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The Theatre dash!

10/5/2018

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This never usually happens but I actually managed to get out on a Wednesday night! Yay! I knew that Scott Swinton who performs as the MC in Mr President was in a show at Central Saint Martins Platform Theatre for the students of BA Performance: design and practice.  Scott had told me about the wonderful facilities in the theatre and I was keen to support him and check out Saint Martins.   Luckily, things worked out over timings with childcare so I was able to make my escape into central London. 

Since this was such a rare occurrence I decided to try and fit two shows in. Yvette was on at 9pm at Camden People's Theatre so given that Scott's performance was in the first of four shows at 7.30pm, so as long as I left by 8.30pm it should be enough time to get to Warren Street station and get to the theatre before 9pm.

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Phrases to be Used Upon... 

Scott was part of a piece entitled Phrases to be Used Upon...  It was written, directed and designed by Anne Elmholt and Nina Kunzendorf.  The show describes itself in the programme as "an episodic tableau exploring the fragmented observations of human nature we come across in daily life and how we respond and react to these.......This play deals with the trivial aspects of life that we usually want to conceal from our surroundings: humiliation, loneliness, boredom, fear and miscommunication."

I loved the surreal aspects of this piece and particularly the way the sound and voice were deconstructed so that the performers were miming their lines while another performer in the background did the speaking at a microphone.   The alienated voices created a distance between the body and voice in order to examine what a person says and what a person does and how they behave.

My favourite parts of the piece were the bodies placed in a tableau in the set as the audience arrived, the woman who was gargling with water on stage with the sound being exaggerated through it coming across the microphone and Scott sitting straight-faced at the table having just dropped his face into a cream pie. 

I am really wanting to know more about the rehearsal process and thoughts behind this work.  I will be writing more about this piece and blogging a conversation that I have with Scott on Saturday about the rehearsal process.

Yvette
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I managed to get to Camden People's Theatre with time to spare for the 9pm performance.  It was lovely to be back there after our performance in Inauguration (now called Mr President) back in March.

Having just come from the extremely well equipped and designed Platform Theatre, I can't help but notice the contrasts between the facilities and comfort at the student theatre and the simplicity of this small theatre in Camden with its 23 years of history of supporting emerging artists.  There is something real and homely to me about the fact that when you sit and watch a performance here - you still hear traffic noise from the outside world. 

So I had been planning to see this show for a while.  It was in Edinburgh last year, won some awards and got amazing reviews.  The trailer gave a glimpse of strong writing coupled with a great performer.

Thankfully Yvette was worth all the dashing between stations and leaving the degree show early.  It lived up to all my expectations.  The talent of Urielle Klein-Mekongo is  pretty gobsmacking!  During the show she moves between several different characters with perfect ease and manages to give them all a unique voice while using physicality to show their differences. 

The structure of the writing allows for the emotions of the audience to be constantly changing.  Once you engage with an enjoyable scene it will be interrupted by a darker memory of trying to calm herself down after her trauma.

The use of spoken word and song makes the performance so emotional and it is all over in no time at all.  The last song is particularly poignant and shows off her remarkable vocal skills and leaving some of the audience in tears. 

Go see it if you can!
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Remaining tour dates:
10th May 2018 - 12th May 2018 Shoreditch Town Hall, London Book Online
14th May 2018 - 16th May 2018 Battersea Arts Centre, London Book Online
17th May 2018 - 19th May 2018 The Albany, London Book Online
21st May 2018 - 23rd May 2018 Bush Theatre, London Book Online
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A Solo show?

7/5/2018

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Recently I have been thinking about creating a solo show.  At first I was thinking about creating a show for someone else but now I have got to the stage where I am thinking I will create one for myself.

My natural comfort zone is definitely creating work for larger cast groups and therefore the concept of a solo show has always been in the back of my mind as the ultimate challenge. 

I remember in Namibia I choreographed a short solo for a male dancer, so I know it is possible.  This, however, will be far more personal.

The Benefits

The benefits of having a one-woman show are obvious.  I can rehearse in my own front room without having to make lots of bookings and arrangements with studios and cast.  I can be self-reliant.  Once I have created the show, as long as I have childcare, I can perform whenever and wherever.  Also the money side of making theatre makes a lot more sense if I am the sole cast member.  Oh, the problems of trying to get budgets to work for larger casts and the stress of not always getting the funding.  This way I will only ever have to deal with my own disappointment.

Let's face it, bringing up a child does not bring in a great salary and benefits package so I need to spend more time making budgets work. 

Research

I know that I need to spend some time watching solo shows especially those featuring female artists.  There are two shows I am currently excited about watching; Bryony Kimmings new solo show at Battersea Arts Centre in October, I'm a phoenix, bitch (I must book!!) and Yvette, which is in London for the next couple of weeks at a few different venues.  I think it is at Camden People's Theatre this week.  Let me know if anyone also fancies going at some point?!  If anyone can recommend any other solo female shows then I would love to hear them.

EDIT: Here is the link for Yvette at CPT.
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Sociable

Part of the reason I love working with groups is that after spending time taking care of my son all week I need to see and talk to other grown ups.  And to be honest I would prefer if that chatter wasn't just about children.  The great thing about Mr President is that the cast are such a great mix of people who are all so interesting with the things they have done and are doing.  I love spending time with them all and just chatting.

I'm guessing making a solo show will mean more time alone, which I like too but I definitely need to balance it with other projects or just going out for a drink with other  people.
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Getting Serious

So the idea of doing a solo show I had been mulling over in my head for quite some time but what happened this week made the idea become more serious.  I began thinking about something that happened in my past and I even started doing a little research into it.   Before too long not only had I found my subject matter but I had some music, ideas for projection, costume and a possible ending.

This is how it is with me.  If I think too much, sometimes without even intending to, I end up with a show going round in my head and now I even have some images for an ending.

However, I am not in any rush.  I am only going to do it if the right opportunity arises.  If I get a residency somewhere, a performance to work towards and funding.  Yeah right!  Also the subject matter won't be easy and therefore the timing that I do this is really important.

Whilst I say I am not in a rush, sometimes I find that once you have the idea, the idea itself has an urgency almost like the idea will die if you let it fester for too long.

If I do get round to making some solo material you won't now be too surprised.  I look forward to placing an invite into your calendars at some point in the next couple of years.  Look out for it!
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Freshly Scratched at Battersea Arts Centre

3/5/2018

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This was a big deal to me.  It may have been a scratch night but it was a BAC scratch night and I have wanted to do one for literally ten years.  I used to live in Wandsworth and had been really involved with the local arts scene.  I had performed there many times in other artist's work, but never my own.  I don't even remember the last time I was in the building but it must have been quite a few years back.

Having performed the material in Mr President before, I think as a cast, we were all able to enjoy the day far more.  The cast was smaller, the show itself was half its length, in order to squeeze into our ten minute slot, and we all knew what we were doing (ish).  Hence the reason in these blog pictures half of us are doing the tech rehearsal in costume and half are just not bothering! Rebels!

EDIT: Anyone who works with me knows costume is often involved and therefore tech is important to try moving in the space.

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Latex

Part of the reason I was reluctant to put my costume on was I realized during the last performance at Camden People's Theatre that I have a bit of an issue with latex.  It had caused me irritation with my eyes during rehearsal but I put that down to wearing a mask can never be comfortable. Right?  Then during the performance day I had my costume on for a much longer length of time which resulted in the most painful allergic eyes during the show and a swollen eye for the following two days.

So this time I minimized time in the mask and also I came armed with eye drops, nasal spray and wonderful antihistamines! And that WORKED! :-) Relief!
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The Chipped Tooth

The night before the show I had been playing with my son.  It was almost bedtime for him and I was planning on spending a couple of hours after he slept improving the soundtrack for the show.  Anyway, there we were laughing with each other when suddenly his large plastic Thomas train smacks into my laughing mouth.

There is no pain or blood. Then I move and feel part of my tooth drop to the floor.  I was too upset to do sound editing that night.  I was actually quite shocked and also mourning the loss of my tooth.

Typically the next morning my dentist was closed and the time they opened was the time I had to leave the house to go to the theatre.

UPDATE: So my dentist says my middle teeth are for smiling now and only my back teeth are for chewing.  Thanks my son.

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A Shortened Show
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So anyway, we learnt the problems of reducing a show to half its length. 

In order to take part in the scratch we had to reduce the show to 10 mins and so I picked two really strong scenes and used the opening to create a contrast with the more surreal and hyper scenes.  However, I think we definitely learnt that with a show like this, that has some really disturbing lines (all Trump's own words) and some frantic and surreal qualities that it takes a while to build the performance to a point where those scenes have the audience on board.  It needs a slow build up so that by the time we get to those scenes, the audience are already engaged and are with you.

It felt like in our disturbing 'pageant scene' which consists of a list of lines that Trump has said about specific female celebrities that the audience were more quiet than last time.  However, of course, those lines are not funny at all and are completely shocking and that is the whole point.
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New Title & Format

So the show was previously called Inauguration and the show was the Inauguration ceremony itself.

This time I felt strongly that the title needed to be changed because it was immediately assumed that the content was about something that happened in the past and therefore not current/relevant anymore.  In fact, I feel that the material is both current and relevant and therefore we needed a title to reflect that.  I also wanted a title to reflect the gender fluidity within the show.  I think using Laura Hinski's photograph from the performance at Camden People's Theatre together with the title Mr President works.  It also keeps the possibilities open for directions I may decide to go in as the show develops.

Since we no longer had the structure of the Inauguration ceremony to give the show context, we decided to approach it as a Trump rally.  We kept the immersive opening and used the idea of the audience being welcomed to a last minute, secret rally near the US Embassy in Battersea.

Moving Forward

The rally aspect of the show is something that I now want to move forward with and develop.  I would like all the characters to be introduced at different points as they contribute to the rally.  Maybe one will sing, perhaps one will read a poem, there will be a few speeches and some dancing before Trump arrives.  It will allow us to really build the piece before those climatic scenes.

We also need to think about set and make more decisions on costumes (although we are mostly there with that).

Originally, I was planning to put in an Arts Council application so a performance of the show could coincide with Trump's visit to the UK in October.  Well, we did suspect things would change and they did.  I'm not sure what we can do for July! He may not even come to London but I would love this to have a presence in July. 
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Mr President at Freshly Scratched

26/4/2018

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Freshly Scratched

Battersea Arts Centre
2 May | 8pm

       
Freshly Scratched features artists and companies trying out new ideas in front of a supportive audience. Each evening features performances at an early stage of development, lasting 10 minutes or less.
        
Featuring new work by:
       
Rhiannon Brace | Mr President
Manny Gentleman | Manny
Cheap Thrills | Be my Bosom Buddy
Tilly Fletcher & Craig Hamilton | Juggernaut
Vincenzo Fiore Marrese (Teatro Anatomico) | Body's Law
Alice d'Lumiere of Truelove Tours | Speaking Out and Fitting In
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Rehearsal pic!

17/2/2018

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It is not easy keeping up with all the news for this show #Inauguration #trumpshow #sprint18 @CamdenPT Mon 12 March pic.twitter.com/aLFxaucnbx

— Rhiannon Brace (@rhiannonbrace) February 17, 2018
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Inauguration: rehearsal 2

29/1/2018

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Yesterday was only the second rehearsal of Inauguration and yet we already have rough drafts of three scenes with another three scenes to complete. We have two rehearsals this week so we will be beginning to work on two new scenes.

It is so exciting when you see the show begin to emerge. This is a lovely group to work with as everyone is really enthusiastic and positive which is really helping in shaping the show. Doing this job is only worthwhile if everyone enjoys the process.

Picture taken at Laban.

#trumpshow #inauguration #sprint18 #rhiannonbrace
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A new show, cast and residency!

22/1/2018

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When you have had scenes, characters and even some choreography alive in your head for many months it is a real relief to get to the point where those images come to life!  It feels like most of the life of a performance maker is in front of a laptop and for me listening to music and conjuring up those images.

The first rehearsal began at Studio Wayne McGregor which brought us back to the Olympic Park.  Four years ago we were rehearsing at the Olympic Park's Timber Lodge for The Legacy about the legacy of the 2012 Olympic/Paralympic performers.  

As I walked past the throngs of West Ham supporters near the stadium and over the bridge towards Here East, I remembered having to walk from one end of the park to the stadium in 2012 on our way to perform in the Olympic Opening ceremony and being overlooked by some cars who were tooting their horns at us.  I remembered that I had the flu that day which made that walk more torturous. 

Although we had all been to the park many times since and witnessed various stages in its transformation, it seemed more marked to me as I approached the Here East Centre, which had been the press and broadcast centers during the 2012 games.  

I am so honoured to be part of the FreeSpace programme at Studio Wayne McGregor for this production and I had heard lots about how incredible the space is.  It did not disappoint! Our studio was a large white box with useful adjustable lighting.  It really makes so much difference to bring a new cast to an inspirational space and contributed to a really productive and positive first rehearsal.

From the moment we started working together in the space, it was clear that the group all shared some enthusiasm for the project and had done research into their characters and the topic.  It was freeing to have such a large space to work in as we all got to know each other and each performer's style of movement.

The best moment of that rehearsal was when the performers first got into character and told the rest of the group about themselves. There were some funny revelations about the couples, their private lives, homes and pets!

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Review: Requardt & Rosenberg - DeadClub - The Place

14/9/2017

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Originally reviewed Thursday 14 September 2017 for Londondance.com

As the door opens to the Robin Howard theatre the audience walk into the dark, clutching a raffle ticket with an air of intriguing expectation. All we know is that we will not be seated, it will be immersive and, with a title like Deadclub, most definitely creepy. The programme points out that our expectations, even those of the theatrical design, are based on information from the past, which allows us to plan for the future. Perhaps this is why when we see a very different theatrical set-up it is initially startling.As we enter the space we become guests into a monochrome macabre party welcoming our inevitable death and celebrating at once its beauty and violence. We take our place next to the shoulder height stage where our party hat is waiting.

Both the design and stagecraft involved in the production is simply breathtaking and grabs your attention from the beginning. The use of the stage is truly creative; there is nothing creepier than watching performers emerge limb-by-limb through the floor and melt in an inhuman fashion back into the ground. Through the clever use of lighting and trap doors, objects appear and disappear as if by magic on the stage. The performers are precise and cold in their deathly delivery.

If memory evolved to make us look forward then Deadclub is formed from our confusing and surreal memories of a possible dreadful future. The element of chance is a constant theme, which begins with the handing of a raffle ticket to the audience, which leads us to our place in the party then the moving spotlight, which threatens to land on you and seal an unknown fate. Is this our death? If it is, this feels like a waiting room for hell. A performer dressed in shredded underpants begins to create a eulogy for one unlucky audience member while another member appears to be stolen away.

The images become increasingly satanic when a blazing fire rises and sinks from the ground; animals both dead and dying appear and the performers walk apace with their arms crossed above their heads. As we reach the climax the piece builds in intensity as the performers pace around the floor only pausing to perform some unison choreography. Suddenly there is an urgent purpose to their movement, which is energising and engaging. The performers continue to walk round and round and round the stage, the repetition makes it feel relentless as if it will never end.
The piece is so choreographically controlled and visually engineered that the hands of the directors are always present and never forgotten. The audience are able to observe the party at a relatively safe distance to enjoy the visual spectacle but it does not engage on an emotional level neither does it shock or scare. The whole piece has such a deliberate use of ghoulish stage tricks and artistic surrealism such as the fluffy pink balls that seem alive rolling round next to a dead deer. It is a striking image but too arty to be terrifying.

Rhiannon Brace is a physical theatre practitioner and choreographer. Find her @rhiannonbrace and www.rhiannonbrace.com

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Baby at Fringe: Dancing about childbirth

3/9/2017

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THERE WAS ALWAYS GOING TO BE A SCENE ABOUT LABOUR AND CHILDBIRTH IN BABY.  The show is created from a female perspective and therefore it was going to form a very necessary part of the story of birth.  My difficult experience of childbirth was also a significant reason in why I made this show.

The scene began as an improvisation task with one of Mary’s coloured cloth and has since progressed to two red cloths.  The scene has evolved every time it has been performed.  For Resolution (Jan 2016) it was simply our ‘red cloth scene’ then for Big Dance at Sadler’s Wells (July 2016), I worked with Molly to create an extension of the scene based on contractions and birthing positions with the sound of a heartbeat.  Last month we introduced a new scene, which introduces the early stages of labour by using simple choreography based on exercises to encourage labour on birthing balls. 

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The key to our ‘red cloth scene’ was both the decision to include the cloth and the choice of music.  I came across the piano track when I was researching what women like to listen to during pregnancy and labour.  I actually found this track on an album called “Relaxing Music for Pregnant Mothers and music for labour” and it was very natural to dance to.  It also helped to break up the rhythm of the flow of pop songs and lead to a change in mood as a significant point in the story is reached. 

During the creation of Baby I was watching a documentary about Pina Bausch and I saw an image of a woman with a red cloth.  I’m guessing it might have been from Rite of Spring but I don’t actually remember.  I thought the image of a woman with a red cloth would form a great symbol of birth.   During our performance in Faversham, we had a technician read our lighting cues off a sheet of paper without even a tech rehearsal (which was pretty impressive) and he did every lighting change manually.   The red colour was the strongest I have ever seen but it looks great in these pictures.

Rhiannon
Pictures by Fat Cat Pics

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Review: Jakop Ahlbom Company - Horror - The Peacock

25/5/2017

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Performance: 23 May - 10 June 2017
Reviewed by Rhiannon Brace - Thursday 25 May 2017 for londondance.com


For horror film buffs Horror at The Peacock Theatre promises everything and it delivers. It is a masterclass in theatrical tricks and special effects.

If you love the theatre then, whether or not you enjoy the content of the show, you will appreciate Horror’s set design, use of props and talented performers. From the moment the show begins, it’s trick-after-trick and bump-after-bump of ghostly appearances together with an unapologetic gore fest.

For this reason, it took me a while to get on board with the style of the show. There was no time invested in building tension or the setting-up the plot and characters. It’s just not that kind of show. Unfortunately, I didn’t find myself truly spooked because there were just too many moments of surprise.

The show invites the audience to play ‘spot the horror film reference’ as a group of young people arrive in the abandoned house, a woman climbs out of the TV, home film footage is projected, a disembodied hand walks around the stage, disturbed and identically dressed sisters play together, a head spins around and newlyweds appear looking lost in the woods.

However, the breath-taking movement sequences are frustratingly fleeting in favour of further stage effects. Eighty minutes without an interval feels long in a show where the narrative structure is constructed by piecing together a myriad of horror clichés.

Despite this, the theatre is filled with an appreciative audience whose spirit is not dampened by a technical fault, which brings the show to a complete standstill not long after it has begun. There is no denying that this celebration of all things horror has the ability to put bums on seats and offers pure and utter escapism from the much crueller realities that lurks outside its doors.

Rhiannon Brace is a physical theatre practitioner and choreographer, with a focus on community dance theatre. Find her @Rhiannonbrace

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    Work:  The Promised Land (2018), Mr President (2018), Voodoo Child (2017), The Last Dance on Earth (2016), Baby (2016), The Legacy (2014) and She Walks in Beauty (2011). Performance maker and teacher.
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