Numberwang! (Past Glories; Day 219)

A Kit-Kat Chunky to whoever can tell me what the following numbers mean… 

  • 3
  • 35
  • 23
  • 6,000

Anyone? Anyone? No. Ok …

  • 3 actors (cast and rehearsals underway)
  • 35 days until Past Glories opens
  • 23 hours of rehearsal time (approx.)
  • 6,000 props – or thereabouts. More on that in a moment.

So then. Here we are. Firmly on the homeward stretch for Never Rains But It Pours. Blimey, how time flies. Rehearsals kicked off a couple of weeks ago – sadly I wasn’t able to make the first one due to a clash with the Tobacco double-bill at Northern Stage. However. Last week I rolled up at the People’s Theatre to sit in.

I’m pleased-as-punch with the cast director Kath Frazer has assembled – and here they are, pictured below (L-R) Emma Watson (Cari), Jo Kelly (Lyn) and Louisa Shirley (Meredith) – cheery looking bunch, aren’t they …!!

I’ve worked with Kath before on My Mam Was An Ice-Cream Blonde and with Louisa on Patricia Quinn Saved My Life (along with Kath, again, as it goes), and Jo took part in the first ever workshop for Rains back in Jan 2010 when it was still called Trickle and only 20 pages in length … small world! Emma is new to the People’s, but from what I’ve seen so far she’s a cracking young actress and I’m really excited she’s on board.

With a new play the early rehearsals are the most crucial for the writer, I think. It’s the first time you’re seeing the shape of it and hearing the words up on their feet with the actors who are going to be performing it. Read-throughs are great but will only get you so far, actual rehearsals are a priceless opportunity to make those final changes, cuts and additions. That said, me and my editing pencil have not had too frantic a time of it – a few line changes here and there, a couple of added lines of dialogue for clarity. The biggest jiggery-pokery to date has been re-writing a whole page, but only because when hearing it I realised what I already had threw up an interesting question that could be explored a little further.

The rehearsal time for this project is very limited. As the People’s is non-professional, rehearsals are in the evenings, 3x a week from 7.30pm til 10pm at the latest, for 6 weeks. But there are 4 plays to rehearse for Past Glories, and it’s been allotted the same 6 week rehearsal period. So. Two plays rehearse per night, meaning each get half the normal rehearsal time – approximately 23 hours, plus a few more when taking into account Sunday rehearsals the fortnight before opening. Not long, is it. It will all come together – it always does – but it does make me feel a bit sick if I think about it for too long. So I don’t think about it. I busy myself trying to be useful – making notes, answering questions, being available for edits or to talk about scenes or characters.

Oh, and bringing in rehearsal props …

The Studio Upstairs is a small venue, seating about 80. The brief for the plays was something without a set. And I can confidently say I have no set. Instead I have props. Lots of props. The action in Rains takes place in an attic room, described by one character as a ‘junk yard’ … basically, everything this family don’t want is dumped up there – from camping equipment to Christmas decorations. And a lot of it is utilised during the play. Props are a pain. Fact. Or more to the point, props are a pain in the early rehearsals when an actor is trying to hold the script in one hand, read it, act, remember where to be and deal with aforementioned prop at the right time and in the right way. Assistant Director Bev has been a star on the rehearsal props front already – there is an ever-growing pile in the rehearsal room, atop it a note reading ‘Do Not Touch’ in formidable black marker pen. I have provided the duck. He is doing pretty well with his lines and is good at finding his light. He may turn out to be a diva, but time will tell.

Me and duck won’t be back along to rehearsals until next week now, cos this Thursday and Friday I’ll be hangin’ (get me, down with the kids) with them there Boys on the Edge. Do you see that seamless link … do you? Clint makes its debut, along with Laura Lindow’s Mine and Bridget Deane’s I Am Legend, at Live this week – both performances now sold-out which is fantastic. I’ve been along to a few rehearsals the last couple of weeks, Rosie Kellagher is directing and David Tute stars. It’s been interesting seeing Clyde come to life – he’s not a straightforward boy in not a straightforward play.

I’ll let you know how it goes … xx

  • In other news …
  • The Tobacco double-bill went down a treat at Northern Stage – massive thanks to everyone who came along and made it such a memorable couple of days. It was great to have the team on my home turf. For the reviews, and details on when the show is being performed next, click [here] 
  • I have been commissioned to write a BBC Radio 4 Afternoon Play. How mega-tops-fandabby-dozy is that! It is called Dolly Would, due for broadcast in December. Today I start writing it … D(olly)-Day!

Me & Chekhov hit NE1 …!

Just a quickie to say that tickets are on sale NOW for ON THE HARMFUL EFFECTS OF TOBACCO / CAN CAUSE DEATH at Northern Stage.

The dates are Wednesday 16 & Thursday 17 February 2011, 8pm. You can book via the [website] or call the Box Office on 0191 230 5151.

For more details on the play, click [here]

Suffice to say, it would be super aces if there were more than just me and my folks in the audience, so do come along if you can …! xx

“And it’s a day out, is it not” …

You know at the end of the film Babe when the farmer says “That’ll do pig, that’ll do” … well I felt a bit like that last week.

I spend an awful lot of my time worrying – I worry if I will ever be able to write another play; if I do then I worry it will be awful and no one will stage it; if they do I worry it will be awful and no one will like it; if they do I worry if my next play (if it’s any good, if anyone stages it, etc) will live up to the last one. As such, I spend a lot of time sitting in a darkened room frowning and biting my nails.

But last week I emerged from said room to go down to London to see my play Can Cause Death performed at the National Theatre. And for those 24 hours between boarding the train to go and boarding the train to come back I was determined to enjoy the moment. I allowed myself to be happy and – rarer still – I allowed myself to feel proud.

I wish I could bottle the anticipation I felt from about 6pm the night before … to know what was coming, to have it ahead of me. I must be honest, even the night before I felt a little sad knowing that it would be over the next day. Of course I was nervous, but something inside me was telling me to make the most of the experience and not be overwhelmed by The Fear.

I had not seen the play since workshopping it at the beginning of September with Charlotte and David. Since then David had been in Dublin performing in Endgame at the Gate Theatre, returning about a fortnight earlier for final rehearsals. Chatting to him after the show, it was weird to think he had been learning his lines for my play during the run of that one.

I knew he would give a good performance – it’s David Bradley for f’s sake – but I couldn’t have been happier. It’s quite an ask – play both husband and wife – and there was every chance it wasn’t going to work. But David’s performance, along with Charlotte’s direction, meant it absolutely did – and the change from Nyukhin to Popova was a highlight in itself.

 

As often happens with me, as I waited for the play to start I found myself thinking back to the beginnings of it – 1 May going to York with my friend Sarah to see On The Harmful Effects of Tobacco and getting the brief for the project for the first time. Snorting with laughter when the deadline for submissions was announced, given the short time frame and the fact I was in the midst of rehearsals/organisation for Prague at the same time. Heading home on the train thinking it had been a nice day out but no way was I going to have time to write something for it … but not being able to get it out my head for the next week. Writing the first line of a first draft – “while the eldest I was the last of my sisters to tie the nuptial noose around my neck and kick the matrimonial stool from under my feet” … a line which remains having survived my rewrites. Such thoughts make it all a rather out-of-body experience but there it was in the flesh, out-loud, on the Cottesloe Theatre stage at the NationalCan Cause Death by Alison Carr.

All of the feedback, I am happy to say, has been positive. The audience reaction on the night was great. The first laugh it got, I relaxed. One line got such a belter David had to take a pause while it died down – I couldn’t help but grin.

I can’t praise Forward Theatre Project’s Artistic Director Charlotte Bennett any more highly, not only for her direction of the plays but for making it all happen in the first place. And the rest of the team – it is all quite an achievement for everyone involved.

And that is not the end as the double-bill is heading up to Newcastle’s Northern Stage in February. And who knows what else the future holds for it …? Regardless, I can safely say the whole thing is up there as a highlight of my career to date. 

So how am I going equal and/or top it? Oh cripes. Back to the darkened room … back to the fretting and the anxieties. Next up is But Otherwise Went Well, part of the OVNV ‘Ignite’ programme … click [here]for details.

Blimey O’Reilly, where do I start?

Ok, so, the last blog entry was the “BIG NEWS” re ‘Tobacco’ double-bill at that there National Theatre

Well, since then the big news has got bigger in as much as people are actually coming to see the show. A capacity amount of people, in fact, because it’s now sold out. Huge excitement in Carr Towers, especially when our tickets arrived and I got a NT brochure and it had my name in it in black and white (well, in red)! Of course, all the while that knot of terror in my stomach is getting bigger and bigger …

And what a massive achievement for the team headed by Charlotte Bennett and Forward Theatre Project, having a show on at the National within two years of forming is no mean feat. And a sell-out show at that! Just over three weeks to go … gulp.

Alongside all this excitement, of course, I am juggling my other ongoing projects. Lest we forget Past Glories (Day 85, for those keeping track … no? Just me then). Monday was the day of reckoning, or at least the day the first draft of the play was read by The People’s Theatre. The Friday before had been the turn of Sue and Philip, whose plays Wordworth’s Sister and Keeping Up With The Joans were read for the benefit of the writers, the directors (John MacDonald and Kath Frazer), the production manager (Maggie Watson) and mentor-although-he-does-not-want-to-be-called-mentor, Michael Chaplin. I was all cool-as-a-cucumber that evening, cos it was not my play under the spotlight. I was just there to have a listen (read: be nosey). Monday though, a whole different kettle of bananas. First Tony’s work-in-progress A Spoonful Of Honey and then … me.

Hearing your script read is invaluable for a writer, especially at this early stage when there is still plenty of time for that all-important re-write. It exposes the draft in a way that nothing else can – you can stare at your script on the screen/page for hours, days, weeks and not see what a reading flags up. But it’s scary – you’re putting your work ‘out there’ … what was safely hidden away on your computer is now being read out loud and pondered and judged. You are being pondered and judged. There was a time when the mere thought would have made me ill. Silly, really. It’s a draft. It’s not set in stone. But The Fear is ever present, this time manifesting itself as a six hour headache … which was delightful.

As it goes, it went well. The play was nicely read by Maggie Childs, Anna Dobson and Emma Watson (not off of Harry Potter) and I have plenty to work on for the next stage. Mainly paring it back, especially in the later scenes. Less is more and all that. The same applies to the next draft of another play I am working on … as previously touched upon, draft #2 was a bugger but happily draft #3 not so much. Draft #4, pending, is all about stripping it back. So I’ll be making good use of the Delete button over the next few weeks …! 

Talking about less is more (smooth link, eh) I will be greatly inspired by David Harrower’s Good With People that I saw as part of the Play, Pie & Pint series last week at Live. Short, snappy dialogue; as much in a look as a speech; not every question answered and the audience allowed to do some of the work and fill in some of the gaps. Terrific performances from Blythe Duff and Andrew Scott-Ramsey didn’t hurt either. It’s off to the Traverse next week … highly recommend it. You get a pint and a pie, too … so really there is no excuse.

  • In other news … I am about to embark on a brand new project. It’s with The Old Vic. Suffice to say, my old mucker Kevin Spacey has obviously missed me since we last met and wants me back on board. Understandable. Am off down that London soon for the first workshop … more details as and when …
  • And finally … I met Blythe Duff on Thursday and did not say “there’s been a murder” in a terrible Scottish accent (nor any other accent) … this was a huge accomplishment. I did not gabble or curtsey (big fan) or make a tit of myself (much). She, in return, was gracious and friendly. Which was nice.

Anton & Me … (+ Past Glories; Day 46)

Howdy. How are we all? Good? Great. Let’s get back to me …

I am delighted to report that the workshop for Can Cause Death went incredibly well. Charlotte, David and I went through the script bit by bit and by the end were left with a rehearsal draft I think we’re all happy with. David is heading off to Dublin to perform at The Gate Theatre until the end of October, so he’s taking the signed-off script with him to learn. How very thrilling.

I also got the chance to meet Sophie, the producer; Fabrice, the designer and Phillippa, the composer.  AND, saw my piece alongside Chekhov’s Harmful Effects for the first time since York back in June … which suddenly made it all very real.

Me on a double-bill with the mighty Chekhov, who’d have thunk it?!

We rehearsed at Paines Plough, and below are a few poor-quality shots of David and Charlotte in action …

Just a quick word about David Bradley. A legendary actor, we already know this. But what a damn nice man, to boot. Generous, gracious, patient, funny – he and Charlotte made me feel so welcome and I am delighted to be part of the project. David didn’t even mind when I asked him about Harry Potter. Well, it didn’t seem like he minded but then he is an Olivier Award winning act-or … oh dear …

 ‘When’s it on?’, I hear you ask. ‘Where?’ Patience my friends. Announcements coming soon … [Update: announcement announced – click here]

Past Glories; Day 46 

Just a mini-update on this one … the feedback from Michael Chaplin is in and it was all very positive, with useful suggestions of things to look at again/consider. Armed with this – along with an informal reading last night by some friends – means I am on the homeward stretch towards the official Draft 1, to be handed in on Mon 13. Hearing work read out loud is invaluable, it flags up so many things, so to be able to do that even at this early stage was great. Thanks to Kath, Jo and Alisha.

  • In other news … I WON!!! My play Yackety Yak triumphed at Live’s A Million Short Cuts event last week. 57% of the audience vote, I’ll have you know. There is no actual prize, just the warm glow of victory! For details about the night, click [here]
  • In other other news … disappointingly I was unable to record my Come To Where I’m From monologue. Dull story, don’t ask. All is not lost though and I am hoping to get a recording organised on home turf and send it down to them. Fingers crossed.