Tag Archives: The Llanarth Group

Five languages, spoken and signed: at work on ‘The Singapore ‘d’ Monologues’

Ramesh Meyyappan and Sophie Stone ‘The Singapore ‘d’ Monologues’ by Kaite O’Reilly, an Unlimited International Commission

I have known performer/visual director Ramesh Meyyappan since 2004, when I saw his non-verbal physical theatre adaptation of Edgar Allen Poe’s The Tell Tale Heart at The SubStation in Singapore. Since then our paths have continually crossed – at DaDaFest in Liverpool in 2005 shortly after he relocated to the UK, at the Vienna Deaf Theatre Festival around 2006, where I was presenting a paper on my work and was able to participate in his performance workshop. Over the years we have continued to meet, building a friendship and an appreciation of each others’ work. I’ve longed to work with Ramesh since I first saw him on the stage thirteen years ago…. and finally it is happening, in a project which unites the place where we first met with the place we now live.

Ramesh is a performer and visual theatre director for my Unlimited International Commission And Suddenly I Disappear: The Singapore ‘d’ Monologues

I am immensely excited about his involvement in this ambitious project, an international dialogue about disability, Deaf experience, diversity, and difference, from opposite sides of the world. I will be writing future blogs reflecting on our process – it is complex, a multi-layered project involving grassroots engagement and research. My collaborators Peter Sau and Lee Lee Lim, plus other members of the Singapore team are amassing material from interviews  which are inspiring the fictional monologues I am writing. Time is short… We will soon be combining the UK and Singapore teams, collaborating in September to present r&d sharings at Centre 42 in Singapore.

Ramesh Meyyappan and Sophie Stone in T’y-n-y-Parc Studio. The Singapore ‘d’ Monologues

This project has allowed me to indulge in playing ‘fantasy cast’…. Once I knew Ramesh was on-board, I knew I had to bring him together with Sophie Stone, a long-term collaborator who I have written parts for in my Unlimited Commission/National Theatre Wales 2012 production In Water I’m Weightless and Kirstie Davis’s production for Forest Forge Woman of Flowers (2014). I also suspected that these two innovative artists wanted to work together – so to be able to bring them together at our initial exploratory workshop at The Llanarth Group’s T’y’n-y-Parc Studio in beautiful west Wales was a dream.

Unfortunately owing to other work commitments, Sophie is not able to travel to Singapore with us in mid September, so we were sure to capture her presence through the project’s filmmaker, Paul Whittaker. The project will combine live camera, pre-recorded material with live action, so it was excellent to film Sophie so she can join us in the r&d as a mediatised presence.

Sophie Stone

This initial weekend of exploration in early August 2017 enabled me to try out emerging material and experiment with multiple languages. Completing the company was director Phillip Zarrilli and performers Grace Khoo, and Sara Beer.

I had given text to the company to translate or reinvent in different languages in advance of our workshop: Sara into Welsh, Grace into Mandarin, and Sophie BSL and visual language, Together  with Ramesh using Singapore Sign Language, we layered five spoken and visual languages together, resting on the baseline of English.

One of the monologues – ‘What Not To Say To A Person Who Is Depressed’ – was explored as an ensemble, simultaneously cutting between BSL, Welsh, English, Mandarin, and ‘Singlish’ – a variety of English spoken in Singapore incorporating Chinese and Malay. I began to appreciate the possibilities of humour as well as poignancy in this multilingual experimentation.

Grace Khoo, Sara Beer, Sophie Stone in rehearsal. The Singapore ‘d’ Monologues by Kaite O’Reilly

It was a phenomenally creative weekend, experimenting with multiple languages and form. Ramesh started creating a physical ensemble piece, responding to texts I had sent him and some extracts from some of our research interviews, and we had a chance to discover collaborative modes.

Sophie will of course be hugely missed when we gather in Singapore in a month’s time – but at least we will have her digitally….. and I can’t wait to get the full company together to start this creative and cultural dialogue.

For more information on Unlimited, go here.

Commissioned and supported by Unlimited, celebrating the work of disabled artists, with funding from Arts Council of Wales and British Council.

Adrian Curtin: Recomposing Genet: Analysing the Musicality of ‘playing The Maids’

Playing The Maids

In 2014/15 I had the great pleasure of collaborating with Gaitkrash, Theatre P’Yut, the Llanarth Group and independent artists Jing Okorn Kuo and Adrian Curtin on playing ‘The Maids’, a response to Genet’s Modernist play. Our process was fully documented on this blog, and my co-creators have been reflecting on our process since, publishing articles in various journals and on-line platforms. The following is the opening to a fascinating essay by cellist and co-creator Adrian Curtin, with a link to the full text, below.

With thanks to Adrian and Contemporary Theatre Review/Taylor and Francis Online. 

Recomposing Genet: Analysing the Musicality of ‘playing The Maids’

by Adrian Curtin

Track 01: Prelude

In 2012 Deutsche Grammophon released an album entitled Recomposed by Max Richter: Vivaldi’s The Four Seasons. Max Richter, Recomposed by Max Richter: Vivaldi’s Four Seasons, André de Ridder, Konzerthaus Kammerorchester Berlin, Daniel Hope. Part of their ‘ReComposed’ series, which includes electronic remixes of classical recordings, this album features a ‘recomposition’ of Vivaldi’s score rather than a remix of a prior recording of the work. Richter explains:

I wanted to make the piece because I loved the Vivaldi. So it was my way of having a conversation with Vivaldi. I decided to rewrite the score on a note level, which meant re-recording it with an orchestra. [That] let me […] get inside it and […] start to work with the alchemy of the material itself, and […] gave me much more scope in terms of what I could do with it. I […] went through [Vivaldi’s score], picking my favourite bits and kind of ‘turning those up’ and making new objects out of those. It was […] like a sculptor having fantastic raw material and just putting it together in a way which kind of pleased me.

he Four Seasons, which has become depressingly familiar through tinny reproductions heard on the telephone, in shopping malls, and on elevators and airplanes, gets a new lease of life courtesy of Richter’s recomposition. Richter abstracts elements from Vivaldi’s concertos (about 25 per cent, in his estimation) and gives them a new spin, looping and collaging fragments, creating new textures, recasting the patterns of baroque music as electronica-inflected post-minimalism. Richter’s version provides an uncanny listening experience. It sounds both familiar and unfamiliar; the composer deliberately subverts expectations in places. The effect is disconcerting, but intriguing – rather like overhearing a delightfully skewed mental rendition of Vivaldi’s iconic work.

Musical recomposition is not new. As Joseph N. Straus observes: ‘[t]he desire to recompose the works of one’s predecessors seems to be almost as old as Western music itself’. Straus argues that twentieth-century composers such as Schoenberg, Stravinsky, and Webern were prompted to recompose the work of earlier composers as a result of ‘anxiety of influence’ (Harold Bloom’s famous phrase). ‘In their recompositions’, Straus writes, ‘[these twentieth-century composers] reinterpreted the past in order to avoid being crushed by it. They attempted to neutralize significant or characteristic works of the past by imposing upon them a new, distinctively twentieth-century musical structure’. Richter’s statements about his recomposition of The Four Seasons suggest that he was motivated, not by a struggle for artistic autonomy, but by a desire to enter into dialogue with Vivaldi and create something that would complement this canonical work and allow it to be heard differently.

It is commonplace for playwrights and theatre-makers to adapt existing dramatic material and present it in an altered, updated form. This can involve deliberate subversion of the source material. For instance, Richter’s recomposition of Vivaldi’s score is suggestive of contemporary ‘Regie’ approaches to theatre and opera, as undertaken in continental Europe. Regie ‘plays’ with the text in an often overt, directorially provocative manner. It can lead to the ‘recomposition’ of a text for performance.  To my knowledge, the term ‘recomposing’ has not been used to refer to the creation of new theatre that directly draws on an acknowledged ‘primary’ source (i.e. an existing play). Yet, it is an apt term to use, I suggest, when discussing work that borrows from the dramatic canon but eschews the conventions of dramatic theatre in favour of alternative ‘compositional’ methods. Matthias Rebstock and David Roesner have proposed the term ‘composed theatre’ for work that, in Roesner’s words, ‘[brings] the musical notion of composing to the theatrical aspects of performing and staging’. This aligns with ‘recent developments towards postdramatic forms that de-emphasise text, narrative, and fictional characters, seeking alternative dramaturgies (visual, spatial, temporal, musical), and focusing on the sonic and visual materialities of the stage and the performativity of their material components’. Composed theatre does not simply refer to the use of music in theatre; rather, it is a way of conceptualising theatre made using compositional strategies and techniques that are ‘typical of musical composition’. Recomposed theatre, I propose, may denote theatre that explicitly reworks pre-existing source material from theatre history in a musically compositional manner. The term provides a new way of thinking about adaptation.

An example of recomposed theatre is playing ‘the maids’, a co-created piece made by an international ensemble of seven artists working with Kaite O’Reilly (dramaturg) and Phillip Zarrilli (director) that premiered at Chapter Arts Centre in Cardiff in February 2015. playing ‘the maids’ previewed at the Granary Theatre in Cork, Ireland as part of the Cork Midsummer Festival on 20–21 June 2014. It was performed at Chapter Arts Centre in Cardiff on 19–21 and 27–28 February 2015, in Theatr Brycheiniog, Brecon on 26 February 2015, and at Aberystwyth Arts Centre on 6 March 2015. A 14-minute promotional video is available here. 

Three theatre companies collaborated on this project: The Llanarth Group (Wales), Gaitkrash Theatre Company (Republic of Ireland), and Theatre P’yut (South Korea). Jing Hong Okorn-Kuo (from Singapore) and I (also from Ireland) worked with these companies as independent artists (Okorn-Kuo as an actor/devisor, I as a cellist/devisor). As the title suggests, playing ‘the maids’ relates to Jean Genet’s classic drama Les Bonnes (The Maids, 1947). However, it was not a production of that play. This was stated in the programme. There have, of course, been many experimental stagings of Genet’s texts. For an account of key productions of The Maids, see David Bradby and Clare Finburgh, Jean Genet (Abingdon: Routledge, 2012). Rather, it used Genet’s text as creative inspiration, focusing on its character relationships and power dynamics as part of an oblique investigation of modern servitude, wealth-as-privilege, cultural notions of guilt and oppression, phantasms, and the politics of intimacy. It took themes from Genet’s play and recomposed them via a montage of newly written, found, and adapted text (primarily English-language, with some Mandarin, Korean, and Irish), psychophysical scores, choreography, and sound compositions that Mick O’Shea (a sound artist) and I performed onstage. The production featured two sets of maids, one Irish (performed by Bernadette Cronin and Regina Crowley) and one Korean (performed by Sunhee Kim and Jeungsook Yoo). Okorn-Kuo played a Chinese ‘madame. I will refer to Okorn-Kuo’s character as ‘madame’ rather than ‘Madame’ to differentiate her from Genet’s creation. The idea of using lower-case spelling for this purpose is Zarrilli’s. Similar to Richter’s recomposed Four Seasons, playing ‘the maids’ appropriated a canonical work for the artists’ own purposes, mining the source-text for raw material, re-contextualising it, and playing it anew.

In this article I will outline how playing ‘the maids’ functioned as a stage composition, and more precisely as recomposed theatre, by analysing its musicality. I will consider the sonic/musical components of playing ‘the maids’ as well as musically inflected aspects such as its dramaturgy and performance style. In this, I follow Roesner’s lead in treating musicality as a ‘perceptive quality that goes beyond the aural sphere’ to attend to ‘musical qualities or relationships of non-auditory events, such as silent movement, gesture, or even colour schemes’. David Roesner, Musicality in Theatre: Music as Model, Method and Metaphor in Theatre-Making(Farnham: Ashgate, 2014), p. 14. Analysing playing ‘the maids’ using this theoretical lens illuminates various aspects of contemporary theatre-making and demonstrates the significance of their inter-operation here. These aspects include the creative re-use of canonical source material, international collaboration, intercultural dramaturgy, musicality as process and paradigm, the continuing relevance of Genet’s work, and the vibrant legacy of theatrical modernism. My analysis of playing ‘the maids’as an example of ‘recomposed theatre’ is not meant to foreclose other ways of conceiving it. I primarily situate the piece in relation to western concepts and cultural traditions because of my background and knowledge specialism. I recognise that the piece might be interpreted outside the context of modernism, for instance. My collaborators Jeungsook Yoo and Sunhee Kim have co-authored their own scholarly account of this piece. See Jeungsook Yoo and Sunhee Kim, ‘The Actor’s Process of Negotiating Difference and Particularity in Intercultural Theatre Practice’, Theatre, Dance and Performance Training, 7.3 (2016), 417–37. I develop these motifs in the following ‘tracks’.

The rest of Adrian Curtin’s essay can be accessed here.

 

Wales Arts Review Pick of 2016

Theatre Curtain, courtesy Wales Arts Review

Theatre Curtain, courtesy Wales Arts Review

Well, it’s not quite lunar new year, so perhaps I’m not SO late in coming to Wales Arts Review’s Pick of 2016…

Delighted to see my Unlimited commission, ‘Cosy’, produced by The Llanarth Group in association with Wales Millennium Centre and directed by Phillip Zarrilli with a cast of sterling Welsh female performers has made the ‘pick of the year’ in three categories:

Best of Welsh theatre 2016:

http://www.walesartsreview.org/welsh-theatre-the-best-of-2016/

Best articles of 2016 with my authored feature COSY: the Genesis of a play:

http://www.walesartsreview.org/cosy-the-genesis-of-a-play/

Thirdly, best reviews, with Gary Raymond’s insightful analysis:

http://www.walesartsreview.org/24446/

All the selections are well worth reading. This retrospective overview of cultural activity in Wales in 2016 reveals how rich, how innovative, how exciting and how vibrant the work, across all art forms and media, is. I’m proud to be amongst the number.

Thanks to Wales Arts Review.

TOLD BY THE WIND – when performance is ‘quiet’

Jo Shapland and Phillip Zarrilli in The Llanarth Group's Told by the Wind

Jo Shapland and Phillip Zarrilli in The Llanarth Group’s Told by the Wind

Jo Shapland, Phillip Zarrilli and I first collaborated on ‘Told by the Wind’ in 2010. Fascinated by Japanese aesthetics such as Quietude, and intrigued by what we might co-create together, we embarked on a project which is now in its sixth year. An intimate two-hander, the production has been presented all over the world, from Chicago to Tokyo, Berlin to Wroclaw, and now returns to the UK for a short tour 9 – 17 October, at venues, below.

I am immensely fond of ‘Told’, but I have never lost my sense of curiosity about this unusual and ‘hypnotic’ piece. It seems to create a ‘time out of time’, and the reviews of the production over the years have been remarkable, and evocative, often referring to the poetic and meditative impact of the work.

It is also a fascinating process to return to an ‘old’ performance to re-stage it. The connections seem to be deeper and the work more mature. It is a privilege to observe Jo Shapland and Phillip Zarrilli reassemble the piece, and support them as ‘the outside eye’. At 52 minutes long, the performance only has 10 minutes of dialogue, the rest taken up with their delicate and precise movement work and Jo’s dance and choreography.

Phillip has recently written a feature for Wales Arts Review ‘Beneath the Surface of Told by the Wind’ and Joanna an ‘In My Own Words’ for Art Scene in Wales. Both are fascinating insights into process and influence, and well worth a look.

…at a threshold…two figures…two lives…multiple time spaces…

 TOLD BY THE WIND ‘dances’ an inner landscape. Interweaving movement, dance, lyrical text, and silence, Told invites the audience to enter this imaginative place of possibilities where two figures and two lives are always poised at a threshold…

UK PRESS:

“…hypotic…a haunting, painterly beauty…[with] the astringent purity of a haiku poem…intense meditation in movement…the performers have a remarkable presence…”  **** THE GUARDIAN

“…perfection in movement, text, staging…a beautifully contemplative sixty minutes…”    BRITISH THEATRE GUIDE

INTERNATIONAL PRESS:

“…minimal…mesmerizing…evokes both later T.S. Eliot and haiku…parallels…the work of Merce Cunningham…two memorable live performers…” SEE CHICAGO DANCE

“…Beckettian magnetic poetry…all dropped like shapeless stones into a moonlit lake of silence…Each dances the other’s absence. Both are beautiful movers…” CHICAGO TIME OUT

 Video Trailer: https://vimeo.com/170952365

The Llanarth Group

TOLD BY THE WIND

Co-created by: Kaite O’Reilly, Jo Shapland, Phillip Zarrilli
Lighting Design by: Ace McCarron
Performers: Jo Shapland, Phillip Zarrilli

Dramaturg: Kaite O’Reilly
Venues:

SMALL WORLD THEATRE (Cardigan)
Sunday 09 October, 3pm
Online: http://www.smallworld.org.uk/
Telephone: 01239 615952
Tickets: £6 (preview)

 

CHAPTER ARTS CENTRE (Cardiff)
Wed & Thurs 12th -13th October, 7:30pm
Online: http://www.chapter.org
Telephone: 0290 20304400

 

EXETER NORTHCOTT THEATRE
Monday 17 October, 7:30pm
Online: http://exeternorthcott.co.uk
Telephone: 01392 726363
Tickets: £8-£15
Age guidance: 15+

Cosying up to the critics….

And so I find myself in Berlin, continuing my fellowship at the remarkable International Research Centre ‘Interweaving Performance Cultures’, Freie Universitat, and preparing to set off to the German language premiere of one of my plays at Mainfranken Theater Wurzburg. I will write about my research work in a future blog, along with the German language premiere of The Almond and the Seahorse – translated by Frank Heibert as Mandel und Seepferdchen. Before I move on to this German adventure, I feel I have to complete the circle with my previous production, Cosy, The Llanarth Group in association with the Wales Millennium Centre, supported by Unlimited.

It is one month since that play premiered, and I have only really absorbed the astonishing critical response to the production, directed by Phillip Zarrilli, with a wealth of Welsh women performers: Sara Beer, Llinos Daniel, Bethan Rose Young, Ri Richards, Sharon Morgan and Ruth Lloyd.

Sara Beer as Maureen in 'Cosy'. Photo: Farrows Creative

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

I have been collecting the reviews and responses, and excerpts follow, with links to the full reviews:

Brief extracts from reviews of COSY by Kaite O’Reilly  

8-12 March, 2016 Wales Millennium Centre

‘COSY: It will make your heart pump and your belly shake.’  

         Denis Lennon Art Scene in Wales (March 11, 2016) http://www.asiw.co.uk/reviews/cosy-wales-millennium-centre

‘When the lights go up at the end of Kaite O Reilly’s Cosy in the WMC’s Weston Studio, you might find that you have to pick yourself up off the floor and put an ice pack on your face for the clobber it gives you. This play fights you and your natural urge to ignore the inevitable; it provokes and can reduce you to tears like any great fighter. And it does so, as O’Reilly does so well, through language…This production stirs and questions our ideals of life and death in a beautiful and sensitive manner. It will make your heart pump and your belly shake. A thought-provoking night that is not to be missed.’

 

New Welsh Review Issue 110 (Winter 2016)

‘Cosy’ by Kaite O’Reilly at WMC 

Sophie Baggott  https://www.newwelshreview.com/article.php?id=1169

…‘Cosy’ is simultaneously the most moving and entertaining script I’ve heard on a Welsh stage in years…The all-female cast members are each phenomenally in tune with their characters… O’Reilly’s writing is, at times, breathlessly beautiful. Without warning, bickering is wrenched into raw, soul-searching outbursts… [O]ne might…have been aghast at the deafening decibels of laughter spilling out of Weston Studio throughout the performance. Yet, rather than cloaking ‘Cosy’ in gloom, O’Reilly’s play beams with black comedy. The sisters are wickedly funny in this cross-wired mess of a situation. The playwright displays a quite perfect clip of how families so often muddle their way through the most maze-like dramas with a ‘well, you have to laugh’ mentality.

Sharon Morgan in 'Cosy'. Photo: Farrows Creative

Sharon Morgan in ‘Cosy’. Photo: Farrows Creative

The Arts Desk, 4 stars

Powerful disquisition on ageing, death and womanhood

 Gary Raymond 10 March 2016 The Arts Desk **** http://www.theartsdesk.com/theatre/cosy-wales-millennium-centre

‘Kaite O’Reilly’s new play is a dark dark comedy, a Chekhovian family saga on a mainly bare stage that handles its subjects of aging, death and family with a rich and grounded intellectualism to be expected of the playwright’s work. The production itself skips lightly along the thin line that separates reality from a discomforting dreamscape, the waiting room: everyone is waiting, for death, for life, for family members to arrive. It is an ominous comedy…

Sharon Morgan is regal as Rose; Ri Richards, Ruth Lloyd and Llinos Daniel are excellent as the sisters; Bethan Rose Young has perhaps the most difficult task as the precocious 16-year-old who seems to learn nothing in school other than enlightenment philosophy; but it is Sara Beer who steals the show as Maureen, a brilliant and disconcerting comic turn that from the off envelops the play in a sense of the otherworldly.’

Western Mail/Wales Online

Cosy tackles the difficult subject of suicide with comic timing and emotional depth

Jafar Iqbal 10 March 2016 http://www.walesonline.co.uk/whats-on/theatre-news/cosy-tackles-difficult-subject-suicide-11020164

‘Good things happen when Kaite O’Reilly comes to Cardiff. Previous visits have resulted in critically acclaimed productions showcased by the likes of Sherman Cymru and National Theatre Wales…For what is arguably her most intimate production to date, O’Reilly may also have produced her best…Cosy is a tender meditation on the value of life…What immediately stands out when watching Cosy is its honesty. O’Reilly tackles an extremely sensitive subject with a matter-of-factness that is, at times, shocking. Suicide is discussed frankly, without prejudice and, crucially, with laugh-out-loud humour, giving it a legitimacy that is both liberating and unnerving at the same time…six exceptional performances. The characters are all beautifully developed, the natural chemistry between them all making for great viewing. Standing out from the pack is Sharon Morgan, as Rose… As the play reaches its powerful conclusion, the audience is gripped. Comedies about suicide aren’t made too often but, in writing a very good one, Kaite O’Reilly proves yet again why she is amongst Britain’s best playwrights. And someone welcome back to Cardiff any time.’

Llinos Daniel (Gloria), Ri Richards (Ed), Sharon Morgan (Rose), Ruth Lloyd (Camille) and Bethan Rose Young (Isabella) in 'Cosy'. Photo: Farrows Creative

Llinos Daniel (Gloria), Ri Richards (Ed), Sharon Morgan (Rose), Ruth Lloyd (Camille) and Bethan Rose Young (Isabella) in ‘Cosy’. Photo: Farrows Creative

 

The Stage. 4 stars.

Cosy review at Wales Millennium Centre – ‘deliberately discomforting confrontation with death’

Rosemary Waugh. **** https://www.thestage.co.uk/reviews/2016/cosy/

‘“Well, doesn’t this look cosy?” says Gloria (Llinos Daniel) as she lets herself into her mother’s living room. Yet, despite the title, there is nothing cosy about Kaite O’Reilly’s new play. Instead, all aspects sit incongruously with one another, from the self-consciously fashionable clothes warn by middle-aged Camille (Ruth Lloyd), to the clunky, prep school philosophy phrasing spouted by granddaughter Isabella (Bethan Rose Young) and, most of all, the different family members forced together.

This conscious discomfort continues into Simon Banham’s set design, which starts life as nondescript, dust-sheeted mounds, before morphing into blood-red lines of nursing home chairs that slice the space into disjointed angles. Lighting by Ace McCarron brings the medicinal into the domestic setting, turning first spearmint blue and then a saccharine peach. Gloria, the most estranged daughter, is introduced in a blaze of red, while the increasingly frequent mentions of death turn the stage black. The production’s soul is found in the musical interludes by Daniel, which act as buffer zones between the fraught familial exchanges.

Rose’s (Sharon Morgan) insistence that her family must confront the idea of death is the ultimate un-cosy element. Her more didactic ruminations are lifted by Sara Beer’s humorous, subtler comments on assisted suicide and disability…’

Bethan Rose Young, Sara Beer, Sharon Morgan in Kaite O'Reilly's 'Cosy'. Photo: Farrows Creative

Bethan Rose Young, Sara Beer, Sharon Morgan in Kaite O’Reilly’s ‘Cosy’. Photo: Farrows Creative

 

Dr Mark Taubert. Ehospice.com

Author: Dr Mark Taubert, Clinical Director/Consultant in Palliative Medicine, Velindre NHS Trust, Cardiff) (http://www.ehospice.com [palliative care news])

‘Where to begin to describe this play by renowned playwright Kaite O’Reilly? I’ll start by making up a word: ‘uncosy’ came up repeatedly in my mind with an ill-at-ease feeling delivered with unremitting pace throughout this play……Sara Beer gives one of the stand-out performances in this play, with her witty, funny and astutely observed thoughts on modern medicine, life, death, attitudes towards disabled people and also assisted suicide…

‘Cosy’ dealt with the big ethical questions our society will face in future in a surprisingly balanced way. This balance is achieved by witnessing debates between people with very different opinions: they argue and argue, but this is portrayed in an informed way.

Advance care planning, advance decisions, do not attempt cardiopulmonary resuscitation decisions (and tattoos) all get pitched in such a way that a medical professional like myself could identify with this societal critique – and not cringe, as so often happens when fiction tries to imitate medical reality. I nodded a lot during the play, mainly in recognition of what I have seen and heard in hospital, community and hospice medicine over the last 16 years…’

 

British Theatre Guide

Othniel Smith

Cosy ‘…wears its deep seriousness lightly; a tale of empowerment which leaves one deep in contemplation.’

Ruth Lloyd in 'Cosy'. Photo: Farrows Creative

Ruth Lloyd in ‘Cosy’. Photo: Farrows Creative

 

3rd Act Critic

Cosy: ticking meat

Holly Joy https://3rdactcritics.wordpress.com/?s=Cosy&submit=Search

‘We are hit with a sombre set. Cosy, it says on the backdrop. Exquisitely mournful music plays, a woman’s voice breaks the air and it begins. Watching these remarkable women enact such complex and difficult subjects – ageing, euthanasia, suicide, terminal illness and sibling rivalry with sense, passion, anger and humour was sobering.’


playing ‘The Maids’ video – Wales, Ireland, South Korea, Singapore, Austria….

Earlier this year I was dramaturg and co-creator of an intensely exciting intercultural production between The Llanarth Group (Wales), Theatre P’Yut (Korea) and Gaitkrash (Ireland): playing ‘The Maids’. Documented elsewhere on this blog, we responded to issues in Genet’s ‘The Maids’ in the contemporary global context of austerity and boom.

Flyer_playing_the_maids_FRONT

 

 

 

 

 

 

 

 

 

Paul Whittaker of Hide Productions documented several performances, and I’m really thrilled to be able to post the link for a stunning film he has made of the work.

You can see the work here

 

 

 

 

 

 

Playing the Maids: Austerity, Inequality and the Tyranny of Glamour: Wales Arts Review

In the week that the excellent Wales Arts Review relaunches with an improved website and more in-depth analysis, I’m delighted to see my last production, ‘playing The Maids’, an intercultural, international collaboration with Theatre P’yut (Korea). Gaitkrash (Ireland) and The Llanarth Group (Wales) is prominently featured. At a time when theatre reviewers of national newspapers are no longer supported to go outside the capital to see work, initiatives like Wales Arts Review become even more the life blood of cultural engagement and analysis. What is particularly gratifying is the joy with which the talented writers of Wales Arts Review undertake this serious task. It is a pleasure and relief to have the journal back and I highly recommend it, whether you are based in Wales or not. You can find cultural commentary, arts coverage, reviews, commissioned new fiction and a whole lot more at http://www.walesartsreview.org  Subscribe. Remarkably, it’s free, and feels like a gift dropping into your email in-box.

What follows is the insightful and informed essay by Phil Morris. The full copy, with images, can be viewed at: http://www.walesartsreview.org/playing-the-maids/

Flyer_playing_the_maids_FRONT

PLAYING ‘THE MAIDS’: AUSTERITY, INEQUALITY AND THE TYRANNY OF GLAMOUR by Phil Morris for Wales Arts Review

When theatre occasionally wriggles free from the straight-jacket of linear narrative there is, perhaps, no more effective art-form for interrogating the contingencies and potentialities that surround a single moment of space-time. In such a moment, charged with the twin forces of past and future, it is possible to feel the weight of history upon the present while, simultaneously, being able to intuit the profound consequences of events that are still in flux. The considerable achievement of playing ‘the maids’ – a dazzling intercultural collaboration from the Llanarth Group (Wales), Gaitkrash (Ireland) and Theatre P’yut (Korea) – is that our contemporary moment of global economic crisis is explored, with great clarity, purpose and theatrical power, from the multi-perspectival viewpoint of nine creative collaborators from four countries, working in four different languages and from a variety of theatrical and musical traditions. The intellectual rigour of the piece is impressive, in particular its meta-theatrical treatment of Jean Genet’s modernist masterpiece The Maids, but crucially at the heart of the piece is the stark reality that the product of economic and gender inequality is only human suffering, rage and despair.

The choice of The Maids as source material for a piece about inequality seemed particularly apposite for the creative team, as cellist Adrian Curtin – who provided the musical accompaniment and vocalised stage directions in performance – explains: ‘In Genet’s play, servitude is toxic and corrosive; it ensnares all involved and is perpetually dynamic.’ The mutual entanglement of mistress and servant in a dynamic of power infuses Genet’s work with a disturbing atmosphere of menace, eroticism and exploitation, which remain relevant to modern audiences. Curtin adds, ‘Where is power located? What guises does it take? What are its effects? Genet’s text provided an excellent framework with which to explore these questions’. However, the globalisation of the world economy in the past thirty years, and in particular the ‘rise’ of the Asian economies; coupled with decades of feminist and post-feminist thought, have complicated the question of economic and gender inequality beyond the rigidly class-based politics of Genet’s play. Director Phillip Zarrilli says: ‘[W]hen we initiated our collaborative process, we agreed to use Genet’s play as a ‘foil’ – a beginning point for responding in new ways to the powerful issues that underlie the play’. The result is a performance piece – it resists simple definition as a play – that responds to the complexities and nuances of modern globalised capitalism and the legacies of imperialism.

This collective decision to use The Maids as an inspirational source, rather than as a primary text that the production might serve, was not only important in terms of liberating the nine creative collaborators to explore beyond Genet’s analysis of power, it also meant that a fully intercultural collaboration between them was made possible. The aspirations of multiculturalism are laudable and desirable with regard to militating racial discrimination and encouraging religious tolerance, but in practice it too often works to eradicate genuine cultural differences in pursuit of its aims of social integration or assimilation. Interculturalism is concerned with dialogue and exchange, it recognises and insists on difference but does not recognise the dominance of one culture over another. In Cultivating Humanity Martha Nussbaum observes that interculturalism recognises ‘common human needs across cultures and of dissonance and critical dialogue within cultures’. With the intention of creating a performance piece that would question, criticise and satirise the power interests of global capital, neo-imperialism and the super-rich oligarchs of East-Asian economies, the imperative of finding some ground on which an intercultural dramaturgical dialogue could take place was clear to all involved in playing ‘the maids’. Genet’s play was therefore situated as a meeting point at which each creative collaborator could engage as theatre artists, all incorporating their own cultural-specific responses to the source play within the process of play-making.

Writing in Exeunt, Irish-born Wales-based playwright, Kaite O’Reilly, describes how intercultural dramaturgy makes particular demands of its collaborative creative partners, in that the customary defined roles of ‘director’, ‘writer’ and ‘performer’ become somewhat opaque, as each member of the company is required to introduce material of some kind toward the development of the piece.

‘In other productions, roles have been clear and the lines agreed and drawn … In this fascinating collaboration roles have deliberately been as porous and overlapping as the creative process. All nine company members have taken equal part in proposing material, leading exploratory material-generating workshops responding to the source from our particular cultural and artistic perspectives.’

Allowing typically prescribed creative roles to become ‘porous and overlapping’ can liberate and empower individual performers to coalesce as a richly-textured ensemble, equally, it can also threaten unnecessary confusion and chaos in the rehearsal room. It is therefore essential that working relationships of deep mutual trust be established when creating work in the open and inclusive manner described above. Happily, playing ‘the maids’ benefitted from what O’Reilly describes as ‘the firm foundation created by previous collaborations between the various artists involved.’ Crucially, Zarrilli has worked for a number of years with all five actors involved in the project, who have each received training in the director’s psychophysical training.

The psychophysical process has been developed by Zarrilli from the mid-seventies, with the purpose of preparing and awakening the ‘bodymind’ of the actor. It incorporates physical, mental and spiritual exercises drawn from Chinese taiquiquan, yoga, and the Indian martial art Kalaripayattu. It must be stressed that Zarrilli’s techniques are not designed to produce a specific movement-centred style of performance, nor does it reject the ideas of Western theorists including Stanislavski; rather it would be more accurate to characterise psychophysical training as a pre-performative approach that enables actors to become more aware of their energy, and, as a result, more capable of deploying it effectively in performance. It is also a means of sharpening the actor’s mental focus. Jeungsook Yoo, who plays one of the maids, Claire, values the approach as a means of delving ‘into wider possibilities of their bodymind and acting beyond the conventional mode of actor training and mainstream acting style where words, narrative and psychological character approach occupy the central position.’

The fruits of Zarrilli’s methodology are clear to see (and hear) in playing ‘the maids’ – it has been a long time since this critic has observed a cast that is so evidently and intensely listening to each other. They make the act of listening palpable, and imbue the performance space with a concentrated energy that is utterly riveting, especially during moments of silence and stillness. Given the nature of intercultural exchange, it is of critical importance that each onstage performer fully commits to each act of speech and of listening, so that surprising and provocative relationships between different cultural traditions might emerge and engage meaningfully with each other. A good example of such a relationship developing in performance comes as Jeungsook Yoo performs a dance called Salpuri. The dance derives from Korean Shamanistic tradition and it is purportedly meant to release Han, which roughly translates to English as an expression of deep collective or personal suffering. The dance is accompanied by Irish actor Regina Crowley, who sings a song of lament, in Gaelic, which references that painful time in Irish history when its indigenous language and culture was banned by the occupying British Empire. Of course, Salpuri and Irish folk songs are highly individual products of separate historical processes that are unique to Korean and Irish culture, and are therefore not necessarily expressions of the same thing. Yet when they are juxtaposed next to each other in performance certain resonances are made available to an audience, as respective national memories of imperial oppression, famine and war are communicated to offer tantalising new meanings.

Complex cultural inter-relationships find witty expression during what is perhaps the most entertaining passage of playing ‘the maids’, when Jing Hong Okorn-Kuo, playing Madame, sings a pop song in mandarin. The Singaporean actor performs this high-camp number with gestures that quote from the performative traditions of Beijing Opera and Chinese soap operas. At the same time, the two Korean actors dance Gangnam style while their Irish counterparts do a jig. In counterpoint to the Chinese music Adrian Curtin starts to riff on the theme tune of popular sitcom Father Ted on the cello. Each of the performers appears to delight in sending-up the clichés and stereotypes of their own cultures. The effect is to balance the more challenging explorations of dominance and exploitation explored elsewhere in the production.

The nine collaborators who devised playing ‘the maids’ create a richly textured and multi-layered examination of global capitalism at a pivotal moment in history. They do so by realising a multi-perspectival vision that is of particular interest because it reflects the experiences of so called smaller nations, from which they each originate. It is exciting to find that Wales, as the host of this stimulating collaboration, is making a timely contribution to the global discourse on money and power.

It is also worth noting that playing ‘the maids’ examines gender inequality as poignantly as it does economic inequality. This quality is enhanced by the presence of five female actors in the cast, who bring their respective histories as women to the piece. As Jeungsook Yoo explains, there exists a ‘Korean obsession with ideal beauty’ that has fuelled a ‘boom of the plastic surgery and cosmetics industry’ in the country, which ‘resonated with the maids’ aspiration towards Madame’s beauty and wealth’. Both Korean actors satirise this yearning fascination with a highly-westernised concept of femininity in one short devastating scene that epitomises the tyranny of glamour.

Whereas, near the end of the play, Jing Hong Okorn-Kuo as Madame, immaculately dressed and poised, embodies the glamour of tyranny as she pronounces: ‘While in Hong Kong, or Singapore being served canapés and champagne by white-gloved waiters in white and gold uniforms, have you ever selected your next London apartment just for the view along the Thames?’ It is in moments like these, contrasting the vast wealth that is accumulating within narrow sections of the Asian economies with the new paradigm of austerity that is plaguing the West, that you can sense just how the tectonic plates of the world economy have discernibly (and possibly irrevocably) shifted.

Another source material for playing ‘the maids’ is Piketty’s Capital in the Twenty-first Century. The book’s central thesis is that wealth is increasing becoming concentrated in the hands of tiny moneyed elites as the rate of return on capital exceeds the rate of economic global trends in economic growth. The resulting unequal distribution of wealth causes social and economic instability, what Piketty calls the ‘endless inegailitarian cycle’.

Piketty’s phrase inspires the final image of playing ‘the maids’ that sees the entire cast running round in circles, holding aloft a puppet effigy of Madame, which represents their hopeless lack of agency in a world in which finance has become a self-feeding malignant force that devours the future. They spiral into complete darkness – the clatter of their shoes beating an insistent rhythm.

The image disturbs and saddens, as it should, but the creative ambition and intercultural reach of this extraordinary company provides sufficient inspiration to offer some consoling light.

playing ‘the maids’ is a collaboration between nine multi-disciplinary artists:

Director: Phillip Zarrilli

Dramaturg: Kaite O’Reilly

Cellist: Adrian Curtin

Sound: Mick O’Shea

Actors: Jing Hong Okorn-Kuo, Jeungsook Yoo, Sunhee Kim. Bernadette Cronin, Regina Crowley

(c) Phil Morris. Wales Arts Review.