Thoroughly looking forward to tomorrow's show. Our last devising session on Friday was really productive and we've got a really interesting piece to share with folk. There's science and spirituality, crazy sounds and marvellously naff 50s costumes.
Saw Filter's Macbeth at the weekend, there. Cracking. No set apart from strange DIY instruments for the ensemble/weird sisters in the centre. Playful, anarchic, deconstructed, funny and yet...it really honoured the text...and the text really came through. No mean feat.
So, the last couple of weeks I've been working on a piece called 'Daphne Oram's Wonderful World of Sound'. It's been the most fun I've had in a rehearsal room in a long time - devising stuff, physical stuff, abstract stuff. The sort of stuff I love. We're telling a story, of sorts, about a woman who moved electronic music forward in a time when few men (and fewer women) were doing so. Trying to find a physical language that works with the sounds of the time and compliments Daphne's words has been challenging, but it's a project I'm really exctied about. It's early days, but the first showing of our work will be a short performance at The Arches next Wed (28th) at the Scratch Theatre night. Do come along!
The Tron Theatre have a new initiative called 'The Tron 100 Club' of which I am a member. It's a great idea: bringing lots of creatives (100 of us, don't you know) together for panel discussions, workshops and the like. Today I was at an incredibly interesting session with Cora Bissett, who talked us through her process when she's devising and creating theatre.
At the Edinburgh Festival last year I decided that when I grew up I wanted to be the Gallic-looking chap that plays the Breton pipes from Song of the Goat. But now I want to be him with Cora Bissett's ability to make theatre.