Tag Archives: Gaitkrash

This writing life: Summer 2019

My mother always said that life offered a feast or a famine and never a steady balanced three meals a day which might keep our blood sugar and nerves steady. No, it was a juddering, shuddering rollercoaster ride, swinging from gluttony to a wafer and water diet, and I should always be ready for either.

This year so far has certainly been of a generous rather than miserly disposition. I’ve been immensely fortunate with productions and commissions in 2019/20 and pause now, just post-midsummer, with my head spinning and my belly fit to burst. This, I promise you, is not gloating – the famine months will be upon me again soon enough, and I know from past experience what bolsters me through those lean times is the memory of small celebrations when things were bowling along famously, thank you very much. Success and steady employment is scarce enough in this business, so should be celebrated when it dallies in the neighbourhood. But as my friend Chris reminds me, it isn’t entirely luck when things go well, but a reaping of the benefits of work we seeded long ago. And so like the cricket in the fable, I am singing in the sunshine, but also trying to be the ant and prepare for the future.

Aesop’s Fables, Unicorn theatre.

Fables have been very much a companion the past few months as my first small commission for Unicorn Theatre goes into production. “Working in theatre with young audiences is a total privilege and helps make you a better artist” Aesop’s Fables directors Justin Audibert and Rachel Bagshaw said in a recent interview and I totally agree.

My writing commissions when I was starting out were for young audiences, and the first thing I think about when approaching a new script is considering who will be experiencing the event I hope to create. It directs the story, tone, aesthetic and theatre style. After huge state of the nation plays about death, difference, diversity and disability, it was hugely enjoyable to return to thinking about a young audience, and how to select and make current one of Aesop’s Fables for The Unicorn Theatre’s summer production.

Jessica Hayles and Guy Rhys in ‘Dog and Wolf’ by Kaite O’Reilly, Unicorn Theatre. Photo: Craig Sugden

I chose ‘Dog and Wolf’, a little known fable from Aesop’s trove, as I needed to find something that could have resonance for contemporary times and one that could be political (as in the personal is political) rather than archaic or moralistic. Aesop is often associated with ‘the moral of the story is…’ but there’s no moral here, it’s a teaching, which is just as well, as I abhor moralising. I think it’s better to engage through raising curiosity or empathy rather than through the flawed binary of right or wrong. This pithy fable explores quite complex relationships and issues – of ‘ownership’, hierarchy, freedom, and work/life ethics and fitted my politics of preferring to be hungry and free than well fed but not owning yourself.

I hasten to say, my looping, punning, tongue-twistery treatment of the fable may indeed verge on the post-dramatic, but it’s not as worthy as my hand-wringing description, above, suggests. Co-directed by both Justin and Rachel, it appears in the repertoire for both age groups, 4-8 year old and 8-11 years, and runs until August.

I’ve been thinking a lot about perseverance and longevity in career of late. It’s largely due to mentoring two brilliant but vastly different creatives, Gemma Prangle and Lisette Auton. The conversations we’ve had are as instructive for me as them. We’ve been thinking about trying new processes and form, discovering voice and tone while trying to beat that old bug bear, imposter syndrome. Both women are phenomenally talented and forging ahead with new practice and projects. It’s an immense privilege to be going part of the journey with them, reminding them that no, there is no one way to do anything, and part of their task is finding what works for them, and to hell with all the advice and theories about how to… I’m sure I’m not the only one who wasted an inordinately long time worrying that my process wasn’t like what the manuals or the best-selling authors or the Oscar winning screenwriters said was needed to succeed and get ahead.

‘Just do it’, I said during an impromptu lecture with members from Youth Theatres of Ireland who attended a performance of my play Cosy at Cork Midsummer Festival. It’s not the first time I’ve been photographed outside a theatre with a large percentage of the audience, nor will it be the last time I’m suddenly press-ganged into an impromptu Q&A. I love it. It’s refreshing and invigorating to speak with our emerging practitioners and the future generation of theatre makers. These young creatives were spectacular, full of insight and curiosity, with a strong social and political conscience. Irish theatre is going to be just fine if these are the makers of the future.

Members from the Youth Theatres of Ireland with me outside the Firkin Crane, Cork, prior to a performance of ‘Cosy’ by Gaitkrash.

Cosy at Cork Midsummer Festival was delicious, a wonderful experience of working with six female performers, playing age 16 to 76, at the top of their game. The following short video interviews can give a taste of the company, Gaitkrash, and the lively dynamic whilst dealing with the subject of death from performers Regina Crowley, Mairin Prendergast and Pauline O’Driscoll https://vimeo.com/341828036

http://https://vimeo.com/341828036

The director, Phillip Zarrilli, has his own playful riposte on the subject. https://vimeo.com/345047366

http://https://vimeo.com/345047366

July continues being female-collaborator led, with research and development on a new commission from Wales Millennium Centre, building on my 2017/18 Major Creative Wales Award from Arts Council Wales which had me exploring ‘The Performative Power of Words with Music.’

Sophie Stone and Rebecca Applin in rehearsal in Wales Millennium Centre

Working with long term collaborators composer Rebecca Applin and performer Sophie Stone is an absolute dream, and I will be opening up more about this innovative project later in the Summer.

Meanwhile also in July is the book release of ‘Persians’, winner of theTed Hughes Award for new works in poetry, published by Fair Acre Press.

We will be having a Poetry Party on 1st September at Mid Wales Arts Centre – celebrating ‘Persians’ and the publication of brilliant poet Chris Kinsey’s ‘From Rowan Ridge’, also published by Fair Acre Press. The event is free, and will feature readings from our new books, plus a host of invited poets from across Wales.

Persians’ will be published by Fair Acre Press on 29th July 2019, but advance copies can be ordered from the publisher here. It will also be available via Amazon, online, and all good bookshops from the publication date.

I also have other launch events and workshops happening in early September, with a few places left on my masterclass in adaptations at Small World Theatre, details here.

 

Launch and workshop:

I will be launching Persians in Cardigan at Small World Theatre on 7th September, following a workshop on adapting ancient texts:

Singing the old bones –  new stories from ancient texts. 
Revisiting older stories can be a masterclass in narrative. Myths, fairystories, epics from Ancient Greek drama and the oral tradition survive as they seem to speak to each age anew. These archetypal characters and narratives inspire and invite constant reinvention, yet the old bones remain true. In this practical workshop we will retell, remake and renew, participants exploring individual perspectives on timeless themes, reshaping ancient tales to illuminate something contemporary. The tutor, Kaite, is a repeat re-teller, creating to date three very different performances on the story of Blodeuwedd from The Mabinogion, and a new version of Aeschylus’s Persians,the oldest verse drama in the Western tradition, which won The Ted Hughes Award for New Work in Poetry.
We ask participants to come with a myth, fable, ancient drama or story, which we will use to explore the fundamentals of story making: theme, structure, setting, dialogue and character. Through examples of Kaite’s diverse approaches to reinventing existing texts, we will make our own, sparking a new cycle of telling and retellings, seeding work which could be developed further beyond the masterclass.
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Workshop 2-5pm on 7th September 2019, £25.
Small World Theatre | Theatr Byd Bychan
Cardigan | Aberteifi, SA43 IJY
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Booking:
sam@smallworld.org.uk
01239 615 952
smallworld.org.uk
twitter: @theatrbydbychan
Numbers are limited and already almost sold out, but plans are afoot for a further workshop/event in November 2019 at the same venue. 
After the workshop:
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Launch of ‘Persians’ Kaite O’Reilly’s new version of Aeschylus’s classic verse drama. 6pm. Free entry.
Kaite will read from the verse drama and speak about the historical and contemporary contexts of this extraordinary text. There will be a book signing after the reading and launch.

 

Cosy – dialects and tempo-rhythm

And so the posters and flyers arrive… so this really is happening, then!

It’s the start of the final week of rehearsals and Gaitkrash’s production of ‘Cosy’ for The Cork Midsummer Festival 2019 is shaping up…

We’ve been finalising the script, making sure that the vocabulary, references and syntax are Cork-specific and sit comfortably in the actors’ mouths. I might be unusual in this respect, but as the playwright working on a new production, I’m happy to change dialogue that trips the actor or goes against the dialect. I remember from years ago when I was still performing, I could get a mental ‘block’ about a certain word or particular phrase in a speech. I would become self-conscious, knowing that word was coming up and with the loss of focus would invariably come a ‘trip’ of the tongue. One of the pleasures of being the writer in rehearsals is problem-solving, and having the power to amend text, if appropriate. By this I don’t mean changing the actual content, meaning or politics of a line – it’s the actors’ job to ‘get’ that, however difficult to grasp – I mean the ‘musicality’ of the text, the tempo-rhythm and construction of a line.

Quite a few times this just involves moving a word around in a sentence – where ‘well’, or ‘just’ appears. It might be changing ‘Mam’ with ‘Mum’, or vice versa. ‘It’s more ‘Cork’ to change the order of this sentence around,’ I’ve been told several times today, and this is a detail I embrace. It’s essential. We want the drama to revolve around three generations of women in a Cork family (plus a strange ‘sidekick’ from West Wales – Sara Beer – bringing her own vocal musicality), so as my mother used to say ‘God – and the devil – is in the detail’. I’m enjoying this lesson in dialect.

As a playwright, the sound and rhythms of each beat within a scene is important. I’ve often described my way of working as ‘composing’ rather than writing, as so much depends on the sound and flow of the words and the dynamic. I will read aloud a sentence or exchange between characters several times, ensuring it has the pace and movement I want. With that tempo-rhythm comes the tension or ‘atmosphere’ in the moment.

I want the words to dance off the actor’s tongue – and there is always more than one ‘dance’ going on – I want variety in pace and tone and musicality. Thankfully, when working with such a talented cast, there is skill and variety a-plenty.

A playwright’s work: Meaty parts for female actors of all ages. In rehearsals for “cosy’

Mairin Prendergast and Pauline O’Driscoll playing Mother and daughter in Kaite O’Reilly’s ‘Cosy’ rehearsals. Gaitkrash for Cork Midsummer Festival. Firkin Crane 18-22. June 2019. Photo: Sara Beer

I describe my work as a playwright as creating dynamic. I’m fascinated with complex relationships, flawed but engaging characters representing different perspectives.  Writing ‘Cosy’, a play with three generations of women in one family, was an immense pleasure, although, like any writing, it had its challenges… However, one aspect that was not difficult was writing meaty parts for female performers of all ages. 

‘Cosy’ has a cast of six, with playing ages from 16 to 76 years. I think this is essential – and, at risk of sounding a little worthy, part of my duty as a dramatist – to represent women of all ages.

There was a time when female characters became somewhat invisible at a certain age… A well known Classical actress once mapped out the trajectory of a woman’s acting career to me: You start as the ingenue, then get stuck as a housewife/mother cooking in the background, and if you’re very lucky you get to be Lady M in the Scottish play. Then you hang around being the wallpaper while the male actors have all the action and lines until you’re old enough to play Lady Bracknell…and….well….that’s it…

But happily no longer. Those days are increasingly in the past, and I’m delighted to be part of the new wave creating roles across the range of ages for the massive amount of female talent out there.

One of my joys as a writer when working on a first draft is setting off intelligent, gobby, fascinating and diverse female characters in dialogue with one another, cutting them loose in my imagination and just following their impulses, often not knowing where we might end up. The skill when revising the script is keeping all the plates spinning, the voices separate and distinct, the individual perspectives clear and not blurring into one another. When I teach writing for performance, I always remind writers to be aware of each characters’ world view; it’s very easy when juggling multiple characters for their vocabulary, speech pattern and syntax to bleed into one another, so they all end up sounding the same. Ensuring  each character’s point of view  keeps the dialogue distinct and the dynamic thrumming, whether through harmony or counter-point.

Theatre enables us to explore issues from every conceivable angle. I don’t want the characters I write to just echo my perspective – I relish exploring different points of view, even politics or beliefs distant from my own. ‘Cosy’ tackles some of the last great taboos – ageing, illness and end of life scenarios. The experiences and perspectives of my six female characters, ranging in age across five decades, provides immensely rich and diverse material.

8.00pm

Firkin Crane, Cork

Book here

Supported by an Arts Council Project Award., CIT Arts Office, UCC Department of Theatre, CIT Cork School of Music, Civic Trust House, Suisha Inclusive Arts, and The Guesthouse. 

 

 

 

Getting Cosy at Cork Midsummer Festival 2019

“It’s like I’ve disappeared. I walk down the road and throw no shadow.”

“That’s what getting older does for you.”

Ageing is a lesson in humility – a time of reckoning. Rose wants an exit plan that is bold and invigorating, but her three warring daughters have other ideas. We all have to die, but what makes a good death? Everyone seems to have an opinion, even Rose’s precocious granddaughter and the strange Welsh woman taking refuge in the garden.

Cosy is a darkly comedic look at the joys and humiliations of getting older and how we shuffle off this mortal coil. It tackles head-on our obsession with eternal youth, and asks whose life (or death) is it, anyway?

Humour is a great panacea, allowing us to consider serious subjects with resonance for our times. I believe it is laughter which allows us to dare and shine a light into those darker corners of human existence which we might otherwise wish to avoid…

Ageing, mortality, and its impact on that original cast – the family – has long been of fascination to me. We all become children when we go home. When a family gathers across generations, siblings degenerate into nursery rivalries, retaining all the same childhood hierarchies, antipathies and alliances of the past. When this coincides with the serious issue of the fragility and uncertainties of ageing, and an apparent lack of agency and control about the future, what happens? Do those fragile fissures crack?

With a population top heavy with baby boomers, the next generation hungry for their inheritance, a care crisis and recent parliamentary debates around the ‘right to die’, Cosy is a play with immediate relevance today.

I’m immensely excited to be writing this first blog post about the forthcoming Irish premiere of the play, produced by Cork-based long term collaborators Gaitkrash. We co-created playing The Maids, previewing as work in progress in the 2014 Cork Midsummer Festival, so it is with a certain relish director Phillip Zarrilli and I return to the city and this lovely festival.

We started rehearsals this week, and I’ll be documenting that creative process in future blogs, reflecting on the challenges and changes of second productions, the impact of changing country and nationality, what is discovered and made new – and other topics as they arise. Meanwhile, here’s a little information about this specific production:

Cosy is an inclusive production for a mainstream audience, exploring universal ethical issues of life, death, and our relationship to the medical profession, powered by a disability perspective.

8.00pm

Firkin Crane, Cork

Book here

Supported by an Arts Council Project Award., CIT Arts Office, UCC Department of Theatre, CIT Cork School of Music, Civic Trust House, Suisha Inclusive Arts, and The Guesthouse. 

 

KAITE O’REILLY AND PHILLIP ZARRILLI, IN CONVERSATION WITH SEAMUS O’MAHONY
Crawford Art Gallery (lecture theatre)
20 June | 5.30pm
Join playwright Kaite O’Reilly and director Phillip Zarrilli of Gaitkrash Theatre’s Cosy, receiving its Irish premiere as part of Cork Midsummer Festival 2019, as they discuss our attitudes to end-of-life scenarios with Seamus O’Mahony, writer of the award-winning book The Way We Die Now. Has our society lost the ability to deal with death? Join the conversation as the three guests reflect on their work and the last great taboo: dying.
Tickets and how to book on the festival website.

Cosy at Cork Midsummer Festival June 2019

Finally delighted to reveal…..

‘Cosy’ at Cork Midsummer Festival 2019.

The cast of ‘Cosy’. Cork Midsummer Festival 2019

Kaite O’Reilly’s darkly comic play combines an unflinching examination of our attitudes to youth, ageing, and death in an often hilarious and moving encounter between three generations of women.

“It’s like I’ve disappeared. I walk down the road and throw no shadow.”

“That’s what getting older does for you.”

Rose wants an exit plan that is bold and invigorating, but her three warring daughters have other ideas. We all have to die, but what makes a good death? Everyone seems to have an opinion: Rose’s daughters, her precocious granddaughter and even the strange Welsh woman taking refuge in the garden.

8.00pm

Firkin Crane, Cork

Book here

Supported by an Arts Council Project Award., CIT Arts Office, UCC Department of Theatre, CIT Cork School of Music, Civic Trust House, Suisha Inclusive Arts, and The Guesthouse. 

KAITE O’REILLY AND PHILLIP ZARRILLI, IN CONVERSATION WITH SEAMUS O’MAHONY
Crawford Art Gallery (lecture theatre)
21 June | 5.30pm

Join playwright Kaite O’Reilly and director Phillip Zarrilli of Gaitkrash Theatre’s Cosy, receiving its Irish premiere as
part of Cork Midsummer Festival 2019, as they discuss our attitudes to end-of-life scenarios with Seamus O’Mahony,
writer of the award-winning book The Way We Die Now. Has our society lost the ability to deal with death? Join the
conversation as the three guests reflect on their work and the last great taboo: dying.

Book here

What a week! Award nominations, reviews, publications and research and development….

It’s been quite a week…..

On Monday we learned my Unlimited international commission And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues has been nominated for Best Ensemble at The Singapore Theatre Awards. This is wonderful news, particularly from a disability perspective and regarding inclusivity. Many of my collaborators from Singapore (such as the fabulous Steph, below) were emerging performers, appearing in this first ever all Deaf and disabled-led project in Singapore, directed by Phillip Zarrilli and produced by Access Path Productions. For the quality of the work to be recognised so quickly and so publicly, is a real triumph, regardless of the actual final ‘results’. Those of us who are ‘veterans’ of the UK’s disability art scene (including Sara Beer – also performing in the ensemble) have been hammering on the doors to be given access and opportunity for DECADES. Things are changing in the UK, as across the world, but it is gratifying that this international collaboration – the first of its kind in Singapore – is included in the nominees for this award. The salty old crip’ cynic in me would say award nominees are usually non-disabled actors ‘cripping up’ to play a disabled character. It’s satisfying that for once Deaf and disabled actors are being nominated for playing a variety of ensemble characters (and not a Tiny Tim in sight).

Stephanie Fam performing in Kaite O’Reilly’s international Unlimited commission ‘And Suddenly I Disappear… the Singapore ‘d’ Monologues. Sophie Stone in background.

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The week proceeded with a terrific review of my forthcoming publication –  Persians – with Fair Acre Press. National Theatre Wales originally commissioned this new version of Aeschylus’s masterpiece – the oldest extant verse drama in the Western theatrical canon – for Mike Pearson’s site-specific performance on MOD land. The verse drama will be released later in the Summer, and I can’t wait to reveal the glorious cover, featuring several of the performers from the original production, in a special blog later this month. Meanwhile for the curious, a thumbnail of the cover is included in Liz Jones’s New Welsh Review critique of the text, reworked as poetry for publication, here.

Most of the week was spent in Cork, in an r&d with Gaitkrash. I’m not allowed to say too much at present, and apologies for being enigmatic…

I returned back to Wales in the early hours of this morning, reading further positive comments about Taking Flight Theatre Company’s production of my play peeling, which is currently touring. It’s in Manchester tonight, and other dates in Wales and Oxford over the next few weeks, finishing this leg of the tour on May 4th in Cardiff. Both The Stage and The Guardian gave the production (directed by Elise Davison) sparkling four stars reviews. Details of the tour can be found here.

The cast of Taking Flight Theatre Company’s production of Kaite O’Reilly’s ‘peeling’. Photo: Janire Najera/Raquel Garcia

Finally, this morning I woke to a review of my collected monologues The ‘d’ Monologues in Wales Arts Review. Reviewer Tomos Morris and I met last month  over a cup of green tea for an interview for The Cardiff Review, out later this month. I’m delighted Tom’s extensive research has been put to good use in his critique, which you can read here.

Meanwhile, the fire is burning, the bottle of wine uncorked and a few hours of relaxation beckons….

 

The writer as listener

Read-through of ‘Cosy’ by Kaite O’Reilly. Winter 2018, Cork. GaitKrash

The person in a rehearsed reading studiously not looking at either the words on the page or the actor speaking, is invariably the writer. As in the photograph above, we are often unconsciously posed like The Thinker, fist to face, gazing out into the middle distance, apparently in a very different space than anyone else in the room. We don’t need to look at the script because we wrote it and so know it already. We don’t need to look at the performer as this is a reading and so we are listening to the rise and fall of the tempo-rhythm, the musicality of the language,  the dynamic.

I was given this photograph today by director Phillip Zarrilli. It depicts me amongst the cast of the forthcoming GaitKrash production of Cosy for the Cork Midsummer Festival, 2019. Originally taken during the first read-through last November, never before I have seen so clearly the different roles and relationships of collaborators during this particular part of the creative process. Fanciful, perhaps, but here is the writer as listener, attention pinned to the cadences of the script riding the air; here is the writer with her eye fixed on some imaginary screen, ‘seeing’ the potential future production.

I never follow the lines in a script in a read-through. I will balance the open script on my knee, turning the pages as the performers do, so if I suddenly have a query about anything I hear, I can immediately locate it on the page and make a note. I find following the text on the page as the actors read counter-productive. The words and letters are familiar. It’s likely I’ve seen them scores of times, if not more, and a certain distance and freshness comes when my face is angled away from the page and out into the space. I have never reflected on this process before, nor asked if it is the same for other dramatists. I have, however, heard of novelists who say they read their work aloud to check its flow and sense. Dialogue in plays is of course made specifically for the living voice, so perhaps it makes complete sense to put away the words and focus on listening.

“Everything in writing begins with language. Language begins with listening.” –Jeanette Winterson

I am immensely excited to be returning to Cork this week, flying over with performer Sara Beer and director Phillip Zarrilli for an r&d. Sara is the only member of the cast not based in Cork. She was in the Welsh premiere of Cosy in 2016 and will reprise the same role as outsider Maureen. The other cast members will play three generations of the same family – an all female cast with playing ages from 16 to 76. I will be working on the script with the company, revising it so it is Cork-based.

I suspect there will be a lot of gazing into the distance. And listening.