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Downtime with Kate Prince Transcript Transcript Lou Cope talks to Kate Prince 30 June 2020 Lou: Hello, Kate Prince. Thank you very much for joining me. How are you doing? Kate: I'm doing pretty good, I would say on a slightly gray and rainy afternoon, but it's all good. Lou: It’s pretty miserable, isn't it? It's better when the sun's shining, do you find? Kate: I actually really like both. My husband always is slightly confused by my love of rain and we've just been camping and it rained for two of the days and I love it when you're in a tent and there was a storm and it was windy outside and the rain is going… so I'm kind of happy in both. Lou: Yeah, I get that. You've been camping literally just recently during lockdown? Kate: Yeah, on the weekend. Lou: Oh my God. How was it? Amazing. Kate: Good. We've been a couple of times. I mean, it's slightly glamorous camping, we borrowed my parents' camping van and on both of these trips, we've actually been camping in their garden, so we’re able to see them, but not going inside the house or touching anything, I think, that they touch. Lou: Okay. So I'll get rid of the image of you on the top of a mountain. Kate: Well, we're about to do that in Devon, actually. Lou: Yeah, okay. So, how are you, Kate? How are you doing, experiencing the whole… Kate: I'm not sure if I've really even thought about that for several months. You know what, I'm remarkably good. I would say I'm very… I'm feel very, not stressed. Lou: Ah, okay. So have you been uber busy during this time, or have you had some time to chill and reflect? Kate: I've had phases… I think the first month we, both of us, we already… all we did was look after our daughter; play games, play boardgames, build Lego, magnet building, painting. We didn't do any schoolwork with her. We didn't do any work for us. We all just played and we had no rules, and it went on for about four or five weeks. It was lovely, very simple, we just walked the dog every day, and that’s, you know… Lou: And then? Kate: And then we both decided we have to get back on the work thing. And we started splitting days of childcare and work, and then suddenly life started having structure, and a time that something had to be done. But I mean, I think we were ready for it by then. And now we've gone even a step further and Ella’s grandma's helping her out with childcare and we're both trying to do a full days of work again. Lou: It's difficult, isn't it? Do you feel a constant sense of guilt like me? Kate: No, do you know what I like doing? One of my guilty pleasures working at home is… I have my lunch and then a cup of tea, I take about an hour at lunch time and I'll watch probably an episode of something… slightly trashy, like Grey's Anatomy, in the middle of the day. It feels lovely. Particularly like if Ella was at school or if she's, you know, she's round her grandma's today, and the house is quiet. Neil’s gone out to walk the dog and I've got a moment where I can watch my soap opera in the hospital. It's just… yeah, I like that. Lou: Yeah. I totally get it. I've developed a very serious relationship with George Clark's ‘Amazing Spaces’, I don't know if you've ever seen that. Kate: No, what’s that? Lou: Oh, it’s about doing camper vans up, or little countryside huts. I think it's living vicariously, like you say, that kind of camping, rainy feel… watching people create spaces where that can happen… you know, while I'm stuck here is a very nice thing. Okay, so you're doing all right, that's good. What has COVID-19 stopped you from doing, what were you in ZooNation in the middle of when… Kate: So… ‘Message in a Bottle’ was coming… had a week left of a run at the Peacock in London and was about to go to… Manchester, Birmingham, Zurich, Luxembourg, Lyon… it was about to do, still our first ever international tour dates and it all got pulled. Everything went. It's harder for the dancers and the stage management crew than it was for me, because technically my contract had finished, and then I'd started another contract, which is a writing contract. So I'd have been working from home anyhow, but for the dancers and the company, you know, their livelihood gone, just gone. Lou: Yeah. It's just crazy isn't it? And… it's not, I mean, of course the money is really important, but it's also just the joy. Well, the joy of sharing the work. All the expectations of sharing the work and the response to the work. Kate: They did about six or seven weeks, I think… something like that. So they did, they got a good run of it. Enough that I think that they, you know, that they felt that they'd done it. The work hadn't been in vain, but it's yeah, it was pretty harsh for them, I think. To think that they would have been employed till the end of June, I think, something like that. Lou: So for you, your role as artistic director, were you involved in there in the decisions to pull the plug? Kate: No, because ‘Message in a Bottle’ is entirely produced by Sadler’s Wells and Universal Music. So sometimes ZooNation are full producers, sometimes we’re co-producers and sometimes we’re nothing. And with ‘Message in a Bottle’, we were nothing in terms of producing. So we, you know, I was employed by them and the name of the company was on it because that's… I try and make the work I do and the company that I built to be, you know, joined together. Lou: And it was your idea. Kate: Sorry? Lou: It was your idea. The show. Kate: Yeah, it was, yeah. Lou: But that doesn’t change that you don't wish to have it within your repertoire? Kate: You don't always get the choice. That was an email that I sent to the head of Sadler’s Wells, Alistair Spalding, and I was discussing with him, I think ‘Some Like it Hip Hop’ and some other shows that were ZooNation shows, and what the company had coming up and what our plans were. And I wrote it at sort of Christmas time, and at the end of it, I said, ‘PS, I've been having this idea’. And I just told him, I pitched him sort of two lines about an idea about the Police and Sting. So it was my idea and it's all been my original idea to do it… we weren't in a position to produce something like that. And Sadler's Wells and Universal Music went and got the rights for it and they've co- produced it together. Lou: Interesting, okay. I'm so naive about these things, I just assumed that was as a ZooNation product and that you owned it. Kate: Yeah, no, it's too large scale and commercial for us, we don't have that sort of money. Lou: Okay. Interesting. okay. So that's what you were doing, what have you been doing, what has the company been doing? I've seen that you've got a digital offer called, ‘Dance on Demand’, can you tell us about that? Kate: You know, so we tried to generate some, albeit very small, but some work to still engage some of our artists, dance artists in some work, so we've been doing ‘Dance on Demand’, a series of different classes. They've done everything with… Lizzie Gough's done a yoga and body maintenance and Idney’s done house and Hakim has done breaking and Dannielle’s done whacking and Bradley's done locking. I think there's talk of me doing one which I'm slightly trying to get out of. I might be doing one. And I think Tommy's about to do a REP one where he's teaching some REP from the Mad Hatter's tea party. So we've just been trying to… from one side support those artists and give them a bit of cash and some focus, but also provide some stimulus for dancers who want to keep training from home. Lou: So it's for dancers really. Kate: It's for dancers, but it's for anyone. I know some of the office team have been doing it at home with their kids. They're not dancers. Yeah. So it's kind of been for anyone. Lou: Do you have an idea of take-up? Whether people that you don't know are doing it? it's interesting that everybody's pouring out all this work. Kate: Frankie, our marketing manager would know about that, I guess, doing analytics, but no, I'm not sure. Lou: Okay, I've got so much I want to talk to you about, you know, there's a lot happening in the world right now, particularly in terms of the Black Lives Matter movement gathering energy, and also as you're well aware, lots of conversations about wanting to systemically change how the art sector organizes itself.
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