Unlimited Commissions 2015

At a launch earlier this week, the next nine commissions from Unlimited were announced. I’m delighted to be one of them.

Cosy is a darkly humorous play in an inclusive production for a mainstream audience, exploring universal ethical issues of life, death, and our relationship to the medical profession, and its desire to mend and sustain the body, regardless of quality of life. It aims to examine the final taboo with wit, intelligence and full emotional engagement, powered by a disability perspective.

Kaite said:

“I’m delighted that the panel behind Unlimited have seen the potential in this new play, exploring what is arguably our last taboo – the means by which we shuffle off this mortal coil. I hope to explore this often feared topic with humorous irreverence, as well as sobriety and respect. What I love about humans is our ability to live joyfully and in the moment, despite the knowledge our time is finite and we will all die one day. How these two opposing perspectives co-exist will be fascinating to explore theatrically – and the deceptions, avoidances, contradictions and confrontations within a family with distinct and different ethical, religious, and political perspectives of end of life scenarios.

As someone who identifies as disabled, I have long been part of a vibrant community known for its joie de vivre and gallows humour – created, perhaps, from our knowledge of the fragility and resilience of the human body. I want to bring some of the quality of this insight and perspective to the script, in a production I hope will be funny, quirky, honest, daring, and fully engaging emotionally and intellectually.’

‘Cosy’ will be directed by internationally recognized Wales-based director, Phillip Zarrilli, working with producer Michael Salmon. It will premiere in Wales in spring 2016 before taking it to the Unlimited festivals at the South Bank, London and Tramway, Glasgow in September 2016.

Jo Verrent, Senior Producer of Unlimited, said:

‘Art is at the heart of Unlimited; it’s the work that disabled artists and companies create that has the power and potential to transform perceptions. It’s a real privilege to be able to extend that opportunity now not just to artists based in England and Scotland but Wales too. I can’t wait to see what they all have to offer!’

COMMISSIONS

The nine Unlimited commissions for 2015-16 span a wide range of disciplines – including theatre, visual arts, dance and literature – and are created by some of the most talented disabled artists in the UK.

‘Demonstrating the World’ Aaron Williamson (Visual Arts)
‘The Doorways Project’ Bekki Perriman (Other)
‘TV Classics Part 1′ Cameron Morgan (Visual Arts)
‘The Way You Look (At Me) Tonight’ Claire Cunningham (Dance)
‘Grandad and the Machine’ Jack Dean (Literature)
‘Cosy’ Kaite O’Reilly (Theatre)
‘Assisted Suicide: The Musical’ Liz Carr (Theatre)
‘Cherophobia’ Noemi Lakmaier (Visual Arts)
‘Him’ Sheila Hill (Theatre)

http://weareunlimited.org.uk/commissions/

https://www.youtube.com/watch?v=DT_ayisd2go

Several lives, several careers, changing form.

Maybe it’s my greed for experience, but I’ve always wanted to lead several lives, a desire made manifest through my choice of projects and parallel careers. I have been a physical theatre performer, a chambermaid, a live art practitioner, and a relief aid worker in war zones. I have written librettos, radio drama, short film, prose; sold shoes, meat, and advertising copy; directed film and dance theatre; been a writer in residence and Creative Fellow; and supervised postgraduate degrees in writing for performance whilst participating in Deaf arts, disability culture and the mainstream.

I think one of the most important lessons I have learnt is never to perceive myself as one thing. This business will often try to label us, slap a convenient sticker on our forehead and file us away under a limiting, narrow definition. Although often seen as perverse, I pride myself on not being easy to define. I try to keep experimenting, taking on new challenges and developing my skills.

I’ve often found in the UK that diversity is seen as an anomaly, a vulgar excess to be treated with suspicion. Phrases like ‘Jack of all trades, master of none’ damn the Renaissance wo/man. I know writers who have limited their careers and creativity by believing it’s inappropriate to try something new (‘stick to what you know. Why change a winning horse?’) or who believe that there are set patterns and processes to adhere to (if only they could decipher them), rather than inventing new ones.

When engaging with press to publicise a particular project, in my experience they will invariably do one of two things: simplify my career and back catalogue in order to focus the article, or make a feature of the fact I write for more than one medium – but not necessarily in a good way: ‘If it’s Tuesday, she’s writing a novel – the confusing life of playwright Kaite O’Reilly.’ This was the actual headline in a regional newspaper some years ago, which begged the question: confusing for whom?

Perhaps this is a cultural thing, but achievement or multiple skills aren’t embraced in the UK as they may be elsewhere – unless you’re also undermining your efforts by making a self-deprecating comment verging on self-loathing.

I personally love getting to know a writer through different genres or forms: The novelist who also writes award-winning screenplays and illustrates childrens’ books and sculpts and paints (http://www.markhaddon.com); the poet who is also a novelist (ee cummings and his harrowing novel of the First World War, The Enormous Room); the novelist who also writes and performs Haiku (listen to Jack Kerouac on http://www.youtube.com/watch?v=xJdxJ5llh5A&feature=player_embedded).

I also think that this attitude is currently shifting – there seems to be more opportunity for practitioners to explore other form – or perhaps it’s becoming a financial or career imperative? Literary fiction writers changing form if not medium is considerably more common, with a host of ‘literary thrillers’ entering the market, and several scare stories of writers being dropped by their publisher and agent for not attracting enough readers, and so experimenting with a more commercial genre.

There are other more positive and nurturing projects aimed at extending the careers and broaden the opportunities for exceptional writers. I’m immensely excited in being one of the mentors on Y Labordy, a new tailored initiative for experienced Welsh language writers of theatre, film and TV, led by Literature Wales.

 

Bethan Marlowe, Jon Gower, Fflur Dafydd, Dafydd James outside Ty Newydd

Bethan Marlowe, Jon Gower, Fflur Dafydd, Dafydd James outside Ty Newydd

The objective of this ground-breaking initiative is to create a pool of contemporary writing talent with the capability of writing high calibre scripts for different media platforms and to broaden ability for writing from an international perspective. The tremendously talented team are Fflur Dafydd, Jon Gower, Dafydd James and Bethan Marlowe – and I’ve been fascinated and thoroughly engaged in conversations with Jon and Daf as we negotiate medium and cross form.

Such endeavours fill me with excitement and inspire me with possibility. Perhaps we’re back again to my greediness, but I just want more, more, more….

(This is revised from an earlier blog)

Answering back and returning the gaze: Alternative Dramaturgies

Cover of Horizons/ Theatre no.4. Presses Universitaires de Bordeaux

Cover of Horizons/ Theatre no.4. Presses Universitaires de Bordeaux

Delighted to receive a copy of Horizons/Theatre numero 5 from the University of Bordeaux Press today, which includes an essay I delivered at a conference in Tangiers last year on ‘Alternative Dramaturgies.’ The work builds on my 2003/06 AHRC Creative Fellowship ‘Alternative Dramaturgies Informed by a d/Deaf and disability Perspective’ and my on-going Fellowship at the International Research Centre ‘Interweaving Performance Cultures’ at Freie Universitat, Berlin, since 2011. The essay is in English, and the abstract follows:

Answering Back and Returning the Gaze: Two examples of ‘alternative dramaturgies informed by a Deaf and disability perspective.’

Kaite O’Reilly

Abstract:   How do we ‘write’ disability? Is it in the aesthetic, the narratives, the content, the form, or the bodies of the performers? This paper seeks to introduce ‘alternative dramaturgies, informed by a Deaf and disability perspective’, exploring some of the dramaturgical developments I have initiated as a playwright working within disability arts and Deaf culture since 1987. Alternative? To the mainstream, hearing, non-disabled perspective, and by ‘alternative dramaturgies’ I mean the processes, structures, content and form which reinvent, subvert or critique ‘traditional’ or ’conventional’ representations, narratives, and dramatic structures in performance.

Much of my work as a playwright and theatre maker explores issues of how distinctive Deaf and disability cultures operate with, against, and/or in opposition to ‘mainstream’ or ‘dominant’ cultural paradigms. The paper will raise questions on the dynamic between majority and disability culture, and signed and spoken languages, looking at the interface and relationship between hearing majority culture and Deaf culture, and experiments in bilingualism between spoken/projected English and theatricalised BSL (British Sign Language).

This paper aims to reflect on my work exploring alternative dramaturgies regarding the aesthetic, content, form, processes, and narratives in a series of my past works, including peeling (Graeae Theatre 2002) and In Praise of Fallen Women (The Fingersmiths Ltd, 2006).

 

Copies can be obtained through the director, Omar Fertat, Horizons/Theatre omar.fertat@u-bordeaux-montaigne.fr

Words emerging from a living mouth: read your work aloud

writing

Some years ago I was asked what I, as a writer, actually did all day. I was in the process of revising a script, so I answered truthfully: I spent the whole day talking to my imaginary friends.

Writing can be noisy work. Performance writers are creating dynamic, pace, tension and flow. All that, plus characters, plot, aesthetic, and the world of the play is created through dialogue. Owing to this, I can’t stress enough the importance of knowing how your words move when spoken aloud – how they feel and emerge from a living mouth – what your work sounds like when uttered in a room.

It is often only in a read-through of a script we become aware of any tongue-twisters or difficult sentences we may have inadvertently created; it is there we note if a line sounds stilted, histrionic, or chimes false. Sudden unexpected little rhyming couplets emerge and accidental puns or double entendres. It is alarming how often what we thought we knew so well can surprise us – even ambush us. Reading the dialogue aloud when you write it is one way of avoiding this.

I find I can identify sections that are ‘flabby’ or need attention simply by half-murmuring the lines when I read the play. I can also find the sentences that jar because there are too many syllables in them, or not enough – and all this impacts on the greater whole.

Plays are written to be spoken. It makes sense that we should check the rhythm and flow by saying those words aloud. It helps us to check whether the dynamic between characters moves in the speed and pace we want at that moment. I often compare writing to composing music – it’s good to check each section follows the patterns and has the energy appropriate to the atmosphere we are trying to create at any point.

I’ve worked with writers who are bewildered as to why a scene which they know should work doesn’t. They’ve honed it, included all the necessary components of plot, rising tension, good characterisation – and yet it still doesn’t have the desired impact or emotional effect. We have then edited a few lines – perhaps changed the length or rhythm of several – and suddenly, to their astonishment, the moment works.

A speedy staccato back-and-forth may undermine and destroy a tender moment, or one with tension and gravitas – but that dynamic leading up to a slower, more evenly spaced section can help heighten the moment by contrast.

Movement of text has an impact on the audience and how it receives the information. Try and ensure you use the appropriate dynamic, flow, vocabulary and interaction. Reading the text aloud will help this.

 

‘A strange and beautiful concoction…’ Further reviews of ‘playing The Maids’

 

Playing The Maids

Playing The Maids

 

We continue into the Wales tour of the international collaboration ‘playing The Maids’, gathering reviews as we go.

Othniel Smith of The British Theatre Guide felt it

‘…accessible and visually stimulating throughout…moments of disarming humour… playing ‘The Maids’ is a strange and beautiful concoction.’

Full review: http://www.britishtheatreguide.info/reviews/playing-the-ma-chapter-cardif-11227

Over on the Exeunt theatre magazine site, Tom Wentworth wrote:

‘…a fascinating piece…melancholy interwoven with humour… immersive and intuitive…’

http://exeuntmagazine.com/reviews/playing-the-maids/

And this on top of our Five star review from Denis Lennon in The Public Reviews

‘…Stunning… I urge you to go see…’

http://www.thepublicreviews.com/playing-the-maids-chapter-arts-centre-cardiff/

 

Chapter Arts Centre, Cardiff

Friday-Saturday 27-28 February, all at 8pm

02920 304400 / www.chapter.org

 

Theatr Brycheiniog, Brecon

Thursday 26 February at 8pm

01874 611622 / www.brycheiniog.co.uk

 

Aberystwyth Arts Centre

Friday 6 March at 7.30pm

01970 623232 / www.aberystwythartscentre.co.uk

‘Stunning..’ 5 Star Review for ‘playing The Maids’

 

Regina Crowley and Bernadette Cronin of Gaitkrash, 'playing The Maids'

Regina Crowley and Bernadette Cronin of Gaitkrash, ‘playing The Maids’

The Public Reviews

Reviewer: Denis Lennon

http://www.thepublicreviews.com/playing-the-maids-chapter-arts-centre-cardiff/


If you are looking for a production of Jean Genet’s The Maids when you come to Chapter to watch Playing ‘The Maids’ you will find something else entirely, and may not get what you came for. What you will get, however, is a performance that engages and interrogates the notions of servitude within Genet’s world – a world where two sister maids play out fantasies to kill their Madame. For an audience, this production raises far more questions than it attempts to answer. It poses a challenge for the audience to scrutinise the power dynamics present within the 2015 zeitgeist. This is a refreshing break from the patronising didacticism we are all too often privy to in theatre today.
With this intercultural collaboration between the Irish Gaitkrash Company, the Korean Theatre P’yut and Wales based Llanarth Group, something of rare complexity, beauty and conviction has been created under the guidance of director Phillip Zarrilli and dramaturge Kaite O’Reilly.
“You look at me as if I am moving, it’s not me moving, I am being moved.”
The piece situates itself in a metatheatrical limbo: one minute we have one of Genet’s maids in front of us onstage, the next the same actor speaks her own name as stated very clearly in the programme on our laps. These transitions, from one reality to another, are not always obvious, leaving the audience in a constant state of questioning who exactly they are looking at, at any one moment. The way the company play with this ambiguity is inspired and had me (at times, literally) on the edge of my seat and still has me questioning the power dynamics present within the piece and, now, wider society.
All performers, including the musicians, in this production show a seamless cohesion with one another which creates an atmosphere and necessary moments of tension so palpable that the audience on the night held tightly onto any tickles in their throats to the end.
Apart from this wonderful production’s existential qualities, it serves the audience with an aesthetic feast from the belly-butterfly inducing crescendos created by cellist Adrian Curtin and sound artist Mick O’Shea, to the hilariously jarring Chinese night club karaoke of the Madame (Jing Hong Okorn-Kuo).
All this is interwoven by, sometimes subtle, humour throughout, for example when we hear the Irish sisters (Bernadette Cronin & Regina Crowley) threaten each other with a tirade of violent imagery, whilst always remaining sisterly or when the Korean sisters (Jeungsook Yoo & Sunhee Kim) display their fascination with the Madame’s beauty products with a hilarious, but poignant, childishness. These performances are all stunning.
If there is anything amiss in this performance, so much is the level of engagement that I did not notice it. Even the times I started to question any particular choice, such as the use of a distorted microphone to read stage directions, these choices were always justified later –it turns out the distortion of the voice serves a wonderful disembodied quality necessary for the metatheatricality of the piece.
This performance is something that will stay with me for some time and I urge you to see.

Chapter Arts Centre, Cardiff

Thurs-Sat 19-21 February and Friday-Saturday 27-28 February, all at 8pm

02920 304400 / www.chapter.org

 

Theatr Brycheiniog, Brecon

Thursday 26 February at 8pm

01874 611622 / www.brycheiniog.co.uk

 

Aberystwyth Arts Centre

Friday 6 March at 7.30pm

01970 623232 / www.aberystwythartscentre.co.uk

Intercultural Dramaturgy – playing The Maids

Playing The Maids

What follows is an excerpt from an article I wrote for Exeunt magazine on Intercultural Dramaturgy. For the full article, including reflections from Adrian Curtin, please go to: http://exeuntmagazine.com/features/playing-the-maids-intercultural-dramaturgy/

The notes of an unexpected duet fill the studio. Ku-eum, literally ‘mouth-sound’, imitating traditional Korean instruments,and ‘old style’ Gaelic Sean Nos furl about each other like rising smoke. It is an astonishing aural collision, a resonant meeting of two diverse vocal traditions, and part of an international encounter initiated by theatre director Phillip Zarrilli of The Llanarth Group.

playing ‘The Maids’ is a new performance created between languages, cultures, and art forms; a collaboration between nine multidisciplinary artists, three performance companies (Llanarth Group – Wales, Gaitkrash – Ireland, Theatre P’yut – Korea), and four languages – Korean, Gaelic, Mandarin, and our shared language, English. I am one of the nine co-creators in this complex, culturally diverse production.

Although it name-checks the classic modernist text, playing ‘The Maids’ is not a production of Jean Genet’s play. Rather, it is an intercultural exploration of the themes, relationships, and power dynamics offered in the source text from the different social, cultural, aesthetic, and artistic perspectives of the creative team.

First produced in 1947, Genet’s The Maids was reputedly inspired by the real life story of the Papin sisters, French maids who killed their abusive mistress and her daughter in 1933, claimed by the Communist Party as victims of both labour and gender oppression. Genet’s text seethes with working class discontent, and created a scandal when first produced with its dark portrayal of sibling dynamics, gender constructions, and ritual.

playing ‘The Maids’ moves beyond Genet’s meta-theatrical text to create a layered and textured set of dynamics between ‘Madame’ (played by Chinese-Singaporean Jing Okorn-Kuo), and two sets of Irish and Korean sister-maids. Performatively, it interrogates who creates and controls whom using a broad palette of styles and approaches – improvisation, physical scores, choreography, a live soundscape, satirical observation, and economic analysis.Sibling rivalry and the related intense love/hate dynamics are universal, and in this time of European austerity, and what the media has termed ‘the Asian boom’, the source text’s themes of wealth, privilege, and service have an obvious resonance for us all.

‘A lot of people are suffering in Ireland through no fault of their own, but because of a corrupt banking system,’ Bernie Cronin of Gaitkrash says. ‘I think people feel very helpless and stuck – and Genet’s maids are stuck… They’re marked by their lack of agency; they’re marked by their lack of means. I think in this aspect, what we’re exploring has a very real relevance.’

What follows is my reflection on the process as production dramaturg, with end-notes by my fellow company member Adrian Curtin.

An International intercultural interaction.

The prefix ‘inter’ refers to the space between, where there is the potential for things to happen – good or bad. In my experience as a playwright and dramaturg, this space between has never before been so populated, and alive.

I have many metaphors for the job I do, and these shift according to project, company dynamics, and the actual tasks at hand, which are dependent on where we are in the process. I sometimes think of a dramaturg as the oil that swirls around all parts of the mechanism/body/engine, ensuring it moves in synchronicity and harmony (even if that ‘harmony’ involves deliberate counterpoint) and at its peak performance. A dramaturg ‘tunes’ the engine/body, ensuring all aspects are working together and doing the job in hand, moving in the same direction, with the same destination, with a consistency and ‘logic’ (even if that is illogical) flowing throughout.

playing ‘The Maids’ has been a constant negotiation of a potentially contested territory – the areas of overlap between the work of the director, dramaturg, choreographer, and devising performers, what Eugenio Barba called ‘the dramaturgy of the actor’, what I consider the task in the moment. In other productions, roles have been clear and the lines agreed and drawn – for example, I work as a playwright with a director, or the singular dramaturg with director and performers. In this fascinating collaboration roles have deliberately been as porous and overlapping as the creative process. All nine company members have taken equal part in proposing material, leading exploratory material-generating workshops responding to the source from our particular cultural and artistic perspectives, and creating structures (or scenes/beats). Although I am the ‘official’ playwright in the company, the director (Phillip Zarrilli), and cellist (Adrian Curtin) have also written dialogue, with additional text contributed by all performers.

As an international ensemble we have been aware of and critical of the oversimplification of intercultural performance as presented in the Patrice Pavis model of the hour glass: source and ‘target’ culture – as if the process was the simple binary of material pouring from one receptacle into another.

Rather, our studio process has been closer to the one described by Tian in his book, The Poetics of Difference and Displacement. The place in between is a site of negotiation. Notions, forms, and assumptions normative or usual to one culture or individual will be disturbed, challenged, or displaced by encounter with difference, and often replaced with something else. In our studio space we have been interrogating this space between, navigating complex territory.

It could have been fraught were it not for the mutual trust and respect between all collaborators, and the firm foundation created by previous collaborations between the various artists involved, such as the five female performers having trained (at times extensively) with Phillip Zarrilli in his psychophysical approach to acting, using Asian martial arts and yoga. These experiences have provided a common ground in approach and theatre language for the ensemble, enabling what at times feels like magical shortcuts in process for those outside this shared practice. It is a pointed lesson in efficiency and quality-management in times of funding cuts and squeezed rehearsal processes. For example, although the five women performers have never worked together before in this conjunction, sharing Zarrilli’s psychophysical approach to acting serves as ‘a grounding, a mode of being, of operation we all share,’ Sunhee Kim of Theatre P’yut explains.

Gaitkrash is a Cork-based company comprising of Bernie Cronin, Regina Crowley, and sound artist Mick O’Shea. The company are interested in the ‘liveness’ of performance, and new forms of theatre and sound. Together with cellist Adrian Curtin, Mick provides an improvised sound environment for the devising performers to respond to, exploring servitude and privilege. This creates another strata for the layered performance score, another framing device that ‘holds’ the action, yet as Mick and Adrian are in dialogue with the performers in the moment, extraordinary flexibility is possible, and space for something else to emerge.

Such dialoguing and encounter allows unexpected moments of resonance and complicity, which we then superimpose, juxtapose, or bind together dramaturgically.

Much of my time has been spent documenting and keeping track of the raw materials generated in workshops and improvisations. Structures ‘offer’ themselves into sequences and others need to be sliced into or interrupted, to create counterpoint and dissonance.

In the studio it is often impossible to say whether the work is ‘instinctive’ or ‘intuitive’, or whether knowledge and experience has become so ingrained as to become ‘second nature’ – and so options and opportunities ‘reveal’ themselves or ‘emerge’ rather than being consciously assembled. It is part of the pleasure and apparent ‘magic’ of being together in the moment: ‘something happening all by itself’.

An Example of Practice:

Jeungsook Yoo performs an adapted form of Salpuri, a shamanistic dance for the release of Han – a uniquely Korean concept and national cultural trait which has no English language equivalent. Han is collective and personal, a deep sorrow or grief connected to suffering which finds expression, explicitly or implicitly, in every aspect of Korean life and culture. Sunhee Kim describes Han as ‘a lens through which we see things.’

As Jeungsook Yoo moves through the dance, we plait in Sean Nos: Regina Crowley sings a Gaelic song dating back to the Penal Laws in Ireland in the seventeenth century, when the colonizing British passed laws prohibiting Catholics from buying land, owning property, entering certain professions, and practicing their faith. All Irish language, culture, music, and education was banned, leading to the Irish being impoverished, landless, and leaderless by the time of the 1841 census.

Suddenly through our interweaving in this space between, Sal Puri from Korean Shamanic practices finds its echo in Sean Nos – solo Irish vocal traditions whose roots are in the oppressive period of imperialist rule – connecting with the ‘fermented grudge’ of Han, in Jeungsook Yoo’s description of this particular Korean sentiment. Sunhee Kim completes the moment with Ku-eum, the ‘mouth-sound’ mingling and making counterpoint with the lamentation of the traditional Gaelic song. ‘Madame’ watches, as Bernie Cronin in her maid’s outfit kneels, her lips submissively smiling, but dissent and rage blazing in her eyes.

These ways of seeing and being can be shared and explored collectively in this space between, not through the appropriation or dilution of cultural form, but from each artist offering cultural, aesthetic, or artistic perspectives as resonance or counterpoint. Something shifts and is changed by this encounter, and collectively, without taking from the other, or insisting on one culture’s dominance, something else emerges – a poetics of difference, a moment of complicite.

For the full article, please go to http://exeuntmagazine.com/features/playing-the-maids-intercultural-dramaturgy/