Tag Archives: Phillip Zarrilli

Diversity, d/Deaf, difference, disability…. Have the ‘d’ words become dirty with overuse?

Daniel Bawthan performing in Kaite O’Reilly’s ‘And Suddenly I Disappear’. Photo by William AS Tan

‘Diversity’s just lip-service. A meaningless phrase flung around everywhere, without meaning anything.’ Or so I was told yesterday, in a discussion with a disgruntled friend, disillusioned about what’s being done to the ‘d’ word. ‘It’s become trendy, and a way to attract funding,’ he gloomily concluded. ‘I’m tired of all these people who never had any interest in the Deaf or disabled communities before, or people from different backgrounds, ethnicities, sexual or gender identities, now jumping on the bandwagon just because it’s fashionable and there’s potential funding.’

It was a serious conversation, and at times tough, but unlike my friend (a seasoned theatre maker who, like me, has a long history in disability arts), I’m not as disheartened, owing to my recent experiences. I’ve been fortunate to have been party to some excellent work, full of integrity and engagement around this particular consonant. Earlier this year I was working in both Singapore and Hong Kong with organisations and individuals who really want to challenge the lack of diversity in organisations, cultures, and positions of leadership. For me the latter is essential – the work really needs to be led by those under-represented individuals, and the power structure needs to change, as otherwise the same-old, same-old endures. This I think is what troubles my friend – work coined ‘diverse’ which may cast A.N.Other, but in reality is shallow or tokenistic, with no alternative perspectives or content.

The ‘d’ word has been central to my work these past years, and especially most recently with ‘And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues’, touring the UK this September after its premiere in Singapore last May. This is work that is Deaf and disabled led, celebrating all the ‘d’s of diversity and difference.

I began working on the project which has become The ‘d’ Monologues back in 2009, with a Creative Wales Award from Arts Council Wales. I wanted to explore the form of the monologue as a means of creating work for a more diverse cast. Tired of non-disabled actors ‘cripping up’,  I set out to write solos and multiple character texts specifically for d/Deaf and disabled performers – what I later went on to call ‘atypical actors’ in my first collection with Oberon.

And Suddenly I Disappear by Kaite O’Reilly. Ramesh Meyyappan, Peter Sau, Lee Lee Lim, Grace Khoo, Sara Beer. Photo William AS Tan.

These were monologues informed and inspired by lived experience, telling stories that perhaps were not so familiar, from a d/Deaf and disability perspective – the original ‘d’ of the monologues – but as time passed and this body of work grew, so too has what the ‘d’ may stand for…. diversity and difference, yes, but how also about defiance, desirable, distracting and delectable? As I wrote for Singaporean rapper/beat-boxer Danial Bawthan in And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues:

“This body…. This body is dangerous. It desires, it delights, it delivers, it dances..”

Exploring other ways of considering our bodies and what it is to be human has been at the heart of my writing for this almost decade-long project. Imagination has played a large part, but so too has anonymous questionnaires and interviews I’ve led since 2009 across the UK with disabled and d/Deaf people and recently in Singapore led by my collaborators Peter Sau and Lee Lee Lim, amongst others.  These conversations about difference have inspired and provoked the fictional monologues I’ve written – I’ve never used anyone’s story or actual words, for that seems to me like theft – but I’ve been directed by and provoked by the many perspectives and multi-voicing it has been my great privilege to be privy to.
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We premiered the fruits of this dialogue between Wales/UK and Singapore at the Gallery Theatre, National Museums Singapore in May 2018, and will bring a revised version, with largely the same DNA, but with some new monologues (and performers) to the UK in September. Singaporean collaborators Grace Khoo, Peter Sau and Natalie Lim will travel to the Unlimited Festival at London’s Southbank Centre in early September, reuniting with Ramesh Meyyappan, Sara Beer, director Phillip Zarrilli, and myself. We will then join with Macs Mackay and Garry Robson, bringing new monologues and energy into the ensemble.
 And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues were always imagined to be a moveable feast – a series of contrasting monologues which could adapt and change according to the venue size, cast and situation. It’s with a heavy heart we leave some of our amazing Singapore-based collaborators behind, but they will have mediatised presences, alongside UK-based performer extraordinaire Sophie Stone.

Tickets are now available for the UK tour:

5-6 September Southbank Centre’s Purcell Room, London tickets
8 September Old Fire Station, Oxford, tickets
9 September Attenborough Arts Centre, Leicester, website
11-12 September Chapter Arts Centre, Cardiff, tickets
And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues

Video-trailer

I’m delighted that the collected ‘d’ Monologues will be published by Oberon in time for the tour. I’ll give further information about this, including various launches, readings and events, as it becomes available, but it is so exciting to think these texts will be widely available for others to use… to montage the monologues to make a full evening’s performance, to do script-in-hand readings, to use them as audition pieces, or my ideal: a sharing of monologues across the globe on the International day of the disabled person (also, please watch this space….).
‘The ‘d’ Monologues’ will also include the text to the solo performance richard iii redux, co-written with Phillip Zarrilli, originally for that diversity diva Sara Beer (pictured below in one of her personas from the show). The text deconstructs Shakespeare’s villain and challenges the cultural link since Shakespeare’s time between atypical bodies/disability and evil. We also ask wider questions about the nature of performance, representation of difference and the rewriting of history by the Bard – with lots of subversive fun along the way, exploring how Richard has been ‘cripped’ in the past.

Sara Beer in ‘richard iii redux’ Panopticphorography

You can access the fantastic reviews here and potentially catch the show if you are in Mainz, Germany, in September.  We’re delighted that richard III redux heads to Mainz for a performance on 20 September, 2018 as part of this year’s Grenzenloskoultur Theater Festival (‘Theater without Boundaries’), Mainz Kleines Stadt Theater, Germany.
We hope to have the production back on the road in 2019, but until then, here’s the delight of Sara Beer in the richard III redux TRAILER.
As to the issues of ‘diversity’ and whether the ideal is being tarnished from casual over-use…. As a playwright all I can do is keep on exploring what it is to be human, and to question our hierarchies, our power dynamics, and the (mis)representations that can become common currency. Artists and theatre makers identifying as Deaf and/or disabled are presenting work on an unforeseen scale (thanks also to initiatives like Unlimited and DaDaFest) and I can only applaud and encourage this, chivvying on the so-called ‘under-represented’ to be the makers and the directors and the leaders of the future. Whether the word becomes undervalued or not, true diversity will arrive with an expansion in the identities, experiences, politics, ethnicities and bodies of those holding the reins – and perhaps the work of those currently in control is to move aside a little, or learn to power-share.

 

Returning

So I return back to Wales after six weeks in Hong Kong and Singapore, and find myself startled by the vibrant green of grass and the watercolour splashes of pink and blue in the hedgerow as we drive down the narrow lanes. It all feels so very gentle and quaint after the futuristic architecture of Singapore’s waterfront, or the technicolor fantasy that is the newly renovated Sri Krishnan temple on Waterloo Street.

Renovation of the temple on Waterloo Street, Singapore. Photo: Sara Beer

We were fortunate to be staying centrally, in an apartment close to Waterloo Street, and would pass by the temples most days when walking to rehearsals. The Gallery Theatre, where we premiered And Suddenly I Disappear: The Singapore ‘d’ Monologues, is in the impressive National Museums Singapore, built in 1849 and originally called Raffles Library and Museum.

National Museums Singapore

We had a great welcome at NMS, and soon I was acquainted with most of the front of house staff – the curators, security guards, volunteers, and ushers – after giving a series of Disability Awareness Training workshop/talks. There was a palpable interest in making the museum as accessible and welcoming as possible, and it was a real privilege to premiere the production there.

Volunteers setting out the accessible signage

And Suddenly I Disappear: The Singapore ‘d’ Monologues is an international dialogue between Singapore and the UK about difference, diversity, and what it is to be human. Inspired by interviews my colleague Peter Sau and his team held in Singapore, and my own conversations over many years with Deaf and disabled individuals in the UK, the fictional monologues were commissioned by Unlimited, with support from Arts Council Wales and the British Council.

Warming up: And Suddenly I Disappear cast, Gallery Theatre, National Museums Singapore

The production previewed last week, with an audience of students from a series of schools and colleges, who astonished and delighted us with their focus and engagement. We couldn’t have asked for a better first audience – so enthusiastic and curious about the work we presented. I’ve also never been in a situation before, where I had a selfie with a large proportion of the audience.

Part of the preview schools audience for ‘And Suddenly Disappear…’

A real opportunity for discussion and change feels possible at present in Singapore. Diversity and inclusivity are vogue terms here, just as they seem to be everywhere at present, but I’ve experienced less lip service and more action here than in Europe. I am encouraged – there does seem to be a palpable desire for change, and so in interviews, public talks and workshops, I’ve been banging on about the necessity of diversity in our cultural leadership. My concern is that whilst embracing notions of inclusivity and diversity, the same-old, same-old hierarchies will endure, and so a remarkable opportunity to re-examine and reinvent societal structures will be lost.

Our brilliant associate producer Natalie Lim with signage for the production

There is also a misunderstanding about the difference between arts and disability – where the non-disabled provide arts provision for ‘the disabled’ as part of their socialisation or therapy – and disability arts, where disabled artists lead, direct, create and control the product. Disability arts and culture sometimes – but not always – reflects lived experience, and can be a manifestation of identity politics informed by the social model of disability – which sees it is society and its attitudinal or physical barriers which is disabling, not the idiosyncracies of our bodies.

Company members Peter, Steph, Shirley, Ramesh and Grace backstage

My fictional monologues seek to reflect a wide spectrum of experiences, embracing all the possibilities of human variety and challenging notions of normalcy. Love, relationships, extortion, and ‘cures’ are explored amongst other themes. Although many expect me to write ‘disabled themes’ (whatever the hell they would be…), it’s the same material as usual – whatever captures my imagination and makes me want to explore dynamics and situations theatrically – what’s different is the world view and the theatrical languages at play.

I’m wary of ‘telling true stories’, as it is often phrased, when people assume that the story  belongs to the actor performing it, or it is the true experience of one individual. As a playwright, I’m interested in finding the narratives and form that makes the story larger than itself – speaking for a community of people, perhaps, rather than one (perhaps unfortunate) individual.

Interview in Singapore Straits Times

The work has now been realised and shared with the Singaporean audiences, premiering last weekend, 25th May. I will share responses and reactions as they emerge in a future blog, and also cover the live-streamed performance, another innovation in the presentation and touring of the work. At present I am dealing with jet lag and adjusting to the Welsh pastoral outside my window, and preparing the publicity alongside new monologues for the next stage of this project: The Singapore/UK ‘d’ Monologues, premiering at Southbank Centre 5-6 September, as part of Unlimited Festival.

Meanwhile – here’s the Singapore poster by our designer Ho Su Yuen….. unusually featuring the director and writer, alongside the cast.

Singapore poster

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And Suddenly I Disappear: The Singapore ‘d’ Monologues by Kaite O’Reilly, directed by Phillip Zarrilli and produced in Singapore by Access Path Productions, is an Unlimited International Commission, supported by Arts Council Wales and British Council. The performances in Singapore were possible thanks also to Singapore International Foundation, Singapore Press Holdings Foundation Arts Fund, NSM, and Kuo Pao Kun Foundation.

 

 

 

A rehearsal photo diary

We gather speed, hurtling down towards our opening next week.

Daniel Bawthan in rehearsals. Photo by Shai

Shai, our captioner, captured images of the working rehearsal at our new rehearsal space last night.  We have finally moved into National Museum Singapore,  where we will have the world premiere of And Suddenly I Disappear: The Singapore ‘d’ Monologues on May 25th in Gallery Theatre.

Cast in rehearsals ‘In a Row’ Photo: Shai

I have written a series of monologues, which we are presenting in a variety of ways, across spoken, projected and visual languages. The theatre style is shaped by the aesthetics of access, where we are using ‘access tools’ creatively, as an integral part of the work rather than an ‘add on’ – part of the theatre languages at play.

Evelyn our SgSLI at work with director Phillip Zarrilli. Photo: Shai

Last night, we experimented with the audio description to be used during a silent  eight minute sequence our visual language director, Ramesh Meyyappan, has created. Working with Lee Lee Lim, one of our guest performers who is visually-impaired, we have been striving to find the balance between Deaf culture and hearing culture – not overwhelming the visual language sequence with spoken word, but not leaving our VI audience in mystified silence, either…

Ramesh Meyyappan. Photo by Shai

It has been a fascinating dialogue and learning opportunity for all as we create an ensemble piece together – and one that is Deaf and disabled-led, a first for Singapore.

Writer and Stella, stage management, conferring over audio description text. Photo by Shai

Tickets now available….

 

Opening night! richard iii redux on International Women’s Day…..

Sara Beer in ‘richard iii redux’. Photo by Paddy Faulkner panopticphotography

And so it comes around… and appropriately, on International Women’s Day – the world premiere of richard iii redux OR Sara Beer [is/not] Richard III… Delighted to discover we’re sold out tonight at Chapter Arts Centre in Cardiff – it seems such a terrific way to celebrate today – a one woman show, taking on an iconic male role, subverting it, commenting on it, remixing it and making it her own….. And a disabled woman performer in a powerful role, commanding centre-stage…. I am so proud of the work Sara is doing, and so grateful to the talented and committed artists, designers, and crew working with The Llanarth Group.

The past few days have been tech and dress rehearsals, where Paddy Faulkner of panopticphotography took these images. Our final dress this afternoon was crowned with an interview with @MadeInCardiff TV – Sara Beer, director Phillip Zarrilli and I all talking about our particular processes and perspectives on the project, which should be going out over the next three nights.

We also spoke with Nicola Heywood Thomas on BBC Radio Wales Arts Show, which you can listen again to, or download as a podcast here

@Buzz_Magazine also previewed the show in their March 2018 edition, on page 28, here

Sara Beerin richard iii redux. Photo by Paddy Faulkner panopticphotography

We are determined to make the show as accessible as possible, and so I am touring with the production as live captioner. I think this is a first. I’ve never heard of the playwright/dramaturg taking a place in the on-stage tech corner – responsible for projecting her text onto the screens, matching the performer’s spoken words. This is a production where there are no smoke and mirrors – everything is transparent and in view, which matches the metatheatrical nature of the performance. So many productions make a song and dance about captioning one show in a whole run – and that’s great, but not enough… we will caption every single performance, from Cardiff, Aberystwyth, to Theatre Clwyd in Mold, from The Torch at Milford Haven, to Small World Theatre in Cardigan. Captioning makes a production more accessible for all sorts of audience members, and creates an additional interesting aesthetic, as can be seen by Paddy’s photograph, above.

We are so excited to be finally bringing this production before an audience tonight – Sara is ready for her public! – and celebrating international women’s day, putting women usually left off-stage or in the shadows in full light, centre-stage.

On Every Writer’s Nightmare: Losing my “witty, feminist, alternative” final draft…

From richard iii redux OR Sara Beer Is/Not Richard III video montage by Paul Whittaker

The end is now in sight…. within a fortnight we will be premiering this new performance at Chapter Arts Centre in Cardiff, on International Women’s Day, 8th March.

Yesterday morning I finished writing the final, deviously ingenious threading-it-all-together monologue – creating a fug of blue air from inventive Irish cursing when my laptop failed to save what I had just completed – and all was lost…

It’s every writer’s nightmare… We just manage to get, to our satisfaction, a version down – it makes dramaturgical sense, all journeys and through-lines seem complete, there is hopefully no clunky exposition, and the text remains in the idiosyncratic syntax of the character voice(s)… Satisfied, we press ‘save’, then ‘print’ – and the whole world goes blank and dark screened…. The ‘pooter has crashed – no, it seems to have had the equivalent of a cardiac arrest – and the work has not been saved….

Even as I ran around the house in my pyjamas, yelling guttural Anglo Saxon phrases and being politely ignored by the company, I knew that deviously ingenious monologue was gone forever… I tried to calm myself with stories of Chekov – or was it Ibsen? – destroying completed drafts of plays in order to slash and burn, then rewrite the stronger, better version…. and even though I managed to settle down enough to try and recreate what I had completed just moments before, I know some of that vital DNA is missing… It’ll work, but it hasn’t the ease and shine of the material lost.

Or so perhaps it will always seem when bereft – the unsaved monologue will always be ‘the one that got away’ – the perfectly polished, apparently effortless speech.

Sigh.

But we are done, we have a complete script, the wondrous Sara Beer is learning it and doing magical things with my words in the studio with director Phillip Zarrilli…. There will be time to buff and amend, tinker and improve before Sara sets out in front of an audience – and who knows, maybe by then the recreated speech will have the lustre and gleam of that perfect lost one….?

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We’ve had a lot of interest in the production, and we’ve been writing essays for various journals about our process.

Sara Beer’s  ‘In My Own Words: Playing Three Personas’ for Arts Scene in Wales can be accessed here

My article “for Exeunt magazine on cripping up, and how her new production offers a witty, feminist, alternative disability perspective on Shakespeare’s history play” can be read here.

Our tour dates are below….

TOUR DATES

Chapter Arts Centre,

Cardiff www.chapter.org

8, 9, 10, 16, 17 March: 8pm

17 March: 3pm.

Aberystwyth Art Centre Studio

14 & 15 March [SOLD OUT] 

Theatr Clwyd, Mold

http://www.theatrclwyd.com

19 & 20 March: 7.45pm

The Torch Theatre, Milford Haven

http://www.torchtheatre.co.uk

21 March: 7.30pm

Small World Theatre, Cardigan

http://www.smallworld.org.uk

23 March: 8pm

Exeunt Magazine: On the poster boy of embodied difference, Richard III

richard iii redux OR Sara Beer Is/Not Richard III

Exeunt magazine feature:

Kaite O’Reilly writes on creating a witty, feminist, alternative disability perspective on “that veritable poster-boy of embodied difference, Shakespeare’s Richard III.” Original article here.

A female Richard III…. There’s nothing unusual about that in these days of cross-gender casting, and the success of Glenda Jackson’s King Lear at the Old Vic, Maxine Peake’s Hamlet at The Royal Exchange, or Phyllida Lloyd’s trilogy of Shakespeare plays set in a fictional women’s prison. Cross-gender casting has all but gone mainstream, a positive part of the on-going discussion about parity, diversity, and representation on our screens, theatres and opera stages. In film, we’re going through a welcome phase of older women leads and central mother/daughter relationships (Lady Bird; I, Tonya, et al) There is also heartening change in the representation of people of colour, with the release of films including Moonlight and The Black Panther. Yet in the midst of all this welcome change, there is still one aspect largely overlooked, especially in our theatres: the representation of physical difference and the actors who portray characters with disabilities.

There are many parallels between race and disability in both historical portrayal and popular culture representation. People of colour on stage and in film have been limited until quite recently to negative and supporting roles, while the disabled character is largely either the victim or the villain… But at least black and minority actors got to play these roles, however problematic – very few disabled performers have had the opportunity to play any part, however stereotypical, whilst leading disabled character roles are largely the preserve of celebrity actors. It seems that physical or neuro-diverse transformation is still perceived as the pinnacle of actorly challenge and skill, an opinion reflected in the industry, which is why playing a crip’ as a non-disabled thesp’ is invariably an award-winning role.

As a dramaturg and playwright who works in disability arts and culture, as well as the so-called ‘mainstream’, I’ve spent much of my career trying to follow Gandhi’s maxim of being the change I want to see in the world. This has largely entailed writing parts specifically for Deaf and disabled performers that lie outside the usual narrow confines of victim, psychopath, or as inspirational porn. I’ve tried to write complex, sexy, funny, dangerous, lovable, cheating, loyal, sensitive characters who are as fucked-up or sorted as their hearing, non-disabled counterparts. I’ve tried to find narratives that are more than medical dramas linked solely to a diagnosis, or the character’s relationship to herself as outsider.

Since the Ancient Greeks disability has been used as a dramaturgical tool to scare, warn, explain, or remind us of our mortality, and the inevitable, inescapable cycle of life. Fearful and negative human traits have been personified by disabled characters for so long, these harmful fictions have become ingrained and considered ‘truth’, disability studies academics maintain. One of my passions and great joys as a theatre maker has been to try and ‘answer back’ to these negative or reductive portrayals of difference, and to redress or subvert some of these fictions.

Which brings me to my current project, and that veritable poster-boy of embodied difference, Shakespeare’s Richard III, the personification of evil.

This surely is the non-disabled actor’s Everest, the part to relish deforming and making as monstrous as possible. And in richard iii redux OR Sara Beer Is/Not Richard III we have deconstructed them all, from Olivier’s nasal psychopath to Spacey’s leg-braced Gadaffi, McKellen’s black shirted fascist to Sher’s double-crutched “bottled spider”, Cumberbatch’s life-like prosthetic to Eidinger’s cushion-hump in Ostemier’s post-dramatic production…

I have known performer/collaborator Sara Beer since the 1980’s when we were both involved in the Disabled People’s Movement and the emerging disability arts and culture scene. Sara was the obvious choice for this project when I first conceived the idea of a one woman show about Richard, from a disability perspective, performed by someone with the same physicality as the historical Richard. It wouldn’t be the first time a disabled actor has played the part. Mat Fraser played Richard III in Northern Broadside’s 2017 production, but given how monstrous Shakespeare’s Richard is, and how far he deviates from historical accounts, I started questioning whether having a disabled actor play a distorted disabled part would be ‘enough’? Would it create diversity and balance, or simply reinforce notions of ‘normalcy’ and negative representations of difference? Out of these questionings with co-creator and director Phillip Zarrilli, the project was born – this would not be a production of Shakespeare – rather, a response to Richard’s portrayal both in Shakespeare’s text and through the actors who have embodied him, viewed through a lens which is female, disabled, and predominantly Welsh.

Phillip is a renowned scholar, director, and actor-trainer, and so has brought a wealth of knowledge about acting to the production. We’ve been joyously irreverent, deconstructing the process of acting itself, as well as the process of creating a character. This expertise has enabled Sara to play various personas, many of them comedic, but ultimately serious, taking the audience on three simultaneous journeys in response to Shakespeare’s Richard III:

– a child’s self-awakening as she unexpectedly finds ‘herself’ IN Shakespeare,
– a professional performer’s journey toward playing Richard, and
– a personal journey through Wales in search of the historical ‘richard’ on the route to Bosworth Battlefield.

It was only after Phillip shared his historical research on the ‘real’ Richard III that I realised just how revised Shakespeare’s hatchet job is. Here is another parallel with the experience of people of colour: just as black figures have been white-washed or erased from history, disabled figures have been either normalised or transformed into the hideous, fearful Other – and in Richard, we have character-assassination of the highest order. It’s a double-whammy. Not only did Shakespeare exaggerate Richard’s atypical embodiment and contort it to represent evil, he also re-wrote history, transforming a reforming, popular King, who led thousands into battle despite his scoliosis, into an evil, murdering coward, ready to give up his kingdom for a horse (contemporary sources state he was offered a horse to flee the battlefield, but he responded his fate would be decided there – either to die at Bosworth, or live as King). It comes perhaps as no surprise that many consider Richard III as a piece of Tudor propaganda, written to please powerful patrons and reiterate their (tenuous) claim to the throne.

But what I’ve outlined here isn’t about saying Richard III should never be performed by someone who isn’t disabled – I’m not censoring or bowdlerizing the Bard, and I have great fondness for old “crook-back” Richard. What we seek to do with richard iii redux OR Sara Beer Is/Not Richard III is to provide an alternative disability perspective in response to Shakespeare’s construction of evil on the disabled body, which is historically inaccurate. And having a bit of fun as we do it.

Richard iii redux OR Sara Beer Is/Not Richard III tours Wales in March, playing Chapter Arts Centre, Cardiff, Aberystwyth Art Centre Studio [SOLD OUT}  Theatr Clwyd, Mold, The Torch Theatre, Milford Haven and Small World Theatre, Cardigan

With thanks to Exeunt magazine.

Guest post: Phillip Zarrilli – recipes for remixing Shakespeare’s Richard III

Recipes for remixing Shakespeare’s Richard III 

a guest post by director Phillip Zarrilli.

Recipe 1:

Take One Actress + Three Personas = Sara Beer’s richard III redux

One actress takes the audience on three simultaneous journeys in response to Shakespeare’s Richard III—

  • a child’s self-awakening as she unexpectedly finds ‘herself’ in Shakespeare,
  • a professional actress’ journey toward playing Richard, and
  • a personal journey through Wales in search of the historical ‘richard’ on the ‘Henry Tudor trail’.

Sara at Cilgerran Castle, Ceredigion. richard iii redux. Photo: Kaite O’Reilly

Recipe 2:      

Take One measure “cutting wit”, add one measure thoughtful reflection =

Sara Beer in richard III redux

In response to Sara Beer’s performance of the idiosyncratic role of the outsider during the world premiere performances of Kaite O’Reilly’s Cosy, at Wales Millennium Centre in March 2016, here’s what the critics and audience said:

Sara Beer…steals the show…a brilliant and disconcerting comic turn that from the off envelops the play in a sense of the otherworldly.  (Gary Raymond, The Arts Desk

 …bloody hilarious…a cutting wit…   (Denis Lennon, Arts Scene in Wales)

Sara digging up her Richard – richard iii redux.

Maureen (Sara Beer), the strange friend lurking. She is the jokes, the light touch, the kind heart finding the patterns in the confusion of a family tale. (Holly Joy, 3rdActCritics)

 …one of the stand-out performances…witty, funny and astutely observed…  (Dr. Mark Taubert, Clinical Director and Consultant in Palliative Medicine at Velindre NHS Trust, Cardiff)

Recipe 3:

Take One Sara Beer x 3 personas + live performance + video + on-stage live-camera = richard III redux

 

Sara Beer at the re-enactment of the Battle of Bosworth, 19 August 2017

This post was reproduced from: www.phillipzarrilli.com

Tour Dates

Chapter Arts Centre,

Cardiff www.chapter.org

8, 9, 10, 16, 17 March: 8pm

17 March: 3pm.

Aberystwyth Art Centre Studio

14 & 15 March [SOLD OUT] 

Theatr Clwyd, Mold

http://www.theatrclwyd.com

19 & 20 March: 7.45pm

The Torch Theatre, Milford Haven

http://www.torchtheatre.co.uk

21 March: 7.30pm

Small World Theatre, Cardigan

http://www.smallworld.org.uk

23 March: 8pm