Tag Archives: Kirstie Davis

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

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.

The spaces in between words… ‘Woman of Flowers’ published and reviewed

‘I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.’      Thornton Wilder

Sophie Stone in Forest Forge's 'Woman of Flowers' by Kaite O'Reilly. Photo copyright Lucy Sewill.

Sophie Stone in Forest Forge’s ‘Woman of Flowers’ by Kaite O’Reilly. Photo copyright Lucy Sewill.

I’m grateful that the difficult story I was trying to tell in my latest play, ‘Woman of Flowers’ seems to be communicating, and getting great responses. A reinvention of the myth of Blodeuwedd from The Mabinogion, it asks questions about our origins, and our duties, and how to deal with issues of autonomy and desire.

I’ve been obsessed with the story of Blodeuwedd for more years than I care to count. It can be endlessly reinvented, and interpreted through so many different prisms: The ‘perfect’ woman, made from flowers of the forest to be wife to a man cursed by his own mother… The ancient fear of awakened female sexuality and appetite… The amorality of one reared in nature, red in tooth and claw… The politics and rhetoric of belief systems, of honour revenge, of punishment…

I sought to explore this universe created solely by words in visual language, working with Jean St Clair and Sophie Stone in theatricalised sign as well as spoken and projected language. This collaboration between Deaf and hearing cultures has been warmly received by both signing and non-signing audiences, a rare occurrence, and one I feel particularly proud of, and grateful to Jean and Sophie for their willingness to experiment with me.

I was really touched by the thoughtfulness of this recent review:

THE spaces in between the words we say and our thoughts are explored with poetic beauty in Woman Of Flowers, a powerful contemporary reworking of one of the ancient Celtic myths contained in the Welsh treasury known as The Mabinogion

Written by Kaite O’Reilly for the supremely versatile deaf actress Sophie Stone, Woman Of Flowers is at one level a story of duty, desire and revenge, but it operates at many different levels – who are we and where do we come from, how do we reconcile the apparent facts of our life with what we don’t know, what is a woman, what is love, what happens when you want a different life from the one chosen for you?

Rose cannot remember what came before the house at the edge of the isolated forest. Farmer Gwynne says he magicked her out of the flowers, and he doesn’t want her to know anything about the world outside. He has chosen her for his nephew Lewis, but Lewis is ignorant, little better than an animal himself. He has no imagination and he cares nothing of the world beyond the forest.

Rose plays her part, whatever Lewis wants, whatever Gwynne wants, she gathers the eggs and kills the chickens, she cooks, she scrubs their backs, she obeys Lewis’s demands, she takes off their dirty farm boots and cleans them.

She is a little more than a servant and she seems to accept her existence – but inside her head she asks questions, she sees things, she imagines another life, she questions who she is.

Using what is described as “theatricalised sign language” Sophie Stone communicates powerfully with the audience – she is by turns a bird, a flower, a beautiful woman, a witch …

Then a stranger comes to the forest. He shows Rose the birds and the trees, he tells her about the owls, he tells her the story of Athene Noctua, the little owl.

The production, directed by Kirstie Davis, Forest Forge’s artistic director, uses live music, dance and surtitles (for both the spoken and the signed dialogue and Rose’s thoughts).

The action revolves, indeed it dances, around Sophie Stone who is on stage for virtually the whole performance. She is a compelling performer and her choreographed movement takes us into her consciousness, into the heart of darkness of the forest and above the trees to the mysterious world of the owls.

Lewis is played by Tom Brownlee. Pete Ashmore is the violinist and plays Graham, the scientist who comes into the forest. Forest Forge regular Andrew Wheaton plays Gwynne, a man who hovers on a strange border between brutal and kind – what does he know about Rose’s background, is he protecting her or did he kidnap her as a child to be their slave?

As you leave the theatre or village hall, the poetic words and the beautiful images of Woman Of Flowers will stay with you.

The production is on tour throughout October, including dates at the Victoria Rooms, Fordingbridge (Saturday 11th October), West Stafford village hall (18th), Ibsley village hall (21st), Poole Lighthouse (23rd), Bridport Arts Centre (24th), Dorchester Arts Centre (25th), Mere Lecture Hall (28th) and finally at Greyfriars Community Centre, Ringwood, on 1st November.

FC http://www.theftr.co.uk/woman-of-flowers-forest-forge-salisbury-arts-centre-and-on-tour/

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The script is published as a programme with full play text by Aurora Metro, available at performances during the national tour and also here 

 

In full bloom – Woman of Flowers

Sophie Stone in Forest Forge's 'Woman of Flowers' by Kaite O'Reilly. Photo copyright Lucy Sewill.

Sophie Stone in Forest Forge’s ‘Woman of Flowers’ by Kaite O’Reilly. Photo copyright Lucy Sewill.

So we have officially opened and are receiving fantastic responses on twitter, which you can read here. We’ve had lots of accolades through the more official channels, with Lyn Gardner on her Guardian theatre blog picking us out as one of the week’s top tickets and there’s a fascinating interview with Sophie Stone on the BBC Ouch blog here. Sophie and I will be guests on BBC Radio 4’s Woman’s Hour tomorrow morning, 24th September, at 10am, talking about the show and our creative collaboration with director Kirstie Davis.

The piece is up and alive and breathing (or should that be flying? Being inspired by The Mabinogion’s Blodeuwedd, owls and night birds are a theme throughout the piece…)

We tour until November first and details of the venues are here,

I’m biased of course, for it’s my words and concept, but sitting in The Pleasance Theatre in London last night, I began to appreciate what an unusual piece it is aesthetically. It is a collaboration between Deaf and hearing cultures, but not in the more usual sense of having integrated sign interpretation throughout. There is no translation, we do not use BSL, but a re-imagining of my written text in sections of visual language, interspersed with live music, surtitles, and terse prosaic dialogue, in a setting which is both contemporary and oddly out of time. It is an intense experience owing to the commitment of the cast, who are never ‘off’, and what I and several on social media have called the mesmerising performance of Sophie Stone.  I hope people get to see it. I would love to know what others think of it.

Woman of Flowers continues this week at The Pleasance Theatre London until 24th September, then Cheltenham Everyman 25-27th September, exeter Bike Shed until 4th October, then touring until November 1st.

Woman of Flowers – from seed to bloom

Woman of Flowers

Woman of Flowers

In 2012, when director Kirstie Davis came to see my cultural Olympiad project with National Theatre Wales, ‘In Water I’m Weightless’, we sat and plotted in the  bar afterwards. Kirstie had directed my play ‘peeling’ for Forest Forge theatre company the year before, and we were keen to work together again. Asking me what ideas I had to make a new work if she was to commission me, I waxed on about an ancient story which had fascinated me for years – the story of Blodeuwedd, Woman of Flowers, from the fourth branch of the ancient Welsh treasure The Mabinogion.

Playwrights reworking old stories is not new. Many of Shakespeare’s plots came from received stories, and adaptations and reinventions of existing works is still very popular. One of the things that attracted me to Blodeuwedd was the capacity for the themes in the original to be reinterpreted with resonance for our times.

So in 2012 in the bar of the Wales Millennium Centre, I talked of a tale of duty and desire, of the power of words to create belief systems, and what happens if someone challenges the life already chosen for them – and the reinvention began to emerge. Kirstie and I already had an idea of who should play this transformative woman of flowers – Sophie Stone, one of the cast of ‘In Water…’, who had mesmerised us both with her charismatic performance.

And here we are in 2014, about to open at the Pleasance theatre in London on Monday, and embark on a national tour… Sophie is indeed in the piece, and as gripping in performance as Kirstie and I had hoped – and it’s not just us thinking that; the twitter response to our previews last week have been outstanding and encouraging for the wider reception of the production.

I’m giving a talk at Exeter University on 1st October when the production is at The Bike Shed Theatre (details here ) and this story will be one I will tell about how theatre happens. It is about building relationships with allies and dreaming ideal productions and cast, then plotting and scheming and working immensely hard to make it a reality…

We all know about the negative impact funding cuts are having on the arts; it always seems a small miracle to me that despite the odds people still insist on being creative, and inviting others to sample, to dream, think and enjoy… We need the arts, and we need strong audiences. Whether it’s Woman of Flowers, or an exhibition at your local art gallery, or any live music, poetry, spoken word event or theatre performance occurring in your vicinity – like the Fun Palaces weekend 4th-5th October – do your best to support them. Keep the work alive.