Volume 65, Number 1, Summer 2015 WORD MATTERS

The Journal of The Society of Teachers of Speech and Drama Connecting teachers of communication, performance and life skills Communication and Performance Qualifications Preparing learners for a LAMDA examination is rewarding and inspiring, helping students to gain self-confidence for their whole life.

LONDON ACADEMY OF MUSIC & DRAMATIC ART WWW.LAMDA.ORG.UK

LAMDA ad for May 2015.indd 1 14/04/2015 10:47:04 CONTENTS Contents

Editorial Word Matters Pg 2 Lynne Collinson Editor Lynne Collinson [email protected] Advertising Manager Mia Ball Articles [email protected] Pg 3 Drama and the First World War Reviews Editor Paul Bench Elizabeth Oakley [email protected] Pg 6 Producing Dick and Daisy Researchers Elizabeth Oakley Nanette Ackerman [email protected]

Pg 10 A Good Headshot- Your Calling Card Closing date for contributions to the Winter 2015 edition: September 30th 2015 to Lynne Collinson [email protected]

Pg 13 Working with Joan Littlewood Cost of adverts: John Wallbank Full Page £135, Half Page £90. Pg 18 Voice Coaching and the Accent Kit Word Matters is distributed to members of The Society of Teachers of Speech and Drama or Lynne Collinson can be ordered on a yearly subscription from: Barbara Wentworth, [email protected] Pg 23 Jan Kott and the growth of Annual Rates for non-members: Theatre Studies UK £14 including postage. Professor Ken Pickering Overseas £20 including air mail. In Sterling, drawn on a London bank. Pg 25 Stewarding at The Sam Cheques payable to STSD Wanamaker Playhouse Online payment: www.stsd.org.uk

Linda Shannon Published by The Society of Teachers Pg 26 The Theatricality of Brian Friel of Speech and Drama Audrey Behan 73 Berry Hill Road, Mansfield, Notts., NG18 4RU Pg 33 Shakespeare Schools’ Festival Reg. No. 38759673 Lynne Collinson Printed by Cantate Communications 020 3651 1690 www.cantatecommunications.com Book Reviews The views expressed in this Journal are not Pg 35 Book Reviews necessarily those of the Editorial Board or of the STSD Pg 38 Healthcare Cover image: Richard on the Stage courtesy of Nanette Ackerman

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Apologies are due to Rosamund Comins OBE whose name Facebook Page: The Society of Teachers of was incorrectly spelled in the last issue of Word Matters. Speech and Drama Twitter @stsd_

WORD MATTERS SUMMER 2015 1 WELCOME Welcome to Word Matters, Summer 2015 Another year is well underway and many of us are There are some practical articles here too from advice involved in Festivals, examining, performing and on having a headshot taken to an overview of the work teaching and trying to enthuse our students and of a group of voice coaches. engender in them a love of the theatre, poetry and speaking in public. Thank you to everyone who has contributed to this issue of Word Matters and to all the people who It is heartening to see that that young allowed me to interview them. I am people continue to be keen on public always looking out for more contributions speaking and performing when the pull in particular schemes of work and of the internet and online activity is still a practical exercises for the classroom. powerful force for them to resist. If you feel you can contribute in any way Once more within these pages you will at all please email me – my address is on find a range of stimulating articles and page 1 or talk to me at the development information. I am very grateful to John weekend in London on August 21st and Wallbank for recalling his time working 22nd. with the exceptional and unique Joan Littlewood in Stratford East, and to Meanwhile don’t forget to have a look at Nanette Ackerman for introducing us to Marguerite the STSD Facebook page and start or contribute to and Dick and explaining the development of her play discussion about all aspects of our work as speech and which recently premièred in Bath last month at The drama teachers. Don’t forget to follow us on twitter @ Mission Theatre. stsd_ and if you have any photos that you would like to share then please do so on our Pinterest page either On a more academic note Professor Kenneth Pickering directly or by sending them to me. introduces us to the Polish critic Jan Kott’s ideas on performing Shakespeare and his influence on the development of theatre studies. Elizabeth Oakley Lynne Collinson invites us to consider drama during the First World April 2015 War and Audrey Behan entertains us in a transcript of her paper on Brian Friel’s plays.

London Development Weekend Friday 21st and Saturday 22nd August 2015: Non-residential Cost £125 Friday 21st August Saturday 22nd August The 2016 conference All day workshop followed Morning workshop followed by a will be held in Stratford. by an evening performance at matinee performance at The Globe. The National Theatre. For more details contact Helena Duncan [email protected]

2 WORD MATTERS SUMMER 2015 DRAMA AND THE FIRST WORLD WAR Drama and the First World War Elizabeth Oakley

The intense poetry written by soldier poets caught world, the arms up in the horror of trench warfare still has compelling manufacturers and power to move us a century later. Through the vivid the artistic community authenticity of those who bore witness we enter the – who in his opinion seemingly futile campaigns they lived through and should never have died in. allowed Europe to drift into war. But what of the stage drama that this war inspired? While a dozen poems and poets easily spring to His play, which mind, it is harder to name plays written during WW 1 begins as an urbane that have lasted and are performed today. The reason Edwardian comedy of for this may be not the failure of dramatists of the time manners full of wit and to tackle the subject of war but rather that plays are flirtatious point-scoring less easily written in the heat of process than poetry. between the guests G.B. Shaw Time has to elapse: the dust and confusion have to Private Collection who have gathered clear before a playwright can reflect on the military there as if for a house strategies and outcomes of war and shape a narrative party, exposes and mocks the inadequacies of the dealing with individual lives. While memoirs, novels characters who, with two exceptions, are completely and films may follow poetry in evoking the human self-absorbed. The war rages around them but they tragedy of the conflict, a live stage performance – seem oblivious and they are never accorded the maybe composed many years later – has a freedom status of tragic figures. and power all of its own to engage and involve an Shaw said that three wartime experiences triggered audience. In the case of the 1914-18 hostilities, a play the writing of the play and all are those of a detached has the power, by using or bringing to light material observer witnessing from a distance the destruction from the time, to offer new perspectives on this ‘war- wrought by weapons of war: the first occasion to-end-all-wars’. was Shaw’s hearing from as far away as Sussex However, there are two plays which belong the artillery fire from the battle of the Somme in indisputably to the WW 1 years and which are 1916; the second was his seeing from his house in still performed today. Each represents a totally Hertfordshire a German zeppelin burn in the sky like different position on the war. The first is G.B. Shaw’s crumpled paper; and the third a year later was an Heartbreak House. Its subtitle ‘A Fantasia in the official visit to the Western Front where the thunder Russian Manner on English themes’ refers to the of the guns brought to his mind Tchaikovsky’s 1812 influence of Chekhov’s The Cherry Orchard which Overture. Shaw greatly admired. In the same way as the In Heartbreak House Shaw combines the seemingly destruction of the orchard symbolises the feckless safe existence of those unaffected in England with owners’ social and personal irresponsibility, the air raids threatening overhead at the end of the play. wartime raids on Heartbreak House (a place where Heartbreak House itself (the name given to it by Ellie cynicism reigns and ideals are crushed) represent Dunne whose faith in love and human progress is a day of judgement on a drifting, selfish elite whose shattered by those she meets there) barely escapes fecklessness has allowed the war to happen. Shaw and it is clear more raids will follow: the house, along was a publicly vociferous critic of the war and with those in it, is most likely doomed. All but two savage in his condemnation of those with power and of the characters, however, are excited by the noise influence – whether the landed gentry, the business

WORD MATTERS SUMMER 2015 3 DRAMA AND THE FIRST WORLD WAR

and light, as if they are at a firework display, unaware humour offers some comic relief. The play is well even now of their personal danger: one exclaims constructed: the narrative is tight and keeps the rapturously: ‘it’s splendid; it’s like an orchestra; it’s concentration of the audience. Also, Sherriff does like Beethoven’. not shirk the clashes of personality and class among the group of soldiers sharing the dugout and how The war had not ended when Shaw wrote his play. ill-advised military strategy caused men to die The sense of being in the midst of a conflict of unnecessarily. Whereas in Heartbreak House there which the author and characters do not know the is virtually no character with whom to empathise, outcome makes for chaotic, unresolved action. This almost all those in Journey’s End invite sympathy. lack of authorial control is unusual in Shaw’s plays and reflects the disturbed emotions of the writer While taking in a wide during WW 1. Heartbreak House has not been one range of attitudes of his most performed plays. In his Preface Shaw towards the war, from explains that it would have been irresponsible for the Captain who has him to have had it staged during hostilities. The neglected the dugout mockery and contempt it expresses for those who and leaves it in a should have led the country more wisely would have disgusting state to the been devastating: what would have been the effect company following on, on the nation…comedy, though sorely tempted, to the young soldier had to be loyally silent. Nevertheless, Shaw felt who feigns sickness to that Heartbreak House, which reached the stage try to escape combat in 1919 and bewildered audiences, would have and the heroic Captain been appreciated more fully if it had been staged in who relies on whisky wartime. A successful production in 1943 during WW R. C. Sherriff to keep his nerves 2, after some neglect in the interwar period, seems Private Collection under control, the play to support Shaw’s view. However, the production at does not delve so The Abbey Theatre Dublin 2014 has had glowing deeply into human psychology that it undermines the reviews which suggests that the play is much better admiration and homage Sherriff felt was due to those understood now than it was when first produced. men whose lives were caught up and sacrificed as combatants. He remained in close touch with his old As a direct contrast to Heartbreak House in which no school, Kingston Grammar, which benefitted from his character engages with the war at close hand, R.C. generous endowments. Sherriff’s play Journey’s End, set in a dugout in the trenches, is an insider’s view of military action. The Nevertheless, Journey’s End is a male affair: there is playwright had impeccable credentials for writing this no ‘leading lady’, and the society which the soldiers play through his distinguished military service record: left behind remains offstage, beyond the scope he was awarded the Military Cross and severely of the action. The absence of women characters wounded at Passchendale. along with the revisiting of such harrowing subject matter were reasons why the play had to wait until However, the play gains in impact from an added 1928 before any company would perform it. After a historical perspective which could only have come single performance at the Apollo Theatre, however, from post war composition: the action begins on Journey’s End became an instant success in the the evening of Monday 18th March 1918 and ends West End and has remained universally popular as a on Thursday 21st March, ‘towards dawn’. These defining account of what soldiers endured in WW 1. were the uneasily quiet days that preceded the At the time of writing there is a revival at the Watermill Germans’ ‘Spring Offensive’ in which they made Theatre Newbury which, considering the intimate huge bombardments to break through Allied lines space shared by performers and audience there, and advance on the Channel ports. Though it was seems a perfect venue to evoke the claustrophobic an unsuccessful surge and marked the beginning conditions of the trenches. of the end of the war, many soldiers were killed. In Sherriff’s play the dramatic tension is built So far the discussion has centred on two plays up from the opening dialogue: the characters written by those who lived through WW 1 but now it sense something momentous is afoot and the is time to look at examples of how later generations audience knows what it is from the dates of action. have revisited the subject and presented on stage Inescapable tragedy threatens although black other interpretations of the conflict.

4 WORD MATTERS SUMMER 2015 DRAMA AND THE FIRST WORLD WAR

A completely fresh approach, a collaborative the Somme but also highlights the effects on the one rather than the work of a single author, was families left to cope without husbands and fathers. the musical entertainment with the ironic and As well as the standard classics, it is exciting that provocative title ‘Oh What a Lovely War’ which was so many new plays that take neglected aspects of staged at Theatre Royal Stratford East in 1963. the Great War are reaching the stage as we enter Members of Joan Littlewood’s Theatre Workshop, the centenary commemorative years. The 2014- writers Gerry Raffles and Charles Chilton, and Joan 15 RSC winter season, for instance, includes The herself as director devised a production with original Christmas Truce by Phil Porter which, their brochure wartime songs, photographs and documents from tells us, ‘draws on the experiences of men from the 1914-18 as the base material. Although the actors Warwickshire Regiment’. and writers of Oh What a Lovely War may not have been witnesses to what happened in WW 1 they The theatre company, Fine Line, also draws on local had lived through the 1939-45 conflict and therefore associations for its production of Out of the Cage could readily relate to a previous generation’s war by Alex McSweeney which has just had its premiere experiences. The production also gave opportunity at Park Theatre Finsbury Park. His play, with an for community involvement and open discussion of all-female cast, focuses on a wartime tragedy in the war: Joan Littlewood describes in her memoir London: the explosion at the Silvertown Munitions Joan’s Book how members of the audience at Factory in January 1917 which killed and wounded Stratford East were invited to come on stage after many of the women working there. The cause of the the performance with memories, mementoes and blast was never established. The action takes place even ‘lines of dialogue which turned up in the show’. in the hours leading up to the tragedy. Among the topics passionately debated is the girls’ struggle This hugely creative partnership, which relied on for equal rights and pay: should they strike when extensive improvisation techniques to make the their country so desperately needs their labour for action come fully alive, recast the narrative of the the war effort? Live action on stage enables the war as a ‘theatrical chronicle’ in the style of a Pierrot audience to enter the world of the characters and show. The research done by the company enabled provides a precious opportunity for exploring the them to present a many-faceted picture of Britain hardships and difficult choices people faced in at war which included: patriotic fervour, conflicting these wartime years. political manoeuvres between the key nation players, the human suffering that soldiers on both sides The young director Lindsay Fraser made the endured, the ineptitude of military personnel in following comment in a newspaper interview which charge, the black humour people employed to cope reveals that we have still a lot to learn about what was with terrible events, and also the voices for peace that happening in Britain during WW 1 and emphasises struggled to be heard. A screen at the back of the why it is important that such new plays as Out of the stage was used to guide the audience through the Cage are written and performed. progress of the war by flashing up news headlines, I couldn’t believe that I had never heard about it and photographs and posters while popular songs, I didn’t know there had been an explosion which mime and dance punctuated the action. The satiric wiped out four blocks of the East End and could be portrayal of authority exuded the anti-establishment heard in Southampton and killed hundreds. I couldn’t irreverence we associate with 1960s Britain and believe that I hadn’t learned about it at school, having the exuberant Oh What a Lovely War has become grown up not that far away and having lived so close a modern stage classic. The recent Stratford East to it. revival is now on an extensive national tour. The use of archive material adopted by Joan Littlewood’s Theatre Workshop as an approach to representations of WW 1 has continued but the Further Reading: focus has become narrower as writers choose Heartbreak House by G.B. Shaw increasingly to focus their attention on one aspect, Journey’s End by R.C. Sherriff event or incident connected to a specific group of Oh What a Lovely War by Theatre Workshop, Charles soldiers or a local community. An example of this is Chilton, Gerry Raffles and Members of the Original Cast The Accrington Pals by Peter Whelan (1982) which Joan’s Book by Joan Littlewood tells the fortunes of local recruits in the battle of The Accrington Pals by Peter Whelan

WORD MATTERS SUMMER 2015 5 PRODUCING DICK AND DAISY Producing Dick and Daisy Nanette Ackerman

SEEDS OF DRAMA Four years later, I visited my passed without invitation, and, grandmother in her Cornish after being invalided out of the In 1955, at the age of ten, I cottage. She had little furniture and Canadian army, Richard returned remember sitting down to write very few possessions – except for to Hollywood to appear in Chaplin a play and asking: How would the a trunk full of theatrical mementos: films. More drama ensued when his audience react if a girl entered a silver tray given to her by the grown-up son unmasked his father stage right wearing a pair of bright actor-manager Francis Maude, a - now a film agent surrounded by red checked trousers? Wondering doll from the melodrama, East starlets - in San Francisco… about visual impact on the stage Lynne, together with a bundle of has stayed with me. I sit, in my letters tied up in a blue ribbon. . . It should come as no surprise mind, among the audience like a She used to lose herself in books that the anti-hero, Dick, who had little wraith, and watch from their which she read with the aid of a ridden off into the sunset should point of view. I suppose it is the huge spy-glass, and loved to walk so enchant the ladies – including will to entertain. But it’s not only down the country lanes with her an aged vicar’s wife: ‘What a about visual effects, it’s about dog. It was while she was out that fascinating man!’ she said rather words: spoken – not forgetting, I first turned the pages of her coyly. It had been my intention unspoken. I had limited lexicon scrapbook. In it, I discovered a to encourage sympathy for my as a little girl, so it’s little wonder photograph of her as a beautiful grandmother, Marguerite, and that ‘A Pair of Trousers’, never post-Edwardian actress, along with the little children left behind, but manifested onto the stage. a mysterious man who I learned nothing caught the imagination was my grandfather – a minor like Dick. Every time I gave public actor in the Chaplin films. The readings it was suggested that the seed of drama took root. story should be a play or a film. It had been difficult to piece together THE BOOK from shorthand notes, pictures and hear-say; but over fifty years Alias Richard Lee: Pictures of after finding my grandmother’s a Chaplin Actor was published scrapbook, I decided to produce in 2011. We learn through the play. It was a difficult job. The Marguerite’s narrative (drawn from story was so saturated in drama original memoirs) that Richard, that I scarcely knew where to deep in gambling debts, stole from begin. the Theatre Royal Haymarket, leading to a dramatic incident PRODUCTION WITHOUT with a gun. Soon afterwards, he A BUDGET skipped the country. He promised to send for the family when the Costumes, lighting and sound time was right, but instead they had been thought out, with all fell into poverty and Marguerite the changing effects calculated Marguerite disappeared onto the stage. Years to entertain the audience. Then

6 WORD MATTERS SUMMER 2015 PRODUCING DICK AND DAISY

I envisaged a revolving stage with three or four simple and effective sets; but I had neither the funds for this nor the larger space to accommodate it all. With no grant, very little help and on little more than two-thirds of a pension, how on earth was I going to present it? I decided, because of the Hollywood connection, that the opening would feature a gallery of old photographs on a back-screen accompanied by a 1907 recording of The Merry Widow Waltz to evoke the Edwardian ethos. As the play progressed, the photographs and other images would be played onto the screen to indicate time Richard, second from left,in Chaplin’s A Dog’s Life and place.

THE PLAY DICK: No, not yet. I haven’t had DAISY: I love St James’s. the chance. The play is held together by aged, JOHN: And I love – You’re so Marguerite (Daisy) who reads DAISY: Oh, but you must . beautiful Marguerite! and writes her memoirs. Here . . (Won over by his charm, she recalls her first meeting with Marguerite teases him) . . . DAISY: (Pulling away) What a Dick - although I had to imagine my strange kiss! way into this particular scene: ‘We DICK: Perhaps we could have tea met in my favourite place of all, St at the Haymarket? JOHN: Strange? James’s Park’. There are sounds of ducks quacking when the actors DAISY: Perhaps (Opens her DAISY: Yes, strange. I expected come into play. Their conversation parasol and frames her face) or to be thrilled, but was not. is now underway . . . perhaps not… JOHN: But Marguerite, I . . . DICK: . . . We bumped into each The oncoming lines actually come other at the Haymarket. from my grandmother. There is DAISY: I’m sorry, but you should a fascinating description in her not have kissed me. DAISY: You bumped into me and memoirs of an incident taking offended my mother. place over a hundred years ago in JOHN: Then I apologise – but 1911. More than two years after you’re so lovely. You were meant DICK: That’s me. Dick left her, and with no hope to be kissed. on the horizon, she was taken DAISY: You were the aspiring out for dinner by a handsome DAISY: By one man. I have a actor. You were going to be a young gentleman who had been husband who loves me. famous actor, were you not? paying her attention for several weeks, and who had called her JOHN: (Laughing cynically) Then DICK: Well, I hope to get lucky. ‘Little Bright Eyes’. In a letter, Dick he has a funny way of showing it – I’ve had a few parts. I’m up for Man had berated her for some ‘trivial going overseas and leaving you all and Superman. financial transaction’. She resented alone. it, and recklessly allowed the DAISY: The Shaw? I’ve read it. gentleman, whose name was John, DAISY: I have my babies. It’s about an adventurer. I hope he to see her home that evening. They bears no relation to you. (to the air) were walking through a London JOHN: All the more the cad. And That would be far too exciting. (to parks, when . . . I have heard . . . him) Have you read it?

WORD MATTERS SUMMER 2015 7 PRODUCING DICK AND DAISY

The first reading went fairly well; but being a lyrical soul, I am very conscious of the rhythms of language. For me, each word, phrase and sentence in the script should progress to the harmony of the whole play. If a word is missed out, changed, added, turned back- to-front, I see everything going out of shape. My script became a precious piece of art.

As we know, there is a pulse that pervades a piece of drama. Sometimes it’s slow and bounding, sometimes quick and weak. It may halt for a moment, but it is there –carrying along the minutiae of mood and feeling as pace, Richard on the stage pitch, tone inflection and pause come into play. Inflection can be subtle with a whole range of How dare you! (With learning.’ Daisy’s father had been DAISY: permutations to play with, and the restraint) I should like to go home lay Vicar of Westminster Abbey, a use of dramatic pause is evocative. now – and I shall not be seeing you Gentleman of Chapel Royal who So during the early readings, I was again . . . had sung for the king, but had disappointed if an actor’s inflection died of pneumonia aboard ship was different to my own idea, or Actors playing more than one role: returning from Canada where he they didn’t vary their pitch and Dick/John, for example, or simply had been performing Coronation pace as much as I felt they should changing costume need time and choral music. There was a clear – perhaps they neglected to pause the narrative allows for this. I play class division at work, but Daisy long enough. I was on tenterhooks my aged grandmother - although shunned the eager overtures of I don’t know that the presence wealthy Freddie of Chapel Royal, of the playwright throughout a endorsed by her mother, and production is a good idea. ‘married beneath her.’

STUDYING THE PARTS We learn, through Marguerite’s narrative that Richard, deep in After the actors had read the play gambling debts, stole from the themselves (in short) we discussed Theatre Royal Haymarket, leading Dick and Daisy and their differing to a dramatic incident with a gun. backgrounds in detail: Dick was Soon afterwards he skipped the the son of a drayman, a would-be country, promising to send for his actor, who lived in a two-up-two- wife and babies when the time was down house in Victoria, but it was right. The time was never right said that he possessed a certain and, after being invalided out of charm. Daisy, on the other hand, the Canadian army in 1916, Dick was a very beautiful gentleman’s appeared in the Chaplin films. daughter who lived in a large house More drama ensued when his ‘with miles of stairs’ in Belgravia. grown-up son unmasked his father She was brought up in a cultured – now a film-agent surrounded by environment and had studied starlets in San Francisco – adding music and poetry, whereas Dick’s colourful relief to a sombre tale . . . Marguerite and Richard, parents had no time for ‘book 1905/6

8 WORD MATTERS SUMMER 2015 PRODUCING DICK AND DAISY for the first few readings. I soon There follows the question. realised that had been reading When should actors be funny? the play like a closet drama, being The answer is not intentionally entertained by a piece of art. in the middle of a serious piece Things changed considerably once of drama. Yes, of course there is we got rid of our scripts. often natural humour in the midst of tragedy arising from the mix of Reading is one thing. The drama life; but in Dick and Daisy there only really happens when the is an unscrupulous child-minder actors actually get up and start called Mrs Hodges who Daisy’s bringing the script to life with children fear. In one production, I confluence; words and movement had to stop the actress who played arriving spontaneously, the her from developing a ‘funny walk’ dynamics (sometimes changing as she entered which immediately with each rehearsal) brings with robbed the scene of its austerity. it a freshness of approach. Dick, stumbling in drunk, pulls a gun ‘All this is obvious,’ you might and swings round pointing it at be tempted to say. Or is it? On random, for example, while Daisy, both these counts, there is one instinctively, rushes to protect the who put it in a nutshell: ‘Let the children . . . Dick’s grown-up son actors speak only what is set down giving him a sock on the jaw as he for them.’ And: ‘Do not set the Marguerite in Good Evening, unmasks his father . . . audience on to laugh.’ Palace Theatre, London, 1916

IMPROVISATION In general, actors wonder why so many stage directions are indicated There has been a great deal of How valuable is improvisation by the playwright. I don’t do this interest in Dick and Daisy - calls in all this? It certainly came in lightly, but if they are there, they are for it to be made into a film or handy when the actor playing there for a reason. Let’s go back to a musical, and two actors from Dick swirled out of control as the bright spring day when Daisy National Theatre wanted to play he staggered around drunk. He first meets Dick. I always hear an the parts; but I’m in no position to knocked the small table (that I sat anxious, inner voice: ‘For goodness put it on a contract at this stage, as narrator) and its contents flying. sake – don’t open your parasol to and hope that someone with a I was able to remain in character early or late!’ But this is the price a little more funding will develop it and improvise what a clumsy playwright has to pay when involved and give it the wonderful scenery old lady I was. Improvisation too closely with a production. and production it deserves. certainly has its place, and continuity sometimes demands it. Nevertheless, I am very cautious NANETTE ACKERMAN, BA, LLAM, TEFL here. For me a play is a work of Nanette Ackerman was born in Cambridge in 1945. She attended stage school as a young art, and I don’t subscribe to the girl and spent a brief spell as a singer. Many years later, after training as a nurse, she studied Theatre Workshop idea that all the LAMDA exams at the Hartley-Hodder School of Speech and Drama in Clifton, Bristol. As a licentiate of London Academy of Music and Dramatic Art, she has worked as a director and actors throw their hats into the speech and drama teacher, helping many young actors with their careers in theatre and film. ring and come up with the wrong Nanette loves animals, nature and literature - particularly Shakespeare and the Romantic ones. It is not my genre. Further to poets. She attempted her first play when she was ten. She subsequently produced several this, I had a historical tragedy on plays at theatres in the West Country, including the Little Theatre - Bristol, the Playhouse in Bath some years ago, for which I - Weston-Super-Mare and the Rondo in Bath. Her spectacular children’s play, Perils of the Pond, starring Tom O’Connor, was published by Bohemia in 1991. In addition to this, she thoroughly researched the idioms has given regular poetry readings on behalf of her author father, Charles Ackerman Berry, of the time. Bang in the middle, whose colourful childhood is remembered in her book, Alias Richard Lee: Pictures of a an actor improvised and launched Chaplin Actor (Redcliffe Press, Bristol). forth in contemporary language. Alias Richard Lee: Pictures of a Chaplin Actor, was the subject of a play at Barons Court Actors should not interpolate lines (Curtain-Up) Theatre, London, recently - under the title: Dick and Daisy. in a quest for realism, and careful Currently in demand for dramatic readings and talks related to her well-received book, consideration should be given to Nanette is kept busy writing, examining for New Era and teaching speech and drama. the period of the piece.

WORD MATTERS SUMMER 2015 9 A GOOD HEAD SHOT: YOUR CALLING CARD A Good Headshot Your Calling Card Lynne Collinson

A well composed professional headshot is important to everyone involved in the communication business, particularly if one is active on social media. Facebook, google, instagram, twitter, linked in and professional blogs can all be enhanced with the addition of a good quality photograph in order to give a positive first impression. Drama students too, can improve their chances of getting work if they have a good headshot on their resume, on casting websites and on social media pages. It can be good idea to be consistent and to use the same photo for all of your accounts so that you can be recognised and associated with the skill you are promoting.

In this digital age many people think and the photographer will have they can get away with photographs the personality to coax the best taken by friends and colleagues. It is expressions out of you. A good far easier to take a “selfie” and use photographer will get the lighting that on publicity material than to right and won’t over retouch. go to a professional photographer It follows then, that choosing for a good quality picture- cheaper a reputable and experienced too. By no means is it wasting photographer is paramount so time posing for headshots with anyone wanting headshots should friends as photographers; indeed do their homework. Have a look this can be very good practise for at photographer’s websites and the real thing and gets you used see what style of photography is to being in front of the camera. appealing to you and what suits the However, in order to look image you are trying to convey. your best, to present yourself One photographer who has visually in the clearest and most been in the business for nearly professional manner, it is essential thirty years, is East London based to use the talents and expertise Brandon Bishop. His clientbase of a reputable photographer. is countrywide and usually come That way your pictures won’t to him via agencies. Although look homemade; rather they he works primarily with actors, will look like you. Professional he has some good advice for studios have lighting equipment, anyone needing a headshot and good quality cameras and lenses

10 WORD MATTERS SUMMER 2015 A GOOD HEAD SHOT: YOUR CALLING CARD for students hoping to start a career in acting. He started his career, nearly three decades ago, assisting photographers taking still life (perfume bottles, cars) which is when he learned about lighting, then progressed to models and bands then faces, eyes and lips. A short conversation with Brandon reveals an outgoing and personable demeanour which immediately puts you at ease. He is a natural conversationalist – relaxed, charming and entertaining. All of these are ideal qualities for a photographer of headshots dealing with a variety of personalities and egos. In the past headshots were very investment in your career so much prescribed, particularly if you must choose wisely. they were for Spotlight. They were Brandon has fostered good also obviously on film and so very relations with several acting difficult to retouch. The advent agents which means he is able of digital photography has meant to discuss the type of look the that a series of shots are affordable client needs to show, and help and they can be retouched if the actor make better choices necessary. These days it is easy when it comes to selecting from to have a series of shots showing the series of final proofs. He a range of characters so you have has received recommendations photographs tailored to your also from casting directors. chosen job or audience. All these photographs will exist digitally, Having booked a two hour allowing you to upload three or shoot, it is important to arrive four different photos to the sites in good time and dressed of your choice. appropriately with a change of outfit to reflect a different Brandon says he works best style and to plan to get as much when the face of the subject is as possible out of the session. a blank canvas or make-up free. Different colours and different That way he can uncover the real clothes help to reflect a range. personality. The honesty of the headshot is paramount to creating As this is just a headshot, not a a marketable look, the photo full body, the key element for the must be a true representation photographer is to get the eyes of the subject and not a mere right- they are what the viewer is glamour shot that satisfies the ego drawn to first. Given that thoughts of the client. As far as the actor and feelings can be reflected is concerned the headshot must in their shape, the eyes must also appeal to the needs of casting reflect the personality the subject directors who often require a wants to convey whether it be range of look or a specific look. serious, humorous, professional, Whatever your reason is for authoritative, classy, urban, rough having a headshot taken, you must and so on as is shown in the always bear in mind that this is an photos above. The face must not

WORD MATTERS SUMMER 2015 11 A GOOD HEAD SHOT: YOUR CALLING CARD

or unsuitable. “ It is amazing how the actor and not an altered version.” a neckline can affect a look… A point further reinforced by for example a v neck can flatter a London based actor, Eamonn round faced person more than a Collinge round necked shirt. Clothes must complement the face.” “the most important thing about your head shot is that it must look like As far as choosing from the final you.Head shots that are moody or proofs is concerned this can be a in makeup costume etc or touched collaboration between the client up are worse than useless - directors and the photographer bearing in and casting agents are arranging a mind the photographer probably meeting because they are interested has the best idea which ones will in seeing you in the flesh based on work, or it may be predetermined your photo. Photos should be well lit by the needs of the agent. It is not with a neutral background usually 2 uncommon for a client to want main photos each showing a different the more flattering images when suggestion for your casting. I have one a gritty, natural look would work that says warm ,mischievous could be better in terms of securing work. an interesting dad/granddad the other A reputable photographer will a little darker bit more villainous, never allow a client to settle for a harder. “ poor set of photos. Canadian actor Marvin Karon who Keeping your headshots relevant runs a successful programme in is also important to consider. As Ontario called Shakespearience you age or change in looks so has this to add: your headshots must continue to reflect your true self so you “Virtually every (Canadian) casting must always be prepared to invest director who has addressed this issue in updated headshots as your in my camera classes has said: above career progresses. all, make sure the picture looks like you. Producers and directors HATE Agent Ruth Walker from Ruth surprises. Make sure your picture Walker Management maintains: looks like you when you walk in “As a theatrical agent for actors, the room.” there are several things that are of In summation here is an importance; however the main one is encouraging quote from Brandon’s obtaining the ‘right’ head shot. This website is generally the first exposure of you, the artist, an agent/casting director/ “I love my job; it’s about taking be too animated, subtle smiles are director/producer will see, apart from pictures of people that don’t like more effective. The photographer your cv! It has to capture the essence having their pictures done. Working also needs to be able to help the of YOU, as well as showing your with different people, trying to give subject relax. Actors in particular versatility, the ability to play a variety them a set of pictures which gives find it difficult to be themselves of roles in a variety of genres, without them some different but honest when being photographed so time pigeon holing yourself as a type. This opinions of themselves. Them on a must be taken to show their true is not an easy task and takes a well good day! self. Sometimes this can take till practiced, accomplished photographer Pretty much most actors, hate almost the end of the shoot and to not only understand the having their pictures done, they’re when that happens the first few requirements but to fulfil the brief. ok at playing characters on screen photos have to be reshot even, if it From my point of view - the head shot or stage but don’t like having to be means a change of outfit. is probably, apart from cv and talent, themselves in front of stills camera. A good photographer will always the most important asset an actor My job is all about making them feel have spare clothes on hand in case needs - it therefore stands to reason comfortable and having a laugh.” the clients own are unflattering that it needs to be a photo that shows

12 WORD MATTERS SUMMER 2015 WORKING WITH JOAN LITTLEWOOD Working with Joan Littlewood By John Wallbank All photos by kind permission of All photos by kind permission Theatre Royal, East Stratford

The following article commemorates the life and work of Joan Littlewood (1914-2002). John Wallbank who worked with her at Stratford East for several years and remained a lifelong friend, gives his personal reminiscences.

WORD MATTERS SUMMER 2015 13 WORKING WITH JOAN LITTLEWOOD

Joan Littlewoods’s company Theatre Workshop was formed Joan outlined the story of the play and the way it was at Kendal in 1945 by five members of the pre-war Theatre developing; she said she wanted to add some music to link Union using pooled resources. They toured Westmorland and scenes and underscore bits of action in the play. Probably Cumberland, then continued to tour extensively in Britain noting our slight diffidence, she said that within all of us there and Europe. In 1952 they came to London, to the Embassy is genius and it was part of her job as a producer (she disliked Theatre in Swiss Cottage (now the Central School of Speech being called a director) to help people to find it in themselves. and Drama) and the Comedy Theatre. In 1953 the Theatre Words you don’t forget. We saw some rehearsals the next day, Royal Stratford became available and the company moved in played her some music and we got the job. We also acquired for a season, later taking a lease and eventually owning the a name: The Apex Jazz Trio. We were paid £10.00 each for the building. Initially most of the company lived in the theatre. For five week run of the play. many years the company received very little financial support In 1958 I was doing my National Service. I was a bandsman from the Arts Council. In 1961 Joan’s partner Gerry Raffles in the Fighter Command Military Band at RAF Stanmore. We acquired the freeholds from the owners of various parts of rehearsed for about three hours a day with the occasional the building. In later years this provided Joan with a modest parade or playing selections of show music at Officers’ Wives income. Following Gerry’s death in 1975 Joan vowed never to Garden Parties. I lived at home in Ilford most of the time. Phil go to the Theatre Royal again or direct another play. She did go was a customs clerk with the Co-op and Olaf a typographer. to the theatre once in February 1995 to see Zorro written and directed by Ken Hill. Ken had died a few days before the show The cast of A Taste of Honey consisted of Avis Bunnage, Frances opened. Sadly she did not enjoy the production. Cuka, Murray Melvin, John Bay and Jimmy Moore. I can’t remember much about the rehearsal period except how funny I first met Joan at the Theatre Royal Stratford in May 1958. She Avis Bunnage was and how much of her dialogue was directed was in rehearsal for Shelagh Delaney’s play A Taste of Honey. I straight at the audience. Joan’s directorial skills were evident had previously seen her playing Amanda Wingfield in The Glass to a theatre ignoramus like me. I was amazed at the rapport Menagerie directed by Clifford Williams. between her and the cast. There was a continual exchange of My introduction to Theatre Workshop was via Margaret Bury ideas to solve problems and to ‘tune’ the script. The dialogue (Maggie) who later founded of the E15 Acting School.1 Maggie was close to naturalistic but the performances particularly acted with the Theatre Workshop Company and was married from Avis Bunnage often verged on music hall. Olaf wrote to John Bury their designer. She was running an amateur drama one new tune ‘Black Boy’ – a variation of a folk tune that Joan group in Leytonstone. Two friends Tony Leah and Keith Phillips sang to him – while the rest of the music was traditional jazz (Phil) suggested I should join. We appeared in a production standards and improvised blues. I had permission from the of Eastward Ho by Ben Jonson, John Marston and George Band Master at RAF Stanmore to do the show for reasons of Chapman, a challenging undertaking for a group whose average ‘possible professional advancement’. age was 20. I hadn’t been in a play since a school nativity play A Taste of Honey started its 5 week run and was a success. I when I was six. John Bury lit the show. I helped him rig the spent my last few months of National Service between military lights and put bits of set together. He loftily commented that I band rehearsals and the Theatre Royal. With my ample free appeared to know what I was doing. time I made myself useful at the theatre mainly helping John Bury building scenery and doing bits of maintenance. I was Maggie, hearing that Joan needed some music for a new play, becoming very interested in ‘theatre’. I have always been said she had two aspiring Jazz musicians in her drama group very inquisitive and at the age of 20 I was absorbing a lot of – myself and Keith Phillips (Phil). A meeting was arranged at knowledge. I was absorbing everything about theatre. It was the Theatre Royal. With some trepidation Phil and I, with our the sort of introduction to what became my profession that no guitarist Olaf Luinberg, arrived at the theatre not really Drama School could provide. knowing what we were there for and perhaps doubting our musical abilities. Joan put us at our ease: her first words to The rest is I, suppose, history. Following its production at us were a comment on the dressing room we were meeting Stratford A Taste of Honey ran in the West End, at Wyndham’s in. Olaf recalls her saying, ‘This room smells of tiger piss. Yes Theatre from February 1959 for two years and has been it’s definitely tiger piss it’s stronger than cat piss’. The actor recently revived at the Stratford. Murray Melvin was also at the meeting and Avis Bunnage When I was asked if I wanted to join the show in the West joined us later. End, I said yes. Who wouldn’t! I ended National Service a month before the opening and had to inform the Grocery Department at the Co-operative Wholesale Society that I would not be returning to my previous employment as a 1 Maggie remarried now known as Margaret Walker. She died in 2013. When free from TW duties I worked on some early E15 Grocery Buyer. My earnings went from £3.50 pw in the RAF student productions. to £18.20 at Wyndhams Theatre.

14 WORD MATTERS SUMMER 2015 WORKING WITH JOAN LITTLEWOOD

Working with Joan I became used to her various ‘games’ were mainly well known Irish songs but with different lyrics but first I saw them put to use at the initial rehearsal call that I found were very funny even though I had not read at Wyndhams. Joan got the cast to do bits of the play to what there was of a script. I wasn’t able to help musically familiarise them with the theatre and adjust to a larger but actor Dudley Sutton found a wonderful pianist, Kate auditorium with a large gallery, about twice the size of O’Conner, and a violinist George Harvey-Webb who was Stratford. She sat at the back of the gallery shouting when a Latin Master at Chigwell School. George gave up Latin necessary ‘louder’ and ‘beginnings and ends of sentences’. She for show biz. He worked back stage for a while and later then asked me to go to other parts of the auditorium to check taught at the E15 acting school. Theatre Workshop had a for levels, and I was encouraged to comment on any problems. long tradition of collecting people.2 My contributions to The She would sometimes get the company to sing scenes in an Hostage were some bugle calls and four bars of jazz that operatic manner to get them to over-dramatize the action. were cut and helping John Bury build the set. Another game was to swap parts and gender. She used these They also gave me the script of what became the musical various games to get actors to ‘free up’ and also to hear their Fings Ain’t What They Used T’be by Frank Norman and asked dialogue spoken by others. my opinion. I read it in the green room and thought it was I had to rehearse the band as Phil and Olaf had been called very melodramatic but an original look at Soho low life. Gerry up for National Service. I wanted to add a tenor saxophone felt it would make a musical: Joan was less certain. On the as Phil had doubled on tenor saxophone and drums but I was recommendation of Anne Jenkins, General Manager of Donald told no so we ended up with a trumpet, guitar and bass trio. Albery’s production company, they approached Lionel Bart I still think it was a mistake not to add another voice. There who had written a musical version of Volpone called Wally Pone were two changes of cast: John Bay was replaced by Nigel for Unity Theatre which was situated near St Pancras. Davenport and Jimmy Moore by Clifton Jones. Jimmy who My own first show with Joan was Ned Kelly. It had a large worked as a singer on cruise ships could not be found. The cast including Harry H Corbett who was returning to the play lost something with the two cast changes. The play was in Stratford having been away for five years, Avis Bunnage who many ways a creation of the original cast, Joan and Shelagh. The had been in Chorlton Rep with Harry and had been with show opened on the 10th of February 1959 to good notices. It Theatre Workshop since 1952, Brian Murphy, Glynn Edwards transferred to the Criterion Theatre in June to make way for plus actors new to the company including four from Sam the another TW success The Hostage by Brendan Behan. Highest Jumper of Them All – Frank Coda, Griffith Davies, Clair With A Taste of Honey coming to an end (it closed in December Isbister and Michael Forest. Griff and Frank were in many 1959) I asked Gerry Raffles if I could work as an assistant future TW productions. stage manager for the next season. Everyone seemed to think Joan didn’t like ‘read throughs’ but asked me whether we it was a good idea but there was a problem – Gerry didn’t should have one. I hadn’t a clue but with many actors new get an experienced stage manager! So my initial attempts at to the company I said it might be useful as a ‘meet and greet’ stage management were a ‘deep end’ experience. However exercise. As she had previously said that she had no idea if Gerry had engaged Iris Ringer as production secretary who the ‘new lot’ could act I suggested starting on stage with was brilliant. She noted all script changes in shorthand and the company and working through a scene which involved typed them up in the evening for rehearsal next day. We everybody. This she did. At the end of the first day she gave were assisted by Bill Douglas who later went to the London me a couple of names that she didn’t want so I, as politely as Film School and became a successful film director. He is possible, told them that Joan didn’t think they were quite right remembered for his films My Childhood, My Ain Folk and My Way for the play or some such similar words. The next day I had to Home: The Bill Douglas Trilogy. The first show I stage managed do it again. I then spoke to Gerry and we agreed that after one was Sam the Highest Jumper of Them All written and directed day’s rehearsal I would say that their services were no longer by William Saroyan. It opened on the 6th of April 1960 to required, after which Gerry would be the ‘bringer of bad news.’ indifferent notices. It was however a useful run in to working with Joan. The production period was difficult, much of the script was reworked and problems were sometimes solved by I was flattered that my opinions were often sought by Joan. This improvising the scene. Getting away from the written page can was something that Joan did: she later told me that opinions of often resolve structural problems and find what the scene is people like myself – who were ‘uncorrupted by F…ing show all about; it can also give clarity to the various relationships businesss’ –were of more value to her. A sort of compliment? between characters to give a purpose or value to the story Instances of my being consulted include one evening when you are telling and getting to the truth of the scene. Joan had Joan and Gerry Raffles, the General Manager of Theatre an unjustified reputation regarding improvising. She used it Workshop, asked me to listen to a tape of Brendan Behan’s uncle singing songs that would be part of Theatre 2 Howard Goorney. The Theatre Workshop Story. (London 1981) pp Workshop’s next production, Behan’s The Hostage. These 186-195. Available from Amazon. WORD MATTERS SUMMER 2015 15 Photo by kind permission of Theatre Royal, Stratford East

st ‘-Writing Joan’s Book Joan’s

4 We’re Just Not We’re and many other shows. I was other shows. and many When Rankin began to ask about ’. by Alan Owen Alan Owen by to the Park Progress by James Goldman. James by

5 Slowly that group of actors left, the principal reason the principal reason left, of actors that group Slowly 3 . But it’s not a place you ever leave. I leave. ever not a place you it’s But . Beyond the Fringe Howard Goorney. Ibid London 1981 Goorney. Howard London Methuen 1994 p.464 Joan’s Book. London 2014 p.4 Rankin, Peter Dreams and Realities. Joan Littlewood: I worked at Stratford until mid-1962 when I left to stage until mid-1962 at Stratford I worked manage I built a large part of ‘help out’. back to being asked was always Oh What the set for a War Lovely and served on the committee years many member for a board scheme. the £4,000,000.00 redevelopment for TW was a period of time at I had left that my after I realized the main strain on the company 1945 to 1953 From change. August to In 1945, was survival of touring. and the rigours with 3 productions. venues to 13 toured December they At with 4 productions. 28 venues to toured In 1946 they of which went two 17 plays, produced they in 1953 Stratford In weeks. two A majority ran for to the Edinburgh Festival. ‘This concentrated period of plays. 16 produced 1954 they the strengthened enormously and playing training rehearsing at and 1956 the vintage years and made 1954/55 company Stratford.’ 1961 prior to opening at Wyndhams Theatre where it ran for it ran for where Theatre Wyndhams opening at 1961 prior to I stage managed at Stratford show The last a month. just over was They Might be Giants being that they needed to earn more money. Wages in that Wages money. needed to earn more being that they which meant accepting £4.00 per week around period were Harry H Corbett was to supplement. work film and television earn some money.’ ‘To one of those who left 3 4 5 There was of course a lot of great work to come but the loss work was of course a lot of great There years In a restaurant of Harry later. and George still hurt years many in contact over kept We after she explained it all to me. Secretary of the a while I was the Company and for years from Theatre Gerry the set up by owned Raffles that company all this f…ing paper ‘What’s a modest salary. drew which Joan in her notes. comment sending me?’ was a frequent keep you influences many were There genius? to sum up Joan’s How Rudolf Stanislavski, Konstantin include: They on her work. and many Grotowski Jerzy Artaud, Antonin Jan Kott, Laban, her actors and could also She took inspiration from others. though her ways She was in many on them. be very hard Jobs. I was working night and day to make a script. There was no was There a script. and day to make working night I was Jobs. anything else.’ time for Joan said to Peter Rankin when she was writing said to Peter Joan she interjected Behan and Shelagh Delaney, Brendan that ‘Harrythat leaving the company was Cooper Corbett and George the end Workshop of Theatre and directed by Harry H Corbett. I had a small part I had a small in a Harry by H Corbett. and directed a by followed This was band. Army Salvation 1 on March was revived Sparrows disaster. a bit of a , Practical given bunches of flowers. In pre Berlin wall days the Festival the Festival wall days Berlin In pre of flowers. bunches given joint venture. was a was The next production If you meet ’, The hostage (Leslie) ’, The Hostage on the The Hostage . Joan was not keen on keen was not Joan . of October. The theatre was The theatre of October. th for similar reasons. for was challenging, not for me not for was challenging, Ned Kelly by Ben Jonson. It was a very good It was a very good Ben Jonson. by The Bells of Hell Go Ding-a-ling-a-ling and of July. nd 1960. We took it to the Berlin Festival for three three for the Berlin Festival took it to We 1960. th. th. Oh What a War Lovely WORD MATTERS SUMMER 2015 WORD MATTERS

performances on the 3, 4 and 5 on the 3, performances August 24 by Stephen Lewis was next and opened on Stephen Lewis Can’t Sing by Sparrows Stratford on the 2 Stratford (Theatre de la Ville)) for a week in June 1960 and opened it at in June a week Ville)) for de la (Theatre Every Man in His Humour Theatre took it to Paris to the Sarah Bernhard We production. The next production I was involved with was a classic I was involved The next production resulting in small audiences. resulting the equine escape bit. The show received indifferent notices indifferent received The show bit. the equine escape his performance improved when he stopped worrying about when he stopped worrying improved his performance for the big set for the next show and a horse. Harry reckoned Harry reckoned and a horse. next show the the big set for for so the horse was fired on grounds that there was no space that there on grounds so the horse was fired urinated. The stage was raked! Joan had gone away for break break for away had gone Joan The stage was raked! urinated. after its big number but on a matinee day in between shows it shows in between but on a matinee day after its big number where it bit me. Usually it went out of the theatre straight out of the theatre it went Usually it bit me. where ‘the knackers yard’. I still have a faint scar on my stomach a faint scar on my I still have yard’. ‘the knackers horse looked more suited to a milk round or as Harry said suited to a milk round more horse looked away but with little wing space visually it never worked, the worked, it never but with little wing space visually away diving through a window and leaping on the horse and riding and leaping a window diving through a horse for Ned to escape on which had Harry Ned to escape H Corbett a horse for what’s over and I’ll say good night to you night and I’ll say good over what’s end of wanted Joan to Joan. actors new to the script and several stands up and sings the whole cast sing Barry, to a tune of Kevin then, the Pru/Have a pint with and the young man from the undertaker She changed the with a dead body on stage. ending the show period of The production changes many were There cast. the but for ‘learner SM’, as a foreign countryforeign and at home he had no one I’ll never forget you Leslie, till the end of time. He died in a He died in a till the end of time. you Leslie, forget I’ll never saying, Following a short scene that ends with the servant girl Teresa Teresa a short servant scene that ends with the Following girl there is a gunshot, and the hostage is dead on the stage. the stage. and the hostage is dead on is a gunshot, there hostage was shot was pure genius: there is a raid, chaos reigns, chaos reigns, is a raid, there genius: hostage was shot was pure three was done and the show was ready. The end when the was ready. the show was done and three scenes, set them, developed the dialogue and in one day act the dialogue and in one day developed set them, scenes, to her working with her, fleshed out a story line, improvised improvised fleshed out a story line, with her, to her working Joan and the cast, which consisted principally of actors used of actors used principally which consisted and the cast, Joan a sort of scenario and an end when the hostage is shot. So a sort shot. of scenario and an end when the hostage is in awe was a rehearsal of act three of three of act was a rehearsal in awe It had written one. hadn’t Brendan was no act three, was there An illustration of Joan’s use of improvisation that I witnessed use of improvisation An illustration of Joan’s The problem it opened in October 1958. just before Saturday were not taught or even discussed at British Drama schools. discussed at British Drama taught or even not were possible to introduce and educate actors to methods that educate actors to methods and possible to introduce in 1953 had left and with limited rehearsal time it was not time it was not left and with limited rehearsal in 1953 had for characters. Many of the company that came to Stratford that came to Stratford company of the Many characters. for methods of breaking a play in to units of action and objectives and objectives in to units of action a play breaking methods of By the late 1950s Joan was moving away from Stanislavski’s Stanislavski’s from away was moving Joan late 1950s By the mainly as a process of discovery and, in a way, of recovery. of recovery. way, in a and, discovery of as a process mainly WORKING WITH JOAN LITTLEWOOD JOAN WITH WORKING Some of the good seeds blown from the west’ and Airport the west’ from seeds blown ‘Some of the good as the Maxim Gorki. The company were greeted at Schoenefeld at Schoenefeld greeted were The company the Maxim Gorki. 16 WORKING WITH JOAN LITTLEWOOD Photo by kind permission of Photo by kind permission Theatre Royal, East Stratford

A Taste of Honey Stratford East 1958 Johnny Wallbank (cornet) Keith Phillips (Tenor Sax) Olaf Luinberg (guitar) Annette Robinson (Helen) Jimmie Moore (The Boy)

own inspiration. She was extremely well read. Except for The when a familiar voice rang out: Johnnie Wallbank, are you the Hostage all the productions I worked on were designed and lit bastard who organised this?6 by John Bury but Joan was very much involved in the process John Wallbank has spent over 50 years in theatre which and took part in lighting sessions. include: 1958 -1970: 5 years with Joan Littlewood’s Theatre When I’m asked, ‘What did you do at Theatre Workshop?’ I Workshop as musician, stage manager, set builder and installer usually say everything except work in the box office. A better of complicated flying systems – Stage manager of Beyond The question would be what did you learn at Theatre Workshop? Fringe and Master Carpenter at Wyndhams theatre – touring I had no formal theatre training. I would say practically shows including Oliver – Production Manager at Lincoln everything I know and have put to use in a long career in Rep: 1970 – 1987 Stage manager for RSC’s After Haggerty – theatre came from the five years spent in and around Theatre association with Knightsbridge Theatrical Productions: 1987 Workshop. I later went to university but Stratford was my first. formed management and production company John Wallbank Associates Ltd: 1991-95 Theatre Director Churchill Theatre A final memory of Joan: The Society of London Theatre in Bromley – manager/programmer at Ambassadors’ Theatre 1983 honoured her with a Lifetime Achievement Award. At –served on Arts Council Advisory panel: 2008 supposed the awards ceremony when her award was announced she retirement but continues to research theatre/history topics grabbed a flower ran onto the Drury Lane stage. On receiving and lectures for WEA – He still plays the Trumpet regularly which her award she said, You only gave me this because I went away . is how he started his theatrical career. She then knelt down, kissed the stage, rose and said: This is the land where no one dies.

Later after the awards were done I was in the foyer chatting 6 Murray Melvin’s and my memory of the event and Peter Rankin ibid p259

WORD MATTERS SUMMER 2015 17 VOICE COACHES

Voice Coaches: The Big Gob Squad and the Accent Kit Lynne Collinson

The Big Gob Squad combines 50 years of experience, insight, top tips and essential tools needed to work with any accent or voice issue. The team, comprising Edda Sharpe (E), Jan Haydn Rowles (J) and Richard Ryder (R), spoke to Lynne Collinson about their work as Voice Coaches.

According to their website Edda, Jan and Richard are on the call sheets for HBO, Sky and Warner Bros. on the rehearsal schedules for the Royal National Theatre, Royal Shakespeare Company and Shakespeare’s Globe, and in the address books of leading theatre producers and directors. Their highly skilled yet invisible work can be heard across the creative industries, from Hollywood to Halifax, London to Lisbon, Darwin to Derby and Tokyo to Tinseltown!

Q What is the work you are involved in and why did comfortable in the front line, but loved teaching and you choose it as a career? coaching, so used my voice skills to train on the MA J: The team at The ACCENT KIT are all Accent and Voice Studies course more than 10 years ago...and here Dialect Coaches, although the Americans refer to us I am, creating the first accent app of its kind with its own as Dialogue Coaches. Collectively we have 50 years library in the world, with two of the best accent/voice experience. We started our company ‘The Big Gob coaches in the UK, the three of us being at the top our Squad’ BGS in 2013. game and calling ourselves The Big Gob Squad. I had always thought I wanted to be an actor. In my first year of drama school I realised I loved the rehearsal Q There are very few accent coaches. How do you process but not performing. It was at drama school promote you business? I discovered my love of voice and accents. My voice J: Nowadays my work comes from word of mouth and teacher was Lynn Darnley who has recently retired from via my agent. the RSC. She encouraged me to train as a Voice coach BGS have been busy promoting The ACCENT Kit and the rest is history! through blogs, vlogs, articles and features, workshops, E: I work as a voice and dialect coach in theatre, TV social media, and through our ‘community’ or as we like and the occasional film. I also work as a communication to call it our ‘squad’ BGS have coached an extensive coach for business clients in both the public and private community of actors, directors and teachers over the sectors. years. I originally chose it as a career as the ideal way of E: Now that is something I have never been good at. combining my love of theatre and linguistics. It is also a ALL my work comes from word of mouth, so I guess career that has huge variety, is lots of fun, and where I people must be saying nice things, as I seem to keep feel I can educate, liberate and have fun! busy! R: An accent and voice coach mainly in the theatre but R: Mainly through word of mouth because of the high also in TV, film and business voice coaching. I think it profile and the high number of actors I work with, and chose me! I started working behind the scenes in my also Producers and Directors contacting me either first life as a men’s bespoke tailor, then moved front of directly or through my agent. stage as a singer and actor, then found I wasn’t very

18 WORD MATTERS SUMMER 2015 VOICE COACHES

Q: Could you explain more about your community? E: The material itself is based on the basic breakdowns J: During our ACCENT KIT planning stages we realised and check-lists that we as coaches use when we are that collectively we’d worked with over 20,000 students & preparing to coach an accent. They are based on the actors and several hundred directors and teachers. work we did for the book How To Do Accents. That’s an extremely large community of theatre R: Through our research we discovered that most practitioners. We reached out to many of them to ask actors wanted and want easy access to accents for for help recruiting accent contributors subsequently that last minute audition. So we thought the first batch we are extremely grateful for their help. The community of accents would need to be those that are most recorded their neighbours, colleagues, contacts, friends commonly requested in the UK. We then spent some and families and furnished us with willing contacts for us time discussing the simplest breakdown for an actor and meet and record. Contributors have been hugely excited based this work on Jan and Edda’s previous book. to help us archive their accent and their community. We belong to a global village of actors, performers, Q How easy is it to learn/teach an accent? trainers, teachers and theatre practitioners. We’d love J: It’s like any skill, once you know the structure then our app to reach all of them. the process isn’t quite so overwhelming. Actors often struggle with knowing where to start or how to ‘listen’ Q: When you were planning the App how did you to all the new information. We have distilled years of decide on the content? teaching experience into manageable bite sized chunks J: We contacted 50 actors and asked them ‘What would which guides the listener through the structure inherent an Accent app do for you?’ in learning any accent. A popular request was for them to speak their lines in E: Learning is easy when you know how! Teaching is their own accent and for it to repeat the lines in a new very different depending on the individual. Some people chosen accent!’ Sadly technology isn’t that advanced yet! want instant results, and are satisfied pretty quickly, There were 2 common requests. others need more reassurance, and have a slower 1) Can you help me build my own personal accent library process, but when they have an understanding of the appropriate to my gender and playing age? underlying structures, it really helps. But I do believe 2) I want to be able to listen and learn on the move. anyone can learn a new accent - after all, if they’ve done With this in mind we decided to build an Accent Store. it once (learning their own) they can do it again! The advantage of having an in-app store is that we can R: Learning the skills of how to develop a new accent keep adding new layers to the store. We can respond is like any other new task. You need to discover the to current writing trends that may have specific accent techniques of how the accent is broken down and how requirements. We have more flexibility with what we your muscles work and then practise, practise, practise. add and when we do it! We can offer themed bundles For someone learning a new accent, how much they such as offering a variety of accents needed for a play. are able to develop the sounds will depend on their Most importantly we can respond to the needs of our commitment and ear. community & they can buy on a need to basis which keeps the cost down.

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Q What would consider your greatest achievements with their knowledge and their resources. The feel of so far? a community of coaches is so much stronger and so J: Well apart from the app which has been a fantastic much healthier than it used to be. And of course, the learning experience... Internet has changed everything. There are just so many I once coached a profoundly deaf actor how to do examples available, and it is so much easier to contact Glaswegian accent. It was a journey of discovery which groups and sources from around the world. Once I’m on subsequently had a huge impact on my work. I have a production I become slightly obsessed with listening always visualised sound, and experience it physically to as many samples of the accent as I can, to get an & kinaesthetically. The auditory element is interwoven overview of the accent, then I will pick one or two that in the above. Whilst coaching her I discovered I could have the right qualities for the production, and begin teach someone to see, feel and physicalise an accent. to analysis and break it down more thoroughly. I will Her accent was faultless. share the selected samples with the director to be sure A hugely satisfying experience has been coaching that they match what they were imagining, and we will several anxious actors to pronounce, learn, remember discuss possibilities. It is so important to get the right and of course be able to act in ‘Valyrian’ a made up sound for the production and audience. It is not always language spoken on Game of Thrones. about using the absolute authentic sound. E: Outside of family, I think the first book How To Do R: Internet, audio samples from the internet and CD’s Accents was a huge achievement, and this app as well, and the needs of the director. Also the actor’s capabilities of course. And my consistent work for over 18 years at and their knowledge and information The Shaw Festival Theatre. There was a production there of The Detective Story about 10 years ago, with some of Q: How do you collaborate with your actors? the most heavyweight senior male actors in the company J: One element of collaboration is about getting to and a wonderful director, all of whom were very nervous know how the actor learns and experiences accent of having a dialect coach involved. It was set in New accusation. Every actor has their own way of learning, York police department. Before long I had them working it’s really about deciphering very quickly what approach together and committed to the process, and the results is going to help them. were magical. It was a test of all the skills a dialect coach E: Whole process is one of collaboration! Working at needs! their pace, in their way, often on their timeframe, but R: When I think about it, there seem so many in all also pushing them, encouraging them, and giving them walks of my life. I think one of my greatest achievements confidence. And always remembering that it is their after the app, is working in the voice department of the performance that is on the line. I am just the coach: they National Theatre and being privileged to be in rehearsal are the ones that actually have to do it! rooms every day with the some of the most talented R: The first thing I do is work out where they are with creators of theatre in the world. the accent and ask them how they learn and what their experience of accent work is. Q: How do you research your accents? Who is involved? Q: What comprises a typical ACCENT COACHING J: I usually consult with the director or actor about the day? character and the world of the play/script. It’s important J: That’s the most wonderful aspect of my job, there is to research the right period and style. Directors often no typical day. When I’m back in London I might spend a have something in mind, almost as if they have a day coaching private clients in my work space or I might soundscape of how they imagine the play to sound be in the rehearsal room for a theatre company or on like. If they don’t it’s my role is to play detective and set or location in and around London. And more than glean from them how they feel the characters speak and likely hopping on a train to record more speakers for the orchestrate the characters voices and accents. ACCENT store followed by a day of editing. The Internet is a most wonderful thing, you can often If I’m away working on film, then invariable I’m up at find useful resources, but you have to know exactly what 5am. Picked up at 5:30am, breakfast at 6am, coaching or you’re looking for. The British sound archive at the British doing warm ups in between the actors’ hair/make up and library is a fantastic resource. But thankfully for actors costume calls. Followed by rehearsals at 7am, camera and teachers we’ve redefined the sourcing of accents turns over at 8am. Then I’m on set all day with my head with our app. phones on, listening, going in for ‘final checks’ and E: I get asked this question a lot, and it always makes talking to the actor, giving them notes when necessary, me think about how it used to be, before the Internet, checking in with the Director that all is well. Hopefully before computers and mobile phones! In those days I we’ll wrap at 6pm or 7pm and then it’s back home and in would beg steal or borrow samples, look up community bed by 9:30pm. centres and cultural groups, visit sound archives, and E: Like Jan, there is no ‘typical day’. I live out of London make many of my own recordings. I remember that so sadly a lot of my time may be spent driving up to cassette tapes of samples used to be such a precious Stratford, or on the train to London, or elsewhere! I also and guarded commodity in the world of the Dialect spend quite a lot of time on Skype, doing one-to-one Coach. Nowadays people are much more generous coaching, which provides a little respite from all the

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Tongue (English) so I had to create an accent based on the speech sounds of a made up language. Interesting! I also love it when I’m asked to coach a dual accent. Such as a Brazilian who now lives in Newcastle or someone from Madrid who now lives in Dublin. E: Nothing to touch Jan’s! Though have had to do some old East Coast North American accents in my time, which are a peculiar blend of English, Irish and American. R: I’m not sure I’ve had unusual accents like Jan. Unusual ones for me I suppose would be those that I don’t coach very often or aren’t used very often in the UK, perhaps the Romani Irish accent would be an unusual one for me.

Q: Are you involved in actor training? J: I’m not at the moment, but I spent 12 years working in numerous Drama Schools. E: Not any more, though I miss it like crazy! I was head of voice at E15 for 3 years, and have also taught travelling. A typical day depends on the client. While at in most of the major drama schools in the London area. The Shaw Festival my typical day may involve attending I occasionally visit a drama school as a guest lecturer, a rehearsal in the morning and seeing 4 or 5 actors for which I really enjoy. one to one coaching in the afternoon, with maybe a R: That’s an interesting question, because I assume you dress rehearsal in the evening. Theatre work never starts mean in drama schools. I haven’t taught in drama school before 10.00 am, which is such a luxury, but it often for about two years now, but the training often continues doesn’t end until 11pm. When I have a corporate client in large theatre organisations, where many actors are the day starts a lot earlier, but ends at 5.30pm sharp! cast for their raw talent and haven’t had any long term R: I’m not sure there is one! It could be a call sheet full time actor training in voice and movement. Therefore from the day before giving me times for one to one those skills we were using to train actors in drama coaching with the actors. Or I could be sitting in the schools are vitally important in the professional arena, rehearsal room watching and listening to scenes and as the stakes are higher for the actor. The actor has to then taking the actors off to go through their text. What’s get to tip top performance condition with all the voice so wonderful about this job is no day is the same. and movement skills added in over a four to six week period rather than a one or three year training period. I Q: How much of your work is ‘in the field’? also continue to work with private clients to develop their J: Yep often in a field, up a mountain, in a quarry, by a vocal skills for the cultural industries. stream, deep in snow, surrounded by fake snow, in the searing heat, stranded in the desert, trying to keep warm in a cold studio, on a busy street with hundreds of extras, Q: Do you think a ‘good ear’ is a skill that can be or scrunched up in a dark hovel of a room! taught? R: Ha ha yes, as Jan says, much of our work tends to be J: Absolutely. The person with a ‘good ear’ may not in the field! necessarily know ‘how’ they have produced a set of sounds, they just have the ability to hear it ‘download’ Q: Is your work mainly in film and television or are it and with no conscious thought, out it comes! But you involved in radio and theatre as well? others need to be taught that process. They need to J: My work nowadays is mostly in Film and TV. I miss ‘consciously’ learn a step by step process. It’s not that Theatre so I aim to do a couple of plays a year. I miss the people have a bad ear as such, but rather their brains buzz of the rehearsal room. ears and mouths are over whelmed and so they don’t E: My work is predominantly theatre, with some TV and know what to tune in to and any given point. the occasional film. E: I absolutely do. Just like people who are ‘tone deaf’ R: Mainly in theatre though currently I have a very good can be taught to sing. I find that a ‘good ear’ for accents balance of theatre, TV and corporate coaching, which usually means someone who has found it easy to can sometimes be tricky juggling them in order to keep connect the senses in an accent, connecting what they them all going. hear to a physical and even visual sensation that they then reproduce. It’s almost a kind of synthesis. But this Q: What is the most unusual accent you have really can be taught. coached? J: In Game of Thrones some characters speak Valyrian as their first language and they also speak Common

WORD MATTERS SUMMER 2015 21 VOICE COACHES

Q: Have you any advice for teachers whose students class in acting!” It sounds a bit corny but it really is need help with a particular accent? like one big happy family, as most of the crew have J: Sometimes a student will say ‘I’m not very good at worked on the show since the beginning. That’s partly such and such accent’ and then you find out that they due to our extraordinary producers and writers who have only heard it a few times. So make sure the student value everyone’s work and are hugely supportive and has heard it at least 7 times. Ask them what they notice, appreciative. We’ve been to some stunning locations. My any striking vowel sounds, words, noticeable rhythm and 7 year old daughter is probably the most well travelled melody. Work out what they have noticed, and expand child I know! on it, that’s a good place to start! If you get the settings of an accent it can help you the The accent app is available for free from any app store. shapes and sounds. If you find the hesitation sound of For more information about the team, an accent -uhm erm ehm ohm -it can help you with the visit their website overall setting if the accent. For example Liverpool is http://theaccentkit.com/blog/ ‘eeym! A lovely wide sound. That shape is the overall shape of the accent. About Edda Aim to get the setting of an accent, followed by a few As well as looking after a busy independent striking vowel sounds. Always check the consonant major client list, Edda is visiting Dialect Coach players, they can make or break an accent for the Royal Shakespeare Company R – tapping, bending, curling or bunching? and Head of Voice at the Shaw Festival L – light, dark, or not at all? Theatre in Canada where she has coached accents on H – to drop or not to drop? over 100 productions. She is also a senior Voice and nG – are you running, runnin’ runn’n or runningk for the bus? Communications Coach in the public and private sector. tH – are you with it, wivvit, widdit or wizzit? As a coach, teacher and trainer Edda strives to liberate, E: I agree with everything Jan said! And generally I educate and inspire each individual to unlock their would advise that they get familiar with the structural personal talent and develop their unique potential. Edda basics as described in How To Do Accents. It will really is also an accredited NLP Master Practitioner. help them to have some specifics, such as the Major Players for example (illustrated in the Accent Kit in About Jan the Consonant Sentences), that can transform their Jan has been working across the creative confidence as teachers. industries at the highest professional R: I would say download The Accent Kit and find the level as a dialogue and dialect coach for element that works for you. the past 23 years. As Head of Voice at Shakepeare’s Globe (2007-10), Jan coached over 20 Q: What work have you enjoyed the most? plays and worked with more than 200 actors’ voices. J: Probably too many to mention but I love the ‘eureka’ You may well have seen and heard her work at the RSC, moment when an actor has a break through and it all The Almeida, The Donmar, The Royal Court, on film in falls in to place. When I see their performance I feel like Hummingbird, Game of Thrones, Breathless, and the I’m listening to a person speaking rather than an actor award winning dramas Mrs Biggs and Parade’s End. doing an accent. E: Being creatively involved in a production from the About Richard start and seeing it through to first night is a real privilege, Richard has been training the professional and definitely what I enjoy most. Having said that, some voice user for over 10 years. Drawing of the more unusual projects, like the work with Ant and on previous work as an actor, NLP Dec going ‘undercover’ have been huge fun! accreditation and over 10,000 hours of R: I love my job, and feel privileged every time I walk in accent and voice coaching, Richard aims to inspire, to a rehearsal room, and I love working with every actor empower and encourage personal and professional and being able to see and hear them go from A to Z with development. He has worked in the voice department confidence as they develop their character voice. of the Royal Shakespeare Company and has spent the last 18 months in the voice department of the National Q: Could you tell us something about your work on A Theatre in London, UK. Game of Thrones? Accent work over the last 12 months includes A Taste J: I’ve worked on Season 2, 4 & 5 (some of 3) I work of Honey, Emil and The Detectives, 50 Years on Stage, alongside another ‘Dialogue Coach’ which is rare and Home, Port, (NT); Fatal Attraction (Theatre Royal, fantastic fun. It’s so nice to be a department of 2 for a Haymarket) American Psycho, (Almeida); Barking in change. We often have over 400 actors to look after Essex (Wyndhams Theatre); The Winslow Boy (Old during the season, so we are kept very busy. We start Vic); The Thirty-Nine Steps (West End/tour); The History shooting Season 6 in July. I feel very excited to be Boys, My Fair Lady, (Crucible, Sheffield), Paper Dolls a part of one of the most successful TV shows of all and Red Velvet (Tricycle), A View From The Bridge time. Sometimes I think “Wow, I’m watching a master (Liverpool Playhouse).

22 WORD MATTERS SUMMER 2015 JAN KOTT AND THE GROWTH OF THEATRE STUDIES Jan Kott and the growth of Theatre Studies Ken Pickering

This article is based on a talk given at a recent International Conference held at the Rose Theatre, Kingston, London to celebrate the 50th anniversary of the publication of the influential book Shakespeare Our Contemporary by the Polish critic and practitioner, Jan Kott. The conference was jointly organised by the University of Kingston as part of the enterprising ‘Kingston Shakespeare Seminars’ and the Polish Cultural Institute and attracted participants from all over the world.

Jan Kott’s book is probably the only call it ‘English’ because the University University Drama Departments founded book on Shakespeare I have read that had an English department and we in the 60s and 70s to distinguish made me want to direct the plays he was were allowed to add ‘Speech’ as that themselves from English departments discussing immediately. It was published was considered innocuous enough by paying attention to performance’ two years before I was appointed to not to pose a threat to anyone or it and that, indeed ‘performance became my first college lectureship and was confined us to plays like Murder in the ideologised by poststructuralist theory’, the major source of inspiration for the Cathedral that nobody really understood! however I would argue that few of us work that took me to that moment. It Furthermore, the so-called Professor of would be here today without those blew away the fustian from the British Drama from the University stated that initiatives and that the acceptance of theatre and helped to demolish much as he had yet to decide how to examine drama into the University curriculum of the pride, bigotry and prejudice that this mysterious new subject that had owes much to those who withstood the permeated British Universities in their emerged from the English department, initial insults and lack of comprehension. attitudes towards the study of drama: it was certain that nobody else would especially where practical work was know either. The idea that a book like this could concerned. inform a production and lead to a The real problem was that lively drama profound consideration of the text was Some years ago I chaired a session in departments in Colleges of Education often too much for academics dripping the International Grotowski Conference were beginning to point out that active with condescension or their theatre held at Kent University and I happened learning about drama, whether it be in critic counterparts to take: listen to two to mention that I had been present schools, colleges, universities or theatre of them: in the audience during Peter Brook’s schools, came about through seeing production of US to which Grotowski playscripts as blueprints for potential ‘the Actors’ Workshop production of A had made a major contribution. ‘Ah’, performance and that the making of Midsummer Night’s Dream was inspired, said one of the panellists, ‘so you theatre was as valuable as talking or disastrously, by Jan Kott for whom that are an artefact!’ Well, similarly, you writing about it. In Jan Kott’s book these particular dream is an erotic nightmare’ might consider me an artefact for the pioneers of what we now call ‘practice (Speaight) or early attempts to establish practical as research’ found the ammunition considerations and activities as essential they needed for their argument. Here ‘Only a humourless man could have for the study of drama. was a book that concerned itself with staged this…the oddity is that Brook’s relevance rather than with authenticity; friend and influence, Professor Kott, My first appointment in a college with performance rather than with is never more persuasive when he validated by a nearby University was archaeology. condemns the sentimentality with as lecturer in ‘Comparative Drama, which ‘The Dream’ has been swaddled Literature and Speech’. We were not Now it may be true, as the British (Benedict Nightingale) allowed to call it ‘drama’ because the playwright David Edgar recently claimed University had an emerging drama (The Guardian 30/1/15) that there You can almost sense and hear their department: we were not allowed to were problems with ‘the ambition of minds creaking to understand how

WORD MATTERS SUMMER 2015 23 JAN KOTT AND THE GROWTH OF THEATRE STUDIES

this new energy could be explained 3. His use of contemporary costume in the Academy and insisted that a and how a play production inspired and of the sense of ‘working’ with consideration of performance was by Kott’s ideas might, one day, be actors in black and his rebellion integral to a full understanding of the seen as a watershed in Shakespearean against the fustian of romantic work of Shakespeare or any other performance. How posterity has proved theatre. dramatist. Long before such terms them inadequate! as ‘performativity’ and ‘the found 4. His appreciation of the influence space’ became part of the discourse There are many qualities in Jan Kott’s of Shakespeare and Marlowe on and concepts in what emerged as book that made it so influential and Brecht and Beckett and of the ‘Theatre Studies’ Kott’s book inspired significant for my generation. I would intertextuality of such discussion a generation of young lecturers and suggest that the following are some of practitioners in Higher Education (often the most important 5. His exploitation of the stage as the in Colleges of Education) to explore world, and as the History of the the relevance of plays rather than 1. His use of the space and time of world and the Great Stage of the concern themselves with authenticity Elizabethan theatre in a way that World. It is surely no coincidence in performance. Kott’s wide range of eluded Granville Barker. Every scene that Calderon’s play The Great Stage reference provided an intellectual and is located somewhere in the theatre of the World was such a success in artistic framework for the development and he understands the movement 1970 at Bristol University Drama of courses (Modules) that required both of characters. He similarly presents Department practical and critical skills and opened plays as a shaping of real time into the way for the establishment of drama theatrical time. 6. His championing of Olivier: the role departments and the inclusion of Drama model for many of us who were and Theatre Studies as a valued and, 2. His wide framework of references: seeking to enter drama schools in eventually, very popular discipline.. renaissance scholars, contemporary the 1960s. Here, in Kott, we find a dramatists such as Beckett, Brecht, scholar suggesting that it is an actor Sartre and Ionseco and of the use of rather than a critic who can illume Musique Concrete. All of these were a text. And for those of us in the Ken Pickering is Hon.Professor of part of my early experience: my 1960s: it was our actor! Drama at the University of Kent first day at College involved me in and was Professor of Theatre at attending a rehearsal of Huis Clos, I The publication of Jan Kott’s Shakespeare Gonzaga University and co-founder directed Sartre’s Les Mouches using our Contemporary coincided with of the Institute for Arts in Therapy Musique Concrete and worked and provided valuable support for and Education in London. He was on Ionesco’s The New Tenant and the development of Drama as a Chief Examiner for Speech, Drama Bald Prima Donna together with a subject within British Universities and Communication at the London production of Mother Courage all and Colleges. Frequently seen as College of Music and at Trinity within three years of Kott’s book no more than as aspect of English Guildhall and is a former Editor of being published Literature, Drama fought for a place this journal.

24 WORD MATTERS SUMMER 2015 STEWARDING AT THE SAM WANAMAKER PLAYHOUSE

Stewarding at The Sam Wanamaker Playhouse Linda Shannon

In a previous issue of ‘Word Matters’ I wrote about being a Photography is strictly forbidden at any point and vigilance is steward at Shakespeare’s Globe theatre. In January 2014 the required to ensure that sneaky pics are not taken! new indoor Sam Wanamaker Playhouse [SWP] was opened; Whereas in the Globe stewards do a certain amount of stewarding there is a very different kettle of fish! moving about during a performance [opening doors to allow The most obvious difference is the fact that the SWP is patrons to come and go; helping if someone is unwell], the indoors, so come tempest, storm or wind, we are all safely visibility afforded by the SWP’s smaller size means that a under a roof. And what a roof! The theatre is beautifully degree of stillness is required. Consequently, it can be tricky if decorated throughout but the ceiling, with its cherubs and the a patron is unwell in the Upper Gallery of the SWP, especially goddess Luna, is magnificent. Its jewel-like colours are stunning if they are in the middle of a row. Stewards will always do their and are brought out even more by the contrasting plain wood best to help the patron out with the minimum of disruption to of the seating, pillars and banisters. The screen across the the performance and trained first-aiders are on hand to help. back of the stage, with entrances stage Latecomers are not a problem in the right and stage left and double doors main house since everyone can come centre-stage, is also ornately decorated and go whenever they like; the SWP is and the whole theatre is gloriously lit by different because of the smaller nature candlelight. of the theatre and the fact that anyone There has been much speculation about coming in late, or going out early, can be the use of the candles. They are genuine a distraction. A small television screen beeswax, obtained from a firm in Cumbria, has therefore been installed in the Upper and the six candelabra hold 12 candles Gallery foyer so that latecomers can each. Although expensive, the candles follow the performance until the interval are re-used in wall sconces or hand-held when they will be able to take their seats. candle-holders, so nothing ultimately Another difference is the allocation of gets wasted. Those allergic to bees need positions in the SWP. With the Globe, not fear: these beeswax candles are a whole shift will be either inside the hypo-allergenic. The light is magical and, theatre or outside and as far as is possible since the candelabra can be raised or this is rotated alternately per shift. With lowered by a winch backstage, it is possible to change the the SWP, most stewards are positioned outside for one half mood of a scene simply by adjusting their height and creating of the performance and inside for the other; or the other different shadows. And of course, consideration was given to way round. the fact that there are a large number of naked flames in an enclosed space; all aspects of safety and hazard from fire have Overall, there are a number of attractions for being a steward been covered. at the SWP but the beauty of the theatre, the magic of the candlelight and the high quality of performance, whether So what else is different for a steward at the SWP? There of plays or of music concerts [the latter particularly good are three galleries: the Pit, the Lower Gallery and the Upper thanks to the acoustics] all combine to make it a very special Gallery and seating is all very cosy. The design of the theatre performance space and I consider myself fortunate to be on was based on what was known about the Blackfriars Theatre the volunteer staff. Perhaps you’d like to join me? along with drawings which are held at Worcester College, Oxford, and is proportionately similar, so one wonders how Jacobean audiences fitted in wearing their extravagant Linda Shannon taught English and Drama/Theatre Studies clothes! In the Upper Gallery there are standing-only rows at a London comprehensive for 24 years, and remains an and it would be true to say that sightlines in some parts of Examiner for the latter subjects. Now retired, she indulges the theatre, as with the Globe, can be obscured on occasion. her passion for theatre by volunteering at The Globe and Acoustically, however, everything – including audience whispers the Rose Playhouse, as well as running a Shakespeare study – is very audible! Stewards therefore have to encourage group and by teaching the history of theatre, both for the patrons to cuddle up to their neighbour and to be aware U3A. Her other passion is travelling and so far this year has that they can be seen and heard in all parts of the theatre. been to Mexico, Guatemala and Laos.

WORD MATTERS SUMMER 2015 25 THE THEATRICALITY OF BRIAN FRIEL The Theatricality of Brian Friel Audrey Behan’s Paper from the STSD Conference August 2014

When Brian Friel received the possibilities of theatre’. He returned home and one year an Olivier Award for Best later wrote ‘Philadelphia Here I Come’ and changed the Play in 2006 (Dancing at course of Irish theatre. It is a memory play exploring the Lughnasa) his acceptance themes of emigration, relationships (especially those of speech was short and to father and son) and is full of escapist fantasy. These themes the point ‘Success is only will occur time and time again. The play was first staged the postponement of in 1964 and had a profound influence on contemporary failure’ – quoting Graham theatre. For the first time the fictitious town of Ballybeg Green - prophetic words became the play’s setting. In Irish ‘Ballybeg’ is ‘ Baile beag’ indeed considering the and means ‘small town’ – found in very country in the next play ‘Wonderful world – and it became a microcosm for Ireland. Tennessee’ was not a Here, Friel’s ground breaking theatricality creates two commercial success because audiences were expecting roles for the play’s main protagonist, Gar O’Donnell – another ‘Lughnasa’. In a career that has spanned over 40 ‘Public’ Gar and ‘Private’ Gar. ‘Public’ Gar is the one years he has produced twenty four original plays and six everyone sees. He is the awkward uncommunicative translations and has received world-wide recognition as one who cannot connect with his father SB O’Donnell – one of the greatest contemporary writers in English. No indeed he loses all verbal fluency in his presence. ‘Private’ other writer has played more with theatrical form. As he Gar is invisible to everyone on stage and doesn’t interact celebrated his 85th birthday this year, his plays are still with the other characters and Gar ‘Public’ never looks at performed world-wide. ‘Aristocrats’ had a very successful him. He is outspoken, outrageous and comically theatrical. run in the Abbey Theatre during the summer and Friel, at So here we have a situation where only the audience has the end of the phone to director, Patrick Mason, was still the advantage of seeing into the workings of the inner involved in the production. psyche and this conflict within Gar’s mind is central to the To illustrate the innovative theatricality of the man, I play. am going to talk about some of the plays that have truly Gar O’Donnell lives with his father, SB, a local retailer and captured the imagination of theatre-going audiences County Councillor, and house-keeper, Madge Mulhern. world-wide. Gar’s mother – died in childbirth - ‘absent mothers’ in Born in 1929 in Killyclogher, near the town of Omagh, Friel is a recurring motif. Gar is emigrating to Philadelphia County Tyrone, he attended Culmore Primary School the next day. He is 25 years old and works in his father’s where his father was a teacher. Friel often speaks of his shop and is paid less than Madge, the housekeeper. He father’s efforts in teaching Thomas Moore’s ‘Oft in the spends much of the play looking back rather than looking stilly night’ to the school choir. The choir went on to win to the future and in a series of flashbacks we meet the first place at the Omagh Feis. The memory of this piece of girl he once loved – Katy Doogan – who is now married music stayed with Friel and he used to open his play ‘The to someone else and his childless Aunt Lizzie from Homeplace’ in 2012. Philadelphia who, desperate for a family, persuades Gar to come to the States and live with her and husband, Ben. There is an awful sameness about Gar’s life in Ballybeg – PHILADELPHIA HERE I COME (1964): the stilted conversations over the evening meal between him and his father, the repetitious responses of the family I will begin with two plays from the 60’s. In the spring of rosary, the nightly card playing of SB and the local Canon 1963, Friel spent several months in Minneapolis where and the pathetic, loutish bunch of lads who are his only he sat in on Director, Tyrone Guthrie’s rehearsals and as companions. These characters and situations make up Christopher Murray points out ‘His eyes were opened to Gar’s life. All of these scenes are ridiculed by Gar ‘Private’

26 WORD MATTERS SUMMER 2015 THE THEATRICALITY OF BRIAN FRIEL and provide hilarious moments of comedy in the play but presents us with two Commentators/Narrators who underneath the surface, the tragedy of his life simmers act as a type of and fill in the background of events away. And then we have the silences………….and there throughout the play (this device was also new to Irish are many of them – the play’s most telling expression of theatre) and help forward the action so that we learn distance. Joe Dowling, a prominent director of Friel has earlier on that the two young lovers are doomed to warned on many an occasion ‘Ignore Friel’s dot, dot, dot, at tragedy as both will die in a drowning disaster. The use of your peril’. There is a scene in the play when the lads call the two narrators is a literary device seen more in prose in (at Madge’s request) to say goodbye to Gar. Ned is the than in drama. But Friel was a writer of short stories leader of the gang and the most boorish of the three. He before he became a playwright. Having this information, is unable to acknowledge Gar’s imminent departure and makes the drama more poignant as we see their zest for instead boasts of fantasied sexual conquests. The scene is life, their plans for the future, their hopes and dreams, filled with awkward silences (written in by Friel) and add their innocence and their naivety unfold in front of us. hugely to the pathos of the situation. The second half of the play is called ‘Losers’ and dwells on Gar’s efforts to communicate with his father fail miserably. two characters, Andy and Hannah, who find love in their Even at the ninth hour, he attempts to re-live a precious middle years and eventually get married. Their courtship is memory when he, as a young child, went out in a boat completely overshadowed by Hannah’s bed-ridden mother, with his father but sadly, that too fails. In a most moving Mrs Wilson, whose fanatical devotion to St. Philomena moment towards the finale, SB cannot sleep and comes knows no bounds. The couple are given no opportunity down to the kitchen. He sees Gar’s case ready for the for intimacy and as Anthony Roche points out the second morning and he goes over to it and touches it. It is only half of the play ‘is a kind of cartoon of Irish sex life before the a small gesture, when ironically, Gar is out of sight, but country was transformed’. While trying to make love on the SB’s body language speaks volumes of untapped affection couch they recite passages from Gray’s ‘Elegy Written in and sharply highlights the years of tragic waste and loss a Country Churchyard’ because if mother hears the pair through lack of verbal discourse. of them in ‘conversation’ downstairs, she feels there is no danger of any misbehavour. It’s pure farce and Friel was There is a super duologue for two talented performers to still playing with form. You may well ask why are the young play Gar ‘Public’ and Gar ‘Private’ and various solo scenes lovers Joe and Mags called ‘Winners’ and the older couple and are well worth looking at for Festival work. ‘Losers’ – well the young ones found love - even for a short time - whereas the older couple lost it and were doomed to a frustrated married life. That’s Friel’s realism LOVERS – WINNERS AND LOSERS (1967) – love is usually transient. In ‘Winners’ you will find many When speaking about Friel’s early work, I cannot leave selections throughout the play suitable for solos and out ‘Lovers’. It is not a highly rated in the canon of work duologue scenes and are ideal material for teenagers. – there is no great depth to it or revealing layers but here in Ireland it is a much loved play and I’ve seen it set as a solo drama on many UK syllabi over the years. In all ARISTOCRATS (1979): my teaching experience I have yet to meet a teenager I’m jumping forward now to what I consider to be the who doesn’t engage with these two young characters. major successes of the ‘middle’ period. Aristocrats was The play is divided into two – ‘Winners’ and ‘Losers’. first performed in 1979 and is a most accomplished play The young lovers in ‘Winners’ are Joe and Mags and both with many Chekhovian overtones. We have three sisters, a have been expelled from school because Mags becomes brother who doesn’t fulfil promise, a crumbling aristocracy pregnant. The play was written in 1966 when pregnancy and a working class society rising to prominence. Friel’s outside marriage was deeply frowned upon by church admiration for Chekhov is well documented and he is and state – hence the expulsion from school. They have, often referred to as the ‘Irish Chekhov’. The setting for however, been given permission to sit for their final this play is the O’Donnell Family Residence, Ballybeg Hall examinations and are out in the warm sunshine on the and we are presented with a picture of decaying opulence top of Ardnageeha Hill studying. Well, Joe is studying and overlooking the town of Ballybeg. We are not only sees a value in education whereas Mags prattles on and dealing with an aristocratic family here – but a Catholic on. Concentration on school work is a challenge for Mags one at that and they were very rare on the ground. The who would much rather share her views on life and indulge family gather for youngest daughter Claire’s forthcoming in endless tittle-tattle. wedding. Judith, the eldest, is carer for bed-ridden father The play is like one long duologue where the young lovers and elderly Uncle George. This is another play with an chat, fight, fall out, make up, fool about and soliloquise. ‘absent’ mother. Father, a former District Judge, is dying in They are to marry in three weeks’ time. On stage Friel the upstairs bedroom but still holds sway over the family

WORD MATTERS SUMMER 2015 27 THE THEATRICALITY OF BRIAN FRIEL members. His only son, Casimir is a victim of repressed never interacting with each other. How would that work? childhood that was dominated by an authoritarian father. But we are a nation of story-tellers and Friel’s form here Casimir is deeply attached to each of his three sisters. confirms this. It is another memory play consisting of four Alice is the other daughter and she is married to local boy, monologues – each one complete in itself – delivered by Eamon, who is the ‘outsider’ in the play. In an ironic twist, Frank (Faith Healer of the title) Teddy, his Manager and Father dies in Act 2 and instead of a wedding the family Grace, his wife/partner. Teddy is an aging Cockney and prepare for a funeral. provides the only comic relief throughout the drama as he regales the audience with stories from his Vaudeville days Music is a hugely important factor in this play and displays and the various artists he put through his hands. It was yet another aspect of Friel’s theatricality. Youngest superbly played in a production in Dublin in 2009 with Ian daughter, Claire is very fragile and her offstage playing Mc Diarmiad in the role of Teddy and he had everyone in of Chopin permeates the play. Here Friel uses music not the audience howling with laughter. Friel is good at that only to idealise the individual histories of the O’Donnell – having you laugh and then suddenly hits you right in the family but to graphically illustrate the hidden repression stomach with tragedy. Grace the wife/mistress (we are (especially in the case of Casimir) from an overbearing not sure which) has put up with so much hardship and the father. Casimir and Claire use music as a protective shield. various traumas she has suffered have left her extremely Throughout the play you will see very clearly where music fragile. All four monologues (Frank’s open and close the cushions the abounding hurts within the narrative and play) are directed to the audience. Each tell a different without its protection, the characters become vulnerable version of the same story and memories are often lacking and exposed. Friel’s adept fusion of music and meaning, in cohesion and challenges the audience to decipher like so many others in the canon, can so easily be missed between fact and fiction. Each character is free to form on reading the text and it is only in a live performance their own recollections of events through the monologue that the unspoken discourse of music is fully realised. The form of theatre – as no one overhears or interrupts. The play’s conclusion gives us a long, Chekovian good-bye, as three actors, although detached from one another, share they all begin to move on with their lives and face the three important facts: future. One night Frank cured all 10 people in the audience in a There are many wonderful speeches here for solo small Welsh village. performances from Casimir and Eamon and of course, there is Judith’s speech ‘Listen to me, Eamon….’ Grace delivered a still-born baby in the North of Scotland. In Tony Coult’s interview with Dublin actress, Catherine Frank Hardy was murdered in Ballybeg by McGarvey and Byrne, we are told that when she was cast as Judith, she his gang. was disappointed because she wanted the role of Alice and From Frank’s first monologue there is a sense of self she told Friel that Judith had only two speeches and she destruction and his extraordinary talent ends up burning felt the part was underwritten. Friel retorted ‘They’re not him out and destroying those around him. The parallel is underwritten if you do them properly!’ The actress claimed often drawn between Faith Healer and the Creative Artist to be quite nervous on the opening night and having Friel and despite the general comparison it is generally felt that in the audience didn’t help matters. After the show he it is the Irish Artist in particular that is intended. Frank told her she had blown the two speeches by trying to give becomes the artist in exile and his return home is in the the whole performance in the first line. She was naturally hope of some sort of restoration of his gift. But it spells furious with the comments but later admitted he was the final demise for Frank Hardy and the closing lines in right! Aristocrats was the play that helped Friel make his the play see him walk into death and become a victim and name in the UK and won the Evening Standard Award for a sacrifice. best play in 1988. The play had its premiere on Broadway in 1978 with James Mason cast as the Faith Healer and it was a flop FAITH HEALER (1979) and closed after 20 performances. When the Abbey wanted to stage the production directed by Joe Dowling, When Faith Healer was first produced in 1979, Irish Friel was reticent. But after much persuasion, he gave his audiences were introduced to the first ‘Monologue’ approval and at his request, the great Irish actor, Donal play – yet another example of Friel’s diverse sense of McCann was cast as Frank Hardy. It opened to rave theatricality. It is widely considered, with ‘Translations’ reviews and sold out rapidly. Friel said that said Frank to be a masterpiece and one of the finest plays ever Hardy and Donal McCann was the creation of a perfect to come out of Ireland. Initially, some were somewhat match. Every time the play is revived people compare disappointed about the idea of three actors on stage the performance to that of Donal McCann. When the – delivering a shared story-telling to an audience – but

28 WORD MATTERS SUMMER 2015 THE THEATRICALITY OF BRIAN FRIEL

play was revived in Dublin at the Gate Theatre in 2006, There are numerous selections throughout the play (from English actor, Ralfe Fiennes was cast as Faith Healer and all four monologues) which offer challenging material for he too was magnificent and for me encapsulated the mature students. gaunt, pale, tormented Frank Hardy. Again the run was sold out and was enthusiastically received. Interestingly it then transferred to Broadway and second time round the FIELD DAY THEATRE reviews ran: In 1980, Friel set up Field Day Theatre in Derry with ‘It is a series of dense and lyrical monologues – a form little actor, Stephen Rae – it was the city Friel grew up in and loved by action-hungry American audiences, yet, anyone who worked as a teacher. They premiered a play annually starts listening with full attention to the words, and just as either by Friel or another Irish writer and toured the important, the silences – of the three characters who tell productions around Ireland and this involvement connects their horrible, fantastic and oddly familiar stories should be Friel to Yeats and Lady Gregory and the setting up of fatally hooked’ the Irish National Theatre over a hundred years ago. The (NY Times 2006) intention was to create a ‘Fifth Province’. Ireland has four Provinces – Ulster, Munster, Leinster and Connaught. The ‘I confess that I don’t know the reasons for Faith Healer’s ‘Fifth Province’ was to be an imagined cultural space from all too short lifespan when it first appeared on Broadway which a new discourse of unity might emerge. Field Day in 1977 with the late, great James Mason in the title role became a huge success and became an artistic response but it would appear that this play was a couple of decades to the violence, politics and history that divided Northern ahead of its time with its individual soliloquies that share the Ireland. Seamus Heaney was invited on to the Board with same story over and over yet reveal gaping holes with each writers, Seamus Deane and Tom Paulin. Heaney dedicated successive telling’ his collection ‘Station Island’ to Friel and wrote ‘The (SOB Review NY 2006) Cure at Troy’ for the company. The story comes from the Ian McDiarmaid went on to win the Tony Award for his Cycle of Myths relating to the Trojan War and in Heaney’s role as ‘Teddy’. version the following lines are often quoted:

WORD MATTERS SUMMER 2015 29 THE THEATRICALITY OF BRIAN FRIEL

History says. Don’t hope Maire’s final speech is particularly moving and her duologue with Yolland is worth exploring in the drama On this side of the grave class. But then, once in a lifetime Did Maire ever get to America? We would like to think The longed for tidal wave she did. She turns up to deliver her final monologue in Act 3 and whereas she may well be ‘going off her head’ Of justice can rise up so we can assume as Anthony Roche points out ‘she has And hope and history rhyme not been specifically scape-goated by the community’. The ending of the drama is full of pathos and Maire’s only consolation in the scene are the place names Yolland TRANSLATIONS (1980) has taught her. ‘I have it all in my head now’ The litany of English villages are as exotic to her as place names in the Translations was the inaugural production for Field Day far East – this is the real language of love – embedded in Theatre and its premier took place in the Guildhall in her memory for ever. Derry in September of that year. It deals with language, identity and history and as actor Stephen Rea says ‘Translations became Field Day and Field Day became DANCING AT LUGHNASA (1990) Translations’ – a theatre of debate. It is seen as Friel’s most important play and a masterpiece of theatrical We now move on to 1990 and to the play that everyone writing. knows ‘Dancing at Lughnasa’. The play is Friel’s most biographical. One night Friel and another Irish Playwright, The play is set in a Hedge School in Ballybeg, Co. Donegal. Tom Kilroy, were coming out from a performance at Hedge Schools were established in 17th Century Ireland London’s National theatre, when Friel remarked that two when the Penal Laws forbade Catholics to go to Catholic of his aunts ended up on the streets of London and died schools or become teachers. The schooling took place abjectly. Kilroy remarked that there was surely a play in behind hedges, in ditches and fields and often in barns and that remark and the rest is history. It won the Olivier it was there that the oral tradition of learning flourished. Award for Best Play in the West End, a Tony Award for Students were taught reading, writing and arithmetic with Best Play in Broadway and was made into a successful a strong leaning on Latin and Greek studies. The year is film starring Meryl Streep with a screen play by Frank 1813 some years before the Great Irish Famine ravaged McGuinness. The Harvest Festival was known as ‘Lughnasa’ the country and decimated the population. The Royal and honoured the Celtic God, Lu. The Festival marked the Engineers are in the country to carry out the first ever end of summer and the beginning of autumn. Ordnance Survey in Ireland and plan to change all the Irish place names into English. One of the army officers is the The year is 1936 and the Mundy sisters eke out a meagre handsome Lieutenant George Yolland and he falls in love existence with only Kate, the school teacher working with Marie Chatach, a young peasant girl in her twenties outside the home. There was a great feel of expectation – who attends the Hedge School and their poignant love a play with five roles for women. Friel returns to having a story, not unlike ‘West Side Story’ forms the frame of Narrator on stage – the adult Michael – whose role in the the drama. Their love scene is legendary – a handsome play is two-fold – both inside and outside the theatrical young soldier in a red uniform and a barefoot Maire – he frame. He is also the ‘voice’ of young, unseen, seven year speaks no Irish and she, no English, yet they manage to old Michael on stage, who interacts with the other actors. communicate and fall hopelessly in love. Of course, they Interestingly, Friel was seven years old in 1936. He is the are both speaking English, but Friel, in a superb theatrical adored child of Chris, the youngest sister, who had an innovation, masterly structures the dialogue in such a way affair with the handsome and very charming Welshman, that we firmly believe the linguistic difficulties: Gerry Evans, who comes and goes in her life with no sense of parental duty. He is more than compensated Christopher Murray states ‘The lovers struggle with words for an absent father by an affectionate mother and four to reach intimacy’ and the love scene in Henry V springs doting aunts. to mind – although in a different context. Shakespeare’s Henry V is more proficient in French than Yolland is in This is another memory play where dance becomes a Irish and further into their wonderful duologue when he source of theatricality. The dance scene is central to lovingly says to Maire ‘You’re English is perfect’ there’s the play and anyone who has seen it will never forget always a laugh from the audience. The lovers gush dialogue it. I remember, when it premiered in Dublin 1990, the and suddenly, they kiss, but unfortunately are overseen by Mundy sisters outburst in dance form was so explosive Sarah, who runs off to inform the others. Yolland then goes and so unexpected that all I wanted to do was press missing and Maire is left distracted. ‘rewind’ and watch it again! Director of the original Abbey

30 WORD MATTERS SUMMER 2015 THE THEATRICALITY OF BRIAN FRIEL production, Patrick Mason, said that when he read the His dialogue shows us Friel at his most lyrical and the script he thought that the dance should come as come accompanying music ‘It’s Time to say Good-night’ is very climatic ending – rather than in the middle of Act 1 and he beguiling and adds a further touch of nostalgia mentioned this to Friel who gently said ‘I think you’ll find ‘Dancing as if language had surrendered to movement – as if it is in the right place in the play’. Mason says ‘the dance this ritual, this wordless ceremony, was now the way to speak, comes at you out of nowhere but lifts the whole play to whisper private and sacred things, to be in touch with on to a completely different level. You may never see the some otherness’ sisters dance together again in the play but it will resonate in the back of your mind for the rest of the evening. Maggie and Michael have two great solo speeches and Friel’s calculation was so exact’. Friel’s stage directions there is a good duologue between Kate and Maggie and concerning the dance are very exact too not only who Chris and Gerry. dances, but in what order they dance and the character of Many critics have said we look at this play through rose- the dance. tinted spectacles. Agnes and Rose left out of love – so the There is a Harvest Dance coming up and Agnes says ‘I’m others wouldn’t starve and they finished up destitute in only 35 – I want to dance’ and the others all echo that London under the bridges. Garry Hynes (Druid Theatre) sentiment and excitedly make plans to go to the dance always maintained that was where the real story lay which until Kate puts her foot down. When Gerry Evans makes is a very interesting observation an unexpected call on Chris, they dance down the lane while the others observe from the window – all of them in love with Gerry Evans. We learn that Gerry Evans MOLLY SWEENEY (1994) gave dancing lessons in Dublin, then there is the dance Friel returns to the Monologue Form in Molly Sweeney, in the ‘back hills’ bon-fire dance where the Sweeney boy where like Faith Healer, we are once again presented is injured, Maggie dances to ‘The Isle of Capri’ and even with three characters Molly, her husband, Frank and eye- Fr. Jack does a dance of sorts as he explains customs in surgeon, Mr. Rice, who all speak directly to the audience in Ryanga – so you can see how broad the theme of dance a shared story-telling and never interact with one another. becomes in the play. And, similar to Frank Hardy, Molly’s monologues open and We will not be performing Maggie’s wonderful scene close the play. At the time of writing the play, Friel had about the dancing competition. (‘When I was sixteen, minor eye surgery, and that prompted a ‘what if’ scenario I remember slipping out one night’) But it is a very in his head that led to the subject matter. important scene. Maggie, the joker, is making bread. Kate Anthony Roche is of the opinion that it is in writing has just returned from town where she ran into Bernie another Monologue play that Friel makes his greatest O’Donnell on a visit home with her twin daughters. contribution to Irish Theatre because in the decade that Maggie’s memory of a dancing competition is re-ignited as follows he paved the way for young Celtic Tiger writers she shares an intimate moment with her sisters and we like Conor McPherson (The Lime Tree Bower), Eugene are given a deeper insight into fun-loving Maggie as she O’Brien (Eden) and Mark O’Rowe (Terminus and Howie contemplates lost opportunities of ever finding love or the Rookie) all hugely successful monologue plays written marriage. As the speech concludes, Friel’s stage directions for a new audience and greeted with enthusiasm. are very precise and must be studied very carefully when working on this scene. The play premiered at Dublin’s Gate Theatre not the Abbey and this time Friel insisted in directing it. It seems This speech prefaces the famous Lughnasa dance where he had little advice to offer his three performers – the sisters throw caution to the wind and release their Catherine Byrne, Mark Lambert and TP McKenna. When pent up emotions and desires in an blatant display of overt Catherine Byrne asked for advice on physically conveying physicality. blindness, he said that she as an actress best knew how to The final theatrical image of the play show the ensemble interpret the role. He hated any attempt to ‘act’ blindness cast swaying gently to the music while Michael informs because then the audience focus on that and not on the the audience of the family break up and the death of words. The play was a critical and commercial success and two of the aunt. We learn that Kate loses her job in the successful runs followed in the West End and Broadway. school, the home knitters are made redundant with the Molly is in her late thirties and has been blind since she opening of the knitting factory, Fr. Jack will never say mass was ten months old. She is offered the chance to have and Maggie forgets one of her jokes. The cracks of their her sight restored by eye surgeon, Mr. Rice. What has she fragile lives become visible. It is however, the memory got to lose? But is this rather perilous journey for Molly’s of the dancing that leave the lasting impression on the sake or to satisfy husband, Frank’s over enthusiasm for yet adult Michael. another scheme, or eye surgeon, Paddy Rice, an alcoholic

WORD MATTERS SUMMER 2015 31 THE THEATRICALITY OF BRIAN FRIEL trying to salvage a tarnished reputation? The play charts My presentation has now come to an end. I would like her story as she undergoes the miracle operation and to thank my students – Gina Burke (Mags from ‘Lovers’) moves from exhilaration to the depths of depression. Lynn Carter (Maire from ‘Translations’) Carol Gleeson After the operation, Molly has partial sight and despite the (Molly from ‘Molly Sweeney’) and Helen Spring (Anna endless tests she undergoes to ‘learn’ how to see again, it from ‘The Yalta Game’) for their performances today. We all becomes too much for her and by the end of the play have enjoyed working on the texts together and exploring she is a long term patient in a psychiatric hospital. language, character and emotion with each well rounded character. If you are not familiar with the plays, I urge you Language predominates here and by using the ‘Monologue’ to read them – you will find excellent material for scenes. form we get a real insight into the characters through I often say to students ‘fine feathers make fine birds’ and lengthy speeches. Molly has a story to tell and through to have a good script to work on is an actor’s dream. Friel’s glorious word pictures, she tells it with such sophistication and meticulousness that we can truly Brian Friel is now in his 86th year and whether he will visualise each event and go with her on her journey. Again, write again for the theatre is still a question mark. But I we are presented with great material for solo scenes from know you will agree, he has left a wonderful legacy not the three characters. only to Irish theatre but to world theatre.

THE YALTA GAME Sources: I had hoped to elaborate on Friel’s Russian Connection Friel Brian - Collected Plays of Brian Friel (London: Faber & Faber) of his wonderful translations of ‘The Three Sisters’, ‘Uncle Dantanus Ulf - Brian Friel – A Study (London: Faber & Faber 1988) Vanya’, and Turgevev’s ‘Month in the Country’ and ‘Fathers and Sons’ where Friel finds and Irish world in the midst Coult Tony - About Friel – The Playwright and the Work (London: of Russia - but alas, time is against us. Chekhov was a Faber & Faber 2003) huge influence on his career and as I mentioned earlier Roche Anthony - Brian Friel – Theatre and Politics (London: Palgrave he is known as the Irish Chekhov. ‘Afterplay’ is a one act Macmillan 2011) play for two performers, where Friel revisited the lives of two of Chekhov’s most memorable characters – Andrey Murray Christopher - The Theatre of Brian Friel – Tradition and (From Three Sisters) and Sonya (From Uncle Vanya) and Modernity (London: Bloomsbury Metheun Drama 2014 brought them together 20 years after their fictional lives ended. It played in Dublin’s Gate theatre (2002) and starred the great Penelope Wilton as Sonya and John Hurt Audrey Behan M.A., L.G.S.M., L.L.C.M. (T.D.) MSTSD as Andrey. But I am going to draw attention to one very special little play – ‘The Yalta Game’ (2002) – for me it is a Performer, Speech & Drama Tutor, Examiner, perfect piece of writing and full of pathos and Chekovian Adjudicator – just some of the roles Audrey has fulfilled yearning. It is based on the Chekhov short story ‘The in a career that spans 40 years. A native of Dublin, Lady and the lap dog’. The play is another two-hander – Audrey began her career as a five year old performer in one long duologue between Dmitri Guruv, a middle aged Feis Maitiu, Dublin, where she won first prize for Verse accountant and twenty-two year old Anna Sergeyevna . Speaking! She went on to develop skills in theatre, They are both married but on holiday alone in Yalta and musicals and film work. Her penchant for Shakespeare idle away their time by inventing amusing fictions while has brought her skills and expertise to practitioners watching the other tourists. They fall in love, have a brief and students from all over Ireland. She actively affair and both return to their respective hum-drum lives promoted the Art of Choral Verse Speaking in schools and unhappy marriages. But their lives have been changed and won many accolades for her work in that area. forever and in true Chekovian style, their lonely days are An adjudicator for 25 years, Audrey is a member of the spent yearning for the reality of the unattainable. In this British and International Federation of Festivals and scene, Anna is informing the audience of her life since has fulfilled engagements throughout Ireland, the UK she returned home from Yalta when suddenly she meets and the Far East. She is an Examiner for the Royal Irish Dmitry, who has come to her home town of Pargalova to Academy of Music in Dublin and held the post of Chief meet her. Throughout the play both actors use dialogue Examiner for a number of years. and narrative to propel the action. Audrey is passionate about the Theatre of Brian Friel Again, the play offers opportunities for some very effective and her greatest pleasure derives from introducing speeches suitable for festival and examination work. young people to the canon of work and guiding them through performance.

32 WORD MATTERS SUMMER 2015 THE SHAKESPEARE SCHOOLS’ FESTIVAL The Shakespeare Schools’ Festival Lynne Collinson

Teachers working in schools have the opportunity to enter groups of students into the annual Shakespeare Schools’ Festival (SSF). In 2000, in Wales, the series producer of the animated films of Shakespeare plays, Shakespeare: The Animated Tales, asked a selection of teachers to organise groups to perform the scripts. Eight Welsh schools agreed The festival is open to every school in the UK including Primary Schools. Primary schools have become very to participate by developing the interested in participating, there are 400 involved now, unafraid to share the stage with sixth formers all scripts for their students to perform. presenting their own versions of the plays. The Festival was so popular with teachers that the Now there are 1200 schools number of participating schools grew in a very short time. throughout the UK performing in 150 The education arm of the Shakespeare Schools’ Festival offers training to both teachers and students and helps professional theatres. them develop and abridge the scripts to suit their needs and abilities enabling the students to explore and understand the stories and how they relate to their own lives. They learn how to access the language and Dominic Fitch is the creative director discover resonances within the themes. of The Shakespeare School’s festival, All of the language used is Shakespeare’s own but with added narrative to progress the story in primary schools and he explained to Word Matters how and the narrative arc is kept. Involvement in the festival provides a platform for the Festival is organised and what it developing confidence and team work and encourages a love of performance. The starting point is always a has to offer. love of Shakespeare’s language. Invariably, participants

WORD MATTERS SUMMER 2015 33 THE SHAKESPEARE SCHOOL’S FESTIVAL

acquire confidence in using and enthusiasm for this rich 1. Shakespeare Schools Festival (SSF) is a non- language. Some schools integrate the performance into competitive youth drama festival. a whole school festival. 2. SSF trains teachers to direct and stage their own The festival organisation also offers special needs Shakespeare productions via a unique combination schools a set of resources to enable them to access the of scripts, resources and workshops giving them event…this is all part of their commitment to integration, the tools to engage a whole class, from ages 8 to 18 ensuring no school is left out. and of any ability. Every autumn, the Festival sees four schools a night each perform a different half- The performances are short; lasting thirty minutes. hour Shakespeare play in their local professional Teachers are advised to take on a company ethos in theatre. which they are the director and storyteller in chief, but the students are the primary resource. The students are 3. SSF is for everybody, working with secondary encouraged to shape their own creative vision and to schools, primary schools and special schools find connections in the real world. Although this can lead throughout the UK. The charity specifically targets to some rather bizarre interpretations, the finished plays disadvantaged schools, using Shakespeare’s language to impart articulacy, confidence and team- are almost always faithful in their rendition of the text. work while providing the occasion for young people The Festival, as an organisation, offers lots of resources to believe in themselves and to be supported by for unlocking the creativity of young people. family and friends. At present there are twenty three scripts to choose from- 4. SSF piloted with just 8 schools and 200 pupils abridged by teachers, writers and well known authors fourteen years ago. This year SSF is working with and playwrights. Sir Tom Stoppard has abridged The 35,000 young people from over 1000 schools. Merchant of Venice, Jamila Gavin, Measure for Measure. 5. SSF is a registered charity and relies on the support of trusts, foundations and donations to provide subsidised registration for participating schools.

6. The headline sponsor for the 2014 Festival was Telereal Trillium.

7. SSF receives Arts Council Wales support.

If you feel you would like to take part in this worthwhile dramatic event, information on how to organise your participation in the Festival can be found on the website. http://www.ssf.uk.com/about

Photos are of participating schools productions. Hayes Norhwood, Oxford Fitzwaryn and the 2012 Cheltenham College Festival.

34 WORD MATTERS SUMMER 2015 BOOK REVIEWS

Acting Through Song terminology with both music and the For the ‘sound bite instant hit by Paul Harvard sung/spoken voice. Teachers will find this generation’, the advice is concentrated handy as a springboard for developing and cogent. People can pick what they Nick Hern Books, 2014, ISBN their own ways of working through song. want and discard the rest. Whatever your choice, it made this reader 978-1-84842-229-2 It has to be said that the book would be chuckle as so many of the anecdotes useful in terms of the basic knowledge There are not or snippets of advice resonate with included and exercises for those many books that personal experiences. teachers who are approaching this form explore acting for examination for the first time, as it is Also, the diversity of the actors through song to full of interesting start and development interviewed, means that there is give a greater points that will really assist the something that for everyone. Under insight into the journey towards creating a competent close scrutiny all the advice stands up. way in which performance. Musical Theatre The facets of acting covered are as as a genre is Marcia Carr is an Associate Artist with broad as the actors interviewed: stage, prepared by the the National Youth Theatre, A Lamda screen, new writing, improve, comedy, performer and examiner and director of Creative Blast musicals and stand up comedy. more importantly begins to engage with Company Ltd. She has been teaching The practical tips for long theatre runs the training for this form. Movement for over ten years in are particularly useful as is the different Drama Schools and theatre institutions There is a sense of trying to give ways into the profession. This book has and awarded Best Performer with realisation to the importance placed the hallmarks of excellence, not least her Disciplinary Theatre Company, on a ‘multidimensional performer’ who because Laura Barnett (its author) is Impetuous Kinship perhaps concentrates on dance and married to an actor; she should know! music to the neglect of the acting, and therefore the creation of believability in One commonality reigns supreme: performance. This book places on paper Advice from the Players all the interviewed actors love what they do. that which is taken for granted by all Laura Barnett within the art form and does so in a way My advice: buy this book. Simple! that makes it an enjoyable read. Nick Hern Books Reviewed by Nick Pitman The book is easily worked through with The collective four definite sections that take you from wisdom of 26 Key Acting Skills, through Rehearsal to celebrated actors The Games Box Published Performance, and there are some well is gathered thought through ideas and thoughts into this little Published by Word Power Ed that will really challenge thoughts and goldmine of a misconceptions about the importance book. What is www.drama-teaching.com of being able to act the story of a song. refreshing is not email: infro@drama-teaching. Many of the exercises are recognisable only the candour com basic acting techniques that will help of accounts on Over time a teacher builds up a variety with imagination and characterisation subjects that of games and exercises, and it’s always along with understanding how to read a range from: ‘Building a Character’ to good to share these ideas. This box has text to create biography. ‘Staying Sane When Things Go Wrong’ over 240 games for all ages which could The section that instructs you to Listen but also the broad demographic of the be used within schools or by anyone to the Composer takes on basic music actors. All walks of life are included: teaching large groups. terminology and expectations that very well known actors: Sir Anthony These are not all purely drama games. any performer in training will take for Sher, Julie Walters down to relative A lot are vocabulary enhancers, such as granted. There are some good exercises ‘newbies’ such as Luke Treadaway. hangman, or very physical – there is a that will assist in freeing up the process As ever, the opinion of one can be the whole section devoted to variations on of working a song in terms of acting poison of another but there is enough the game of tag. Also, many activities are through it. Most are extensions of the in the book for people to distinguish only marginally different. many hundreds of acting exercises we all whether this really is the career for know but with the addition of how then them or a hobby. Many of the games are competitive and to adapt this to engage music. don’t have a role for those who are ‘out’. The advice is seasoned, exciting, What concerned me most was the lack This book is perfect for those wanting brutal, contradictory but entirely of purpose behind each exercise. Many a light understanding of what an authentic. This book can be dipped of the activities, whilst being fun, did actor would need to really engage into sporadically or read in one sitting not seem to lend themselves to group with Musical Theatre and there are for clarity of the peaks and troughs of cohesion, nor to boosting individual sections that will really help to define the profession. confidence, let alone any dramatic skill.

WORD MATTERS SUMMER 2015 35 BOOK REVIEWS

I also have some Health and Safety easy filing and retrieval. I would suggest demonstrates on every page his great issues with some activities, such as that they be part of lesson planning and love of theatre and genuine admiration ‘Chair Relay’ - chairs are placed as testing of skills over a course of lessons. for his fellow actors. With his love of the stepping stones across a room, teams theatre arts comes a deep knowledge of The box is an impro kit for teachers, being in competition, players encouraged how it all works. He fills page after page part of a two box set along with The to move as quickly as they can to the with fascinating tidbits of history, from Games Box. The boxes would provide a other side of the room … perhaps Thespis to Max Factor and everything resource in the classroom, the drama substituting carpet tiles would be safer. in between. He advises on problem group or any communication training areas: negotiating contracts, dealing with The games are intended for all ages, and course. They have been tried and “difficult” colleagues, understudying, I think it would be helpful if the cards tested by Harry and Sarah Tawse. Harry touring, balancing a professional and were to specify which age groups they and Sarah Tawse published the games private life…and just when you think believe the exercises are most suited to. and improvisation kit, drawing from there is nothing more to say, he includes their years of teaching drama. Their I did find one or two exercises which an A-Z section in which he gives even experience and expertise are readily I will definitely be trying, such as – more information about a range of available in this card set. ‘Exaggeration Circle’ which promotes topics, including first night nerves, an awareness of how loud each person Other users of this resource have their colour-blind casting, playing intimate love should be in relation to those around games, exercises and format in their scenes, responding to reviews etc. them. I also like - ‘Tell Me About The teaching but these specific categories are This book always teaches, never …’ which is a great way of beginning readily available on an index card. preaches, for it is written like a memoir, storytelling and could be extended to Helena Duncan is a teacher of a memoir of a life well lived among great improvisation with narration for older Speech and Drama. She has taught in writers, directors, actors, and friends. students. Local Authority schools in England. Pennington name-drops unashamedly Overall I would say The Games Box is a She also teaches privately. Teaching and for those of us who are his good idea, especially for beginners, but Communication Skills in the UK and contemporaries, the pageant of great that without the fundamental reasoning abroad has given her the opportunity to actors, great performances and great behind each activity it becomes use Drama skills to encourage the use productions build into a remarkable little more than a party box, not an of Language. tapestry. His anecdotes are richly educational tool. entertaining so much so that I could not help but read many of them aloud Philip Kingsley has taught Speech and to friends and family, who laughed with Drama internationally, working with Let Me Play the Lion Too: me hysterically.This book makes me a range of ages and abilities from How to be an Actor want to sit down with Pennington over Pre-School to adults. He has helped by Michael Pennington a glass or two of deep red wine and talk to develop programmes for teachers. theatre. As he says, “…this is the world’s He now lectures for the Education Faber & Faber, 2015, ISBN 978 best job”. department at the university of West 0 571 23106 5 England, and teaches in Primary and Joan McCready is an actress, director, Secondary schools, as well as running his Part manual, part history, part memoir, and teacher. She currently tours in own drama centre. Michael Pennington’s splendid book, her one-woman shows, Coole Lady: The “Let Me Play the Lion Too, How to be an Extraordinary Story of Lady Gregory, and A Actor,” combines all of the above into a Time to Speak: A Holocaust Memoir. The Impro Teachers Kit most absorbing look at the innermost workings of the theatre. Published by Word Power Ed Drawing on his almost fifty years in Making Theatre www.drama-teaching.com the theatre as actor, director, and co- by Joss Bennathan email: infro@drama-teaching. founder of the English Shakespeare com Company, Pennington offers a thorough Nick Hern Books, 2014, ISBN This box contains 240+ improvisation and comprehensive guide for any young 978-1-84842-305-3 person embarking on a career in the situations for the switched-on This is very much a book to assist profession. All aspects are covered— professional drama teacher, leader of a teachers in the art of devising theatre as television, film, stage, musical theatre, drama group, a primary school teacher, it constantly attempts to respond to the voice-overs, commercials; every job or other. These cards provide a wide age old questions that we see placed on in the theatre is explained and every remit. I believe the cards could be a forums relating to drama on a daily basis. good resource in a school or an outside person who ever earned a credit in group for drama or any communication a programme is found worthy of his The book is interesting in that it explores enhancing task. respect and admiration. the very thoughts that sometimes there is a fear to voice, showing that every Respect is what ties this whole book The box has coloured coded cards teacher has been there under nine categories, all numbered for together, for Michael Pennington

36 WORD MATTERS SUMMER 2015 BOOK REVIEWS

The book gives some good solutions of a folly, then, to try and describe and scribbling in the margins, but there to questions such as, ‘How do I ensure directing…” Richard Eyre were some fascinating observations which, that boys engage and attain?’ and ‘How at times, bordered on theatrical cliché: I can hear a pot boiling, and it isn’t one do I enable students to avoid shallow, of mine. But it is, actually, a really superb “…the choreography of a scene should clichéd work?’ through to assistance in pot, one of those copper ones one emerge from character and narrative movement, voice, staging, ensemble glances at with the fleeting sensation rather than preconceived design…” Is and characterisation. There is a handy that it might make one a better cook. anyone ploddingly blocking scenes before section that gives you preparation Eyre no doubt owns many of these actors and directors actually explore and stimulus materials which can be pots, and can evidently cook with them, them, these days? reproduced to give as hand outs in class but there are some exceptions: old and lots of student resource sheets in An excerpt from Hare’s ‘Murmuring ingredients seldom make great meals character and making theatre. Judges’ – hugely admired by Eyre, left me and, whilst I must confess to being shrugging…. Perhaps that’s just me. There are some excellent exercises that completely prejudiced against the really explore starting or developing political section of this book, I must In an article about Brando, we hear points and will be of real use to also aver that old articles on a decade’s Arthur Miller observe, in relation to stimulating new ways of working for old politics make the worst meals of all. the formation of the Actor’s Studio, the teachers and their students. The general So, for me, the central section of the following jewel about Lee Strasberg: structure is handy. You are able to dip in book is a right royal yawn, except for a and out rather than having to read all to glorious anecdote on Maggie Thatcher, “…he was so bad, they had to find find everything needed and the language (dead, buried, exhumed for that great something for him to do….” and terminology used is easy, making portrayal by Meryl Streep: enough And I didn’t know that it was Stella reading enjoyable rather than a chore. already, no?) The Iron Lady had been to Adler who taught and mentored Brando, see Evita: The explanations of ideas and thoughts not Strasberg. are to the point with little waffle, which “We should provide quite good It’s just as enjoyable to disagree with is always handy, when we know how historical material for an opera called Eyre as to revel at some of his many much teachers are pressed for time and “Margaret” in thirty years time.” profound theatrical insights: what utter the need to sometimes respond quickly Isn’t it fascinating that she sustained tripe, for example, he writes about the to a query or question. herself with this – no doubt – tongue- architecture of the National Theatre: Marcia Carr is an Associate Artist with in-cheek fantasy? Of course, Eyre has “In its intentions and its realization, it’s a the National Youth Theatre, A Lamda a field day imagining the banality of classical building which won’t go out of examiner and director of Creative Blast such an undertaking…but after that, fashion”. Company Ltd. She has been teaching the article treads the old worn out Movement for over ten years in ground, ‘til I quite wanted to hit him Fashion? FASHION? A concrete block Drama Schools and theatre institutions with my handbag. was never, could never and never will and awarded Best Performer with be a viable architectural fashion. It is Elsewhere in this hit-and-miss book her Disciplinary Theatre Company, a vile blot which I will never get over, but we are frequently presented with the Impetuous Kinship its balconies are great to catch the Lord most compelling fare, and at others, (like Mayor’s fireworks from, and I like much of Buster Keaton in The Navigator, boiling what goes on inside it. a single egg in the steam-ship’s industrial What Do I Know – giant of a sauce-pan), we feel that Eyre’s The chapter on King Lear is utterly People, Politics and the Arts pot is over-large for some of the meagre engrossing, but then I thought Eyre’s production phenomenal. So, if he doesn’t by Richard Eyre fare he presents to his readers. I think the book could have been a lot slimmer consistently cook up a storm, he creates some great signature dishes and assays Nicholas Hern Books - ISBN – and the better for it. Now, the Keaton reference is, I admit, incredibly recondite, a few more: – we can forgive him the 978-1-84842-418 -0 £20.00 but bear with me and look it up on refried stuff, as long as he doesn’t dredge “I have found YouTube – (17.51 seconds in, should you it all up yet again. make it that far). that an actor’s Jo Murphy is an experienced drama work has life and Laboured cooking analogies apart, teacher and youth theatre director interest only in there are some wholly engrossing of many years standing, she worked its execution. sections about actors and theatre, and at Bedales School and was Artistic It seems to that’s why this book deserves a really Director of The Bedales Olivier wither away in concerted trawl. Theatre for a decade and now conducts discussion and Communication Skill Intensives for the become emptily There is a long article about David NHS, and is a professional coach for theoretical and Hare, with whom Eyre has famously trainee doctors in difficulty. She teaches insubstantial” collaborated: again, political theatre Speech and Lamda at the Sylvia Young – remarked Paul Scofield, declining a leaves me cold so I did a lot of grimacing Theatre School. lecture opportunity. How much more

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