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Spacial Elite and Stained White Trainers

‘This Brave, O'erhanging Firmament' - Hamlet, being rather Meta and talking about the Globe Theatre’s pretty paint job in 1602.

The Vienna Austria theatres are fancy - and we would spray the famous Verdi aria calling for Roman Citizens (plebs) to rise up: 'Plebe! Parts! Popolo!' but we won't for two reasons - 1. - come on. So beautiful. 2. The elite would probably love it, remove the seat and sell it for a million lira. Sigh.  

The Vienna Austria theatres are fancy - and we would spray the famous Verdi aria calling for Roman Citizens (plebs) to rise up: 'Plebe! Parts! Popolo!' but we won't for two reasons - 1. - come on. So beautiful. 2. The elite would probably love it, remove the seat and sell it for a million lira. Sigh.  

Hi there Bazzers! All here is abuzz at Baz (such a satisfying sentence, ahh) with meetings, sending out our facilitators to Leeds to educate over 1,000 teachers (boo-may we say-yah)  and our friends and colleagues continuing to be completely brilliant in all respects. This has put us in such a good mood we’re all excited to look at beautiful places in the world to perform theatre and daydream about our world domination…in a nice way, obviously. A kind, hostile global takeover where all theatre is free, we’re equal, respectful of all and fluent in Shakespeare. For like, a start.

If you lovelies have been following our Baz Insta posts (which you should, we’ll wait here while you follow, then come on back- we’ll wait…) you’ll see we love a hashtag BazPlace(s) - where we visit somewhere epic either in a meeting, to see a show, or to explore the city and it’s possible locations, and share a photo of it - and it got us thinking. London is an epic theatre city, boasting new and old, often alongside each other. As theatre makers and theatre lovers, anywhere that houses performance, whether it’s one big ornate room, or a gentleman’s club, we are here for it, as our earlier blogpost on our most fave unusual theatre projects will attest.

A recent visit to the National Theatre got us on this thoughtpath (we made that up, we like it, it’s staying, feel free to use it) and the idea of theatre as status - a barometer of its location; how the arts, through the decades has been stigmatised as an upper class pursuit. We love the National, and it has an interesting background - Sir Laurence Olivier founded it in the late 50s, finding a site on the then fairly abandoned South Bank and sought, very nobly, as a nobleman does, to create a new kind of theatre decidedly overbearing the Thames bank, and unlike any theatre seen before -with its brutalist and consciously unflouncy shape and sharp corners shocked the likes of Shaftsbury Avenue. Along with the new look, the fairly traditional and old-fashioned progenitor wanted to induce a new kind of theatre too, for all - a good example of using private wealth for public use. Of course, despite its best efforts, it has fallen into the trap of achieving it’s mainstream goal, whilst unavoidably becoming a symbol of status and the old guard. And as it should: a hub of great theatre events, and a sure fire ticket in ol’ London town. But it begs the questions: how does an institution avoid elitism? Is it possible?

As long time affiliates of experimental theatre, we are used to seeing and producing work in the most unlikely of places: our past two works have taken place in a lighthouse/lookout on Aldeburgh Beach and The Vaults under Waterloo Bridge with our production of dreamplay. Our question is that if a performance, a crew of actors, technicians and creatives adopt a space, does it automatically gentrify it? Is theatre still seen as, one of our favourite films of 2015 ‘Birdman’ states something to get through until the interval, where, filing out quietly ‘they can all get a cup of coffee and a slice of cake’? What can we do to change it? And should we - theatre is not just for the young, but it needs to keep moving, keep rejuvenated. Of course, places like Venice, Norway, Sweden have their share of theatres - beautiful Restoration, delicate, hand-painted masterpieces- that are more museums than places to see live theatre - where opera is still performed de regur and you most certainly will not be let in wearing trainers. This idea is changing however, and a sub -culture of experimental, site specific and promenade theatre has found its place - the successful runs of our mates’ shows like Punchdrunk’s The Drowned Man, any and everything by Forced Entertainment and Get In The Back Of The Van theatre collectives- (delightfully mobile, fluid, hedonistic and literally in-yer-face theatre, never mind the 90s theatre moniker) but it’s all considered ‘specialist’ and whilst there is (and always should be) a time for revivals and musicals- not to the detriment of others.

So what is the answer? Take over the delicate music-box theatres in Amsterdam and spray graffiti all over it? By it’s nature change has to use willpower and have a movement, a shape - but this can easily be misconstrued as aggression and destruction - think of the Sex Pistols in 1979 calling a household name interviewer a ‘rotten wanker’ - and that is not what’s happening here. But much like getting a seat on the tube, you might have to make good use of your elbow. And yet, there’s cause for celebration - so many new writing theatres dedicating to new talent their time, expertise, rehearsal rooms and performance spaces, this scene is expanding - and with £15 under 26 tickets at the National, £10 Mondays at the Royal Court, a rise in ‘Pay What You Can’ offers, apps like TodayTix that find and search out the best ticket deals on the West End and elsewhere. It’s all looking pretty bright from over here - as long as we don’t give up and continue to make cool, all-inclusive stuff and take the focus slightly away from the traditional theatre of the West End, or else put something in the water in Drury Lane*- cos nothing changes if we don’t. Deal? Deal.

*to be clear, we here at Baz aren’t advocating putting something unpleasant in the water in a busy TheatreLand and London, street. Nope, no. Be assured.

Ah, so with that in mind, in a very Henry V way, we hope you feel inspire. All the best to you today whether you’re picking up a pen to write a scene, a prop dagger from the store, your script for your readthrough or all of the above + a strong latte - more power to you. And...create!

All the Baz love,

Baz x

 

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Location, Location, Location: Promenade's Place

Orchestral Manoeuvres in the Car Park - Baz's dreamplay, 2016, Laura Moody being amazing on the Cello

Orchestral Manoeuvres in the Car Park - Baz's dreamplay, 2016, Laura Moody being amazing on the Cello

Helloo again Bazzers, on this the eve of summer! Could it possibly be true that we are about to get...warm? The evenings are drawing out and it’s a lovely day to be outside - this is promenade weather - and for the uninitiated we ain’t talking about parasols and lace. No, we of course refer to theatre occurring in pub gardens, on roofs, underground train arches, as we found last summer at The Vaults - truly live, truly unpredictable, and truly vulnerable to plane noise, but hey you can’t have everything. We kid, we love those metal birds, who needs soundscapes? *rolls eyes but we love it* 

One of the main things that Baz’s manifesto set out to achieve from the start was accessible theatre, for all - we have massive respect for London’s rich theatre history and it’s theatres - the old and cherished and the new and bold. The only thing is that these beautiful, gold-embellished venues aren’t meant for throwing around paint in and climbing up curtains - the kind of crazy thing we are wont to do - exhibit A being a half-full bathtub being splashed around in every night at The Vaults, that kind of thing- therefore a lot of high profile theatre events tend to stay in the traditional realm, with lots of revivals. And that’s great- far from underestimating our rich theatre and playwriting history, we honour it, we hope, by moving the action to new and unexpected places.

In 2011, we performed Macbeth in a crypt in Holborn, in 2013 the entire Greek Myth canon in a single room in Shoreditch - for us, it’s about taking away as much as possible and seeing  what we can still work with. Great theatre companies like Punchdrunk take over full warehouses, and almost all of the then abandoned Battersea Arts Centre for their projects, marking, we feel, the first shift we felt in the industry away from seeing promenade, experimental theatre as gimmicky or worse, looked down upon. Our most recent production, a version of Strindberg’s dreamplay at the Vaults in London, moved our audience, from courtyard, to stairwell, theatre, to tunnell and beyond, on a scene by scene basis. The majority of our audiences didn’t bat an eyelid about being moved from space to space, sometimes able to sit, sometimes not - Bazzers unite - but those who were being introduced to us, seemed bemused, occasionally annoyed about the upheaval. For us, theatre is a group activity - it’s not sitting with your feet up and eating popcorn - in essence, we don’t want you to be too comfortable, all the time.
 

Er, take that last statement any way you want. We are experimental, after all and that is what we want you to do.

But what remains is the irksome idea that sitting down in a beautiful dark room that is adorned with cherubs is still the standard - Baz loves that stuff more than anyone else, but that’s partly why we made our manifesto in the first place. We of course don’t want to do a disservice to major theatres doing excellent and ground-breaking work, on and off west end - Lucy McCormick’s devilishly entertaining Triple Threat at the Soho is a definite pick - go forth and see it and then never forget it, really just try- but when a member of the Baz Team got to go to a piano recital just recently: where applause is restricted to between movements, coughing is a killing offense and the line between performer and audience has never been so clear: in status, in skill, in tone in such regimental fashion - makes us seem a bit moany over here in Theatreland. Sort it out, classical music concerts. But in all seriousness what do we, and other experimental theatre companies have to sacrifice in order to court the proscenium arch audiences and break through to the mainstream, you ask? Well thank you for asking, but we counter with maybe that it shouldn’t ever be mainstream-ised (is a word, shut up) and that we belong in the weird crowd - discovered by all you delightful weirdos (or Bazzers in this private circle *raises champagne glass*) as you perhaps tell your friends about this bonkers piece of theatre you saw, or you post it online….and maybe that’s the true future of experimental theatre: it’s not, by its nature, there to to earn a place in the prim and proper books of history - it’s meant to be a live, thrown against the wall, one time only event. Truly utopian in nature - anyone can do it! It can happen any place, any where - it’s groovy like that. Viva abandoned cark parks, real parks, fake parks with astroturf, roofs, underground stations, crypts and night clubs in the daytime, your front room - anywhere we can make theatre together... and let’s all arrange to meet back here to see the panto in December.

What do you know. Maybe there’s room for us all - even if you have to stand a little bit. Look at these people, they're loving it! Cheers!


Love,

Baz x

 

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Signals from the Blog-as-phere...

Ahoy! We are fully on the good ship Baz's dreamplay, and already nearing the end of the penultimate week of rehearsals! This is both bonkers and exciting, Bazzers. As ever we are loving exploring, playing and improvising our way through Strindberg's landscape, armed to the teeth with excellent acting talent at every turn, and with Sarah Bedi in the captain's hat/director's chair - the job is a good 'un. Seriously, guys. We've seen some of it. Dreamy stuff. 

In honour of this excellent  and immersive process, the arts review site Reviews Hub asked our director for her thoughts and 'rules' of engagement in the rehearsal space. Ask and ye shall receive some great comments and soundbites and witticisms that make us feel all grown up and knowledgeable, which we totally are. Got a badge and everything. Anyway, read on for some knowledge, some reflections and some thoughts. Well done, Cap'n!

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In the first of a regular series taking us behind the rehearsal room door, writer and director Sarah Bedi shares her thoughts on creating the complex world of dreamplay, opening in September at The Vaults in London.

Day two of rehearsals for dreamplay. Day two of playing, experimenting and feeling our way towards a complex dream-world that already feels endlessly surprising and unnerving. It’s early days yet and already some ‘rules of play’ are emerging from the room. We’ll keep adding to these as rehearsals progress until finally, we have a complete set of guidelines … but for now this is where we are at:

Rule #1: The parameters of our dreamplay are the same as those set out by Strindberg in 1907 in the preface to his A Dream Play:

“The characters split, double, multiply, evaporate, condense, dissolve and merge. But one consciousness rules them all: the dreamer’s; for him there are no secrets, no inconsistencies, no scruples and no laws. He does not judge or acquit, he merely relates; and because a dream is usually painful rather than pleasant, a tone of melancholy and compassion for all living creatures permeates the rambling narrative.”

Rule #2: The audience is the dreamer. We are in their subconscious. In a dream every person you meet is part of you; they must be as there is only your subconscious. Therefore every character our audience meets is also themselves, we are all part of the same consciousness. As the audience is the dreamer, it is to them the adventure happens.

Rule #3: There is a transaction with the character Daughter/Agnes: we become her and she becomes us.Daughter/Agnes/Audience goes on a quest to find out why humans suffer. We encounter suffering in various guises. Fear. Shame. Rejection. Loss. Anxiety. It’s everywhere, and it repeats. Endlessly. Perhaps this is human existence.

Rule #4: Everything in the space is live. Everything is physical. Nothing is ‘pre-made’ and therefore nothing is ‘pre-decided’ or ‘pre-determined’. Where possible, lighting is made through practicals operated by performers. Actors change characters in front of us, and we don’t rely on theatrical ‘tricks’. The magic is a different sort of magic that happens in front of us and with us. It’s open and generous and present.

Rule #5: In a dream anything can happen. This is not a get out clause. In the seeming chaos, there needs to be order – even if it’s order of a different kind. Dreams are made up of feelings, thoughts and the fragments of everyday waking life. There is still a structure of sorts: perhaps a spongy, bendy, illogical sort of structure, but it’s still a structure.

Rule #6: A dream is open to interpretation: there is no single ‘true’ reading of a dream. dreamplay is equally open to interpretation: there is no single ‘true’ reading of dreamplay. This is a show that isexperienced through the body as much as it is through the mind. It is not an intellectual experience, nor is it didactic. We aim to give the audience a bunch of dots and leave them free to join them however they want. Some will guess at our intentions, others will create their own story/meaning. Both are valid and right.

dreamplay runs at The Vaults, London 10 September to 1 October 2016

Read it online here: http://www.thereviewshub.com/production-diary-sarah-bedi-on-rules-of-engagement-for-dreamplay/

 

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Signals: A Baz Blog on Good Things in the Theatre

Rakish Charm...Gwyneth Paltrow showing that all you need is a cod-piece, a false beard, firm handshake and you've made it. You're an actor in Shakey times! Shakespeare In Love, 1999

Hi there Baztecs! (too weird? Sorry.) I know right? Two Blog posts in a week! Well, it’s only because we love you all so much – and like the ‘fun aunt’ we’ll keep going with the treats until there is an Augustus Gloop type situation. We are looking forward to that. Anyway, we here at Baz like to chat and share what we are up to, and how we respond to modern British theatre: what it encourages and what it lacks, and thought this Baz Blog should be shining a light on positive signals and flares coming from the theatre world – and things that get Baz excited and pleased to be part of the landscape. Bullet points ahoy!  

 

 

  • The Tate Modern gets its first-ever-in-the-history-of ever female director in Francis Morris  http://www.a-n.co.uk/news/new-director-of-tate-modern-announced (Baz heard this name on the radio and assumed it was another male appointment and then nearly spat tea everywhere) Fantastic to have a woman running a big building in central London, looking forward for visiting + inspirations very soon.

 

 

  • A forever shout out to the all round good folk/fiercely talented/ dedicated/ samaritans/warroriors at Act For Change working to banish theatre inequality based on gender, race, sexuality, and disability are a treasure trove of sources of material, wonderful events and talks and the latest news: http://www.act-for-change.com

 

  • And another shoutout to the fantastic work that the fantastic people at Sphinx Theatre  produce, with regular groundbreaking shows, talks and salons on tackling how 52% of the population speak for such a small number of voices in the arts http://www.sphinxtheatre.co.uk and also to Talawa Theatre Company with vibrant, important work and opportunites  always reaching out to the BAME community, and with an wonderful version of King Lear in Birmingham and a smash with Theresa Ikoko’s Girls, it has remained a touchstone of emerging talent and new writing:  http://www.talawa.com/about/ and the same can certainly be said of Tamasha Theatre http://www.tamasha.org.uk who continue to offer wonderful opportunities for new writers and work about the multiculturalism of Britain today.

 

 

  • How could we ignore the momentous occasion that is an female Henry V about to open at the Open Air Theatre in honour of Shakespeare 400 and bound to be every bit of a chest-bump as the original as well as a pleasing reversal of the Shakespearian male: female ratio. 
    https://openairtheatre.com/production/henry-v

 

  • And finally, Bechdel Theatre's awesome work and aims are surpassed by their new venture of recommending Bechdel-passing theatre, setting a date, visiting in a group then discussing it afterwards with the actors, writers and directors. Like some kind of awesome book club but with moving people – the next one in in July: https://bechdeltheatre.com/bechdel-theatre-festival/

 

There. That should sort of set you up, for forever. No need to thank us (there’s no expectation, really, so bin that box of chocolates idea...really) just do so by getting out there and experiencing the art, the culture and the something a little bit off the main path. Then talk about it, gesticulating wildly with red wine in hand. Everyone’s a winner. Just remember white wine doesn’t get red wine out of cotton. That’s a myth.

Just a tip.

Happy theatre-ing! You lucky so-and-sos.

Baz x

 

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