Thursday, 9 June 2011

Amadeus 1






I was rather dreading the Amadeus Techs, the show is so complicated, and there are so many quick changes, but it's been OK - so far. “So far” being the end of part 1. Part 2 gets even more complicated.

It's challenging to photograph, but the 18th century candlelit lighting by the brilliant Alan Burret is actually very flattering, and makes everything look very, - well - 18th century in the wooden pruscenium of Ralph Funicello's elegant set. The “portrait shots” of Miles and Jay are quite inspiring me to take up portrait painting again!

Tuesday, 7 June 2011

Much Ado 2






Shakespeare's comics can be very tricky to get right. They were clearly written for a well loved company of actors with their own idiosyncrasies who the audiences found howlingly funny. Well to us they are often not funny at all, but this time we get lucky in the lanky shape of John Cariani as Dogberry, who leads his gormless team of Watchmen with joyous incompetance. [as Watchperson, I hasten to add, not as actor].

I have often wondered why that sort of glorious mangling of the language is called “Malapropisms” rather than “Dogberryisms”. Shakespeare certainly got there first.

Here also are pics of Georgia Hatzis as Beatrice winding up Benedick, [Jonno Roberts], Winslow Corbett as the enchanting, put-apon Hero, and Adrian Sparks who does another Shakespearean Papa with great gusto. Ryman Sneed is just right as Margaret.

Autobiobraphy 1

After much dithering I am finally embarking on my Autobiography - here is the 1st draft of of some of the opening chapter.

Chapter 1. Malvern.

I was adopted at the age of 8 weeks by Julie Clancy, who must have been a woman of remarkable courage. For the sad and obvious reason there were a large number of spare babies available towards the end of the war in 1943 and I was one of them. She was one of the last single women who were allowed to adopt, she was also 52 years old, and that wouldn’t have been allowed these days either.

Julie was the matron of a nursing home in Graham Road, Great Malvern. Before the advent of the NHS nursing homes were very different places from today, the main difference being that they were allowed to perform operations, tonsil and adenoid removals and the like. There was a fully equipped operating theatre attended by visiting surgeons. Patients also came to convalesce, as Malvern was always considered a healthy place to be, set as it is half way up the Malvern Hills. Does anyone convalesce any more? Or indeed remove adenoids? Julie prided herself on the quality of the food, and as a registered nursing home, rationing was not applied with anything like the severity found elsewhere.

We had a flat on the top floor, with the hills to the back and a slightly interrupted view over the Severn Valley To the front. I had a nanny till I went to school, I don’t think I liked her very much, a Welsh woman called Nora Bough, who went on to Higher Things when she became Nanny to the children of Lord and Lady Beauchamp of Madresfield Court, (famous for its association with Evelyn Waugh). Nanny Bough stayed on as housekeeper when the children grew up and was the ladies maid and confidante of Lady B, until she retired aged 80-something to a Grace and Favour almshouse in Malvern Link.

My preparatory school was Croftdown, an establishment that had been evacuated from North London for the duration of the war, and stayed. It was run with a kind of fierce cosiness by two unmarried sisters called Wortley. (There are a great many unmarried ladies of a certain age in my early life.) The children were encouraged to call the Misses Wortley, ”Auntie“, I think it was meant to inspire family feeling, it didn’t strike me as peculiar, or even embarrassing at the time. Auntie Wortles and Auntie Jan?? Oh dear, what were they thinking of? The other teachers got away with diminutives based on their surnames, the only one I remember was Milly for Miss Millward, a tall gaunt woman with iron grey plaits wrapped round her head and flat Clarkes sandals, Miss Millward would have been a far more appropriate means of address. She taught maths I think, certainly we were all very well taught the basics, times tables, mental arithmetic and so forth.

As an only child with a hard-working mother I presumably spent a lot of time on my own, I remember that visits were made to the school and conversations had to find out if anything was the matter with me, since I clearly had great difficulty making friends or interacting with other children. I suspect I was simply terrified of rejection and it seemed safer not to try. Like many somewhat lonely children there were a pair of imaginary friends, called, strangely enough, Monks and Bishy-bar. I didn’t know any monks, and certainly no bishops, nor wanted to, so what that was about I have no idea.

Julie decided after much discussion with friends that I should call her ‘Mardy’ supposedly a combination of Ma and Daddy, she didn’t realise that it was Yorkshire for whiny or grumpy, as in ”he/she’s a mardy little bugger“. But I didn’t find that out till much later, and no one in Malvern knew anything about the North so it didn’t matter.

I started riding lessons while still at the nursing home, and enjoyed them very much. The riding school was run by a hard-bitten ex-cavalry chap called Major Chandler, whose true metier was drilling tough young subalterns, he was wasted on slightly nervous small girls, and hopeless with them, really. We rode on Malvern Common, and the 1st time I was allowed off the leading rein, the little brute I was riding, recognising complete inexperience when he felt it dithering on his back, bolted up the hill as fast as his legs would carry him, finishing the performance with a couple of determined bucks. I sustained a fractured elbow. Traditional wisdom has it that you are put straight back on again, [once someone has managed to catch the pony that is] lest you ‘lose your nerve’. Well, you lose your nerve anyway, at least while the plaster is still on.. I have a memory of ringing the door-bell at the nursing home, and saying rather apologetically – ‘I seem to have done something to my arm’. I tried again a couple of months later on a less volatile mount, and all was well.

Soon after the National Health Service came in 1948 Julie decided to give up the lease she held on the nursing home. She was told that she could no longer run a private operating theatre and felt that nursing homes would become simply geriatric establishments if people could get free treatment for all their ills in hospitals. She was of course partly right, but maybe she would have been better off to have sat out the transition period and kept going, because with the move she lost the only proper income she was ever to have. She bought a large house in College Grove at the western edge of Great Malvern called Far End. I think I was about 8.

I’ve no idea how Julie managed to keep afloat financially, and I realise now that she didn’t, sinking very slowly into debt until in desperation she turned the top 2 floors into self-contained flats. She should have done this right from the start, of course, but that’s easy to say now. She didn’t want to worry me, so never talked about it, I wish she had. There were all sorts of schemes that were supposed to make the house self supporting. A sort of extra canteen for children from Croftown School and a holiday home for somewhat older children whose parents worked in the Far East and who were only able to fly out to visit their parents once a year during the long Summer Holidays, were two that I remember.

In 1955 I went to the Convent of the Sacred Heart in Tunbridge Wells. Julie had chosen this school with much care. She was a committed Catholic of the old school, (preferring the Mass in Latin, and hating the faux chumminess and the “bobbing up and down” that crept in later on) and felt that there was nowhere suitable in Malvern. The nicest of the holiday children, who must have been 17 or so at the time, attended this school, so visits were paid, I was accepted and off I went. I took the grammar school entrance exam, the “11+” and somehow scraped through which enabled me to achieve a small grant towards the boarding fees from Worcestershire County Council.

It wasn't easy to fit in to begin with. Know-it-alls with no talent for making friends are always going to have acceptance difficulties, so the 1st couple of years weren’t much fun. But it did get better. I was a good all-rounder, good at art, good enough at sports to make it into various teams, and anxious to please. I never did quite the ”holiness“ business, though I did try, eventually enjoying the brisk daily mass. Attendance wasn’t in theory compulsory, but it was certainly noticed if you never showed up.

Many things would seem hopelessly quaint, not to say embarrassing, nowadays. We still had to curtsey to the Headmistress and the Reverend Mother, though it seemed as normal as shaking hands at the time. It was more a maid’s bob than a full blown stage curtsey, and we got very good at perfecting the double version on the slippery polished floors, if two high ranking nuns were standing together. It’s been a surprisingly handy skill, I’ve passed on the knack to many an actress!


Sunday, 5 June 2011

Tempest 1






I think this is a wonderful production. I've never understood why the Tempest was supposed to be such a great play before, Prospero seemed petulant with serious anger-management problems, the romantic leads dull and the magical element somewhat twee.

Well not here. Miles Anderson was clearly put on earth to play Prospero, his humanity and lightening changes of mood making perfect sense, Winslow Corbett and Kevin Daniels are enchanting in their beauty and innocent directness, and the magic, headed by the graceful shape of Ben Diskant as Ariel is truly - well, magical.

I approached the design quite openly, almost the only things I had drawn in any detail were the goddess puppets, and Ariel as-a-Harpy - and the ever-present spirits. [managed to work on the spirit chorus with Adrian when we were bringing the Mozart Trilogy to the boil in Lyon] And Miranda, which got changed immediately I met Winslow.

Everything else grew out of the rehearsal process with input from the actors. Especially Jonno Roberts who is a terrific Caliban, using a hurt, angry, sexy energy that I suspect doesn't get let out very often.

Friday, 3 June 2011

Much Ado 1






This is a lovely production - Ralph Funicello's handsome black, filigree set and easily the best Beatrice and Benedick I've ever seen (Georgia Hatzis and Jonno Roberts. They must get heartily fed up with the prefix “married couple ...etc”), but to have a real, passionate relationship at the heart of this play makes the most extraordinary difference.

Ron wanted to set Much Ado in a period where the gender differences were at their most extreme, I felt that crinolines had been somewhat over-done, and were a bit boring, so rather than use the 1850s we decided to go for the less explored 1830s. The clothes are exceptionally pretty for the women, and the soldiers uniforms are seriously glamorous.

Thursday, 2 June 2011

San Diego 2011






So I am back at The Old Globe designing the 3 plays of the 2011 season with Adrian Noble and Ron Daniels. The plays are The Tempest and Amadeus directed by Adrian and Much Ado About Nothing directed by Ron. Last week we did the technical rehearsals and 1st preview for Much Ado very successfully, and we are currently on the 3rd tech day of the Tempest. It has/is being very interesting to do 3 such different plays, not just different, but whole different approaches to the theatre.

Much Ado is, I suppose, a fairly conventional approach involving realistic, almost Chekovian 1830s costumes, lovely to do and very smart/pretty they look.

Amadeus is all about real people seen through the warped memory of Salieri himself, and involved a spin on accurate period fashion. Fun to draw, of course.

The Tempest is far more abstract - improvised almost - with much input from the actors in places

Almost the only 'concept' I had firmly in place for this were the Goddess puppets that Adrian wanted, which we decided to base on the Japanese Banruku tradition, and ideas for Ariel, particularly his Harpy wings.

Saturday, 14 August 2010

Credits etc from Die Tote Stadt







This is the cast list and credits for the production, and an intro from Giordano, the director of the Jyske Opera.

After the successful Danish premiere of Puccini’s La fanciulla del West (August 2009), The Danish National Opera once again presents, in August 2010, a masterpiece from the great opera repertoire that people have not previously been able to experience in Denmark: Erich Wolfgang Korngold’s Die tote Stadt. With its extremely expressive style the opera is a milestone in the late-romantic German opera repertoire after Wagner and Strauss. The music as well as the dramaturgy point towards the great epic movies which became the popular art form of the 20th century.
“Die tote Stadt is about the loneliness of deep sorrow, about the dark side of life when we are struck by an existential crisis where the meaning of life and death itself fills and tortures our soul. Never has this theme been more present or relevant than in our seeming welfare society”, Artistic Director Giordano Bellincampi states. Hallucinations, thrills and reality get tangled up in this surreal drama of one of the 20th century’s most breathtaking operas. “With its intense, psychological plot and ingenious music Die tote Stadt is a performance worth experiencing”,


Composer
Erich Wolfgang Korngold

Libretto
Paul Schott (Erich Wolfgang & Julius Korngold, [Erich's papa])

Conductor
Jaroslav Kyzlink

Director and stage designer
Mikael Melbye

Projection designer
Wendall Harrington

Lighting designer
Anja Myung Hansen

Costume designer
Deirdre Clancy

Choreographer
Marie Brolin-Tani

Cast.

Paul
Torsten Kerl

Marietta, dancer / Marie's revelation
Ann Petersen

Frank, Paul's friend
Jørn Pedersen

Brigitta, Paul's housekeeper
Anette Bod

Juliette, a dancer in Marietta's troupe
Elsebeth Dreisig
Lucienne, a dancer in Marietta's troupe
Trine Bastrup Møller
Victorin, the director in Marietta's troupe
Jan Lund
Fritz / Pierrot in Marietta's troupe
Daniel Hällström
Count Albert
Jens Krogsgaard
Gaston - a dancer
Ahmad Salhi

Kor
The Chorus of the Danish National Opera
Orkester
Aarhus Symphony Orchestra