Time to Kill All Your Darlings…

David Mamet had it when discussing various uses of the knife…. Cut, cut, cut and kill all your darlings….

It’s not a phrase known amongst the And Suddenly I Disappear: The Singapore ‘d’ Monologues team, so I had to explain I wasn’t about to commit bloody murder, but start sharpening the editing pencil and serving the script….

And Suddenly I Disappear is a collection of fictional monologues informed by the lives of disabled and d/Deaf people in Singapore and the UK. My colleague Peter Sau with Lee Lee Lim led the interviews in Singapore, collecting experiences and perspectives never previously recorded here. I led the UK interviews and questionnaires, starting almost a decade ago. This material has inspired the monologues I’ve created, but as I believe we are our stories, I haven’t used anyone’s words or experiences, for that would feel too close to theft for my comfort.

Lee Lee Lim making adjustments to her braille script

We are now in the second week of rehearsals in Singapore, and I’m only now in the position to be able to start testing the material, cutting the surplus and sensing the flow as the performers become more familiar with the text. I tend to over-write, something I would always encourage other writers to do, for it is far easier to nip and tuck in rehearsals than suddenly be faced with the daunting task of filling a yawning hole in the script. The stage management team and I are trying to keep on top of the changes – and I was impressed by the speed and dexterity of Lee Lee Lim, making adjustments to her braille script in rehearsal.

The production is a series of discrete monologues presented in different ways and form, some character-based, others choral and collective, some individual stories intercut to create a mosaic of experience, and yet more are without spoken words. Ramesh Meyyappan has created a sequence in visual language which now requires audio description, so today we started exploring possibilities, trying to ensure the spoken word did not dominate.

Grace Khoo and Ramesh Meyyappan – in rehearsals for And Suddenly I Disappear,,, The Singapore ‘d’ Monologues

It is an on-going process, using the aesthetics of access, using tools creatively rather than as a simple ‘add on’. Captioning, visual language, and integrated audio description are shaping the aesthetic and the performance style of this Unlimited international collaboration. It is an immensely exciting dialogue, and one that I hope will go on for quite a while…

Meanwhile, it’s back to the now heavily marked and crossed-out script in search of further darlings to excise….

 

Hong Kong, Singapore, Womenspire 2018!

Mid April already, richard iii redux completed for the time being after a terrific Wales-wide tour – and now far-flung travel beckons. I leave next week for Hong Kong, where I will be leading a six day workshop on inclusivity and forms of storytelling for ADAHK

I was last in Hong Kong in 2016 with my performance text about Frida Kahlo, the 9 fridas, directed by Phillip Zarrilli and produced for the Black Box International Festival at Hong Kong Repertory Theatre, in association with Mobius Strip, from Taiwan.  It will be fascinating to spend more time in Hong Kong working with local theatre practitioners, learning about their approaches to inclusive practice. I’m hoping to have an opportunity to see new work as well as explore the art centres and galleries of Kowloon, where I will be based.

From Hong Kong I will fly directly to Singapore, to begin rehearsals on my Unlimited International Commission And Suddenly I Disappear: The Singapore ‘d’ Monologues. We have just released tickets for the World premiere of this dialogue about difference, disability and diversity from opposite sides of the world, premiering on 25 May 2018 at National Museum of Singapore Bit.ly/and suddenlyidisappear

The production will tour to the UK in September, and I will give further details of the venues in England and Wales, plus special guests, closer to the time. My thanks, as ever, goes to our funders and supporters: Unlimited, Arts Council Wales, and the British Council, who alongside Singapore International Foundation and Centre 42 will make this innovative intercultural project possible. Meanwhile, here’s the glorious video featuring Sophie Stone, Ramesh Meyyappan, Sara Beer, Peter Sau, Grace Khoo and Lee Lee Lim, made by James Khoo with director Phillip Zarrilli:

.

I was wonderfully surprised earlier this week to get an email from Chwarae Teg, informing me I had been shortlisted for their Womenspire 2018 Awards. Chwarae Teg is a charity working to redress the gender balance in the workplace in Wales, with a vision to create: “A Wales where women achieve and prosper.” I didn’t know I had been nominated for the Culture award, so to discover I’ve made the shortlist of four has been an incredible pleasure and privilege, making this quite a week. I’ll be celebrating the talent, passion, and vivacity of women in Wales at Womenspire 2018 at the Wales Millennium Centre on 5th June.

 

 

Singapore: talks, festivals, performances, artist meetings and a royal reception in a borrowed dress

Kaite O’Reilly at British Council talk, 17/11/17, Singapore Art Museum

 

The past month in Singapore has been a phenomenally busy but rich time. I fly back to the UK later today, having completed my teaching of Dramaturgy at ITI – the Intercultural Theatre Institute – and writing workshops for the emerging Deaf and disabled writers and practitioners of Project Tandem. Last night I presented my British Council ‘Knowledge is Great’ talk: Nothing About Us Without Us – What Can Singapore learn from 30 years of the UK’s Disability arts and culture?’ I presented in the Glass Hall of the beautiful Singapore Art Museum and am so grateful to have had this opportunity to speak about my work and the UK’s disability arts scene. Singapore is currently embracing all things to do with disability and diversity – a time full of great potential for reshaping a more inclusive society and arts scene in the future, although there are many questions, particularly regarding the difference between Disability arts – led by disabled artists, informed by the Social Model of disability and often an expression of lived experience in a disabling world, and arts and disability.

Singapore – natural and manmade

 

It was great to be able to speak about the work I’ve made both within the so-called ‘mainstream’ and with Deaf and disabled collaborators over thirty years, and to share some video and images from productions in the past five years. The response was fantastic, with many questions and comments and right at the end of a lively post-talk discussion, assertions regarding the need for agency and disabled and Deaf leadership opportunities, as opposed to the charity model currently prevalent in Singapore. It was a lively and stimulating event, and I’m thankful for all those who made comments and asked questions. All the organisations and individuals I have met in Singapore have said how dialogue is so important – to discover if there are lessons or shortcuts to be learned for Singapore from the experience in the UK. Every country has its own context and history and will forge its own path forwards to what we all hope will be a more fair and egalitarian future – and if I can assist in this dialogue of difference and diversity, I am more than happy to.

Ramesh Meyyappan, Sara Beer, Peter Sau, Lee Lee Lim and Grace Khoo: R&D ‘And Suddenly I Disappear: the Singapore ‘d’ Monologues’

 

I was so pleased we were able to share earlier this autumn the work in progress of my disability arts and culture collaboration with Singapore: And Suddenly I Disappear: the Singapore ‘d’ Monologues. An international r&d commission from Unlimited, it was a good example of disabled and Deaf-led work and the seeding of work by Deaf and disabled artists into the cultural sector – Unlimited’s mission statement.

Natalie Lim, Lee Lee Lim and Nice the dog, Kaite and Danial Bawthan at the High Commission

This month has also been rich in meetings of the unexpected kind, with an invitation to the High Commission with my fellow collaborators for a royal reception. I attended with Nat Lim,  Peter Sau, Danial Bawthan, Lee Lee Lim and Nice the dog, in a borrowed dress, courtesy of Nat (thank you). Formal attire was not included in my suitcase when I packed to come to Singapore and I was certainly not expecting to meet Prince Charles.

The Indomitable Irishry: Singapore Writers festival

 

I was in Singapore at a great time to indulge my love for workshops, panel discussions and readings, as I coincided with the Singapore Writers’ Festival. Further fortune came with the focus this year being on Ireland, and I was able to meet and hear some of my favourite Irish authors and poets. Notes on these sessions and from some of the talks and workshops I attended will follow at a later date on this blog.

Artist Chng Seok Tin in her studio

 

 

 

A final and most delightful meeting was with artist Chng Seok Tin at her studio. Seok Tin works in an astonishing breadth of mediums, becoming more tactile in her work after she lost her sight many years ago. It was such a pleasure to meet a woman artist so inventive and expressive, who embraces change and learning new techniques and form. I have asked her to participate in my ’20 Questions…’ series and so hope to present more information about her and her work in a future post.

Masjid Sultan, muscat Street, Singapore.

The sun is blazing on this, my last day in Singapore, as I prepare for the chill of the UK and the closing-in nights of winter. I am so thankful to all who hosted me, met me, supported my work, talks and workshops and hope to return in Spring 2018.

Singapore ‘d’ monologue rehearsal photos 1

A week into rehearsals for And Suddenly I Disappear…. the Singapore ‘d’ monologues… Sara Beer, Phillip Zarrilli and I arrive to work at Centre 42 in downtown Singapore, the air heavy with tropical storms.

Grace Khoo and Ramesh Meyyappan – in rehearsals for And Suddenly I Disappear,,, The Singapore ‘d’ Monologues

 

 

 

 

 

 

 

 

We are working flat-out in preparation for three work in progress sharings at the end of the month – only  ten days of rehearsals for this new inclusive company of UK and Singapore Deaf and disabled artists, working on an International R&d commission from Unlimited.

Rapper Danial Bawthan in rehearsals

 

 

 

 

 

 

 

Text is delivered in multiple languages, reflecting the cultural diversity of Singapore. I’m also working in visual language with Ramesh Meyyappan and find myself writing a rap for emerging Singaporean artist Danial Bawthan.

Teaching Lee Lee Lim the sign for ‘disappear’

 

 

 

 

 

 

 

Time is short, with twelve hour rehearsals leading to the first sharing later this week, but I will try to blog when possible. Meanwhile, here’s an article from Huffington Post this morning

 

The Singapore ‘d’ Monologues

 

Ramesh Meyyappan from his website http://www.rameshmeyyappan.com

As announced at the No Boundaries Conference yesterday by Jo Verrent and Tony Heaton, I have been fortunate to be selected as one of the artists for the Unlimited International Commissions for 2017/18. Full details of all of the commissions can be read here.

It feels even more of a privilege than usual to be supported by funders – and not only that, but to make an international collaboration. The award of this commission is bitter-sweet, especially on this day, Wednesday 29th March 2017, when Teresa May triggers Article 50 and turns her back on European unity. If ever there was a time for coming together and connecting across distance and perceived difference, it is now – and I am grateful to Unlimited and all the funders, allies, and supporters for recognising the value of collaboration and international dialogue, and enabling such things to happen.

The blurb:

KAITE O’REILLY – THE SINGAPORE ‘D’ MONOLOGUES

Lead artist / Playwright: Kaite O’Reilly

Director: Phillip Zarrilli

Associate Director, Researcher and Performer: Peter Sau

Producer and Researcher: Grace Khoo

Visual Director and Performer: Ramesh Meyyappan

Disability Advisor and Performer: Sarah Beer

Researcher and Performer: Lim Lee Lee

The Singapore ‘d’ Monologues is an international theatrical dialogue of difference, disability, and what it is to be human, from opposite sides of the world. Inspired by previously unrecorded disabled experience, fictionalised monologues will be precedented across multiple languages (spoken/projected/visual), incorporating aesthetics of access. This performance will set an important precedent: the first multilingual, intercultural, disability-led theatre project created between the UK and Singapore.

Award-winning playwright Kaite O’Reilly, and internationally respected director/actor-trainer Phillip Zarrilli will lead the team, joined by veteran disability arts practitioner Sara Beer and Deaf UK-based Singapore-born Ramesh Meyyappan with his innovative visual performance skills. Together with Singaporeans Lee-Lee Lim, Grace Khoo and principle collaborator, Peter Sau, the performance will open up a much-needed discourse of disability in quality, accessible disability-led work, never experienced before in a home-grown Singaporean project.

.

The background:

.

I first met Ramesh Meyyappan and Peter Sau in Singapore in the same year, 2004, but in different productions. Peter was performing in a production directed by Phillip Zarrilli at The Esplanade, the graduating production for ITI (Intercultural Theatre Institute, formerly TTRP). There, Peter had the extraordinary privilege to be tutored by T. Sasitharan and the father of Singapore theatre, the visionary Kuo Pao Kun.

From Tell Me When To Laugh and When to Cry (2012) Peter Sau. http://petersau.com/gallery

Ramesh was presenting his visual theatre adaptation of Edgar Allen Poe’s ‘The Tell Tale Heart.’  Contact was firmly established with both independent artists, based on my conviction I would collaborate with them at some time in the future.

Following Ramesh’s work and occasionally participating in his workshops became easy when he relocated to Scotland, where he has been a leading light in physical/visual theatre.  Teaching Dramaturgy at the Intercultural Theatre Institute in Singapore has enabled me to keep in touch with Peter over the years, and he came to train with Phillip Zarrilli and I at the 2015 Summer Intensive in Wales, where the seed which became The Singapore ‘d’ Monologues was planted.

Peter is passionate about ‘theatre with a conscience’ and with his collaborators producer Grace Khoo, and mentee/performer Lee Lee Lim, they are determined to professionalise disability arts in Singapore and open up a much-needed discourse on diversity, disability and difference.

.

The ‘d’ monologues:

My notion of a portable, flexible, diverse body of work informed by a Deaf and disability perspective and the Social model was initiated in 2008, when Arts Council Wales granted me a Creative Wales to explore the form of the monologue. I am not a fan of verbatim, so had many conversations with disabled and Deaf individuals all over the UK to try and get a sense of lived experience in a disabling world, the political and the personal, spiced by what I call crip’ humour. These encounters inspired a series of monologues I wrote in a variety of styles. These solo texts became the basis of an Unlimited commission, culminating in the 2012 Cultural Olympiad ‘In Water I’m Weightless’ with National Theatre Wales, Wales Millennium Centre and the Southbank Centre.

Cast of ‘In Water I’m Weightless’ by O’Reilly, National Theatre Wales/Southbank Centre 2012, part of the Cultural Olympiad. Cover image of ‘Atypical Plays for Atypical Actors’. Photo: Farrows/Creative

The creative process, directed by John E McGrath with assistant director Sara Beer, choreographed by the late great Nigel Charnock, designed by Paul Clay and featuring six of the leading Deaf and disabled performers in the UK, is fully documented elsewhere on this blog (search In Water I’m Weightless, 2012). The montaged texts from this collaboration are published in my collected ‘Atypical Plays for Atypical Actors’, published by Oberon last year.

This model seemed perfect for a collaboration with Peter and colleagues in Singapore. He, Grace, and Lee Lee would initiate a series of interviews with disabled Singaporeans – lived experience never before documented or shared – and these would create the inspiration for fictional monologues I would write, and the basis of an oral archive. Peter would begin a series of skills-based workshops in Singapore with emerging Deaf and disabled performers, and Ramesh would develop visual theatre sequences.  Phillip Zarrilli would direct emerging work, joined by performer Sara Beer from the UK, with Lee Lee, Peter and Ramesh also performing. It is this r&d stage Unlimited have funded, with the ambition of a full production in Singapore and the UK in 2018.

Style and content of the Singapore ‘d’ Monologues:

We don’t yet know what form and shape this project will take – what tone, what content, what aesthetic – this will all be determined by the next six months and our collaborators. What we do know is the aesthetics of access will be a consideration throughout – and we will have a challenge with translation and captioning in quad-lingual Singapore. We hope our interviewees will have a sense of ownership, and the work will inspire and confound expectation, and the process will be one of symbiosis. I know there will be so much to learn from our Singapore collaborators, and a wealth of riches to be celebrated in this multicultural, intercultural theatre project of communication and dialogue.

UK Collaborators:

Director Phillip Zarrilli and performer Sara Beer are both long-term collaborators. I first worked with Sara with Graeae Theatre in 1987, when, as graduates, we both got our first jobs with this inspiring company. We have worked together consistently ever since, often with Disability Arts Cymru, a great organisation I am proud to be patron of.

Phillip and I have worked internationally as co-creators and collaborators for fifteen years, and has directed many of my plays, recently another Unlimited Commission, ‘Cosy’, which opened at Wales Millennium Centre in March 2016, and featured Sara as the enigmatic Maureen.

Sara Beer as Maureen in ‘Cosy’. Photo: Farrows Creative

What has come clear to me in the writing of this extended blog is the importance of Unlimited in supporting, nurturing and promoting work – in enabling creativity to flourish and artistic careers to thrive. It is such a remarkable hydra organisation with many heads and needs to be congratulated, I feel, for its ground-breaking work and determination to bring about change, its considered efforts for a more equal, and culturally diverse society.

Unlimited is an arts commissioning programme that aims to embed work by disabled artists within the UK and international cultural sectors, reach new audiences and shift perceptions of disabled people. Unlimited has been delivered by the disability-led arts organisation Shape Arts and arts-producing organisation Artsadmin since 2013, and is funded from 2016-20 by Arts Council England, Arts Council of Wales, British Council and Spirit of 2012.

Unlimited and all the funders: thank you.

#UnlimitedCommissions

http://petersau.com

http://www.rameshmeyyappan.com

http://weareunlimited.org.uk/about-unlimited/