Showing posts with label drama. Show all posts
Showing posts with label drama. Show all posts
Friday, 18 February 2022
Local Theatre Review: Steptoe and Son at the West End Playhouse
Down below is my review of Matt Panesh and David Findlay's production of Steptoe and Son. It's on tonight and tomorrow, so if you are (or will be) in Morecambe, I recommend you go watch it :)
Wednesday, 4 March 2020
Lemn Sissay Interview
Here's the link: https://scroll.in/article/953193/we-actually-think-in-poetry-because-we-cannot-speak-in-poetry-we-speak-inadequately-lemn-sissay?fbclid=IwAR07NUTNKOmu_EGfsbYGho2tnfuDiau8wDWqA5XJ92C6LVJWsNe3vtbqP6U
Two things struck me. First is the line about 'thinking in poetry'. Maybe someone out there can help me, but I think I've heard something similar before somewhere? Not that I'm trying to call Sissay out on being unoriginal, I'd just like to read more about it. Anyway, I read it and thought 'yeah, that's a nice soundbite', but then mulled it over a little more, and it's quite apt, really. The ramifications of its truth are that speech (and prose, according to him) are standardised against our own inherent nature. I had understood why, in terms of a system of writing, we would want to standardise things, so that everyone can understand each other, but to think that there is such a disconnect between how we experience things, and 'the' rules of expression... It's a bit thought-provoking, anyway.
Certainly I think poetry is in the best place to reflect the experience of living. In prose you can describe it, and set such a scene, you can capture it, but not the experience of it, i.e. to make you feel like you're going through it. Sort of present tense vs past tense. Drama you can really pierce the heart of issues and emotions (and radio, film, TV), but they're a vastly different kettle of fish being as though the disparity between the way it is on the page and its performance is much bigger. They are great at conveying emotions, but again, generally it's not as close to the living experience. Form is how I see poetry better reflecting life's experience, and drama is close to that (or can be), but I think it's the acting that brings that out, you know, the power is more latent on the script's page, whereas poetry has it in ink and in performance in more similar levels. I've always said poetry's the purest use of language, and therefore it stands to reason for me that it would be more potent - but I don't expect anyone to buy that as a great objective argument lol. And the disclaimer to this whole ramble is that I'm more into the 'experimental side' of writing, so most comparisons between genres have huge holes in them, not only because borders (i.e. standardised definitions of genre) are blurred, techniques and forms are happily nabbed between them, but also because the very newness that is (trying to be) found could completely discredit what I'm saying. Have I made any sense? I suppose, to say it another way, I mean that there are going to be exceptions to what I'm saying because of the scope of the world's imagination, and I feel that once there are exceptions, what I've said is a bit pointless. But then again, I've never let that stop me before. Anyway, enough!
Second thing I wanted to say was just that I'm happy about his stance on universities - that they provide a worthwhile space for people to develop their craft. Some people I know (who are lovely, yes, and good writers, sure) have these negative ideas about unis, not limited to; they are a robot-factory, producing many people who all do the same thing; no-one can teach you how to write anyway (the implication being that unis are a waste of time, and people are idiots for going to them), and; people who write at uni are somehow 'softer', they don't have any bite or an engaging voice. Not necessarily true, by any means! I guess it would have been interesting to read what he would have said had he had more time to answer the question, what nuances he would've brought to the fore, but anyway, like I say, it's nice to know that a chap of his calibre, and his appealing poetry, is for universities. I found that my experience was illuminating through exposure to possibilities rather than 'rules' or whatever (and I had the desire to be educated, you know, I opened my aperture to the light. But then that's true of any discipline - if you're not being listened to, you can't teach a new dog old tricks), not some kind of methodical 'write by numbers' thing that I think my aforementioned uni-sceptic friend was hinting at. There were plenty of discernible 'tools' we were given, for sure, such as poetics, for which I could not have had a better experience at Edge Hill with Robert Sheppard. That's one thing I wonder - where would I have been without even just that one facet? I analyse writing, look at techniques etc, but I don't think I'd've realised the energising power of speculation without that tutelage. Hmmm... No answers, only questions...
Obviously there's lots else to take from the article, so I hope you have time to read it 😊 I just wanted to focus on those couple of bits 😀
And, since you've been so good as to get all the way to the end of this post, have another interview - this time with Roger Robinson: https://globalvoices.org/2020/02/14/an-interview-with-roger-robinson-winner-of-the-2019-t-s-eliot-prize-in-poetry/?fbclid=IwAR0YS6-qUxscuVrJgkqbNahj4RZU6bvLZt6920or-aAyi0B82yQ5UNHRfmw
Two things struck me. First is the line about 'thinking in poetry'. Maybe someone out there can help me, but I think I've heard something similar before somewhere? Not that I'm trying to call Sissay out on being unoriginal, I'd just like to read more about it. Anyway, I read it and thought 'yeah, that's a nice soundbite', but then mulled it over a little more, and it's quite apt, really. The ramifications of its truth are that speech (and prose, according to him) are standardised against our own inherent nature. I had understood why, in terms of a system of writing, we would want to standardise things, so that everyone can understand each other, but to think that there is such a disconnect between how we experience things, and 'the' rules of expression... It's a bit thought-provoking, anyway.
Certainly I think poetry is in the best place to reflect the experience of living. In prose you can describe it, and set such a scene, you can capture it, but not the experience of it, i.e. to make you feel like you're going through it. Sort of present tense vs past tense. Drama you can really pierce the heart of issues and emotions (and radio, film, TV), but they're a vastly different kettle of fish being as though the disparity between the way it is on the page and its performance is much bigger. They are great at conveying emotions, but again, generally it's not as close to the living experience. Form is how I see poetry better reflecting life's experience, and drama is close to that (or can be), but I think it's the acting that brings that out, you know, the power is more latent on the script's page, whereas poetry has it in ink and in performance in more similar levels. I've always said poetry's the purest use of language, and therefore it stands to reason for me that it would be more potent - but I don't expect anyone to buy that as a great objective argument lol. And the disclaimer to this whole ramble is that I'm more into the 'experimental side' of writing, so most comparisons between genres have huge holes in them, not only because borders (i.e. standardised definitions of genre) are blurred, techniques and forms are happily nabbed between them, but also because the very newness that is (trying to be) found could completely discredit what I'm saying. Have I made any sense? I suppose, to say it another way, I mean that there are going to be exceptions to what I'm saying because of the scope of the world's imagination, and I feel that once there are exceptions, what I've said is a bit pointless. But then again, I've never let that stop me before. Anyway, enough!
Second thing I wanted to say was just that I'm happy about his stance on universities - that they provide a worthwhile space for people to develop their craft. Some people I know (who are lovely, yes, and good writers, sure) have these negative ideas about unis, not limited to; they are a robot-factory, producing many people who all do the same thing; no-one can teach you how to write anyway (the implication being that unis are a waste of time, and people are idiots for going to them), and; people who write at uni are somehow 'softer', they don't have any bite or an engaging voice. Not necessarily true, by any means! I guess it would have been interesting to read what he would have said had he had more time to answer the question, what nuances he would've brought to the fore, but anyway, like I say, it's nice to know that a chap of his calibre, and his appealing poetry, is for universities. I found that my experience was illuminating through exposure to possibilities rather than 'rules' or whatever (and I had the desire to be educated, you know, I opened my aperture to the light. But then that's true of any discipline - if you're not being listened to, you can't teach a new dog old tricks), not some kind of methodical 'write by numbers' thing that I think my aforementioned uni-sceptic friend was hinting at. There were plenty of discernible 'tools' we were given, for sure, such as poetics, for which I could not have had a better experience at Edge Hill with Robert Sheppard. That's one thing I wonder - where would I have been without even just that one facet? I analyse writing, look at techniques etc, but I don't think I'd've realised the energising power of speculation without that tutelage. Hmmm... No answers, only questions...
Obviously there's lots else to take from the article, so I hope you have time to read it 😊 I just wanted to focus on those couple of bits 😀
And, since you've been so good as to get all the way to the end of this post, have another interview - this time with Roger Robinson: https://globalvoices.org/2020/02/14/an-interview-with-roger-robinson-winner-of-the-2019-t-s-eliot-prize-in-poetry/?fbclid=IwAR0YS6-qUxscuVrJgkqbNahj4RZU6bvLZt6920or-aAyi0B82yQ5UNHRfmw
Thursday, 12 December 2019
Hoping for a Fringemas Miracle
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| This is obviously the Fringemas Carol poster... Courtesy of Alt-Space. |
That draft was a first in another way, too, in the sense that I've never written stuff for others to perform before (not with an actual production in mind, I mean). It was an interesting process, really, from start to finish. There were lots of Morecambrians at the first meeting back in November, and I was anxious about how everyone would get their voices heard. Initially, Jim and me were writing the first scene, but that escalated to the full five scenes. We both found a solid few days together to nail down the plot arcs, dialogue, directions etc. As I've said elsewhere, we collaborated well together on it, both got our own jokes and stuff in, a lot of which remained in the final version. That was another thing quite new to me, the extent to which our draft would be changed - but not in the way a lot of people assumed. Some folks have thought I'd be annoyed/insulted by people "messing" with my words, but a) I'm aware of (not used to, or practised in) the collaborative process of producing (especially scripts. I mean, the logistics of a project can only truly be understood after contact with the event conditions, run-throughs and stuff, and the players have new ideas of their own too, so this medium is almost made to be changed. It's a natural part of the process), and b) my journey through life has ably taught me how egotistical thoughts (i.e. thinking of MY work, and how PERFECT it is) are a way of goading the cosmos into slapping you down into the ground.
Anyway, the changes were genuinely big improvements. One of my memories of the night that will stay with me 'til I get Alzheimer's is how big the smiles and laughter were of the kids in attendance. I know how schmaltzy that sounds, but it was true - those kids really enjoyed being there, and the songs that were added in after our initial draft were a big part of that. But, as I said before, lots stayed in, and it was a new buzz for me to have an audience laugh at things I'd written, and I felt so proud of Jim when people laughed at his jokes, and my other friends, too, because of their vibrant performances. A special mention to Matt Panesh, who put it all together and co-directed with June Metcalfe, all the actors, the costumiers, proppers, and the very public that came out to support us, and added to the ambience with singing and 'oh yes it is-ing'. It was truly a lovely night.
Now, a key change. The very place that has hosted our fair panto is in danger. Because of a lack of funding to cover the basics such as rent, Mr Panesh is being forced to close the whole shebang down. This is a huge shame, as you can see by all the glowing comments in this article. Although life and (mainly) work have prevented me from visiting Alt-Space as much as I would have liked, I still remember my first time there - going to a debating night, where I met friendly new people, and had a fun time irreverently arguing various different cases. Then there was a play reading group, which was another night outside my comfort zone, but it was energising to look at a form I hardly engage with, and actually look at the performance side of things - gives you a fresher outlook on your own writing practice, I reckon.
One of the positives, whatever happens, is that the fantastic Morecambe Fringe Festival can still go ahead (because they can use other venues to host their acts). The problem with that, though, is that the inclusion of local talent and home-grown shows will be much more difficult, because Matt has been using Alt-Space to build up these performers. Watching these local-wrought shows have been amongst my most amazing Morecambe memories over the last couple of years, and being around the buzz of rehearsals, re-writes, and reviewers has been an honour and a pleasure. I hope, therefore, that this is not the end.
Now, another key change - back to near where we were originally BUT NOT QUITE. Next year, if all goes well, I believe there's a proposed rebranding of Alt-Space to the West End Play House, shedding a brighter limelight on local drama talent (though I'm sure that house will still include the wonderful comedy, spoken word etc to which we have become addicted), for which there is a great anticipation. There is a fundraising page up already (clicking on this paragraph will take you there), and their target is £5,000, which should provide a fair bit of breathing space with the landperson well into the new year, and allow Morecambe to continue to have this vital, fertile atmosphere for artists. I think the best thing to do is to give what we can and even if that's nothing monetary, we can raise awareness by sharing the fundraiser link. If the right people see it, and get behind the project, then we should be able to put a significant dent in the rent, as it were. So please have a look at the fundraiser, please look at the proposals, and please do what you're able - whether that be financially, or spreading the message, or both.
Peace, love, and light, folks :D
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| Write or wrong, we helped to create the Fringemas panto - Jim on the left, me on the right. |
Tuesday, 6 August 2019
A Right Ol' Catch-Up
It's been that long since I posted anything, that a lot of you - especially my enemies at home and abroad - may be thinking/hoping that I've died. Well, I'm sorry to disappoint you, but I've not. I'm still very much here, and still kicking up stinks.
I've been very busy with work, family matters, and self-abuse. In-between this trio of fantastic pursuits (especially fantastic for the 18-30 demographic, according to Fantastic Pursuits for People Aged Eighteen to Thirty Weekly), I have been lucky enough to do some illuminating things what I enjoy. The main thing what I've enjoyed is the third Morecambe Fringe Festival, which ran from the 4th July to the 20th, and already seems like it was months ago... I managed to see four shows, and the quality was high, as always.
The first one I saw was my good pal Jim Lupton, and June Metcalfe, who are part of the 'West End Players'. I'm so happy for Jim, who expanded on his work at the last 'Scratch Festival' in Morecambe - a series of spoken word pieces. He'd put so much effort in to remember lots of material, and one of his newest characters - the Cooler King - involved a lot of dramatic acting, which he really sold. He made us laugh, cogitate, and cry, with his tales and poetry centring on the theme of solitude. I can't wait to see what he gets up to next. June was fantastic, also, performing some of Alan Bennett's 'Talking Heads' monologues with real flair. I was genuinely laughing out loud, and, as a comedy snob, that's an achievement in itself.
The next one was Dean Tsang, who is a rising star and a half. He's an experimental poet who used a variety of forms and voices to explore the theme of 'awkward questions'. He looked at some genuinely touching personal issues in his work, which I thought was very generous, along with more universal things, and yet there was lots of humorous wit, too, so as an audience member, I felt my emotional muscles were getting a good workout. In the context of the local scene as I know it, it's even more amazing that there's such a bright, innovative, and mature talent. My abiding memory is of one poem where he basically performed multivocally, layering different sentences and sounds over each other (well, that was the effect, at least), a very impressive facet of his performative skill. I was even luckier to get to speak to him afterwards, and chat about his work.
Then I saw Rowan Padmore, whose show was about "bereavement, loss and loneliness in Morecambe." It was a powerful show, and, honestly, I felt depressed afterwards. Not that it was one-dimensional at all - there were laughs aplenty - but the sense of loss was quite relentless and stuck with me afterwards. My imagination was in overdrive - perhaps aided slightly by being set in my home town - with the rich characters, and the driving through-narrative that tied the performance poetry together, which all speaks to Padmore's talent as a writer.
Lastly, I saw the last show - Laura Monmoth's 'Trans Vision Scamp'. I don't know if I've ever mentioned the fact that I'm a comedy snob before, but Laura broke through all of my silly hubris, and I was crying with laughter at points. Being sat at the front, I was picked on a couple of times, but it felt warm, which is key - as Mr Rickles will tell you. I'm not sure what else to say! I don't want to ruin any gags - especially not the multimedia ones - in case you go see her (which you should, given half the chance), but just know that it gets five hilarity stars out of five from me.
I got, and took, the chance to review Dean and Rowan for the Lancashire Evening Post. It was an honour to contribute, alongside a number of other volunteers, and be published with what I'd normally enjoy writing during the Fringe anyway. I think this was part of the reason I didn't review them on Blogtastic before now, as I had used up my reflective impetus somewhat. I'm not sure if I'm able to reproduce the reviews here, but I'm going to assume so, until such time as I am told otherwise :)
More recently (three days ago, in fact), I was lucky enough to take part in doing a bit of setting up the Make My Day festival that the Exchange Creative Community organises and executes annually. I was working through the festival itself, so couldn't attend, but it was lovely meeting up with the other volunteers, having a laugh, getting stuck in and helping out, y'know. With the way my life's going at the mo, it felt like a holiday, and was most replenishing, even though I was knackered afterwards haha. One lovely memory from the day of the festival itself; from my window at work, I saw a family walking down the prom - a parental couple and two children - and the dad was faithfully clutching a pair of wooden dogs that they had crafted at the festival, and I knew that they'd had a lovely day together, with memories that'll last a long time. Look out for it next year, and make sure to keep up with what's happening through their mailing list, or Facebook, or whatever the hell your preference is.
I was going to talk about other things, such as what I've been reading lately, how the writing's going, and whether I've finally set a date for the wedding, but my editor's giving me a look, like, "Oh god, he's at it again... If you have to go on another interminable solipsistic ramble, at least break it up and put it in another post. You do this all the time, writing all these long, drawn-out pieces that, y'know, might be excusable if they were only on a decent topic, or, hey, just written in a fresh, exciting way, like, had an engaging tone. But no. It's like trying to eat your way through so much sawdust - bland, nutritionless, hard work. Could you imagine what he's like outside of work? I bet it's 'me me me'. All. The. Flipping. Time. We should fire this guy. Seriously! I know he's been sneaking out with office supplies. I'm not just talking about a pen here, and a pen there... I caught him last week trying to load one of our photocopiers into his mate's van. He tried to shrug it off with a joke, but that was as pathetic as his blogging: unfunny, poorly-structured, and leaving me questioning why I bother. And would it kill him to put even just a penny into our monthly charity nominations box? How can you not want to help puppy amputees? I won't even go into the whole rant he went on when I questioned him about it, 'charity begins at home, we need to stop giving money to foreigners and take back control'... How he ever landed head writer at Blogtastic, I'll never know..." so I suppose, I'll sign off for now.
Peace, love, and light,
Martin
I've been very busy with work, family matters, and self-abuse. In-between this trio of fantastic pursuits (especially fantastic for the 18-30 demographic, according to Fantastic Pursuits for People Aged Eighteen to Thirty Weekly), I have been lucky enough to do some illuminating things what I enjoy. The main thing what I've enjoyed is the third Morecambe Fringe Festival, which ran from the 4th July to the 20th, and already seems like it was months ago... I managed to see four shows, and the quality was high, as always.
The first one I saw was my good pal Jim Lupton, and June Metcalfe, who are part of the 'West End Players'. I'm so happy for Jim, who expanded on his work at the last 'Scratch Festival' in Morecambe - a series of spoken word pieces. He'd put so much effort in to remember lots of material, and one of his newest characters - the Cooler King - involved a lot of dramatic acting, which he really sold. He made us laugh, cogitate, and cry, with his tales and poetry centring on the theme of solitude. I can't wait to see what he gets up to next. June was fantastic, also, performing some of Alan Bennett's 'Talking Heads' monologues with real flair. I was genuinely laughing out loud, and, as a comedy snob, that's an achievement in itself.
The next one was Dean Tsang, who is a rising star and a half. He's an experimental poet who used a variety of forms and voices to explore the theme of 'awkward questions'. He looked at some genuinely touching personal issues in his work, which I thought was very generous, along with more universal things, and yet there was lots of humorous wit, too, so as an audience member, I felt my emotional muscles were getting a good workout. In the context of the local scene as I know it, it's even more amazing that there's such a bright, innovative, and mature talent. My abiding memory is of one poem where he basically performed multivocally, layering different sentences and sounds over each other (well, that was the effect, at least), a very impressive facet of his performative skill. I was even luckier to get to speak to him afterwards, and chat about his work.
Then I saw Rowan Padmore, whose show was about "bereavement, loss and loneliness in Morecambe." It was a powerful show, and, honestly, I felt depressed afterwards. Not that it was one-dimensional at all - there were laughs aplenty - but the sense of loss was quite relentless and stuck with me afterwards. My imagination was in overdrive - perhaps aided slightly by being set in my home town - with the rich characters, and the driving through-narrative that tied the performance poetry together, which all speaks to Padmore's talent as a writer.
Lastly, I saw the last show - Laura Monmoth's 'Trans Vision Scamp'. I don't know if I've ever mentioned the fact that I'm a comedy snob before, but Laura broke through all of my silly hubris, and I was crying with laughter at points. Being sat at the front, I was picked on a couple of times, but it felt warm, which is key - as Mr Rickles will tell you. I'm not sure what else to say! I don't want to ruin any gags - especially not the multimedia ones - in case you go see her (which you should, given half the chance), but just know that it gets five hilarity stars out of five from me.
I got, and took, the chance to review Dean and Rowan for the Lancashire Evening Post. It was an honour to contribute, alongside a number of other volunteers, and be published with what I'd normally enjoy writing during the Fringe anyway. I think this was part of the reason I didn't review them on Blogtastic before now, as I had used up my reflective impetus somewhat. I'm not sure if I'm able to reproduce the reviews here, but I'm going to assume so, until such time as I am told otherwise :)
More recently (three days ago, in fact), I was lucky enough to take part in doing a bit of setting up the Make My Day festival that the Exchange Creative Community organises and executes annually. I was working through the festival itself, so couldn't attend, but it was lovely meeting up with the other volunteers, having a laugh, getting stuck in and helping out, y'know. With the way my life's going at the mo, it felt like a holiday, and was most replenishing, even though I was knackered afterwards haha. One lovely memory from the day of the festival itself; from my window at work, I saw a family walking down the prom - a parental couple and two children - and the dad was faithfully clutching a pair of wooden dogs that they had crafted at the festival, and I knew that they'd had a lovely day together, with memories that'll last a long time. Look out for it next year, and make sure to keep up with what's happening through their mailing list, or Facebook, or whatever the hell your preference is.
I was going to talk about other things, such as what I've been reading lately, how the writing's going, and whether I've finally set a date for the wedding, but my editor's giving me a look, like, "Oh god, he's at it again... If you have to go on another interminable solipsistic ramble, at least break it up and put it in another post. You do this all the time, writing all these long, drawn-out pieces that, y'know, might be excusable if they were only on a decent topic, or, hey, just written in a fresh, exciting way, like, had an engaging tone. But no. It's like trying to eat your way through so much sawdust - bland, nutritionless, hard work. Could you imagine what he's like outside of work? I bet it's 'me me me'. All. The. Flipping. Time. We should fire this guy. Seriously! I know he's been sneaking out with office supplies. I'm not just talking about a pen here, and a pen there... I caught him last week trying to load one of our photocopiers into his mate's van. He tried to shrug it off with a joke, but that was as pathetic as his blogging: unfunny, poorly-structured, and leaving me questioning why I bother. And would it kill him to put even just a penny into our monthly charity nominations box? How can you not want to help puppy amputees? I won't even go into the whole rant he went on when I questioned him about it, 'charity begins at home, we need to stop giving money to foreigners and take back control'... How he ever landed head writer at Blogtastic, I'll never know..." so I suppose, I'll sign off for now.
Peace, love, and light,
Martin
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| From The Lancashire Evening Post. |
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| From The Lancashire Evening Post, also. |
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