Tag Archives: Sara Beer

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

Singapore rehearsal diary for New Welsh Review….’And Suddenly I Disappear….’

What follows in an excerpt from my rehearsal diary, commissioned by New Welsh Review, documenting part of my process working in Singapore this Autumn on ‘And Suddenly I Disappear… The Singapore ‘d’ Monologues’, my international r&d commission from Unlimited. I am immensely grateful to New Welsh Review for providing this feature free – see more on the journal at https://www.newwelshreview.com and here

Stephanie Fam performing in Kaite O’Reilly’s international r&d Unlimited commission ‘And Suddenly I Disappear… the Singapore ‘d’ Monologues’ before a still image of Sophie Stone using visual language, Photograph: Kaite O’Reilly

 

 

18/9/17:

We arrive into Singapore at the end of the Month of the Hungry Ghosts. Flaming braziers sit on street corners and outside temples. Paper money from the Bank of Hell and small cardboard models of cars, smartphones, booze, cigarettes and all the trappings of the good life are set alight in the braziers as offerings to the dead ancestors. Zhong Yuan Jie is the period in the seventh month of the lunar calendar when the gates of the underworld are opened to allow the souls of the dead to roam the earth. Relatives burn offerings to appease their deceased family members, ensuring they don’t become ‘hungry ghosts’ up to mischief, jealous of the living and what they have.

Even in its Taoist and Buddhist rituals, Singapore is commercial, taking care of material needs into the afterlife.

We – performer Sara Beer, director Phillip Zarrilli and I – are here for the r&d of  my collaboration between Wales and Singapore, ‘And Suddenly I Disappear… The Singapore ‘d’ Monologues’, an Unlimited International Commission and dialogue about disability, diversity and difference from opposite sides of the world.

Singapore is a young nation, a high-functioning capitalist culture valuing commerce and uniformity, where, my producer Grace Khoo tells me, she was raised ‘not to ask questions, to keep my chin down and not to stand out.’ It is recently embracing notions of diversity and inclusion, but its awareness of disability issues and culture are very much in its infancy. How challenging atypical embodiment, disability politics, the aesthetics of access and what I call ‘alternative dramaturges nformed by a d/Deaf and disability perspective’ may be here, I’m about to find out.

The UK has a long and proud history of disabled peoples’ activism, something Sara Beer and I have been engaged with for decades. Our background is punkish, proud and irreverent – ‘nothing about us without us’ is one of the Disabled Peoples Movement’s slogans – ‘Piss on Pity’ another, a badge I still wear. How this will fit with the ultra-conservative Singaporeans and a system that would not have tolerated our direct action of the 90s remains to be seen. A fascinating conversation is in the process of happening.

20/9/17:
We rehearse at Centre 42, a heritage house in downtown Singapore, greeted by my main collaborator, Peter Sau, and herbal teas from the local Chinese medical hall to help counter the excessive humidity. Peter is an award-winning actor and theatre maker, and a friend since my first visit to Singapore in 2004. He and producer Grace came to the UK in 2016 in order to explore disability arts and culture, with the aim to professionalise it in Singapore .

Some of the ‘And Suddenly I Disappear…’ team, including Sara Beer and Ramesh Meyyappan, Lee Lee Lim, Danial Bawthan and Shai outside Centre 42, Singapore.

Together we made an application to Unlimited, building on the model I developed from my 2008/09 Creative Wales award. Then, advised by Eve Ensler and Ping Chong, I explored the form of the monologue, interviewing d/Deaf and disabled people across the UK, using their perspectives, experiences, and opinions as inspiration to write fictional monologues. These were later produced as ‘In Water I’m Weightless’, the National Theatre Wales/Unlimited production, part of the 2012 Cultural Olympiad. It’s important that I write the texts rather than ‘steal’ from the source material, for what are we but our stories? I prefer to invent. This also ensures that the material cannot be individualised, reduced down to one person’s unfortunate experience rather than a synthesis of the collective experience of prejudice we are all complicit in.

In Singapore, Peter and his dedicated team of researchers, transcribers, and translators are partway through intensive interviews with disabled and d/Deaf Singaporeans. These are stories that have gone unremarked and unreported. Despite the new focus on inclusivity and diversity, ingrained beliefs linger, and in many ways difference and disability is shameful in Singapore, so several of our interviewees, although eager to contribute, request anonymity.

The recordings and transcripts of the interviews are remarkable, Peter and his colleagues have eked out conversations of candour and passion. As I write the drafts I’m reminded of my own ‘coming out’ as a disabled person and personal revolution after meeting the social model of disability, which turned everything I previously knew upside down. I’d been reared on the Medical Model, where the body is at fault, requiring medicalisation and normalisation. The social model sees disability, like gender, as a social construct, and it is society and its physical and attitudinal barriers which are disabling, not the body itself. Value is given where previously there was none.

It is no surprise then that many of the conversations ongoing in Singapore prompt tears and extraordinary openness from people so often denied respect. How daunting and exhilarating then is my task – to write fictional work responding to this stimulus, and begin work on embodying these voices.

22/9/17:

Ideas from the interviews are reversed or reinvented, Peter, Grace and Lee Lee Lim advise me on the use of Mandarin, Hokkien and Singlish vocabulary, which help make the rhythms and cadences of the dialogue more Singaporean. The collaboration is shaping into a dialogue, resulting in a series of vibrant, multimedia monologues inspired by lived experience, layering theatrical languages and utilising captioning, integrated audio description and visual language in the aesthetics of access, a first for Singapore. We realise there are seven spoken and signed languages in use in the rehearsal room, reflecting the multicultural diversity and linguistic complexity of Singapore. I feel we’re exploring how stories change in different cultures, languages and contexts…. How do we ‘speak’ to each other?

25/9/17:

I write a choral monologue to be explored in spoken, projected and visual language.

Be like water. Be like a river. You dip a bowl into the river and the river fills it and becomes the bowl. Pour into a pot, it becomes the pot. Treat with fire and it becomes steam…. This is how you will be. Unstoppable. Fluid. Powerful.
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The day I need to submit this diary, just one week after meeting and four days before our in progress sharing, the inclusive company has come together with a startling cohesion. Peter’s team is filled with committed individuals keen to bring about change. Monologues that seemed too edgy and politically challenging on first reading now rise off the page, owned. The sense of pride and celebration is tangible. Sara asks Danial Bawthan, one of our emerging disabled performers, how he is finding the process. ‘Priceless,’ he says. ‘I want to be that water, the water that goes into that bowl.’

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

 

And Suddenly I Disappear… cycles of inspiration

 

This is a story of collaboration and inspiration…. of how a project inspired a poem and the poem inspired a design and the design became a poster and therefore the image for the project…

There is a poetic symmetry to this cycle of inspiration which I find hugely satisfying.

I am in the midst of an international collaboration – And Suddenly I Disappear: the Singapore ‘d’ Monologues. commissioned by Unlimited, which you can read about here, here, and here. My collaborator in Singapore, Peter Sau, had recently embarked on a massive research exercise, gathering the stories from d/Deaf and disabled Singaporeans to inspire The ‘d’ monologues I would write. One of Peter’s research volunteers, Shai (Nur Shafiza Shafie) became fascinated with the title…. what might the ‘d’ stand for? That tantalising enigmatic letter became a thought, became a response to the project and our ambitions – and became a poem:.

Invitation to D
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Dearest,
Disadvantaged, disempowered
Despised, deprived, downtrod
Deviant, daring and disturbed
Devoutly disillusioned with God
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Destroyed, damaged and dirty
Dishevelled and disheartened
Dismayed, depressed and dreary
Demonised yet defiant
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Determined, deserving, delicate
Different, distinct and diverse
Disabled, deaf and deliberate
Definers of your own dark universe.
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Do it. Defy the disbelievers.
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Disarm them. Deflect them.
Dance around their dreadful hum.
Devour them. Diminish them.
Drown their egos with your drum.
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Decry them. Deplore them.
Dilapidate your despair.
Disturb them. Distress them.
Devastate them if you dare.
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Debate them. Debunk them.
Dig down deeply for the fight.
‎Destroy them. Defeat them.
Drag them kicking to the light.
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(C) Copyright Shai (Nur Shafiza Shafie) 2017
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The project’s UK producer, Grace Khoo, shared Shai’s words with me and I was delighted that our project was inspiring such a creative response from our generous volunteer.
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Then Shai’s poem was seen by our publicity and marketing designer Ho Su Yuen, who swiftly responded with a striking block letter design, using the words from the poem. I, meanwhile, was developing the title of the project. A common theme seemed to be emerging from the video footage and transcripts from the interviews – that of d/Deaf and disabled people being made invisible. This sentiment offered the full title to me: And Suddenly I Disappear…. The Singapore ‘d’ Monologues. The new title was passed on to Ho Su Yuen, who immediately responded with a new offering. 
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Various conversations followed and the design went back and forth as it evolved, Grace and Sara Beer (collaborator on the project and development officer for Disability Arts Cymru) advising on making the logo more accessible.
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And suddenly – there it was…. The beautiful bold image, above… the logo for our project, the poster image created from defiant poetry written in direct response to the interviewees who are inspiring the fictional monologues. This is such a wonderful example of how generosity feeds inspiration and creativity generates more creativity…
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With great thanks to Shai (Nur Shafiza Shafie) and Ho Su Yuen for your beautiful contributions.
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Commissioned and supported by Unlimited, celebrating the work of disabled artists, with funding from Arts Council of Wales and British Council.