interview – Page 17 – Theatre Things

Interview: Henry Maynard, Flabbergast Theatre

Published on April 10, 2017April 10, 2017 by LizLeave a comment

“I’d like our audiences to walk away with aching sides and a slightly bemused expression, secure in the knowledge that they had a jolly good time, even if they weren’t always convinced that they had a hold on what was happening…”

Henry Maynard is a former War Horse puppeteer, Amused Moose Laugh Off finalist and founder of Flabbergast Theatre, who are bringing two of their favourite shows to Wilton’s Music Hall in London next month. One sees the return of Balkan bad boys and stars of the Edinburgh fringe, Boris and Sergey; the other is a solo show about one man’s quest for a friend, performed by Henry himself.

“Tatterdemalion is an hilarious one-man, silent-ish, physical comedy with silliness in abundance, to a backdrop of Victoriana and otherworldliness with a dash of pathos,” he summarises. “And Boris & Sergey’s Astonishing Freakatorium is the Balkan bad boys of puppetry’s homage to the travelling freak shows of the 1930s, featuring escapology, wild animals and a live séance… Hilarity will ensue.”

All Flabbergast’s shows are the result of an ongoing development process in which both company members and audience play a vital role. “We work with a highly collaborative devising process,” explains Henry. “I come up with the stuff… they do it.

“I’m being facetious. Normally we get in a room with our ideas and keep what makes us laugh. Then we bring it all together in a mostly coherent way.

“All our shows develop in front of the audience; the things that work stay in and the things that don’t we keep flogging away at until eventually we realise we’d be better doing something else. I like the organic way our shows grow.”

Unsurprisingly, this means that audience interaction is an important part of Flabbergast’s productions. “All live theatre relies on participation, the shame is that audiences are often unaware of it,” says Henry. “I blame Stanislavski and his cursed ‘fourth wall’. He was like an earlier version of Trump – ‘I’m gonna build a wall and the performers will pay for it!’

“If you come to a Flabbergast show you are involved and that’s what is great about live theatre – otherwise you might as well stay at home and watch Gogglebox.”

Henry founded Flabbergast back in 2010 to make uncompromising and exciting physical theatre. “I was inspired to set up Flabbergast by Puppetry, Clown, Commedia dell’arte and all the other avant-garde theatre styles that make no money… anywhere… ever,” he explains. “I wanted to perform, learn, direct and teach them. As a company, we aim to make theatre that is sweaty and engaging, physical and alive, and we want to promote puppetry and clown specifically as valid and important art forms in theatre.”

Currently, the company’s focus is on Bunraku puppetry, and particularly on how this can be used to reach an adult audience. “Bunraku is like distilled humanity,” says Henry. “We can sometimes become hardened to real adult people, callous and uncaring – but puppets get through to us like children and animals do, we sympathise with them more. They’re magical and draw the spotlight, they call to our innate desire to personify and humanise everything; we delight in their play as children delight in the antics of their toys.”

Photo credit: Claudine Quinn/Lens On Legs

Both shows have proved a hit so far, with a host of four and five star reviews, and Henry’s looking forward to sharing them with a London audience: “Bringing the shows to London and specifically to Wilton’s Music Hall is going to be incredible. It’s another feather in the Balkan bad boys of puppetry’s cap as they march towards inevitable world domination, and the beautiful theatre is the perfect backdrop for Tatterdemalion. If you’ve never been to Wilton’s Music Hall you must come to the shows just to see it. It’s the oldest grand music hall in the world.”

So of the two shows, which one does Henry recommend? “I’m in Tatterdemalion so that one…” he suggests. “But seriously, I’m proud of both the shows and they are great for different reasons. If you’re a puppetry fan, Boris & Sergey is pure puppetry fun, whereas Tatterdemalion has a sprinkling but will appeal more to physical theatre fans. Neither are pretentious though, we take a tongue in cheek approach to our art and work.”

Then again, with a 20% discount for multiple booking, we could just see both…

Catch Boris & Sergey’s Astonishing Freakatorium and Tatterdemalion at Wilton’s Music Hall from 9th-13th May (for dates and times of each show, visit the website).

Interview: Daniel Foxsmith, BLUSH

Published on April 9, 2017 by LizLeave a comment

In April 2015, legislation was passed that made revenge pornography – sharing a private sexual photo or film of someone without their consent – a criminal act. This became the catalyst for BLUSH from Snuff Box Theatre, which tells five stories about image-based sexual abuse, and went on to an award-winning run in Edinburgh. Next month the play will transfer to Soho Theatre, before embarking on a national tour.

“It’s a bit of a bloody rollercoaster!” says Daniel Foxsmith, who appears in BLUSH alongside writer Charlotte Josephine. “It’s a blisteringly beautiful look at how we behave online, the rules we have or haven’t made for ourselves on there, a look at gender, our modern attitude to sex, promiscuity, sex education, the shame associated with sex and how our understanding of ourselves is shaping technology now.”

Described as “a slap in the face and a call to arms”, BLUSH fearlessly tackles a difficult subject, and encourages its audience to do the same. “We need to look at all of the above with both eyes wide open,” says Daniel, “so if we can get audiences to confront some ‘digital gremlins’ that are now firmly part of our online culture that’d be great. Beyond that, hopefully they’re engaged, entertained and there’s space for reflection and empathy after the show.”

BLUSH is the third play from Charlotte Josephine, who’s co-founder of Snuff Box Theatre along with Daniel and Bryony Shanahan. The show’s been in development since 2015: “After a lot of research by Charlotte Josephine, the piece, as far as I’m aware, found its current form early on in December 2015 after some research and development at Camden People’s Theatre, where Bryony Shanahan floated the idea of the five voices being played by two performers,” explains Daniel.

“It’s grown again from there; with director Edward Stambollouian making his deft mark on it on its way to Edinburgh last summer. I think now, post-Edinburgh, the show’s current form is a robust and direct piece of storytelling, which has been reflected in some lovely thoughts from reviewers and – most importantly – audiences alike, with Charlotte winning a Stage Award for Acting Excellence whilst sweating away in the depths of Underbelly!”

Daniel believes that research is the key to BLUSH‘s success. “I think the amount carried out before, during and beyond the writing of the show makes the content well thought-out and crucially well balanced. This isn’t a two-dimensional ear bashing for a particular section of society. Also Ed’s fine touch and James’s design have created a beautifully intense and sparse atmosphere for the stories to unfold.”

Though the play was inspired by the concept of revenge porn, the true focus of the work is shame, which allows the show to speak to a much broader audience. “I’d say the show speaks to wider themes,” says Daniel. “It’s not just about digital sexual abuse. All of the things I mentioned in summing up the show are universal themes that I’d hazard to say everyone has brushed up against in one way or another at some point.”

After its run at Soho, BLUSH goes on tour throughout the summer around the UK. “I think touring outside of London is really important, but it feels especially relevant for BLUSH, because it can be harder to escape the digital pillory that online shaming can sometimes become in communities in smaller towns and cities.”

Daniel, Charlotte and Bryony founded Snuff Box in 2011 after graduating, inspired by one simple goal: “We wanted to work!” says Daniel. “The three of us trained as performers on the East 15 CT course, and had stories to tell by the end of it. No-one was waiting for us to tell them, so forming Snuff Box was a way for us to get our work made. With the addition of Jake Orr driving us on as producer, the team is aiming to keep telling stories that are full of heart and grit, in ways that provoke today’s audience.”

BLUSH is at Soho Theatre from 16th May-3rd June, then on tour until 24th June.

Interview: Romain Guimard, Compagnie XY

Published on April 2, 2017 by LizLeave a comment

It’s been seven years since Compagnie XY, one of the leading contemporary French circus companies in the world, performed for a London audience. Now at last the company described by Lyn Gardner as “the rock’n‘roll circus where everything’s possible” return with the UK premiere of their new work, It’s Not Yet Midnight… – a show with an important and timely message about the importance of togetherness and cooperation.

“The show is about a collective of acrobats sharing their acrobatic world with the audience,” explains acrobat Romain Guimard. “It involves acrobatics, for sure, but also the way we do them as a collective, the way we train, create and live together as a collective, a group of individuals sharing our differences, fears and hopes, cooperating to foster the emergence of something greater we couldn’t achieve on our own.”

It’s Not Yet Midnight (or in French, Il n’est pas encore minuit) opens at the Roundhouse on 10th April, and is the company’s third show, following the success of Le Grand C and Laissez-Porter. “After Le Grand C, we wanted to create a new show with more people among the ones we met during our tours,” says Romain. “We first gathered the team, finding not necessarily the best acrobats, but the ones who could also fit in the collective, who could have something to bring to it – positive energy, generosity, nice craziness, kindness…

“We met everyone during short sessions of one or two weeks and trained together to first get a common acrobatic language, and then to use that simple language to create new words, sentences, poetry, researching all the things we could do, leaving our mind free to dream without any constraints. By that time we had two things we wanted to bring in the show: the planks, for their acrobatic possibilities, and lindy-hop for its high and joyful energy and its welcomed craziness.

“Then we joined for four months to create the show as a collective, deciding on everything together, having each of us following and leading the group within a fine balance. We had the help of an outside eye, Loïc Touze, a choreographer who gave us feedback on where the group was and who helped us reveal a true and honest image of what the collective was.”

The company are excited to be back in London, though for some members of the 22-strong troupe it’s a new experience: “Only eight of us were here last time. We remember such a great welcome we had and we’re very glad to be able to enjoy that one more time. For the others, I think that they are looking forward to it but anyway, we’re always looking forward to performing in an unknown place, in front of people we know as well as strangers. But of course, it always adds a little something to perform in a capital.”

Compagnie XY are known for their jaw-dropping (and mildly terrifying) stunts – It’s Not Yet Midnight will see the acrobats catapulting each other through the air, and include the four-high human tower – but what some may not know is that they’re a true team in every sense of the word, living and working together in a unique set-up. “The whole show would be completely different if we were operating in another way,” explains Romain. “Our way of working and living together is inherent to the show.

“The company started with two teachers and four of their students, who wanted to keep going with the transmission of experience by extending it from training at school to touring a show. Then we met people on tour and also during acrobatic workshops we gave. At that point, we wanted to gather other experienced acrobats and recently graduated students and give a shot to extend the experience with three times more people.

“The main goal of the company is not only doing a show with collective acrobatics; the goal is to do it as a collective, allowing each of us to grow beside the others, through the others, growing the collective itself by growing all together as interdependent individuals. The show is the purpose of the collective, but doing it as a collective is as important as the show itself and I think that point makes the company one of a kind.”

And what does Romain think makes circus itself special as an art form? “Come on… elephants!” he answers. “But more seriously, I think that circus is about our fears, about overcoming ourselves, it is about challenges, it is universal, talking to everybody without any special requirements – and therefore that makes it a very popular art form.”

It’s Not Yet Midnight… is at Roundhouse from 10th-23rd April.

Interview: Yolanda Mercy, Quarter Life Crisis

Published on March 25, 2017 by LizLeave a comment

“Alicia is a hot mess. She doesn’t know where she’s going in life. But everyone around her seems to know what they are doing. What does it mean to be an adult and when do you become one?”

Yolanda Mercy is Associate Artist at Ovalhouse, winner of the Rich Mix Small Story Big City Award, a visiting lecturer for Central School of Speech and Drama and a trustee of the National Youth Association. Incredibly, she also has time to be an actor and playwright, and this Easter weekend brings her new show, Quarter Life Crisis, to Ovalhouse as part of their FiRST BiTES series.

“I’d like audiences to take away with them the element of learning that it’s okay not to know what you’re doing with your life,” explains Yolanda. “We’re constantly bombarded with stories of people who are the same age as us, but seem to have it all together. I want audiences to leave the show empowered, knowing that even if you feel like you’re lost in life, there is a way out – and sometimes the clues within our names can lay the foundation of that empowerment.”

Yolanda was inspired to write the show by her own personal experience. “I felt like I was having a Quarter Life Crisis when my friends were getting married or having babies, and my biggest worry was that I have to surrender my 16-25 railcard.

“I’ve been thinking about this show for over a year, but I started working on it at ARC in June. Since then I’ve performed extracts of it at Brainchild’s Hatch, Vault festival and Ovalhouse theatre. The feedback and responses from the audience have been overwhelming – with a lot of audiences saying, ‘this show is so funny and really relatable’. Which is such an honour because I’m constantly told by audiences who have seen my shows like On The Edge Of Me, that my work is relatable.”

So, is this just a show for young people on the verge of adulthood? “No. I would say that this show is for anyone who has experienced a Quarter Life Crisis – who’s felt like everyone around them has gotten their life together quicker than they have.”

In December 2016, Yolanda was appointed Associate Artist at Ovalhouse, and Quarter Life Crisis is the first of many exciting projects she’ll be working on over the next two years. “I’m from south London. I live 12 minutes’ walk from the Ovalhouse. 6 minutes if I’m feeling lazy and need to rent a bike,” she says. “Being at this theatre where so many artists who I admire have gone through is such a huge achievement. I’ve worked really hard alongside my team Gemma Lloyd and Jade Lewis to constantly work to make exciting, thought provoking yet honest shows. I feel honoured that we’ve already started to build a loyal audience who come to see our shows time and time again. I’m so touched that people love our work. When we were doing On The Edge Of Me, we had audiences who saw the show three times. So it’s great to have a base like Ovalhouse for my audiences to access our shows and workshops.”

The show features live music, and a special guest from the local community – and there’s an element of audience participation too, although Yolanda’s keeping the details under her hat for now. “All I can say is be prepared to join in and have some fun…”

Quarter Life Crisis is at Ovalhouse from 13th-15th April.

Interview: Paul Bradley, Caste

Published on March 22, 2017March 23, 2017 by LizLeave a comment

Best known to many for his long-running roles in Eastenders and Holby City, next month Paul Bradley will be taking to the stage at the Finborough Theatre in a long-awaited revival of T.W. Robertson’s Caste. This new production from Project One marks the 150th anniversary of the ground-breaking comedy, which hasn’t been performed in the UK for over 20 years.

So what’s it all about? “Well of course the clue’s in the title,” says Paul. “It’s a play about social divisions in Victorian London. Eccles, a drunken father with no money, has two daughters: Esther, who’s being courted by George, an aristocrat and miles above her in social station; and Polly, who’s being courted by Sam, a man of her own social class. George’s mother is a snobbish Marquise who disapproves completely of the match and is appalled by the Eccles family. George and Esther marry but he’s called to fight in India. He disappears and Esther’s father drinks and gambles away all the money that had been left for her and she’s now, as well as having given birth to a son, impoverished again. I won’t spoil the denouement but it’s a comedy so all ends well!”

Paul joins the cast – which also features another TV favourite, Susan Penhaligon – as Esther’s father Eccles, and he’s enjoying exploring his character’s hidden depths: “Eccles is a drunken father – so a bit of a stretch for me there! He’s a complicated man. On the surface he seems just a drunken beggar, but he’s intelligent and sees himself as being as good as anyone in a higher station. He is also cruel and has an addict’s selfishness. He claims to be a champion of the working man but hasn’t worked a stroke in twenty years. Although he doesn’t live by them, the sentiments he spouts are commendable; he’s a victim of both his circumstances and his own ‘life choices’.”

Caste was described by George Bernard Shaw as “epoch making” – but what made Robertson’s play so revolutionary for its time? “It’s the first ‘cup and saucer’ play – the equivalent of the 60’s ‘kitchen sink’ dramas,” explains Paul. “And it’s as radical as they also were. The people and situations are realistic – a mirror to nature of Two Nation Britain. It’s also that rare thing; a funny play which looks at English social mores.”

And Paul believes the play is just as forward-thinking today as it was 150 years ago. “Absolutely. It’s so modern, so – depressingly – relevant. A real political play. It expresses, in a comical way, real, deep concerns about class, aristocracy, poverty and social mobility.

“It’s very funny and moving and a sort of social document. I think it will amuse, move but also leave an audience thinking. It spotlights the challenge of social mobility. Without satire it introduces real characters whose social gulf seems insuperable but who, in finding love, see that gulf as irrelevant.”

Caste‘s production team is headed up by director Charlotte Peters, currently Resident Director on An Inspector Calls in the West End. “I’m rather daunted by how brilliant the cast and director and designer are,” says Paul. “They’re a brilliant team who are all committed to making this show a landmark production.”

It’s been more than two decades since Caste was seen in the UK, and Paul’s delighted to be bringing the play to a new audience. “When I first read the play I loved it and felt I had to be part of it. I can’t believe that this hugely influential work hasn’t been performed for so long. It’s the sort of groundbreaking play that the National or RSC should be championing.

“Because it is such a gem I feel a responsibility to live up to the author’s vision, and I think this is a view shared by us all. With a play of such quality it is a gift to be a part of the production. I hope that we start a re-appreciation of Robertson’s work and find a new audience for him.”

Caste is at the Finborough Theatre on Sundays, Mondays and Tuesdays from 2nd-18th April.