Category Archives: on writing

LIE WITH ME: 13-19 July 2017

Sarah Perahim and Arty Froushan in Kaite O’Reilly’s LIE WITH ME, directed by Kirstie Davis. Photograph by Ed Miles. © LAMDA 2017

It’s a great pleasure working with young actors, stage management and techies at the start of their professional careers. The skills are newly burnished, energy high and commitment strong.

Che Francis and Harrison Collett in LIE WITH ME by Kaite O’Reilly, directed by Kirstie Davis. Photograph by Ed Miles. (C) LAMDA 2017

There is also something both touching and inspiring about being involved in a launch production propelling fresh talent into the world. We know it’s a tough and precarious business, yet we still commit ourselves to the production of culture, the hopeful generator of discussion, thought and engagement in our audience about the world we inhabit today and into the future.

Molly Wheaton, LIE WITH ME by Kaite O’Reilly, directed by Kirstie Davis , Photograph by Ed Miles. © LAMDA 2017

My latest play, LIE WITH ME, was an exploration of the connections and degrees of separation between individuals in post-truth, contemporary urban life. Many who saw it commented on its topicality. Nathan Gearing, director of Rationale P and the Special Olympics commented: “There were times my heart strings were being pulled by certain characters, which was amazing, as each character only had 2 scenes….it felt like not a word was wasted and every word contributed to developing either an understanding of the character, society or the self.” 

Meg bennett and Joseph Aldous, LIE WITH ME by Kaite O’Reilly, directed by Kirstie Davis Photograph by Ed Miles. © LAMDA 2017

LIE WITH ME was a commission from LAMDA and presented by their FdA Professional Acting and FdA Stage Management and Technical Theatre Students, performed in the LAMDA Linbury Studio. It was a privilege to work with this tight ensemble and highly efficient technical crew – and I can’t wait to see what the individuals of this talented crew and cast do next.

Emma Rendell and Arty Froushan. LIE WITH ME by Kaite O’Reilly, directed by Kirstie Davis Photograph by Ed Miles. © LAMDA 2017

Cast: Molly Wheaton, Che Francis, Emma Rendell, Arty Frousham, Sarah Perahim, Joseph Aldous, Meg Bennett, Harrison Collett.

Director: Kirstie Davis

Set Designer: Alex Marker

Lighting Designer: Cameron Moore

Production manager: Verena Prandstaetter

Deputy Stage Manager: Abbey Bursack

Production Sound Engineer: Lizzie Alderson

 

All photos by Ed Miles. © LAMDA 2017

Remaking… inspiration from existing texts

Reigen, better known as La Ronde, was written by Arthur Schnitzler in 1897, and was published a few years later, solely for private circulation. The play reveals the sexual morals and mores of a society, across all echelons, revealing hypocrisy but also how sex, like death, is the great leveller, regardless of status. In a series of duologues, the audience follows the characters through various encounters – the whore and the soldier, the soldier and the maid, the maid and the young gentleman, the young gentleman and the politician’s wife, and so on, around and around, until we turn full circle with the last encounter, the count and the initial streetwalking whore.

There have been many adaptations of the script over the years, most famously with David Hare’s two-hander, The Blue Room (1994) and Joe DiPietro’s Fucking Men, an exploration of sex in New York’s early days of HIV/AIDS. Schnitzler’s script has been used as a warning against sexually transmitted diseases since its inception, revealing how STDs are not limited to the lower classes, but can run through every layer of polite and not so polite society.

When director Kirstie Davis was approached by LAMDA (London Academy of Music and Dramatic Art) to partner up with a writer for their Long Project, she thought of me. We’d collaborated on several other projects – Woman of Flowers, her commission to me from Forest Forge Theatre, and her fabulous re-imagining of my script peeling, with Kiruna Stamell, Ali Briggs and Nicola Miles-Wildin. I love working with Kirstie. As a director she is imaginative, discerning, supportive and full of integrity. It’s always a joy to work with her – in so many ways she really is a playwright’s dream collaborator.

As the LAMDA commission would be for graduating actors going into the world, we wanted to make work which showcased each actor’s individual skills and so reveal their scope. I thought of the structure of La Ronde, with its interlocking ‘daisy chain’ dramaturgy, enabling actors to be in two different duologue-scenes, thereby enabling diversity in what each performer does, and creating parity in stage time. This is not a text with lead and minor parts – all parts are equal in length and importance, with a deliberate mixture of interactive dialogue and monologue for each character.

Lie With Me is not an adaptation of Schnitzler’s text, but is inspired by it. I have taken certain aspects of the original – the circular dramaturgy, the notion of characters from different strata in society engaging – but my piece focuses on a broader representation of encounters, not just sexual, as in the original. I wanted to explore identity culture and how a character may change according to the context they are in, and whom they are interacting with. I also wanted to respond to the times we live in – the contradictions, deceptions and interactions in a ‘post-truth’ contemporary urban setting. My title is carefully chosen, reflecting, I hope, both the original inspiration and the often deceptive lives we lead in a world of ‘fake news’ and an ambiguous moral compass.

Rehearsals start next week, after I complete my fellowship at International Research centre ‘Interweaving Performance Cultures’ attached to Freie Universitat in Berlin. I will be flying to London to start rehearsals. Watch this space.

 

 

 

Lie With Me

by Kaite O’Reilly

13  19 July

The LAMDA Linbury Studio, London.

A world première, inspired by La Ronde, an exploration of the connections and degrees of separation between individuals in post-truth, contemporary urban life. Information here

Why Diversity Matters: Atypical Plays for Atypical Actors

Feature for booksbywomen.org

“You have to see it, to be it.” This slogan seems to be cropping up everywhere in these diversity-conscious days, whether it’s about creating role models or better representation for girls, mature women, or what is increasingly known as BAME – individuals from Black, Asian, and Minority Ethnic origins. It is particularly important in the media, which supposedly mirrors our society and whose powerful imagery helps shape our values, morals, norms, and ambitions.

Moving image media, theatre, and novels help us understand the world, our feelings, relationships, and social responsibilities, playing a crucial role in communicating what is ‘appropriate’ for our age, gender and cultural heritage.

Female protagonists? No… For far too long women were harridans or eye candy, the supporting cast hanging onto the white male hero’s arm, or being dismissed as a nag and a hag. Black and Asian actor friends despaired at being cast, yet again, as the gangster/drug dealer, the ‘exotic’ princess, or victim daughter forced into an arranged marriage.

These limited and limiting stereotypes proliferate in books, on screen, and stage, and although the situation is slowly improving, these harmful ‘types’ and narratives still linger, constantly reflecting negative images of ‘difference’. Never is this more obvious, I would argue, than in the representation of impairment – part of the diversity argument we still hear little about. The desire to subvert or challenge harmful images of disability is what fired my writing Atypical Plays for Atypical Actors, published by Oberon.

Tiny Tim. Quasimodo, the hunchback of Notre Dam. Mrs Rochester, the mad woman in the attic. Captain Hook. Richard III….to name just a few. Since Oedipus, disability has been used in the western theatrical and literary traditions as a useful shortcut to signify evil, helplessness, instability, and a plethora of other negative human traits that inspire pity or fear. The images continue in films: the tormented genius, the evil Bond ‘baddie’, the blade-slashing psychopath, the victim who conveniently leaves the scene either by dying, being institutionalised, or ‘overcoming’ the condition and so ‘passing’ as non-disabled…

To read the rest of this feature, please click here

Feature originally published on http://booksbywomen.org/why-diversity-is-important-atypical-plays-for-atypical-actors-bu-kaite-o-reilly/

LIE WITH ME – London July 2017

‘What’s on’ LAMDA website

Last year my long-term collaborator, the brilliant director Kirstie Davis, and I had a fantastically creative time working with acting students at LAMDA – London Academy of Music and Drama. Part of the ‘Long Project’, we worked with a dozen talented young performers, whose energy and enthusiasm inspired me to go away and write LIE WITH ME.

Fast forward a year, and a different cast (but such is theatre) – and the Summer season has just been announced — tickets go on sale later this week. If you’re in the London area in July and fancy seeing a world premiere presented by the artists of the future – you know where to come…

‘Lie With Me’ LAMDA website

Lie with me

Written by Kaite O’Reilly
Directed by Kirstie Davis and performed at The LAMDA Linbury Studio

A world première, commissioned by LAMDA following a workshop development last year. Inspired by La Ronde, O’Reilly’s Lie With Me is an exploration of the connections and degrees of separation between individuals in post-truth, contemporary urban life.

Please note, this production contains adult themes and strong language.

Thursday 13 July: 7.30pm

Friday 14 July: 7.30pm

Saturday 15 July: 2.00pm & 7.30pm

Monday 17 July: 7.30pm

Tuesday 18 July: 2.00pm & 7.30pm

Wednesday 19 July: 7.30pm

Booking for this performance opens on Friday 12 May at noon.

– See more HERE

“But you know I don’t think in words.” An essay by Kaite O’Reilly.

As part of my on-going Fellowship at the international research centre ‘Interweaving Performance Cultures’ attached to Freie Universitat in Berlin, I have been reflecting on my work between Deaf and hearing cultures and disability culture and the so called ‘mainstream’ – most notably my recent work with Deaf artists. “But you know I don’t think in words”: Bilingualism and Issues of Translation between Signed and Spoken Languages: Working between Deaf and Hearing Cultures in Performance focuses in particular on my work with actress, visual language director and BSL expert Jean St Clair and performer/collaborator Sophie Stone.

Originally prepared as a presentation at the centre in Berlin on my 2012 Cultural Olympiad production with National Theatre Wales/Unlimited In Water I’m Weightless (read about it here onwards), editors Holger Hartung and Gabriele Brandstetter invited a longer reflection on the processes Jean, Sophie and I embark on when working together.

The long essay included in this new book quotes both my collaborators at length, and includes director Kirstie Davis’s production of my bilingual play Woman of Flowers. I wrote the part of Rose specifically for Sophie, with Jean working as the visual language creative director. Our process was documented on this blog.

 

Jean St Clair and Sophie Stone working on ‘Woman of Flowers’ 2014. Photo by KOR

The title of the essay “But you know I don’t think in words” comes from an aside Jean made when I requested she answer some questions about our process via written English rather than visual language. I didn’t want to have translation from visual to written language, and Jean is fluent in English. Her being present ‘in her own words’ seemed immensely important for the essay.

I’m delighted to be able to share our creative process, and to acknowledge Jean and Sophie, crediting them for this liminal work, this ‘space in-between’ we inhabit when collaborating across spoken/written English and BSL/visual language.

Talking with poets

Penglais woods, above Aberystwyth. Walking the bluebell trail with Chris Kinsey, April 2017. Photo: Kaite O’Reilly

For the past few years I have been undergoing a slow transformation, partly documented in this blog. It has been sedate but determined, rather like the growth of lichen on a tree,  so perhaps a better term might be evolution…

For years my performance texts and plays have been described by reviewers as ‘poetic’ and my writing as having a ‘lyrical’ quality. When I won the Ted Hughes Award for my version of Aeschylus’s Persians in 2011 I almost argued with the judges, asking how could I win such a prestigious award when I was a dramatist, not a poet? (Thankfully the judges were sage enough to ignore my protestations, insisting in their wisdom I was indeed a dramatist and a poet, despite my cries ‘But I don’t write poetry!’)

Many conversations on this subject have followed over the years, some referenced in this blog. I often wondered if my resistance was not towards poetry  per se – I have too many learnt by heart to be considered a poetry denier – but to the idea of me trying to write it. I also suffered from a rather limited definition of what poetry might be.

As my resistance (fear, perhaps?) weathered away, I became aware of how many of my new but close friends were practising poets. When I became seriously ill in 2015, I found what I wanted to read was, of course, poetry, perhaps because, as Robert Frost put it: ‘Poetry is when an emotion has found its thought and the thought has found words.”

My friend and poetry-whisperer Chris Kinsey has accompanied me along this journey, generously sharing reading platforms (at Oriel Davies where she was poet in residence) as well as work in progress. Interesting articles on form are sent my way, along with illuminating quotations on writing alongside her extraordinary engagement with the natural world in language. It was a masterclass in itself and a great privilege to witness the creation of her latest pamphlet, Muddy Foxpublished by Rack Press. We ruminate on process, often – to my huge pleasure – when walking along hidden tracks in different parts of Wales. As a former winner of the BBC Wildlife Poet of the Year, she is  attuned both to the natural world and ways to express it. We exchange work and encourage each other in our writing, but never once has she suggested I try writing poetry, not even covertly… (I am confident in asserting this, for as a playwright, I am skilled in detecting subtext and ‘what lies beneath’).

Aberystwyth from above the town. Walking the gorse trail with Chris Kinsey April 2017.

So it is she, alongside Samantha Wynne Rhydderch and Gillian Clarke who have and continue to patiently incubate my on-going evolution as someone who now experiments with poetic form. I have wonderfully stimulating lunches with Sam overlooking Cardigan Bay in a cafe which was previously the post office where Dylan Thomas sent his manuscripts to London – a detail we both find entertaining. The hours disappear in our varied and diverse conversations on live performance, poetry, writing, the voice. Gillian has recently become a more formal encourager, meeting me for ‘masterclass encounters’ as we coin them, part of my Creative Wales Award, granted by the far-sighted Arts Council of Wales (read about this incredible initiative here).

It is only now I am beginning to fully understand the power and influence of talking with poets. These conversations guide, stimulate, provoke, engage, and encourage growth and change. Talking to poets (particularly along the by-ways of our beautiful Ceredigion) should be available on the NHS.

 

The Year of Writing Peripatetically… Does place impact on writing?

Does where we write colour what we write? Do our surroundings impact on our work without us truly realising? And how about the weather – or the quality and intensity of sunlight? These are the questions I was asking myself on my morning walk today, beside the River Glomma, in Norway. One month ago I was working in Costa Rica, basking in tropical temperatures and extraordinary dramatic sunsets.

Costa Rican sunset January 2017. Photo: Kaite O’Reilly

In San Jose I started a project exploring poetry and found a vibrancy and detail in my writing which was unusual – I’m primarily a dramatist with a focus on the human… When writing for theatre, I’m not interested in descriptions, but relationships, atmosphere, pace and dynamic. It may be of course this new aspect has arrived because I am exploring new form, new process and with different stimuli… But the writing I have been making this past week in Norway has been somewhat stark compared to the rough notes I made on the Pacific coast.

The view from my Norwegian window. March 2017.

When I arrived in Norway it was snowing, and everything was in monochrome (interestingly, when initially writing this sentence, I made a typo and wrote everything was in monotone. I’m a playwright, it’s about tone and pitch and rhythm – so this error, I think, was revealing….)

This morning the sun came out in a gloriously blue sky, the snow has largely melted and I became aware again of a shift in my brain and wonder if this will manifest as a change in the texture and quality of my writing…

River Glomma March 10 2017

Does sunlight and environment effect mood, observation and state of mind? I’m used to writing on the hoof, not requiring one place to settle in in order to meet my deadlines – but I also know this is a skill it has taken many years to master, learnt the hard way, on the road.

2017 will be another year of writing peripatetically, and I’m going to be interested in what emerges both in my writing for performance and the experimentation I’m currently engaged with. I’m going to try and reflect on process, location, and outcome, and see how much my writing changes depending on place or medium.

Does where you write effect your work?

#yearofwritingperipatetically