A red phone box in Roath… A corridor backstage in a theatre… Oh the glamour of a video shoot in Cardiff…
Mockery aside, it’s incredibly exciting to finally be starting practical work on The Llanarth Group’s next production: richard iii redux OR Sara Beer Is/Not Richard III. We have been researching and generating materials for months. I have been writing what I see as ‘punts’ or propositions in a collaborative project. Co-creating is vastly different from my solo authored work, where I monologue with myself. Collaborating means dialogue, it means pitching and persuading, throwing a cap of an idea into the ring and bracing myself for any takers. I love it.
richard iii redux has been a long time coming, a project discussed in excited whispers with director-collaborator Phillip Zarrilli for what feels like years. The production questions much of what we know about Shakespeare’s villain:
Richard III: Bogeyman. Villain. Evil incarnate. Or is he? What if he is she? What if the ‘hideous…. deformed, hobbling, hunchbacked cripple’ is portrayed by someone funny, female, feminist, and with the same form of scoliosis? How might the story change, the body change, the acting change, the character change when explored by a disabled actress with deadly comic timing and a dislike for horses?
richard iii redux will be an exploration of the above, in a one woman show featuring live camera and video – and that’s what performer Sara Beer, director Phillip Zarrilli, videographer Paul Whittaker, designer Deryn Tudor and I are up to this week, sulking around backstage corridors and in red telephone boxes.
Sara will play a series of personas during the show – personas often, but not always, very similar to her actual self. We are still in the process of defining these voices and the attitudes they take to the subject matter, so Sara’s head is often swimming as we decide ‘not that Sara, the other Sara, you know, the third one’ should be voicing a particular mediatised section. As the shoot is in advance of our official rehearsal process, starting next week, I suggest we play safe and capture several versions of the same material in different personas/voices. By the end of the day, Madam Beer is tripping over her meticulously-memorised lines and I note with interest how the same speech when rendered in one persona comes easier than others.
At this point in the creative process, I feel like a detective – looking at all the material we have generated and deciding what might be clues, what might be evidence, and what are the red herrings which need to be discarded, as they take us away from our task in hand…. There is writing, then rewriting, flights of fancy and careful choreography instantly abandoned. To some, the slow, painstaking process of creation and discovery, rejection and affirmation must seem horribly haphazard, but there is an order to our chaos, and it is exhilarating when a production moves from the sum of its separate parts and begins to form a whole.
That is what lies ahead in the next few months, as we come together to rehearse and make, then part to reflect and absorb. We find spreading the rehearsal period out over several months immensely effective, enabling development of ideas and the creative dust to settle. I will be documenting this process over the next weeks, leading to the world premiere at Chapter arts Centre on international women’s day, 8th March. For a female production dealing with Richard III, that seems quite an auspicious date for opening….