Tag Archives: Sara Beer

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:

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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.

 

 

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.

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.

Cardiff Shoot – richard iii redux begins!

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.

Phillip Zarrilli directing Sara Beer on location backstage

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.

Sara on location in a phone box.

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….

 

Bosworth battlefield – starting work on richard iii redux

 

Sara in the ‘authentic soldier camp’, prior to the Battle of Bosworth re-enactment 2017.

We have been researching Richard III for some time…. Back in August 2017 collaborators Sara Beer and Paul Whittaker travelled with me to Bosworth for the annual re-enactment of the battle which cost Richard his life. Our favourite place was the ‘authentic soldier camp’, where enthusiasts, dressed in period clothing, camped out for days  in what they claimed to be authentic fifteenth century living conditions. The generosity and bonhomie of the camp undermined the supposed animosity between the ‘sides’, with the participants passionate and informed about social and political history.

A Richard III enthusiast gives a lesson in campfire cooking

 

 

 

 

 

 

 

 

 

 

 

Enthusiasts had travelled considerable distances to participate in this annual jamboree. We spent time around the campfire of some students from Bangor University, got cooking tips from a postgraduate from America, and posed in the tent of a party following in Henry’s footsteps from France.

Matt, one of the students from Bangor, let Sara borrow one of his broad swords – just what was needed for a rendering of ‘A horse! A horse! My kingdom for a horse!’

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

With many thanks to all we spoke with, who greeted us with such generosity, and in particular the Bosworth Battlefield Heritage Centre.

 

new year, new production – richard iii redux

Shakespeare’s Richard III: Bogeyman. Villain. Evil incarnate. Or is he? What if he is a she? What if the “hideous… deformed, hobbling, hunchbacked cripple…” is portrayed by someone funny, female and with the same form of scoliosis?

This is the premise of my forthcoming collaboration with Sara Beer and Phillip Zarrilli of The Llanarth Group: richard iii redux OR Sara Beer is/not Richard III will take a long, hard and not completely serious look at this infamous figure, evil personified, and raise questions both about Shakespeare’s hatchet-job on what historically appears to be a good and popular King, and the interpretations of this formidable role from actors ancient and modern.

The posters arrived…waiting to be sent out to the venues for the opening in March 2018

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The first two days of development begin tomorrow – and I can’t wait. We have researched the subject fairly comprehensively, read books, seen documentaries about the royal body in the carpark and scrutinised celebrated productions of Shakespeare’s play…  I’ll be documenting the process as it happens, here….

 

 

 

 

 

“It’s like The Vagina Monologues for Deaf and disabled actors.” The Stage interview.

My recent work in Singapore, developing my Unlimited international r&d commission, seemed to catch peoples’ curiosity and interest. What follows is an excerpt from an interview I gave to Joe Turnbull for The Stage. The full feature can be accessed here. 

O’Reilly’s collaborators Ramesh Meyyappan,
above centre, and Peter Sau, right, with Grace Khoo in And Suddenly I Disappear. Photo: Wesley Loh, Memphis Pictures West

Playwright Kaite O’Reilly’s latest groundbreaking production sets out to challenge the way disabled people are perceived in Singapore. Using disabled actors, she was determined to tell the stories of those who are not normally heard in a country where previous generations were locked up and left to die, as she tells Joe Turnbull

Five years ago, disabled playwright Kaite O’Reilly pushed the humble monologue into new creative territory with In Water I’m Weightless, an Unlimited commission for the Cultural Olympiad as part of the London 2012 Olympic and Paralympic Games. The show featured an all deaf and disabled cast. It had no discernible plot and experimented with dramaturgical form, incorporating access elements such as audio description and sign language into the creative material.

Now, O’Reilly’s latest project And Suddenly I Disappear…The Singapore ‘d’ Monologues, sees her return to this approach of creating a play out of a series of fictionalised monologues – sometimes delivered chorally – which are inspired by stories about the lived experiences of deaf and disabled people. It’s arguably even more ambitious than its predecessor.

Its development spans nine years, five languages and two continents (three if you include the trip to America that inspired it all). Not only that, it seeks to challenge the way disability theatre is both produced and received in Singapore and smash deep-seated preconceptions about disabled and deaf experience along the way.

“I received a Creative Wales Award in 2008-9, which allowed me an extended period of exploration and development,” recalls O’Reilly. “I spent time in New  York very briefly with Eve Ensler of the Vagina Monologues and Ping Chong and his Undesirable Elements series. I hung out with a load of disabled people that he’d interviewed who he then got to perform. I began thinking about that as a vehicle for challenging preconceptions and hopefully subverting some of the old narratives that are problematic – that are connected to what I would call the ‘atypical body’ – whether that’s neuro or physically or sensory. I interviewed over 70 deaf and disabled people from the UK and the material it inspired me to write became The ‘d’ Monologues, which provided the text for In Water I’m Weightless.”

O’Reilly’s affinity with Singapore predates even that, having had a relationship with its Intercultural Theatre Institute since 2004, and teaching there for the last six years. It was in 2004 that she met two of the main collaborators for And Suddenly I Disappear. The first is Peter Sau, a graduate of the institute and winner of best actor in the 2015 Singapore Life! Theatre Awards. Sau is associate-directing the project and managing much of the work being carried out in Singapore. The other is Ramesh Meyyappan, a deaf Singaporean visual and physical theatremaker now based in Glasgow, who will be overseeing the physical language elements of the project.

O’Reilly explains how she first met Meyyappan all those years ago: “He had just finished a performance of Edgar Allan Poe’s The Tell-Tale Heart and The Masque of the Red Death. People were telling him this weird ‘ang mo’ [Singaporean for white foreigner] is waiting outside and says she won’t leave until she speaks with you. We just about managed to have a conversation, partly through Singaporean Sign Language and me with British Sign Language and sign-supported English. It all got very funny.”

O’Reilly reconnected with Sau in 2015 when he came to UK to do an MA. “We started to hatch the idea of what I would call an international dialogue of difference, diversity and disability and deaf experience from opposite sides of the world,” she says. The piece received an Unlimited International R&D in March 2017 and has been in proper development since.

“Although we hadn’t worked together before, I thought I had to have Ramesh on board as well. I explained to him that he would be the bridge. He knows Singaporean sign language and he understands both Singapore and the UK. Also if we’re going to do this work – and I’ve always done this – I want it to be disability-led and deaf-led. So Ramesh is leading the deaf cultural parts of the project.” Everyone else involved in the project also identifies as disabled or deaf, both culturally and politically. Sau and his team have been collecting testimonies of disabled and deaf people in Singapore, with O’Reilly doing the same in the UK, which have inspired the latter to produce a series of fictionalised monologues – some abstract, some character-driven. The monologues are delivered across multiple languages – English, Mandarin, Welsh, British Sign Language and Singapore Sign Language. O’Reilly is keen to stress it’s not verbatim.

“I’ve always said people’s stories belong to them. As long as something says ‘by Kaite O’Reilly’ it has got to be by Kaite O’Reilly, otherwise it’s theft. I think it’s to do with my Irish cultural heritage – your stories are who you are. Ping Chong got around verbatim by getting the interviewees for Undesirable Elements to perform it themselves. I’m not saying verbatim is necessarily bad practice, there are ways of doing it well. It’s just my personal position.”

But some of the testimonies coming out of Singapore have been deeply concerning to O’Reilly, a lifelong disability rights advocate, whose activism includes lying down in front of buses on Direct Action Network demos.

“The central thing I’ve got so far listening to the interviews from Singapore is how people are completely invisible, hence the title. I’m hearing the most terrifying stories of disabled people being kept in the back rooms, never actually going out. A lot of them in previous generations were left to die at birth. So what we’re doing here is really radical. I’m encouraging them to record the interviews as well so there’s an oral archive. These are voices, experiences, perspectives that have never been paid attention to previously.”

To read the rest of the article, please go to: https://www.thestage.co.uk/features/2017/writer-kaite-oreilly-on-singapore-d-monologues/

With thanks to Joe Turnbull, The Stage and Unlimited