One of the ways we are all story tellers

AN exciting article from TED on how we tell our personal narrative…

We’ve all created our own personal histories, marked by highs and lows, that we share with the world — and we can shape them to live with more meaning and purpose. We are all storytellers — all engaged, as the anthropologist Mary Catherine Bateson puts it, in an “act of creation” of the “composition of our…

via The two kinds of stories we tell about ourselves — ideas.ted.com

Book List for Big Kids – Non Fiction

I love books. They are unbelievably comforting and adorn my house in little piles. I find them incredibly hard to part with. The wisdom and escapism that books contain is a beautiful thing. I love reading lists of books too. Which ones have I read? Which ones have I yet to read? What should I read next?

I thought I’d share some books that I found really useful and enjoyable to read.

Presence by Patsy Rodenberg

This book is like three years of actor training whittled down into book form and made accessible for non performers. Its a brilliant insight in how to be in the moment more and is full of practical exercises to ‘perform’ at your best in an incredibly sincere and authentic way.

Finding your Element – Ken Robinson

Robinson is an educational guru ad talks about how we all have something where we are in are element. Using stories of how different people discovered their element, Robinson shows how we can have our eureka moment ourselves

Games for Actors and Non-Actors – Augustus Boal

This is like an arsenal of different warms ups and games to try out that liberate all, performer or not. In three sections, Boal outlines his method of Theatre of the Opressed, provides a wealth of different exercises and discusses problems that can arise in Forum theatre. This book should in every drama practitioners library. Anyone looking for group cohesion and release of expression could benefit from giving this book a read.

Finding your Voice – Barbara Houseman

This practical and easy to use book talks about the mechanics that go into speaking and the how you can galvanise your body to have a strong, rich and healthy voice. This book provides the foundation for a lot of the exercises that I now include in my Voice practice

Show your Work – Austin Kleon

Austin Kleon is an artist that works with words. His book Steal Like an Artist is also an excellent read. Show Your Work, talks about how to network effectively and efficiently in the 21st century. He describes it as networking for people who don’t really like networking. This book really made me think about how to develop a good web presence and how to share my process with an online community.

Wreck this Journal -Keri Smith

Smith should probably be proclaimed at Art wizard for the wonderful journalling books that she has created. They are a brilliant series but I love Wreck This Journal the most as it reminds us not to be to precious about what we create and that failure yields unexpected results.

Shakespeare Words: A glossary and language companion – Ben and David Crystal

This book will be tucked under my arm and is very well thumbed when I’m working on any of the bards works. Its a brilliant dictionary of language from when you can’t tell you greek god reference from your elbow.

 

The Playful Parent – Julia Deering

 This behemoth of of a book is a plethora of ideas in playing with you kids. From Shampooing solutions to ideas for indoor play. Its a very practical tool kit and I think if parenting was to come with a manual, then this is the one I’d pick.

 

What Non-Fiction books would you put on your list? What should I read next?

 

Felicity Goodman is a Voice Teacher, Playologist and Story Teller based in Manchester. To find out more about her work, please visit www.felicitygoodman.co.uk

 

 

 

Discussing Maternal Health.

A couple of nights ago, I watched Sally Phillips’ documentary – A World Without Downs (http://bbc.in/2cTj02D). It has been ticking over in my mind ever since. On social media it has triggered really interesting and highly emotive debates.

Francis Ryan wrote this article in response to the documentary http://bit.ly/2dBJdQJ, calling on us all to move away from black and white arguments and giving space for the grey. Ryan asks women to stop attacking one and other, “Both women and disabled people deserve better than simplistic judgments”.

I have had two children. They are both under three and I was offered the screening test. I wasn’t really sure what it would tell me. While I am 100% pro choice,  I felt that I would really struggle terminating a pregnancy. However, on reflection I can see that as Ryan points out, that this is black and white reasoning. If I got told that my child would always be in physical pain. It might stop me and make me think. If I got told that my child would be violent. I’m not sure. If I got told my child had a some learning difficulties, then I would not choose to terminate the pregnancy.

The big thing, I gleam from this, is that it is incredibly complex to argue about termination and I am not armed with enough information. So all I have is my opinion. And what’s that worth – well nothing or everything or something, depending on your relationship with me.

There are plenty of keyboard warriors out there who will tell you what is ‘right’ and ‘wrong’. Becoming a mother myself, made me see how brutal the online community can be about parenting.

When I was 36 weeks pregnant, with my second daughter, I got diagnosed with Intrahepatic cholestasis of pregnancy (ICP). ICP stops biles flowing through your liver, as a result these biles build up in your body. The way it manifests is that you get itching on your hands and feet. It turns our that this isn’t entirely true. I had a very itchy stomach and back. I just assumed it was my skin being stretched that was making me uncomfortable. I had already been told that this baby was expected to be a big one (she was average) and that I had too much amniotic fluid (I didn’t in the end). So there I am itching away thinking ‘Oh my big baby, in my olympic size swimming pool of a uterus, is just stretching my skin to the point of near transparency’. I very casually said I had been feeling itchy to my midwife. I nearly didn’t say this. The midwife said it would probably come to nothing, but she ought to run a blood test. Something to do with my liver. It sounded mad. But what did I know! I am not a medical professional. I just was in awe that my liver could be so disgruntled by a baby. I put it down to the many mysteries of pregnancy.

The following morning, I was called by a midwife from the day care unit at the hospital where I was booked in. She said that the blood results weren’t quite right and that I should come in. I asked her when I should come and she told me as soon as possible. Luckily my parents were with us, looking after our eldest, so off we tripped husband and I, trying to stay calm. We knew nothing. We focused on the fact that we would be told if something was wrong and we would be told soon.

Hospitals are strange places. I come from a creative background. The places I work in tend be clear, open spaces. The people I work with are sensitive and responsive to each other. Its quite a tactile environment with a huge amount of peer support. So, to me, Hospitals are strange places. My contact with Hospitals was mainly to see dying relatives. I’m sure I’m not alone in this at all. Hospitals are scary and you hope that you never have to go to them. For yourself or for anyone else. You want to be in good health. When you are pregnant, there is a big rise in how much contact you have with the NHS. With my first pregnancy, all was fine – as expected. I didn’t think of myself as being ill when I went in to hospital.

I’m sure if Hospitals were my working environment, if I saw beds and machinery and uniforms and fluorescent lighting every day, then I would completely normalise it. However, it was normal. I wasn’t normal. Something wasn’t right. I sat in the waiting room, a big ball of nerves. Their was a couple across from us. The woman was silently crying and her partner was trying to comfort her. It was really tense. Another pregnant woman came in and she was on the phone. ‘Yeah, I’ve been here all night. I ran out of battery. They don’t really know what was wrong.’

The room felt close and suffocating despite the big windows behind us. A midwife came in and called my name. She walked us through to a room with two beds in it. Beds probably generous. I would say they were fairly hard rubbery planks. Perfect for a pregnant woman. Any way, as she walked us in she said “So you have obstetric cholestatis, we will hook you up for some monitoring and see how the baby is doing, I’ll be in the office watching the monitor. Let me get you a pillow to make it more comfortable.” She walked out of the room.

My husband and I looked at each other completely baffled. What was this obstetric cholestatis? We could barely say it. Give us a line of Shakespeare and we can crack that code but Obstetric what? When the midwife came back with a pillow, apologising for its thinness, we asked her what it was?

‘Oh Obstetric Cholestatis?’ She said. ‘Its when your liver isn’t quite working properly so you bile levels build up.’

‘Oh.’ I said.

She sat down on the bed by my feet. ‘I’m so sorry. I thought you had been told already that you had it. We are not entirely sure why women get Cholestatis. We think it may be something that occurs when there is a rise in Oestrogen and Progesterone levels in the body. It can be genetic. It disappears again once the baby is born.’

‘Oh.’ I said. It sounded medieval. Even older then that. Like something we would have studied in the history of medicine at school. It seemed mysterious, like another pregnancy thing that no one quite knows why – but Hey! Every pregnancy is different.’So why is the baby being monitored?’ I asked.

‘Well. We just want to make sure that the baby is doing O.K. Are you getting lots of movements?’

I nodded.

‘Then I am sure they are fine.’

‘Why wouldn’t they be fine?’ my husband asked.

‘There is a small risk of sudden stillbirth with this condition. Its a very small risk.’ She went on. I’m sure she said more things, but I had stopped listening. Did she just say stillbirth? This baby could die, suddenly because I was itchy and my liver wasn’t doing its job? There would be no warning. There would be no build up. The baby would just stop. Cease. Be no more. What? You want to monitor the baby to see if its still alive? Down in her underwater world, my daughter gave me a hefty kick in the ribs. Reminding me that she was still there. Still breathing and active.

The midwife wrapped the two bands, pink and blue around my expansive bump and hooked me up to the monitors. We heard her little heart thumping and thumping. She’s alive, she’s fine, she’s safe. But was she? My body was not responding well to her being there and it could kill her. Suddenly. How could my body let me down in this way? How could my body let her down in this way. I spent 36 weeks building her piece by piece, watching my body swell, felt that grind in my pelvis and my hips opened up, adjusting the way I walked as she grew, stopped eating the things I loved, I’d seen her heart beating on scans and I had had many due to worrying speedy growth. I’d made my piece with that. She was a strong, bigger baby who wriggled and wriggled around. I’d explained to my toddler that she would soon have a younger brother or sister. My toddler had felt her kick and move around in my stomach and now? Now all that could change. Just because I was itching?

Was I informed that itching could be a serious problem in pregnancy? No. Was I informed what the blood test was for? No, not exactly. Was I told what was wrong with me, clearly and concisely, without me asking? No. Was I told about the risk to my unborn baby’s health without me asking? No. So how could I make good informed decisions if I wasn’t informed. I had to fall back on my own initiative and understanding to get these answers. There is a lot of enigma surrounding maternal health and its unacceptable that women are not armed with the information about their own bodies. During pregnancy, we can access apps that tell us the size our babies are. But what about the science behind it all? What physiology is being shifted in our bodies? Why are we so uneducated in a process that women have done since time immemorial?

Phillips’ documentary might not have all the answers, or in fact any of them, but there is a lot of knowledge that could be shared with women, that is not. She has been criticised for being too emotionally led and too one sided to give the topic of screening for down syndrome a proper hearing. However, most people experience life emotionally. Historically, thats how we all learned about the important things in life, through the act of one person sharing a story with others. Admittedly, we have made huge advancements in Scientific research since the days that we would share information through the means of storytelling. However, we do not need to dismiss one method in lieu of the other. These things should be compatible.

These issues are very hard to discuss openly and non judgementally because we are not armed with the knowledge or the language to talk about maternal health or disability enough. We will never acquire this language if we never approach these subjects. We will never recognise that these issues need approaching, if we never give them the platform to be discussed. That is what Phillips has started. A discussion. And for that, I am grateful. Let’s hope it leads us to a shift in how we can talk about our experiences in a way to empower both ourselves and others.

Felicity Goodman is a Voice Teacher, Playologist and Story teller based in South Manchester. To learn more about her work, please visit http://www.felicitygoodman.co.uk or say hello on Twitter, @flickgoodman.

Nerves and Public Speaking

Your mouth goes dry. Your legs start to shake. The butterflies are fluttering in your stomach. It’s today. In ten minutes, you are going to stand up in a room full of 25 colleagues and give the report and findings of the last 6 months of work. Your boss is there. Her boss is there and his boss is there too. All the nights you’ve worked late, missing drinks with friends or skipping bedtime stories with your children. The extra work at weekends missing birthdays and barbecues, it all culminates in this 15 minute presentation. What if people don’t listen? What if I sound really boring? What if i go really high pitch or forget what I’m saying? What if my voice let’s me down?

These are common thoughts and feelings that nearly everyone has before they stand up to speak in public. Usually publicly speaking is a reserve or when the odds are quite high. Making a sale, feeding back to a board or making a speech at a Wedding. They are moments when we want to feel most connected to ourselves and our audiences. These are moments when we want to feel authentic and accessible. The pressure we put on ourselves to deliver a ground breaking speech worthy of an Oscar is incredibly high and often understandable.

Here are a few ideas to help you combat those nerves and feel ready to connect.

1. Breath. Breath. Breath and Breath again.

Those butterflies are more then just strange fluttering feelings. Those knots in your stomach are directly effecting your muscles that control your breath. Your diaphragm needs to be able to drop down into your torso like a parachute filling with air or a jellyfish moving through water. If you are finding that your stomach feels tight and uncomfortable or uneasy, the just take a few minutes to focus on your breath and think of it filling your body from the ground up.

2. Find your feet.

What are you feet doing? Are they providing a secure platform on which your body can rest upon? Are you rocking through your feet in an agitated manner? Or are you putting all your weight back into your heels?

Take a breath. Close your eyes if you can or it helps. Imagine you are stood on a sandy beach in barefoot. The sand is warm and golden and dry. It shifts to accommodate a footprint of each of your feet. Your toes, the balls of each foot , through the arches and back through the heel. Feel the sand supporting your weight and giving your foot as much contact with the ground as possible.

3. How am I stood?

Are you stood with your shoulders hunched forward. Are your legs as close far apart? Are your buttocks clenched? Are you tensing your jaw? Are you locking your knees?

Take a breath. Bring your feet to hip width apart, your knees soft. Imaging your have a light travelling all the way up your spine from your tailbone to your head. As the light passes through each vertebra, it creates warm pockets of light and space in between each one. From the tailbone, to the small of the back, up through the arch to the middle of the back. Up in between the shoulder blades, into the neck, head and beyond. Feel your shoulders and your buttocks gently letting go and dropping down the back of your body. Imagine the light travelling through your jaw creating space between your teeth.

4. Mind the the lips, the teeth, the tip of the tongue, the tip of the tongue, the teeth, the lips.

Some students  tell me they quite often trip over their words or under up feeling that they are rushing and enunciating badly. A good way to combat this is to look to give yourself time to warm up before a presentation. It could be your car on they way to work, or before you leave the house or in a quiet corner of your building. Tongue twisters are an excellent tool for getting you mouth and teeth moving. Tip is to not rush them and do lots of different ones. Take the time to really get your moth around the words. These exercises also help to move the sound forward to the front of the mouth. Try this one:

What a to-do to die today, at a minute or two to two;
A thing distinctly hard to say, but harder still to do.
For they’ll beat a tattoo, at twenty to two,
A rat-tat-tat- tat-tat-tat- tat-tat-tattoo.
And a dragon will come when he hears the drum,
At a minute or two to two today, at a minute or two to two.

5. Breath. Again. Seriously.

I believe the number one tool to combatting nerves is to observe the breath. You will breath in and out until your die. Its a reliable mechanism and if you cultivate a positive mental attitude towards your breath it will support you back. Your breath needs space and respect to flourish. If your suck and out the in breath, the muscles which should support your stomach will be neglected or overworked. if you push the air out to hard, you’ll find that you run out of steam quickly and will suffer fatigue and vocal clumsiness.

Take your time. Observe the flow of breath in and out of your body. Only speak when you feel comfortable and assured by the certainty of breath.

 

Follow the link below to hear comedienne Jo Brand talk through dealing with nerves.

http://www.bbc.co.uk/speaker/improve/fear/

Felicity Goodman is a Voice Teacher, Writer and Theatre maker based in Manchester. Please contact her if you interested in Vocal Training or collaborating. To learn more about the work she does, please visit www.felicitygoodman.co.uk

 

Girls -The Process

When I did P.E. in school it was a requirement that we all had to shower post exercise. I’m pretty sure that we were not the only group of school girls who had to do this. We were fortunate as we had individual cubicles in which to shower in with curtains for a privacy which is more then our male counterparts had! The deal was this:
If you were on your period you were excused from showering. A little ‘P’ was marked next to your name in the register. This is odd looking back, like our periods made us all witches where we would burn if water was thrown on us. Like our periods made us unwashable or informed in some way. (This belongs in a different blog I think.)
The Wizard Of Oz
If you were not on your period, you got down to your knickers and bra, pulled your bra straps off your shoulders and wrapped your towel around you. You would then walk into the shower. Splash some water on your upper body, walk out and then be ticked off as washing. We all did this. Without exception. We weren’t challenged to shower properly, even though it must have been really obvious to the female staff that checked us off. After we showered we dosed ourselves with Charlie Red or Impulse.
This was 15 plus years ago, before the internet had really made its mark on us all and certainly before the days of social media. Even then, we were ashamed of our bodies not wanting to reveal them to each other for fear of being found lacking.
Last week I shared this video in response to the Children’s society’s report that revealed that 1 in 3 girls aged between 10 and 14 felt worthless based on their appearance.

It triggered an anger in me that compelled me to write and deliver that piece within a day. How, for all the vast leaps that we have achieved in our culture, are we still sending a message to young girls that how they look is the defining thing about them.

I wanted to place images in the video that were linked to the words being spoken. I decided to type words into google images to use the results. Here are some of the things I discovered….

If you type in Girls you get this page….

girls-google-search

When you type lips:

lips

And so on…

eyes

Typing eyes

And so on…

hair
Typing Hair

And so on….

legs
Typing Legs
Sobering stuff. None of these images are less then what we would class as perfect. These legs are long, smooth, tanned and exact. They don’t represent that majority of the world’s legs, they represent a very particular group of women’s legs. The eyes have all got make up on, as natural as they are being made to look. The lips are also perfectly shaped, have lipstick on them and are mostly fairly seductive. The hair is all thick and voluminous. Its shiny and smooth. I have never seen hair like this on a real person in the flesh in front of me. What’s more concerning is that I didn’t add the prefix of ‘girl’s’ to legs, hair, eyes and lips. Yet all the images that came up are of young women. While I can’t gurantee the ethnicity of all of these models, I think it is fair to say they are predominantly white women.
It is images that are being broadcasted all the time to our young women and girls. When you look at these images they mostly seem like incredibly striking women and its easy to see why we would all like to look like them.
We need to make moves to fight these images and getting these girls more body positive. Schools and communities need to be taking responsibilities and tackling this issue head on. The message being sent out is that if their bodies fit into a certain criteria then they are more desirable. Girls are seeing this and hearing this. Along with the ‘perfect’ bodies that are being projected at them, no wonder their self esteem is worryingly low. Malala Yousafzai puts it well “I raise up my voice—not so I can shout, but so that those without a voice can be heard…we cannot succeed when half of us are held back.”
We, as a society, are holding girls back by placing their value in how they look over what they can achieve.
So what can we do?
1. Compliment a girls character, not her appearance. What’s she good at? what’s she overcome recently? What has she been working on? What does she like to read? Take her to things. spend time learning about what she would like to do.
2. Get writing to you M.P asking for it to be compulsory to teach sex education, mental health and body image in every single school. www.writetothem.com is a great inline tool for finding your local MP and writing to them.
3. Limit time on the internet. I spoke to a teacher recently who said that the girls she taught were looking very tired. when she spoke to their parents, they would say ‘She’s up all night on her phone’. Make some rules about where and when to use the phone. Maybe the whole family can implement a system of putting all their phones on charge in the kitchen for the night? Not having devices out at the dinner table? Is your daughter old enough to be using social media? Facebook, Twitter, Snapchat, Youtube and Instagram say users need to be over 13.  The problem is its pretty impossible for these companies to enforce these rules, and for a parent. We must understand however that when we arm our daughters with a phone or device we are giving them access to a world of information that we might not feel comfortable looking at.
4.Call people out for making jokes or insulting comments at the expense of someone’s appearance. We’ve all heard these off the cuff remarks about the way someone looks and felt the feeling that we should just laugh it off. However we are sending a message out that this behaviour is appropriate at best and at worst, funny.
Felicity Goodman is a Voice Teacher, Writer and Theatre maker based in Manchester. Please contact her if you interested in Vocal Training or collaborating. To learn more about the work she does, please visit www.felicitygoodman.co.uk

Your Voice and Marginal Gains

Watching the Team GB race in the men’s team pursuit and win gold was magnificent. The atmosphere in the Velódromo Municipal do Rio was electrifying as the the cycling team whizzed round battling it out with Australia. Not only did Bradley Wiggins make history by coming the first British athlete to pick up 8 Olympic medals, but they also achieved a new world record time. Day seven at the Rio Olympics was an exciting one with Team GB picking up medals in rowing, dressage, trampolining and swimming.

104824807_wiggo-training-rio-pursuit-sport-large_transbshgrghg_ozk_ec3dgp_qhalu905dgqgrboevtxhm18

However the GB cycling team is the one to watch with the women also beating the world record in the qualifying stages of the women’s team persuit. What are this remarkable teams secrets to success?  Sir David Brailsford, Director of UK cycling introduced the simple concept of marginal gains. By making small changes (however small), one could improve their overall performance. This concept was introduced to me by Dr Chris Whitaker. What struck my was that this concept developed by Brailsford is actually entirely the process of voice work.

Brailsford explains the idea of marginal gains to the BBC in 2012:

“The whole principle came from the idea that if you broke down everything you could think of that goes into riding a bike, and then improved it by 1%, you will get a significant increase when you put them all together…They’re tiny things but if you clump them together it makes a big difference.”

As a voice teacher, my job is to help you attain the voice that you feel more comfortable and confident in. We do this through looking at everything that effects the way you speak. Your Breath, Posture, Muscularity, Resonance,  Accent and Pitch. We then explore any patterns that feature in any of these different areas. For example we might discover that you slightly pause before breathing in. After working through exercises that explore and lift your vocal stamina we then slowly build all this different work together and you discover a more authentic voice.

The Olympics are exceptionally inspiring to watch and it’s easy to think that winning Gold is down to the work of the individual, but they all have coaches helping them achieve the physical prime.

So maybe you are looking to improve your presentations skills, or you diction? Maybe your hoping to lift you general performance in the work place. Voice work will help you to unlock potential and find authenticity in the way you communicate. Looking for some starting points? This post on Public Speaking: Preparation-Warming Up is as good as any.

90774083_wiggins11

Bradley Wiggins demonstrating a good vocal exercise in warming up the tongue and improving facial muscularity.

Felicity Goodman is a Voice and Elocution Teacher based in Manchester. Please contact her if you interested in vocal training. To learn more about the work she does, please visit www.felicitygoodman.co.uk

 

 

 

 

Back into the community, putting the Shake in Shakespeare.

After working on Just Add Water’s production of Bobby at the Lowry, I have spent the last month working with Physical Folk on a community production of A Midsummer Night’s Dream.

Tom Barry and I co founded Physical Folk while backpacking in New Zealand. Whilst volunteering at Napier Prison, a historical tourist destination, we were asked to develop packages and workshops for schools to engage with. We worked on some short historical films about some of the characters that would have spent time in the prison. We had a lot of fun organising fright night parties for teenagers and workshops for children from 4 to 12. Baking prison food, taking down fingerprints and asking them to spot the ghosts. We started to think about theatre and workshops as a tool for engaging communities.

We have spent the last year developing work in Cheshire, working out what an audience that the professional theatre circuit rarely hits wants to see. We dabbled in both creating pieces for the community to watch and workshops and performances for the community to take part in. We’ve found wonderful support from loyal and enthusiastic members of the local community and now we arrive at a 70s inspired ‘A Midsummer Night’s Dream’.

A Midsummer Night’s Dream has a cast of 15 diverse actors from the community in and around Northwich. The cast age range is 15-69 and they are as different from each other in character and experiences as Mickey Mouse and Germaine Greer. They have worked hard, taken risks and met challenges head on. They have put in hours of rehearsals, met up independently to learn lines, supported each other, created a safe place for everyone to step outside of their comforts zones and created something that they should all be incredibly proud of.

My role in this production has been the producer, and as someone had to step away from the experience, acting in it too. It’s an unusual place to be in and my roles flit from objectivity to total immersion and its been a fun but tough challenge. I have enjoyed seeing the growth in confidence of the cast as well as seeing the flexibility and quick thinking of the crew.

The Production team has worked hard to create a play that really allows the performers to be showcased. Helen Ashbrook Billinge has constantly been sketching and adapting the stage to compromise on what we could beg, borrow and practically steal and kept watch of the actors use of space to create a delightful set. Natalie Fern has turned costumes around quickly, creating a very wide array of costumes some made by her own hand and others from the local Oxfam in Northwich. Ashley Turner has written beautiful music to fit right in with the 70s folks vibe, performed with many other tracks from the 70s by John and Ailsa Booth throughout the play. Tom Barry has worked hard and created a piece that is both understandable and accessible to both the cast and the audience alike.

Whoever said community was dead should come and see it alive and at work in this play. What a community it is! This community will have you laughing till you cry and stamping your feet as they take you on an incredible journey through Love. In this small theatre – Davenham Players’ Theatre, you will be swept away into an incredibly funny reality that a whole community of people have created. Winston Churchill said ‘ Success is not final, failure is not fatal: it is the courage to continue that counts.’ The company of A Midsummer Night’s Dream have proved this in every decision that they have made both independently and collectively.

A Midsummer Night's Dream -Physical Folk
Physical Folk’s ‘ A Midsummer Night’s Dream’ is on at Davenham Players’ Theatre, Davenham, Northwich, Cheshire from 22nd May – 25th May 2013 at 7.30pm. Tickets are £8/7 and are available via http://www.danarts.org or 0161 784442.

Directing – Just Add Water Theatre – Bobby

Image

I have been directing Just Add Water’s production of Bobby for the last month and this is what I have learned…

Last year’s Just Add Water performance of ‘Bobby’ at Buxton Fringe seems along way away. We knew we would be performing in a low ceiling, cramped space and that it would create an intensity in the story for the actors and the audience in which there is no escape. People sang praises after the show for the intimacy of the the performances.

 I watched a show in the Lowry studio, where we will be performing Bobby this Thursday, and had a wave of nerves. The space seemed vast and the audience further away than I remembered from watching shows previously. While the space is clearly a studio, it didn’t feel that it had the intimacy that we had had in previous venues performing the show.

After a few sleepless nights about how we were going to make the piece ‘bigger’, I had an awakening. We could do so much more. The actors could take up more space, there could be dynamism in the aesthetic of the movement sequences, our 6 ft 7 actor would be able to stand up straight and stretch his arms up in the air, and our designer, Helen Ashbrook Billinge would be able to do more to facilitate the story. The size of the space instantly became a gift, enabling us as a company to push ourselves further.

This last month not only has Bobby gone up a few gears, but so has the way we have been working in the rehearsal room. I have been training the actors every morning to build up their physical strength and stamina and to create this sense of Ensemble. I think we have really pushed ourselves and each other to be truly collaborative, forgoing our egos, building our humility so we can tell Bobby’s story as a true collective. As a result, the actors Ben Moores, Tom Barry, Niven Ganner and Jennifer Campbell fly through emotions, landing on each state solidly and with a great depth of honesty. They pounce between emotional states, hungry to tell you this story. The language flies between them like a game of tennis, but the ball never drops. They move as one, all individuals creating a great mechanism of human truth.

Bobby will be performed at the Studio space in the Lowry, Salford on Thursday 11th April, 2013 at 8pm.Image