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Helen

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Helen at the Lace Market Theatre

Helen at the Lace Market Theatre

One week remains until Helen at the Nottingham Lace Market Theatre.  I’m really enjoying the rehearsal process.  It has been probably one of the most creative shows I’ve been involved with and our director has been incredibly hands on.  At times it’s a very histrionic piece and very rhetorical, so it’s going to be intriguing how that fits into the studio space once an audience is there.

Wednesday 1st - 4th July at 7.30pm

Box Office: 0115 9507201 or from the website.

Between Eyes Open and Eyes Closed

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on May 30, 2009
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Between Eyes Open and Eyes Closed was filmed over a week in mid-February. It was an exhausting experience, but incredibly rewarding and as usual I learned loads.

Directed by Chris Dart, it’s about a young man’s struggle to deal with the past in order to begin to live in the present. The results are terrific and the efforts Chris put into preparing, filming and post-producing speak for themselves.

I love the the wonderful quirky elements throughout the film. Chris was inspired by the work of Michel Gondry, but I think there are also some lovely Terry Gilliam-esque moments, particularly the shot of the Hypnotherapist’s. I guarantee it looks nothing like that in real life and yes that is the receptionist who actually works there!

There is a shot of Wayne looking very bored at work that I’m particularly fond of, but my favourite scene is on the bridge in a park in Stafford where Wayne and Dr Harding release a lantern into the sky. It nearly didn’t happen because the park keeper hadn’t got the memo about us filming that evening. He was not amused, but John managed to calm him down and we got a couple of takes in before finally getting kicked out.  The poor bloke probably just wanted his dinner. 

I’m very proud of the work I put into this film. As ever there is loads to improve on, but certainly a significant step in the right direction.

Directed by Chris Dart

Wayne - Matthew Swan
Miranda - Emily Anne Salter
Dr Harding - John Symes

Whorehouse: Closed

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on May 18, 2009
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Sheriff Ed Earl Dodd closed the Whorehouse one final time on Saturday.  I am absolutely knackered!

What a challenge and what a rewarding experience taking part in the musical was.  Billiant fun, amazing energy, a superb cast, awesome audiences and I met some cracking new people along the way.  Bring on the next one!

I think it’s fair to say it’s not the best musical of all time, but for one week in May it was the Best Little Whorehouse in Derby.

The Best Little Whorehouse In Derby

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on May 14, 2009
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We’re now two shows into Best Little Whorehouse In Texas and I’m loving every minute.  The highlight for me each night has been ‘The Aggie Song’ which has been getting a terrific response from audiences.  However, ‘Good Old Girl’ was particularly enjoyable last night and the hoedown at the end is always fun.

We’ve had a terrific review from the Derby Evening Telegraph and the comments Rachel received for her performance were well deserved:

I don’t know what they’re putting in the tea when Derby Opera Company rehearse but whatever it is there can’t be many inhibitions left among the cast members.

Two years ago, the raunch started with Jekyll and Hyde, last year the men decided to strip with The Full Monty and this year we get The Best Little Whorehouse in Texas. Check your pacemaker at the door because once again the troupe pull out all the stops to put their collective hearts, souls and lingerie into bringing this story of the infamous Chicken Ranch to life.

The show is full of big numbers with snappy choreography and a that includes 10 prostitutes, their madam, some townspeople, various politicians, local choristers, the Texas Aggies football team and - at the centre of the storm - troublemaker Melvin P. Thorpe, a flamboyant TV personality who is determined to shut down the Chicken Ranch and fulfil his destiny as “watchdog” for the local TV market.

But two numbers stand out. One is a solo in which Rachel Cline plays a disillusioned waitress named Doatsey Mae who wishes she’d had a more exciting life. She gets to perform a hauntingly beautiful ballad, Doatsey Mae, and completely nails it.

At the other end of the musical spectrum is The Aggie Song, a robust, full-bodied press from a chorus of football players getting ready to visit the Chicken Ranch, their prize for winning the Thanksgiving game earlier that day.

There’s a lot to cram onto the Guildhall stage and I question putting the band in an elevated position in the centre of the stage, it hinders the performers and on an amplification note tends to drown out some of the cast on the musical numbers.

It’s good to see this musical back on a Derby stage and watch a cast that looks to be enjoying what they’re doing. What next for Derby Opera? Hair? At least it’ll keep the costume budget down!

(Source: Derby Evening Telegraph)

Tickets are still available for certain shows and you can get them by calling the Derby Opera Company Ticket Secretary.

Euripides, Eumenides!

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Last week I successfully auditioned for a role in an intriguing take on Euripides’ Helen. It’s a modern English variation of this classic Greek drama and it will involve each of the cast members taking a crack at the principle roles. So you get several Helens and two or three Menelaus for your money. At any point I could be either Menelaus or a messenger or forming part of the chorus.

 

What I have read of the script so far is both affecting and very funny at the same time and it will be a real pleasure to perform. For me it’s another effort to engage with works other than Shakespeare.

Performances run from the 1st to the 4th of July at the Lace Market Theatre in Nottingham and will cost £9 at the most.

UPDATE:  I’ve just got back from rehearsing in Nottingham (9th May) and have found out that I am actually the only actor playing Menelaus, which is terrific as it will be my first leading role.  In this production it’s spelt Menelaos.  There will still be loads of Helens

Six More Days Until We Get To Heaven

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Less than a week until the first night of Best Little Whorehouse in Texas and rehearsals have really ramped up. We rehearsed all day on Sunday and we’re in every night this week! The musical numbers are all tightening up and costumes and props are beginning to make their debuts.

Last night the American Football shirts for The Aggie Song made their first appearance. As a cost saving exercise they are basically t-shirts with what look like car seats sewn into the shoulders. They look ridiculous and yet brilliant at the same time and the routine was even more fun than ever because of them.

I think this show is going to be enourmously enjoyable to perform and I hope you get chance to check it out.

Get tickets here.

The Bear Necessities

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I just can’t stop thinking about the amazing special effects in the RSC’s current production of The Winter’s Tale.  I half-like the play, but whereas my friend who accompanied me to Stratford goes in for the emotive first half, I’m more interested in the frivolity and fanciful nature of the second half (and in this production the numerous dancing critters with obscenely large phalluses).  However, consensus was drawl about the bear in this version. 

In previous stagings Shakespeare’s rather intriguing stage direction “Exit, pursued by bear” has been dealt with using ingenious lighting or sound effects.  Me, I just want to see a bear.  In fact I was at the point where I would have been happy if Rainbow’s Bungle had run on stage.

Brian Doherty's Autolycus

Brian Doherty's Autolycus in a hole

In the RSC’s Winter’s Tale the massive bookcases that back dropped the dining room in which the action of the first half took place fell forward spilling their contents onto the stage.  Meanwhile, the huge double doors centre stage crashed open and we were transported to Bohemia as wind, smoke and pages of books flew through the doors and out into the auditorium.  A little while later Antigonus is startled by the sound of the hunt, which is shortly followed by a terrifying, guttural roar and though the double doors the enormous head of a bear stalked forward.  Antigonus attempts to distract it from the infant Perdita and is confronted by 10 feet of the creature reared up on its hind quarters.  It then drags him back through the doors and unseen consumes him.  It looked incredible and more than made up for the lack of bears in Winter’s Tales past.

Police Camera Action!

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on March 10, 2009
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Written on the 26th November 2008.

It was a slog, but we finally wrapped Disrepute last night.  I play Priest a young police officer who in a moment of madness lands himself up to the neck in it.  His story interweaves with three other members of a police department in this tale about choosing where professional and personal loyalties lie.

QTI Productions are three young filmmakers based at Staffordshire University and despite lady luck clearly having a couple of days off were real troopers.  Problems with equipment quality due to filming being postponed, run-ins with the real police and location-booking issues were a few of the problems all seven of us faced.  However, we dug in and got on with the task in hand.  Every new obstacle a solution was found and although it was frustrating that things didn’t always go to plan it was a thoroughly rewarding team experience.

My fellow actors Dan, Rob and Martin were cracking to work with; patient, focused, up for a laugh and above all enthusiastic.  Jemma, Steve and Andy were committed and disciplined.  I’m sure they’re proud of the efforts they went to in order to make this work.  As I write three no doubt bleary-eyed students are clustered round a computer post-producing a shoot, to an extent that they clearly wanted to avoid, with a horrifically close deadline.  I wish them luck.

So what’s this actual police involvement all about?  Nothing too sinister, but entertaining nonetheless.  As a courtesy the script was sent to Staffordshire Police along with an polite email asking if a scene could be shot outside their premises.  The reply was a definite no due to certain issues that occur in the script.  I’m paraphrasing their words slightly here, but “Staffordshire police cannot be seen to associate themselves with police corruption”.  I’m presuming they do an adequate job on there own associating themselves with police corruption.  It resulted in a mad dash to find a suitable location in Wolverhampton and this time a courtesy script was not sent. 

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Derby Has A Whorehouse In It

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on March 4, 2009
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I’m absolutely shattered after last week, so it’s nice to have the week to recover.  However, this Sunday I’m straight back in the deep end with the first rehearsal/read-through of Best Little Whorehouse In Texas for Derby Opera Company.  I’ve wanted to be involved in a musical for a while now and with Derby Shakespeare taking a few months break, now was as good an opportunity as ever. 

The promo for Best Little Whorehouse in Texas

The promo for Best Little Whorehouse in Texas

I was very pleased with my audition, but it felt like I was auditioning for the first time again.  This was possibly the combination of it being my first audition for DOC and my first for a musical, so dancing and singing were also under scrutiny along with my acting which I am far more comfortable with.

My dance audition was a bit sketchy, but definitely something to really get into and enjoy over the next few weeks and the girls were absolutely brilliant!  What man would complain about a bunch of females jumping all over him?  The singing was absolutely terrifying and I could feel my hands shaking as I held the music book. I find singing a very personal thing, I don’t know why.  Perhaps it’s because my parents were never really singers.  I think had they walked around the house belting out the hits of Broadway then things may have been a little different in perhaps more ways than one.  However, I couldn’t have asked for a better audition.  I was quite well prepared and just for the hell of it I even had a crack at Melvin P. Thorpe one of the principle characters.  It was incredibly enjoyable.

In the end I made the ensemble, so I can imagine there is going to be a hell of a lot of work involved.  Plenty of singing, dancing and I’d imagine there will be an opportunity to play multiple minor roles, so great in terms of acting experience too.

Acting On Ice

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on February 27, 2009
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Last night near the end of the performance as I was stalking across the stage towards Nicky (Viola) I slip on something particularly slimy, undoubtedly the residue from a previous Belch and Aguecheek scene and nearly ended up on my backside.  I let out a huge high-pitched squeal and somehow managed to regain my footing using manoeuvres that wouldn’t seem out of place on the high beam in a gymnastics competition.  As the audience howled with laughter I somehow managed to remain in character and even gave the audience a cheeky little look before carrying on as if nothing had happened.  I’m sure it was the biggest laugh I had that night!

In other news we had a fab review in the Derby Evening Telegraph and here it is:

Over the past few weeks, Derby’s Guildhall theatre seems to have seen more Shakespeare than The Globe in London.

Following on from Derby Live’s professional production of Much Ado About Nothing, this week we get Derby Shakespeare’s Twelfth Night.  And if ever there were an example of the imperceptible differences between professional and amateur, we have it here at it’s finest.

As usual, Mr Shakespeare manages to string together a decent story with all of his normal plot devices, including mistake identities and women dressed up as men, but this ensemble cast manages to get as much emotion, pathos and humour from the tale as possible.

Lisa Kelly shines as the countess Olivia, who falls for the charms of Cesario, the disguised, shipwrecked Viola (Nicky Beards), who in turn falls for the handsome Duke Orsino (Colin Dawes).

Matthews Shepherd and Swan create a fine comedy double act as the scheming and drinking Toby Belch and Andrew Aguecheek and Christopher Scott almost steals the whole show as Malvolio, Olivia’s manservant. When you can make an audience laugh with subtle facial nuances and, in a trice, play broad comedy to equally strong effect, then you know you have an ace in the deck.

Director Caroline Reader has set this production in Victorian Paris, but the open master-of-ceremonies’ speech, delivered, with aplomb by Alan Smith, seems to sit uneasily in that context. At other points, though, the music choices and live songs convey a sense of purpose and add much to the drunken songstress character of Feste, played by Irene Button.

This is another quality piece of work from one of the city’s prized amateur dramatic companies.

(Source: Derby Evening Telegraph)