Posts Tagged ‘live theatre’

Vera preview performances announced

Saturday, April 27th, 2013

Roll up, roll up!

I’m delighted to report that the dates for the Vera Shrimp work-in-progress performances have been confirmed.

Big thanks to our supporter venues Live Theatre and ARC for hosting us.

It’s a chance to see what we’ve been working on and where we’re at with the show after this development process, as well as offer your feedback for us to use moving forward.

Tickets are on sale now, so if you can make it then it’d be fabulous to have you there … x

THE SOAKING OF VERA SHRIMP

Written and performed by Alison Carr

Directed by Rosie Kellagher

For fourteen year-old Vera Shrimp a rainstorm isn’t a soggy inconvenience, it’s an exhilarating, breathtaking whirl of colours and feelings and words. Because Vera has discovered an extraordinary ability, one that might solve everything.

This is a work-in-progress performance of the first solo show by Alison Carr.

Alison’s  writing credits include Can Cause Death (National Theatre, Northern Stage); The Girls From Poppyfield Close (Live Theatre); Dolly Would (BBC Radio 4). As a writer-performer her credits include Mary, Jesus’s Mam (Trashed Organ/Live), Come To Where I’m From (Paines Plough/Live) and she has been a two-time guest on BBC Radio 3’s The Verb.

** PERFORMANCES **Red Wellies © 2013 Christine Charlton

Live Theatre, Thursday 11 & Friday 12 July @ 8pm
Tickets: £5
Click [here] for more information and to book

ARC, Wednesday 17 July @ 7pm
Tickets: £3
Click [here] for more information and to book

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Vera Shrimp – week #1

Saturday, March 30th, 2013

At last! After all the talk and form filling in we finally got to some fun stuff – our first official week working on Vera Shrimp.

I packed my trusty notebook, pencil case and a shed load of Post-Its and headed off to Live Theatre where we’d be spending the next four days ensconced in the Benfield Writers Room. I also, importantly, had the first draft of the script as we’d decided to focus our efforts while at Live on the text. I may be writing and performing this piece, but before we even start thinking about getting it up on its feet we need a story and a script that is up to scratch.

The first order of the day was to read it out loud. This might sound like the most basic of the basics, but it all has to start somewhere. And as I hadn’t really looked at the script since finishing the first draft in January, it was a good way to get my head back in to the story and its ideas. Some distance can prove to be a good thing – you can get so wrapped up in something that you sicken yourself – so to have some time away clears the head. Rosie and I took it in turns reading and listening, and almost immediately queries and gaps became apparent. Along with the fact that I had scrimped massively on commas!

And so we set about questioning and exploring the story and its characters. I’m not going to detail every moment, but we did lots of talking and asking and made lots of notes. We talked about Vera. We talked about Vera’s Dad and how he is a key player who needs to be brought more to the fore. We talked about Vera’s Mam and her friends and their neighbours, and Wendy and Aunty Karen and all the other voices who we might come to hear. We looked up cremations and spoke to a former police officer about procedure following a sudden death. I was assigned homework. We navigated timelines. And at last – hurrah! – we broke out the Post-Its and mapped out the story.

To sum up, we did a lot. And I think we both came away pretty knackered but pleased with what we had achieved. Not to mention wise to the fact that two people shouldn’t, really, try to eat a whole box of Tesco flapjack in one afternoon.

We now have a week before we head to ARC where we are going to concentrate on performance. No time for slacking, though, as I have to take all of the notes and the ideas and the questions and the Post-Its and start shaping them in to a second draft. I won’t lie, my head’s spinning a little – but it’s better than it lying dormant and trying to kick it in to gear.

All in all, we’re out of the starting blocks and on our way. And there’s no stopping. Not now. Plans are afoot – exciting announcements to follow …  

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“Not forever, just for now”

Tuesday, June 28th, 2011

Things I have learnt since the last time …

  • It can be too early for a handful of chocolate raisins.
  • Terry & Marg did it.
  • It doesn’t take as much as I thought to set me off blubbing.
  • “Micey” means disreputable/creepy/there’s a rabbit off.
  • It hurts when you put teaspoons straight from the freezer on your eyes (although it is good for tiredness – you’re in so much pain you forget how tired you are).
  • Columbo will be sadly missed.

And thus, so ends The Girls From Poppyfield Close.

I say ‘ends’. Ends for now.

Because the three night run in Live’s Studio Theatre last week is part of the play’s ongoing development. I’ve come out of the rehearsal process and performances with so many new thoughts and ideas – I’ve gotten to see the play up on its feet, in front of an audience, and there is no better way to shine a spotlight on what works and what needs working on further.

I can’t sign off on this without paying tribute to the team. With only a week and a half rehearsal time, Rosie, Phillippa, Cheryl, Cliff, Sam, Rachel and Chris achieved something incredible. And the hard work, enthusiasm and humour of everybody made it one of the most enjoyable projects I have worked on. Not to mention the fact that ‘treats corner’ was never left empty, not once!

And credit to the production team, of course. Designers Verity and Kate; technicians Drummond, Craig and Tom who created such an evocative and atmospheric world for the characters and audience to inhabit.

Ok. So that’s enough gushing. They were all fabulous dah-ling, blah blah blah!

For photos, reviews and audience feedback from last week’s production, click [here]

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Biscuits

Sunday, June 19th, 2011

Day -4 and I have learnt a number of things this week …

  • Banana skin is a cure for verrucas.
  • When you want a lighter to run out of gas, it resolutely won’t.
  • Lunging is sinister.
  • My next play shall be called The Peregrinations of Mrs Budge
  • Establish a ‘treats corner’ and everyone is happy.
  • Someone being thwacked with a plimsoll is funny, no matter how sombre the context.
  • Cheerios are an evening meal.

I could go on.

But I won’t.

It all adds up to mark Week One of rehearsals for The Girls From Poppyfield Close.

The cast and director met up for the first time on Monday, starting with a script read through in the morning. Unfortunately due to an unavoidable commitment (which shall be filed in the drawer marked ‘Sods Law’) I have only been able to attend rehearsals in the afternoons this week. But, I don’t think this was such a bad thing. For the first session it meant the script could be read and discussed without me folded up in the corner, so when I did arrive in the afternoon they had had time to digest it a little.

It is not a long rehearsal period so was a case of jumping-straight-in from Tuesday. The energy and attitude towards the play has been great, the actors seem engaged by their characters and the story. There are regular questions and ideas which is fantastic – I’m kept on my toes, never far from my editing pencil, but I love it. It’s great to be able to share these characters and this story, to see it ‘come alive’ (horribly cheesy, sorry), to have conversations about it, answer the questions (or not) and see different ideas played with and tried out.

I think a massive bonus is the fact that the director Rosie Kellagher has been with me for the whole process of developing Blood in to Poppyfield.

It was Rosie who rang me at the back end of last year to ask if I’d be interested in developing it in to a full-length piece and she has read every draft thereafter. It is Rosie who has assured me it’s “not shit” and listened to me doubt and fret. But it’s all been worth it, cos on Friday she saw me do a giddy little dance after the first stagger through of the Acts! I know that she knows this play and where it is in its development. She gets where I am coming from and gets me as a writer, and that is invaluable.

But don’t tell her I was being nice about her though, it’ll go straight to her head.

While I am being complimentary about other people (it’ll wear off shortly and normal service will resume, I’m sure) a big huzzah for the talented company of actors on board. I have looked forward to going in to rehearsals every day to see them and what they’re going to do.

And it’s been a great surprise how much laughter there has been – while there is humour in the play it’s hardly a ‘comedy caper’, but there is a real enthusiasm to the rehearsals. And biscuits. Biscuits always help. Kudos to Cheryl for bringing in the best biscuits so far – a sort of chocolate Hob Nob/cookie hybrid. Immense.

So then. Rehearsals continue next week, with the play kicking off on Thursday. I really hope it continues to be as enjoyable. Or at the very least, the biscuits keep coming and to such a high standard.

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Anton & Me … (+ Past Glories; Day 46)

Tuesday, September 7th, 2010

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. (Dirty Dancing is in there cos that was our landmark meeting place, slightly surreal but even a dunce tourist like me couldn’t miss it, unless you get on a Tube going the wrong way … but moving on …)

 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.

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Come To Where I’m From …

Monday, June 21st, 2010

(Q) What do you get when you ask a writer (me) to pen a monologue about his/her (my) home town?

(A) Nothing.

Not at first, anyway.

Back in April I was asked to be one of the writer’s for the Newcastle-leg of ‘Come To Where I’m From’, a project dreamt up by Paines Plough to launch their new artistic-directorship. 61 playwrights across 14 cities asked to write a short play about his/her home town, the place that shaped them.

I was over the moon to be asked. I may have even done a little dance. Paines Plough. Like, the Paines blinkin’ Plough. I had to make this good.

But. You may have noticed amongst these pages a little thing called Blood & Money @ the Prague Fringe Festival. As writer, co-producer, publicity person, stage manager, dogsbody, et al this project took up a considerable amount of time. Before I knew it, it was the last week of May, I was in Prague and I hadn’t written a word for CTWIF. I hadn’t even written the title with a blank page dangling optimistically underneath. But when you’re busy and abroad it is very easy to think you will never be at home again. So really, nothing to worry about.

Cut to: 8am on Monday 7 June. I got back to Blighty at 10pm the previous night. I wake up with a start. I appear to be experiencing a cold sweat of fear. But why? Prague is over, we lived to tell the tale, it’s all good. Oh. I remember now. That’s why. 13 days until CTWIF. I am in serious trouble.

I react as any sane person would do. By doing nothing.

Cut to: 6am on Tuesday 8 June. Bollocks. Inexplicably a play about Newcastle does not appear to have written itself. I set to work. About time.

I write a first draft by the end of the day. It is awful. I eat biscuits and worry. Because I have not mentioned the extra element in play here. The horror that is keeping me awake at night. I can’t just rush off some substandard piece of fluff to palm off on an actor and hope they can work their professionally trained magic on it. Why not? Well, a) I have higher standards and more self-respect than that and b) I AM the actor. Paines Plough added a little kicker in to the agreement – the writer must perform his/her own work. When I had two months then that was fine – scary but fine. After all, I’d have it all polished and ready no problem. I have two weeks.

I eat another biscuit and get on with the re-write. I am too scared to send it to Paines Plough in case they are so horrified they rescind the commission, so send it to my Agent for reassurance. She rings me and tells me it’s not awful, it’s good. I am pleased. Then I remember she might be lying. I finish the biscuits and re-write the re-write.

Some time later. I have managed to come up with a fifteen minute monologue I am not ashamed of. I pluck up the courage to send it as a draft to Paines Plough, and co-Artistic Director George Perrin says he “adores it”. I also send it to Gez at Live. He says it’s “fine”. I resolve that I like George better. And do another re-write.

The day of reckoning – Saturday 19 June. No more re-writes. AD’s James Grieve and George meet with the ‘actors’ at Live Theatre at 5pm. It’s me, Dick Curran, Tracey Whitwell and Michael Chaplin. We are going to read the plays on the stage. One rehearsal. It’s in the main auditorium at Live Theatre – a lone chair sits on the stage in spotlight. G.U.L.P. We read. It is fascinating. With those five words – ‘Come To Where I’m From’ – and that simple brief of ‘write about your home town’ we have each come up with something totally different. Tracey’s spans from her childhood to the present day; Dick has chosen to create a character piece set at Bede’s World in Jarrow and Michael takes us on a journey along the river. And me. Well. I decided to pare mine right down, right down to the basics of my actual ‘home’. My house. My Agent described it as “miserable and funny”. Rather like me, then. I hope the audience will like it.

7.30pm finally arrives. I have had two halves of lager and a glass of champagne. Idiot. Overexcitement, terror and alcohol don’t mix. Fortunately when I see the size of the audience (a lot more than the one man and his dog I was hoping for) and that chair alone on the stage, any giddiness evaporates in to stone cold fear. Tracey gets proceedings off to a great start, then Dick entertains, then … me. The walk from the stairs to that chair seemed to take an eternity. But. I did it. And the crowd seemed to like it. They laughed, no one booed me and I didn’t trip over – I can’t ask for much more! About half way through I relaxed and realised I was enjoying myself up there. Before I know it, it’s over. I’m back at my table and Michael is delivering the final piece.

So. There we are. It was fun. Sort of. It was scary. Very. It was an honour to be a part of. Absolutely.

Good luck to the 44 writers still to perform (the next event is today in fact, in Birmingham). And good work to the 13 writers who came before us in Liverpool, Sheffield and Ipswich. I hope they enjoy(ed) the experience as much as I did … and I mean that in a good way!

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Blood & Money @ Live Theatre

Thursday, May 27th, 2010

On 24th May, Blood & Money previewed at Live Theatre. Still half way through rehearsals it was a work-in-progress, but a chance for people to see where we were going with it.

Thanks to the sterling work of director Degna and the cast Jill, Faye and Mat, the show was up on its feet and heading in the right direction.

Hats off to Amy Watts who designed, constructed and delivered our set – based on the concept of ‘ties that bind’ it’s a gorgeous construction of wound wool and string. Beautiful to look at, a nightmare to untangle I expect (not that it will ever happen, and if it does we have scissors and spare wool!)

Thank you to all at Live Theatre, and everyone who came along to support us and donated so generously … x

Some photos from the night … [click] to enlarge:

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it will be ‘ringbinder status’ before you know it …

Tuesday, March 23rd, 2010

You know you mean business when you break out a folder dedicated to the task in hand. Today I created the Rascally Scoundrels folder. When I say ‘created’ I mean, took out a cardboard document wallet (orange) and wrote ‘Rascally Scoundrels’ across the front in marker pen. Oh yeah baby, play time is over.

So, the latest on Blood & Money is that it continues to be in development for Prague. Following the Northern Stage showcase, Roz and I are working on re-writes with the deadline for a rehearsal draft by mid-April. We’re also looking into some preview performances for end of April/end of May – details to be announced.

We bid a sad farewell to Anna Bolton from the First In Three cast, and are delighted to welcome Faye Greenwell in to the fold as Elle/Tina.

Also hello to Amy Watts, our set designer with the unenviable task of trying to create a set for two (very different) plays that can fit in to a suitcase. So good luck with that one, Amy. You’re in our prayers!

In other news … erm … my new short play Tittle, Tattle, Tattletale was performed as part of Live Theatre’s Different Stages Festival a couple of weeks back. Great night, great actors, good time had by all. For details about the play, click [here].

Oh, and back to Rascals briefly. There is a rumour we are getting t-shirts printed. Badass, or what. All the kids will be after them. Word.

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