Edinburgh Grand Opera last night where a stellar cast gave their all to a Queen’s Hall with huge gaps along the rows.

Where were the bums for those seats? Don Giovanni must be one of the most audience friendly works in the history of opera – if you can’t pack them in for that, what’s the prospect of tackling anything more challenging?

I have no idea what EGO does by way of advertising, but a lot of the chorus members were greeted by a small group of family or friends at the interval and the end. So that’s one ploy for growing the audience. You can have children and you can be nice to your friends.

The practitioners among us have all done it and been supported by those sections of the theatre going public. I love them.

Okay, mutual admiration ain’t growing the audience or getting extra bums on seats in sufficient quantity. The folk who come to our productions are often pleasantly surprised by the quality, but they haven’t necessarily risked embarrassment by flogging tickets to their friends. I think this is a profound misunderstanding of the nature of criticism in so far as people often feel they want to know they’ll enjoy the production. By extension, your family and friends don’t want to find themselves defending your sortie into surrealism, or physical theatre, or anything with a risqué content.

Any answers? Well, next time the pal asks how ticket sales are going, challenge them to not only come along, but bring one or two of their pals. Ask them where they distributed the flyers you gave them – sitting on, or under, their hall furniture is not selling any tickets.

Another growing the audience idea is probing people’s extended family links. Are you touring to Pumpherston? Whose Mum, sister, best friend’s Bridesmaid lives there or shops there or works in a shop there. Will the shop take a pile of flyers? Will your extended contact display the flyer on the parcel shelf of their car?

Have you exploited as many friends’ blogs and websites as you can identify? Watch this space in coming weeks for news of Theatre Broad.

My friend was explaining how she’d taken her niece to A Midsummer Night’s Dream, see below; pick any one, because the girl is going to University to study Engish Literature but had never been to the theatre. How can this be? The child is in Glasgow which is not a cultural desert.

My friend has also undertaken the further education of other nieces and is conscientious about buying tickets for her own children. She’s the prompt for this piece, together with my shock at the gaps in EGO’s audience. If it’s okay to introduce the next generation to golf, football, tribute bands and all that, why not introduce them to theatre, opera and all that?

And those out there who only buy tickets for known quantities, whether of scripts at producing theatres or for star-vehicle touring productions, try to remember Shakespeare was a journeyman once. We all need support in the beginning. Grow our audiences and put bums on the seats of our productions – please. Stepping out of your comfort zone could be an energising experience.

Any of my family, friends, neighbours, or other audience out there reading this. I love you all. Thank you for the ongoing support.

A Midsummer Night’s Dream BENJAMIN BRITTEN

Okay, so Shakespeare wrote A Midsummer Night’s Dream, but if you’re around the theatre world at all, or even this blog, you’ll know everyone else has had a go. BENJAMIN BRITTEN’s opera performed by the Royal Conservatoire of Scotland, the National Youth Choir of Scotland and Scottish Opera is another take on the world’s most versatile play.

The students of RCS and performers from Scottish Opera’s emerging artists’ scheme gave a wonderful performance, ably supported by children from the National Youth choir, directed by Andrew Nunn who is currently studying conducting at RCS. The music doesn’t have many tunes, but in a way that allows the drama and the language to shine through. The performance was conducted by Timothy Dean who was in charge of memebers of the Scottish Opera orchestra with students from RCS.

The production is a revival of Olivia Fuchs 2005 Royal Opera House one and she again directed supported by the original designer, Niki Turner.

A major highlight for me was the breath-taking circus skills exhibited by Jami Reid-Quarrell playing Puck. Strength, elegance and consumate acting characterised his offering and I hope we’ll being seeing him again.

The King’s Theatre Stalls were looking good. Do we have new seats? It was a pleasure not to sink through the cushions onto the floor beneath. Sadly, looking up is another matter. The lovely ceiling is decayed and in need of a lot of TLC.

Run ended.