EDUCATION PACK Thanks to our supporters. Contents.
Synopsis Music ATC Creative Learning thanks ASB as a key supporter P.05 P.40 of all school-focused activities in 2017. About the period Choreography P.11 P.44 Auckland Theatre Company receives principal and core funding from:
About the play Student Activity: P.14 Reflecting on the Play P.48 Director — Colin McColl P.19 Additional Reading Thanks to The Infinity Foundation for its support in delivering and Resources school matinee performances at the ASB Waterfront Theatre in 2017. Set Design P.51 P.24 ATC Creative Learning Costume Design P.52 P.30 Curriculum Links Lighting Design P.52 P.36 ATC Creative Learning also thanks the ATC Patrons and the ATC Supporting Acts for their ongoing generosity.
Venue: ASB Waterfront Theatre, 138 Halsey Street, Wynyard Quarter Please note. School matinee: Tuesday 29 August at 11am Running time: 2 hours and 45 minutes, including a 20-minute interval • Eating and drinking in the auditorium is strictly prohibited. Post-Show Takes place in the theatre immediately after the Please make sure all cell phones are turned off • Forum: performance (15 – 20 minutes) Please don’t bring school bags to the theatre. • Suitability: This production is suitable for Year Levels 11 - 13 • Photography or recording of any kind is strictly prohibited. Advisory: Contains occasional use of strong language
1 CAST Nell Gwynn — Claire Chitham | King Charles II — Tim Balme Lord Arlington / John Dryden — Mark Hadlow | Edward Kynaston — Byron Coll Nancy / Queen Catherine — Hera Dunleavy Lady Castlemaine / Louise De Keroualle / Old Ma Gwynn — Alison Bruce Charles Hart — Andrew Grainger | Thomas Killigrew — Roy Ward Ned Spiggett / William — Samuel Austin | Rose Gwynn / Servant — Vida Gibson All other parts played by ensemble
CREATIVE Director — Colin McColl | Musical Director — John Gibson Choreographer — Malia Johnston | Set Designer — Rachael Walker Costume Designer — Elizabeth Whiting | Lighting Designer — Jo Kilgour
MUSICIANS Violin/Cello — Charmian Keay | Trumpet — Mark Hadlow Alto Sax — Vida Gibson | Guitar — Tim Balme Mandolin/Tambourine — Byron Coll | Drums and Percussion — Samuel Austin
PRODUCTION Production Manager — Robert Hunte | Company Manager (Maternity Cover) — Eliza Josephson-Rutter Technical Manager — Nik Janiurek | Venue Technical Manager — Josh Bond Stage Manager — Kirsten Lee | Assistant Stage Manager — Theresa Adams Technical Operator — Michael Craven | Props Master — Amy Snape Set Construction — 2Construct | ATC Production Intern — Nathanaël Ruestchmann
EDUCATION PACK CREDITS Writer — Amber McWilliams | Additional Material— Lynne Cardy Editor — Lynne Cardy | Graphic Designer — Wanda Tambrin Production Images — Michael Smith | Design images courtesy of Rachael Walker & Elizabeth Whiting
SCHOOL WORKSHOP PROGRAMME Director — Lynne Cardy | Youth Arts Coordinator — Nicole Arrow Teaching Artists — Freya Boyle and Ella Gilbert
2 3 Synopsis.
ENGLAND IN THE 1660S. on the stage and selling With the support of King out shows because of it. Charles II, the theatres of Hart suggests they do the London are thriving, same, and introduces Nell. including the Kings After a few moments of Company at the Playhouse nervousness, she gives a Theatre, Drury Lane. wonderful performance, During a performance, a and the company (with the woman selling oranges – exception of Kynaston) Nell Gwynn – has a battle of are convinced. After the banter with the hecklers in others leave, Nell plays a the audience. Afterwards seduction scene with Hart, she is approached by the and kisses him. leading actor of the day, Mr In the palace, King Charles Hart. He tells her Charles is having issues off for her audacity, with his mistress, Lady but sees her potential and Castlemaine. He manages offers to teach her the to calm her down, and rudiments of acting. Nell begins a seduction. shows natural talent. Her However, while she flirts, sister, Rose doesn’t believe Lady Castlemaine insists she should do it, but Nell that he should have his decides to pursue the Chief Minister put to opportunity. death, and promote a A month later, Edward courtier called Arlington in Kynaston (an actor who his place. takes the women’s roles) Back at the Playhouse, bursts into the King’s the company are trying Company meeting to Nell out in rehearsals, say that a rival company although playwright, John is going to ruin theatre Dryden, hasn’t finished the forever by putting a woman script. Jealous, Kynaston
4 5 starts an argument, which has suggested that Lady to speak privately with night before because by offering the King a ends with Nell giving him Castlemaine should be the Nell. He offers her money somehow, she has eaten French mistress, but the advice on how to deliver Queen’s Lady in Waiting. to become his mistress. laxatives… Nell re-enters King sends him away. Nell his single line of dialogue. At the theatre, Hart and She turns him down. negotiations, making all suggests King Charles He stamps off, leaving Nell are playing Dryden’s He says he will go to the sorts of demands, but should listen to Arlington Dryden to complain about rewritten script brilliantly. Duke’s Theatre to watch finally agrees to become about signing a treaty with how hard it is writing the King Charles attends the (rival actress) Moll Davies the King’s mistress. the French, and coaxes script. At Nell’s request, he performance, and Nell instead. Nell lets him Nell is moved into Lady him into bed. Later, Ma reads what he has written, directs the flirtations of leave, but asks Nancy, the Castlemaine’s apartment. Gwynne, Nell’s mother, and she laughs, saying the love scene to him. After wardrobe mistress, to help The Lady comes to tell arrives with Rose: Nell is no woman would behave the performance, Hart is her with some ‘special’ Nell to make the most of it mortified, and sends Ma as the heroine does. Her scolding Nell for playing to baking. Hart arrives, and while it lasts, and ensure away. Rose says Nell should suggestions are brilliant the Royal Box, when King accuses Nell of having an she gets a title. Nell says visit her mother more and break his writer’s Charles comes into the affair with the King. She she is not there for the often. Nell argues that she block. dressing room and sends tells Hart that she turned money or the title – and sends coins to her family. On opening night, Nell is him away. King Charles the King’s offer down, but Lady Castlemaine is pitying The theatre company so nervous she can hardly woos Nell, but she engages the goodwill between the when she realises Nell has are panicking because walk, but makes it onto him in banter and then pair is broken. fallen in love with King the Duke’s Company are the stage and gives an leaves him bewildered by A few days later Charles. building a new playhouse. amazing performance. The simply walking out. Courtier Arlington comes Arlington is trying to They need a new and audience is in an uproar, The company argue to threaten Nell: she is to convince the King that spectacular play to woo the and Hart tells her she was about Dryden’s new play. have nothing to do with the he must sign treaties to audience back, one with a extraordinary. Manager, Killigrew points King or harm will befall her. protect his throne, but strong female character, In the palace, King out that the King will Rose urges her to listen, the King would rather but Dryden is all out of Charles is now having to literally put their heads on but Nell is not frightened. walk the dogs with Nell. ideas. Killigrew suggests calm his Portugese wife, spikes if he is displeased Charles II arrives and Arlington tries to break Lady Godiva. The team Queen Catherine, who with the content. At that says that Moll Davies was the infatuation and cement are convinced, but when is furious that Charles moment, Charles II arrives unable to satisfy him the political ties with France Nell hears that Godiva
6 was famous for baring Nell goes to find Dryden, At the playhouse, the her breasts she refuses to who has written the role company are trying to play the part. King Charles of Godiva “naked”, not teach Nancy to act, without walks in on this argument simply bare-breasted. success. The disaster with a stunning new While Nell is arguing the prompts Hart to say what French mistress, Louise. point, Killigrew comes in they’re all thinking: “We He invites Nell to go away to tell Nell that the theatre can’t do it without Nell.” to the country with them. company cannot afford to Several years later, Hart says Nell must stay be political, and that she Nell and King Charles are and rehearse. When the has insulted the French happily playing croquet. King and Louise leave, Nell within her satirical song. The King tries to convince agrees to play Lady Godiva. He ejects her from the Nell to go with him to the Only Nancy is let in on company, saying they have playhouse, but she has not Nell’s real secret – that she received threats from the forgiven the company. King is pregnant. Louise returns Palace. Nell brushes them Charles falls down with a to rub salt into the wound away – until Hart comes fit. Nell calls for help and by saying that the King in carrying Rose, who has the King is taken away. would not pay Nell if he been beaten unconscious. Nell and Rose wait loved her. Nell and Nancy Nell goes to tell King outside the King’s room – declare “war on France.” Charles that she is taking Nell is not allowed inside. At the opening of the Rose home, and that she Arlington comes out and play, Louise, sitting with cannot bear to share him. tells her with a look that the King in the Royal He begs her not to go, the King is dead. His last Box, wears a spectacular but says he is bound by words were: “Don’t let poor hat. Nell parodies her, Parliament and cannot Nelly starve.” singing an ironic song in make them listen. She Back at the theatre, the French – and wearing a suggests he stands up company are still trying to replica hat four times as for himself and dissolve coax a performance from big. The King tries to hide Parliament. As she turns Nancy. Nell visits, and is his amusement, but fails. to leave, he tells her he persuaded to return to the However, Arlington is loves her, and reveals troupe – provided she plays furious. He waits in Nell’s that he knows about her only a small part. Kynaston dressing room to tell her pregnancy. is cast in the lead female she’s gone too far. Rose King Charles dissolves role. Content, the company also waits, to accuse Nell the Government and leaves, leaving Hart to of abandoning their family, sends the Ministers home. counsel the grieving Nell. and to tell her bitterly that Arlington is astounded. In the play, she gives their mother is dead. Rose Nell suggests he could a marvellous speech, storms out and Nell is left become the royal dog- allowing her the last word. bereft. walker.
8 9 About the period.
THE ENGLISH CIVIL WAR heaven. Cromwell decreed known as the Restoration, (1642-1651) saw supporters that ‘pointless’ enjoyment when Britain was restored of King Charles I fighting was a sin. Sports and to normality after the a group who believed that entertainment were depravations of life under Parliament should be banned; theatres and inns the Puritans. Charles II free of the monarchy. The were forced to close. Plain was nicknamed the Merry second group, led by Oliver dress was also enforced. Monarch, famous for his Cromwell, was successful in Christmas celebrations womanising, as well as his taking power. Charles I was – decorations or feasts – support of playhouses. His executed at Whitehall on were forbidden, as people Portuguese wife, Catherine 30 January 1649. were meant to spend the of Braganza, did not have There were others who holy season contemplating any children who survived continued to support the Jesus. Anyone caught after birth. However, monarchy. Charles II was officially named King of Scotland on 5 February 1649. However, England Charles II was nicknamed did not recognise the new the Merry Monarch, famous King, and Oliver Cromwell’s group took arms against for his womanising, as well him. as his support of playhouses. After Charles II lost a major battle to Cromwell in 1651, he was deposed from his role as King of Scotland, breaking the rules was Charles acknowledged at and took refuge in Europe. punished by being put in least twelve illegitimate He spent the next nine the stocks, or imprisoned. children and thirteen years in exile in France, the When Cromwell died mistresses. Dutch Republic and the in 1658, there was a The Great Plague in Spanish Netherlands. political crisis that led to 1665 and the Great Fire of During the 11 years the monarchy being re- London in 1666 took place of commonwealth established. Charles was during his reign as well as government, when England invited to return to Britain. the construction of many of was without a monarch, He was crowned King of London’s iconic buildings Puritanism was England, Scotland and and churches such as St. enforced in England. The Ireland in 1660. Paul’s Cathedral. Puritans believed that hard The period from 1660 work helped people reach until his death in 1685 was
10 11 12 13 About the play.
In an interview with the Royal Museum Greenwich,
• Nell Gwynn premiered on 19 September 2015 at Jessica Swale offers her respects to Nell Gwynn: Shakespeare’s Globe, London. • The play had its West End premiere at the Apollo Theatre, “Nell is a character too easy to dismiss her as a me. French fashions were London, on 12 February 2016. who is absolutely bawdy floozy, but in order hugely popular, so it’s not worth celebrating. to be such a successful surprising that London • It won Best New Comedy at the 2016 Olivier Awards. She’s often been rather comedic actress, she must was keen to follow in the • Prior to its success, it had been through a workshop process. misrepresented as the have been immensely Parisian’s footsteps. And An earlier version of the play was performed by students at ‘tart with the heart’; she’s intelligent. She was a wit, after the very dour years of LAMDA, as part of the 2014 Long Project. featured in various films and that alone is enough the interregnum, in which and plays but often in reason to celebrate her. It’s theatres were closed and a supporting role, so I a far greater accolade than entertainment (including wanted to put her back in praising her for who she Christmas celebrations) the limelight. She is worth ended up in bed with.” were outlawed, putting celebrating both for her “Charles II had seen women on stage was part CRITICAL RESPONSES TO THE PLAY. prowess as an actress and actresses in Paris, so when of a celebration of all her role in bridging the he returned to England and things bright and fun which “this rowdy comedy… celebrates the artifice of theatre and makes some neat class divide at the time. reopened the theatres, characterised Charles’ political jabs.” – Catherine Love, in a review of the London production at the Who else has had such a he made his mark by ascension to the throne, Globe theatre. rise to fame, from the dirty putting ladies on the and the end of what I think brothel of Coal Yard Alley stage for the first time. of as ‘the era of beige’, the “Jessica Swale’s play about the orange-seller turned actor cannily mixes to the Royal Palace? It’s all High time, if you asked Puritans and the civil war.” Carry On gags with an explicitly feminist message.” – Michael Billington, in a review of the London production at the Apollo Theatre.
“Some may be disappointed that there’s more playfulness than profundity; Talking points. we see the Nell that captivated the public and put on a show, and only hear • How is the Nell Gwynn character presented in this play as a feminist snippets of her impoverished upbringing and prostitution. But, there’s still figure? How might she be presented to create an anti-feminist figure? substance to this comedy. Jessica Swale’s writing deftly draws out a woman • Catherine Love refers to the play making “some neat political jabs”. What who remains, 400 years later, truly remarkable. And, in its portrayal of do you think she means? What political messages did you get from the Restoration theatre, this new play celebrates traditional drama and the play? Are the still relevant in a contemporary context? progress we have since made.” – Lucy Brooks, in a review of the London production re-run at the Globe • In what ways does the play overtly “celebrate theatre”? Theatre
14 15 16 17 Director Colin McColl
“NELL GWYNN was stage – while servants and Markle. Princes, it seems, originally written for and poor folk were relegated are still chasing actresses! presented by London’s to ‘the gods’, the highest We begin our planning Globe Theatre, and staged tier of seating and furthest with lots of reading and within the constraints of from the stage. research – searching that theatre’s architecture. We honour this the internet for images, But in fact, Restoration Restoration arrangement paintings, biographic theatres were very different in our production. The details and reports about from the Globe. They were plywood of our set harks the period – so we can indoor. They had deep back to the wood of a make informed choices proscenium arch stages Drury Lane theatre circa about how we will stage with a large apron. Most 1660. We chose to give the work. Throughout the of the action happened on our set and costumes rehearsal process, the the forestage. Behind the a contemporary edge, actors and the creative proscenium, a series of while still acknowledging team pool their research flats in forced perspective the seventeenth century to inform the realisation created the scenery and setting, to honour of the production. Jessica stage effects. The pit still playwright Jessica Swale’s Swale’s interpretation of existed but was peopled by language, and to draw links Nell Gwynn’s story is a rich young lads seated on between past and present. pop history / biographical benches, rather than the For instance, Charles II’s entertainment with some ‘groundlings’ who stood relationship with Nell surprisingly pertinent around at The Globe. The Gwynn could be seen as comments about society King and aristocracy sat on a forerunner to Prince that resonate with us the first tier – level with the Harry’s with Meghan today. But mostly, it’s fun!
18 19 I wanted our production female Restoration One of the challenges hard. That’s the kind of to be about the cult of playwright who was a great has been our decision to feel we want to get into COLIN RECOMMENDS a couple of celebrity, and to celebrate mate of Nell’s) they forged double up roles, which the production – that movies as references for the cast: theatre, particularly a new career option for means lots of fast changes everyone’s dancing full on, Stage Beauty, about Kynaston: “It’s quite actresses on stage – women. of costume. Also, our because the good times serious, and not much fun. Even less fun because without Charles According to Samuel actors play all the music might not last. It was a time is The Libertine, with Johnny Depp, which II’s decree that women be Pepys, (whose extensive live – there are songs and of very bawdy songs. We is set in the period and is about the Earl allowed to act, it might diaries provide great dances and even a snippet look back at English history of Rochester, who was in the inner circle through the rather prudish of Charles’ court.” eyes of the Victorians... But if you had wealth, life According to Samuel Pepys... “pretty, witty Nell” had was much bawdier in pre- a unique naturalness on stage. We’ve honoured this Victorian times. It’s a production where by having the other actors perform in a stiff, two- the fourth wall is down. The Talking points. dimensional way – until they see how effective Nell’s actors often acknowledge • Colin wants this production to be acting style is. the audience and share partly about “the cult of celebrity.” Nell’s journey with them. What aspects of this were evident to I’m hoping it will be fun you in watching the play? for actors and audience • What was your response to the well have been a male- insight into life at the time of a dreadful opera – all of alike – and that audience doubling up of characters? What are dominated profession and who was an inveterate which is challenging for the members will be sufficiently the pros and cons of this technique today. theatregoer) “pretty, performers. entertained and intrigued from a production point of view? The playwright also witty Nell” had a unique When I was doing to delve more deeply into has a feminist take on naturalness on stage. We’ve research, the most the Restoration world. The • Sexuality on stage has always been a Nell Gwynn’s story. Nell honoured this by having the fascinating thing was what Restoration was a defining social talking point. What do you think was a feisty individual, other actors perform in a life must have been like time in British history, as are the social conventions around sex and together with other stiff, two-dimensional way – in that time. During the the country moved from a that are shown – or broken – on the actresses of the day (and until they see how effective Restoration, everyone medieval towards a modern stage today? Aphra Behn, a prolific Nell’s acting style is. (with money) was partying society.” 22 23 Design.
Set designer – Rachael Walker.
THERE ARE 25 SCENES especially our celebrity, in the play: 17 are set at the Nell Gwynn. Playhouse Theatre in Drury When King Charles II Lane, and the remaining ascended the throne, he eight are in the Palace of became the patron of a Charles II in Newmarket. theatrical renaissance. In The number of scenes is a fact, his portrait presides challenge. We need to make over the central stage it clear to an audience throughout the production. when the location and/or Audiences are included time changes, have enough and engaged in the action variety to keep it visually of the play by using: interesting, and do this • a thrust stage (it within budget and without ‘thrusts’ out past the slowing the necessary proscenium arch ‘frame’ comic pace of the piece. into the auditorium) • side of stage Royal Boxes THE THEATRE (to see and be seen in) The design pays homage to • practical footlights and many historical elements of lamps (lights that the theatrical staging, craft and audience can see, which collaborators in a modern aren’t in the lighting rig) Rachael created a mood board of visual way. It’s a celebration of the fourth wall being references for the set that she presented to • female actresses on the broken the company on the first day of rehearsals. stage for the first time, • actors setting up scene
24 25 changes for backstage story. I’ve used as many mismatching, exuberant Palace location as a generic sculptures Charles has in backdrop etchings – and and dressing room circular or curvy shapes as flow, on and off the stage. formal ‘Royal’ counterpoint his Palace are glossy Jeff we were able to purchase a action. I could; this feeds into the The ‘floor and walls’ to the colourful chaos of the Koons balloon animals and high-resolution file of one Other theatrical and set props, set-dressing, are timber, to honour the theatre scenes. Practically, a slightly more suggestive of these. dramatic elements that are costume silhouettes and ‘treading of the boards’ as this drape is more than version of this. The reality Working with a graphic on display and honoured: choreography. and standard stage 10 metres upstage of the of what this ‘bust’ will look designer, I modified the • printed and painted construction. My modern audience, it needed to be like, and how we are going physical size, added some drapes that fly (rise out COLOUR (and practical) take on graphically bold. The Fleur to smash it every night blocks of colour to merge or drop in to the stage Importantly, the play is this is to use plywood, in de Lis is a stylised lily. It has on stage, is still a work in it more into our theatrical space) being staged at the ASB its warm organic beauty. ancient origins, but is still progress. world, and printed the • the red house curtain Waterfront Theatre, This is used in the Royal used in many flags, coats of image onto fabric. A sail- portrait, practical lighting, arms and official insignia BACKDROPS making company sewed it set props, Royal chairs and internationally today. I have loved having into an 11m x 5m backdrop. “We need to make it clear to an boxes. It is tactile, textural hundreds of years This honours the origins and stripped back to its of theatre history to of hand-painted theatrical audience when the location naked form. reference. I discovered backdrops, but in a modern and/or time changes, have an Italian architect medium, courtesy of an THE PALACE called Sebastiano Serlio. image that predates our enough variety to keep it visually In contrast, the eight He wrote a seven-book play by over a hundred interesting, and do this without Palace scenes are treatise on Architecture years. I have also continued minimalist. Here I’ve used The script dictates that and Perspective in the this black linear etched slowing the necessary comic highly polished black and a character must smash a mid-1500s. The second detail in the edges of pace of the piece.” silver hard surfaces, long Bernini bust of Charles II. book included examples the plywood set props and entrances and stylised, Our interpretation of the of perspective theatre practical lights.” suggestive sculptures. We • forced perspective which adds the modern add an element of fertility • black masking context! The colour of and life in the form of • upstage cyclorama the real theatre seating mandarin topiaries, once • painted wooden scenery is a direct influence on Nell is living in the Palace. • trucking set props the design palette for the This is a reference to her Talking points. (things on wheels) ‘theatre’ scenes – one of old profession, the child she • Did you pick up on the set’s relationship to the colour in the theatre the upholstery fabrics is has to King Charles, and seating? Where else did you see the colour palette in the play? The intention for these orange, which is our perfect the brood of Cavalier • How did the staging techniques work to engage and implicate the audience? theatre scenes was to pop colour, because Nell King Charles Spaniels they create a fun, cheeky, was an orange seller. The own together. • Which specific theatrical moments did you find the most memorable? feminine, enveloping stage use of colour purposefully I have used the Fleur De What technologies were used to create the ‘wow!’ factor? environment for this love continues the colourful, Lis symbol to denote the
26 27 28 29 Design.
Costume designer – Elizabeth Whiting.
“The overall concept of the costume design for Nell Gwynn is the discovery of parallels between 1660s fashion and modern street fashion. The aim is also to celebrate the theatricality of costume design.”
I USE MY LIBRARY of that the cast watch in and cut-off jeans in silk, Art books and Fashion/ preparation for this lace and denim to create a pattern-making reference production. 1660s feel for the men. The books as the first port My research about women will have full skirts, of call when I start my the period revealed a use corsets and crop-tops in research for a period piece. of layering and varied cotton, linen, silk and knit Then I look at movies set in textures of fabrics in the fabrics – with the focus on a similar period to the play. menswear, and constriction revealing their breasts. I particularly enjoyed The – contrasted with freedom Nell Gwynn’s clothing Libertine and Stage Beauty, – in the womenswear. I have changes over the period which Colin recommended used waistcoats, shirts of the play. She begins as
30 31 a fairly poor orange seller, through costume changes and entering the stage. wearing simple muslin and that are extremely quick That means we need finishes in silk and lace but still convincing. to stitch all the actor’s to indicate her change in The most difficult is the garments together, so that they are taken on and off as one piece. The costumes also use quick release fastenings, like domes “This play celebrates and Velcro. There will be love and the triumph of a dresser set off stage to assist the actor with these personality over class. The quick changes. cast has embraced this, and This play celebrates love and the triumph of is working together with the personality over class. The design team to produce a cast has embraced this, and is working together with delightful romp.” the design team to produce a delightful romp. Each actor is contributing ideas for their character and status when she becomes Arlington/Dryden change, enjoying understanding the King’s mistress. which occurs several times why I have chosen to design With a small ensemble during the play. There is each character as I have...” cast, my challenge has been no time scripted between to differentiate characters these characters leaving
32 33 Talking points. • Nell’s costume changes to reflect her changes in status. How is the status of each of the other characters made apparent to the audience? • Try ranking the characters by status, according to their clothing and accessories. Does modern society rank people by their dress? • Choose one specific element of costuming – colour, fabric, shape – and look at how it functions across several costumes. What decisions have been made, and why?
34 35 Design.
Talking points. • Discuss the impact of lighting on the production. Did you specifically notice the lighting changes, or were they more subliminal? • Why do you think warmer, brighter colours are associated with happiness and fun, while cooler colours indicate sadness or formality? Lighting designer– • Lighting has styles, just like clothes do. What was the ‘style’ of the lighting during the scenes at the Theatre? What other styles might you Jo Kilgour. be able to recognise and describe (for example – horror lighting, glamour lighting, melodramatic lighting)? How are these created? • Using a lamp or torch, work together to create some different lighting effects. Which angles are most flattering? How does the distance between the light and the subject make a difference? How can you isolate the subject from the background?
“IN NELL GWYNN, there makes the time and place These are Nell’s colours, so a ‘play within a play’, there cooler palette – open white We must light the actors are several different clear. The lighting can also using them for the theatre is more dramatic lighting, lights (with no colour gel in a way to separate them locations for the action, highlight or hide parts of scenes helps show that she with stronger colours and in them), and steel blues. visually from the set and and the play chops and the stage to draw focus to is comfortable and belongs different angles helping This creates a more formal only light the set when we changes between them. specific actions. here. to create texture. There setting, and highlights choose. Most lighting hung Lighting works with the A lot of the scenes in Nell When the cast are are also footlights in the the silver used in the set above the stage area is stage settings to help the Gwynn take place in the rehearsing or just talking in ‘performance’ scenes and costumes. When Nell quite steep to enable us to audience keep track of Playhouse Theatre, where the theatre, the lighting is to create the feel of the moves into the palace, light between each wall. We where each scene takes the lighting has a warm fairly naturalistic, as if they Playhouse Theatre stage some of her colour palette use side light to help light place. The audience may colour palette – using gold, are just backstage or in the based on the period will be brought in too. the actors upstage where not notice lighting changes chocolate and lavender rehearsal room with the setting. One of the challenges it is more difficult to light as much as set changes, but gels – to give a sense of working lights on. However, In contrast, the Court of lighting this show has their faces from the front.” the lighting design helps fun and rowdy enjoyment. when they are performing and Palace scenes use a been the layers of scenery.
36 37 38 39 Design.
Musical Director – John Gibson.
“The whole production will be acoustic. Charmian Keay, the violinist, will be leaping about playing jigs and reels while Nell is selling oranges. Any sound you hear on stage will be real, not recorded. If it’s not Charmian, it will be the cast playing drums, guitars, saxophones, trumpets.”
THE IDEA IS THAT it’s tap his foot to. He liked aftermath of World War pure ‘person power’. To everything in triple time: II – there was a ground zero give you some idea of the 1, 2, 3; 1, 2, 3. And he hated for culture. What came period, the violin was the slow music. back was dancing and the electric guitar of the day. It People danced to rhythms of the body: tunes was wiping out every other the songs in ‘Playford’s with a big bass and lyrics instrument, because it was Dancing Master’. It was about sex and drinking. It so loud and so strong. The a popular book with the was ‘party like its 1660!’ French king had 24 violins, music at the top of the page Another thing that and Charles II had the and all the steps spelled out was introduced around same. Charles II’s favourite underneath. There was only this time was coffee. The song was called Cuckolds In one publisher of music, and coffee house was where A In A Row. We use the tune Playford made a fortune. all the men went, and they for Nell to sing her number, This was also the time would sing catches and Talking points. I Can Dance And I Can Sing. when songs as we know glees, which were songs in • Why do you think only acoustic music was used in this production? The English of the time them, were invented. Music three or four parts, sung liked jigs and hornpipes, theatre and dance were in canon or in unison. In • What was the effect of having the musicians involved in the action? and Charles II couldn’t all abolished by Oliver 1660, you made your own • Which elements of the songs best related to the music you hear today? stand anything he couldn’t Cromwell, so – like in the entertainment.
40 41 42 43 Design.
Choreographer – Malia Johnston.
“DANCE is used to help off the Playhouse Theatre quite a character, we’ve Some of the cast are something they couldn’t some of the material, and with the characterisation stage. There are older- made some of the dance more nervous of movement achieve; they really work then we souped it up. A lot and energy in some style movements that you quite sexy, with movements than others. The way that with me to find the of the jig material that we songs. For example, there might have seen from that that you wouldn’t have seen I work is to find out how movement that suits them. used, or the side-steps, are are a couple of songs period’s choreography: in the period! This gives each actor moves, and then When we were building quite common movements, the characters sing as quite literal hand gestures; her a more modern punch. give them some playful One week to go, which is that they are all able to do part of their Playhouse holding the body stiffly For example, she does a movements that they can about the countdown to the just fine. It was lots of fun Theatre performance. upright; more traditional shimmy, and a lot of ‘knees- really own. I wouldn’t be performance, they worked making the material with Choreography is also sequences of steps; very up’ movements, and a lot interested in teaching them with me and helped devise them. used for a couple of simple. of ruffling the skirts, like sequences where they’re When the ‘actors’ in a can-can, but slightly ‘off-stage’, when they’re are working outside modernised. preparing their show – the performance, we I’ve worked with those scenes are more like deconstruct the movement, Byron (Kynaston), who is choreographed chaos, so it’s a lot more playful. In doing the fan dance, and Talking points. with lots of rapid prop these sequences, we get the encouraged him to be really • How are the set and props incorporated into the choreography in this movement that makes it liveliness of Irish country over the top with the fan production? look like they’re rehearsing. dancing – lots of energy, movements – they aren’t The two pieces that lots of fun. We even use the way the fan would • What makes a movement playful? are in the ‘play within a some Vaudeville material, traditionally have been • Research one aspect of the movement used in the production – for play’ are more formal. which wouldn’t have been used – to bring a sense of example, fan dance, shimmy, knees-up, Vaudeville, Irish jig – and explain We’ve kept that quite old- used at that time. playfulness and mad energy where it comes from and what it traditionally looked like. Why was it fashioned, so it has a real When we see Nell Gwynn to it. included in the choreography of this show? difference to what they do in rehearsals, because she’s
44 45 46 47 THEATRE-MAKING RESTORATION COMEDY STUDENT ACTIVITY: SCENES / MOMENT / LINES SCENES / MOMENT / LINES REFLECTING ON THE PLAY.
Jessica Swale’s Nell Gwynn has been described as “a love-letter to the cheerful chaos of putting on a play” as well as a homage to Restoration comedy. Thinking about the performance you have seen, recall scenes or specific moments or lines of dialogue that you noticed that incorporated either the features of Restoration Comedy or the process of theatre-making. Use our checklist below to jog your memory and make notes. Then answer the following questions, to dig a little deeper.
THEATRE-MAKING RESTORATION COMEDY
Rehearsals Live music Performances Song Playwrighting Witty dialogue The audience Audience interaction Roles in the theatre company Audience hierarchy (‘groundlings’ vs the royal box) Props Direct address Costumes Asides References to acting styles or actor preparation Prologues and Epilogues References to other plays, Social pressures on love and playwrights, theatres, or marriage actors. Comments on society (rich vs Competition between rival poor) theatres Wigs Backstage life Masks Onstage life Fans Visitors in the Dressing Room
48 49 1. Thinking about the theatre technologies used in the play; (set, costume, 2. What choices did the actors, director or designers make that gave this
props, lighting, and sound), choose one or more of these and note how moment impact?
these contributed to your understanding of the of the play.
3. Why do you think they made those choices?
Was there a scene or a moment that particularly stood-out for you? It
might be something you enjoyed, or something that confused you. What
was it about it that you remember most?
4. What are you still wondering about Auckland Theatre Company’s
production of Nell Gwynn by Jessica Swale?
50 51 Additional resources ATC creative learning – and readings. encouraging acts of imagination • Billington, Michael. “Nell Gwynn review – Gemma Arterton sparkles in chaotic comedy.” The Guardian. https://www.theguardian.com/ stage/2016/feb/12/nell-gwynn- review-gemma- arterton-apollo-london Published 12/02/2016. Accessed 25/07/2017. Web. ATC Creative Learning Whether we are focus on delivering an promotes and encourages unpacking a play, creating exciting and popular • Love, Catherine. “Nell Gwynn review – this is what a restoration-era teaching and participation a new work, or learning new programme that supports feminist looks like.” The Guardian. https://www.theguardian.com/ in theatre and acts as a skills we are encouraging the Arts education of stage/2015/sep/28/nell-gwynn- review-shakespeares-globe-gugu- resource for secondary habits of thinking that Auckland students mbatha-raw. Published 28-09- 2015. Accessed 31-07- 2017. Web. and tertiary educators. foster acts of imagination and which focuses on It is a comprehensive to take place. curriculum development, • Smurthwaite, Nick. “Jessica Swale: Shakespeare’s Globe is a magical and innovative arts ATC Creative Learning literacy, and the Arts. place.” https://www.thestage.co.uk/features/interviews/2015/jessica- education programme has direct contact with swale- shakespeares-globe- tricky-magical-place/ Published 13-09- designed to nurture young secondary school students 2015. Accessed 31/07/2017 theatre practitioners and throughout the greater audiences. Auckland region with a • “What can we learn from the story of Nell Gwynn?” Royal Museums Greenwich. http://www.rmg.co.uk/discover/behind-the- scenes/blog/ what-can- we-learn- story-nell- gwynn Published 10/03/2016. Accessed 31/07/2017. Web.
• “Who was Nell Gwynn?” Royal Museums Greenwich. http://www.rmg. co.uk/discover/behind-the-scenes/blog/who-was- nell-gwynn Published Curriculum links. 04/03/2016. Accessed 25/07/2017. Web.
ATC Education activities live theatre as a part (Level 1 – AS90011, Level 2 – relate directly to the PK, of their course work, AS91219, Level 3 – AS91518) UC and CI strands of the Understanding the Arts in require students to write NZ Curriculum from levels Context. Curriculum levels about live theatre they 5 to 8. They also have 6, 7 and 8 (equivalent to have seen. Students who direct relevance to many years 11, 12 and 13) require are able to experience fully of the NCEA achievement the inclusion of New produced, professional standards at all three levels. Zealand drama in their theatre are generally All secondary school course of work. advantaged in answering Drama students (Years 9 to The NCEA external these questions. 13) should be experiencing examinations at each level
52 53 Partnering with the power of theatre. ASB is proud to be the principal partner of ATC Creative Learning.
Partners with passion.
3454 ASB Bank Limited 6310 16336 0916
6310 16336 0916 Billy Elliot Program Ad.indd 1 19/09/16 3:59 pm