Cornwall

Dear Dave

The weather in Cornwall has been truly amazing. We hiked for 14 miles yesterday through all sorts of amazing landscape, wetlands, woodland, beach, field and cliff edge. Cornwall, as always is stunning. After three days of very little but fresh air and log fires I am starting to get excited about everything Night Light.

With auditions proving very interesting and brilliantly fruitful I am just awaiting confirmation on a full cast for Romeo and Juliet. I finished the script edits on Friday and I think it’s going to work great.

We are making steady progress on design, Rhys is meeting the set builders on Friday to discuss the build. The puppets are looking stunning and Max our puppet master is working wonders with some of the mechanisms.

Last week we heard that we would be supported with an arts council GFTA which has taken the pressure off a lot and opened the doors to even more creative possibilities. So that is brilliant. We are grateful for the support and committed to spending the money wisely.

The show is sitting very clearly in my head now that I have actors in the parts, Night Light Theatre is a company which lives and dies by it’s people. The only way I know how to work is through productive, often brutal honesty in the rehearsal room- I have to be able to tell a performer exactly what I think of their work and not only are they not offended by the note but they are determined to build on it. I love it when the room is full of people reaching for the most creative and exciting option available.

I am also starting to see our publicity campaign a lot clearer, I can see posters and how they might look, digital content, viral stuff too. I think we will have a lot of fun with getting this show ‘out there’, wherever ‘there’ might be. I know sarah has a lot of ideas about that too and for the first time ever I am a bit excited about the marketing side of a show. I don’t know why- maybe that will change. I can see potential for an online devising network too- a place where young theatre makers are able to ask questions of people who are dealing with similar creative problems.

It’s so clichéd, but just three days away from the office, away from the building and away from Cambridge has really helped me to re focus on what it is I want this beast to grow into. I am excited by it again.

I am currently sat on a massive sofa with a fire raging by my side, I can’t really feel my legs after yesterdays adventure and I am feeling confident that we are on the right track. Maybe it’s the magic of Cornwall, maybe it’s because I needed to get away from theatre for a bit to be able to say ‘yeah, we’re doing ok’. I don’t know. I think with all the talk of NPO’s and the decisions that are being made about the artistic landscape of the country it’s very easy to become entangled with the politics of theatre making when in fact I really have no interest in that side of it at all. Having said that- I am very interested in bringing companies and artists together and as part of that I am planning to ask some questions about the arts in Cambridge when I get back to the city.

Why does the Junction, the Arts Theatre, the corn exchange and the ADC Theatre have no communication? Why has the Arts theatre decided to make a studio space when the Junction is surely there for that exact purpose? Why does the corn exchange have no educational facilities? I’m going to find out. Not because of the politics, but because of the principles of it. Maybe that’s the same thing?

Lets find out.

That was Rich in Cornwall.

Coming up soon-
Meet the cast of R+J, I will be interviewing them all!
Also what is ‘Kindling’ and how can you get involved with it.
Plus- Tom and Philippa talk to me about The Edinburgh Fringe Festival.
　

Cutting Script

An update from Rich, where have you been?

"I’ve spent the week looking over Cvs and hand picking a 40 people to audition for our Romeo and Juliet. With over 1500 Cvs it has taken a lot of time. I don’t think this is much of an indication about us, Night Light are an unknown entity right now. I think this says a lot about the theatre world today. Every job is precious. Agents are rampant. Possibly more than ever and I find it very unnerving.

Whilst that has been going on I have also been editing and trimming the script. It is very interesting to me that some characters are easier to trim than others. Cutting the Friar and Mercutio is really hard. I think these are the characters which I am most fascinated by at the moment.

I think I have cut the show down to about 75 minutes but I want to do another cut. I just know that when we here more of Dom’s music and when I get really into the choreography I am going to add 20 minutes or so.
It must be tight but also gentle and flowing. Shakespeare had a habit of saying the same thing two or three times, it is those moments I target, I want to keep as much story content as possible… at this stage.

I am also enjoying thinking about the likes of Cheek By Jowl, the RSC, Song of the Goat. I have no problem asking myself what would they do? Our Romeo and Juliet will be nothing like a version that those brilliant companies would provide. But the rules of theatre are universal. I like looking up to the experts- that’s how we learn I think.

I am very happy going into the 2^nd and 3^rd drafts that we are still staging Romeo and Juliet and that the play will be the thing."

I should get my notes on NIE's new show up soon... i really enjoyed it and the Night Light asked me to post my comments so i will.

Dave

An Exciting Announcement

Hello friends, this just in from the Night Light office...

'Hi Dave

After several fantastic meetings, we are proud to announce the arrival of Kindling; Night Light Theatre's brand new development initiative. Kindling will provide a new playground for Night Light artists, with the aim of providing young up-and-coming theatre makers with a vehicle for trying out new ideas, while creating bold, daring and innovative work, within the safety of the Night Light teams guidance.

We are all incredibly excited by the potential of our new strand - all members of the company have long been dedicated to the nurturing and development of young artists in Cambridge, and we are all looking forward to the future prospects of this exciting new initiative.

We will keep you up to date with all new happenings as we begin to further explore the potentials of Kindling, and keep your eyes peeled as we are very close to revealing our Edinburgh Fringe 2011 plans...we are living in exciting times!

Tom'



What very exciting news. After that, I'd like to begin the week with a very simple Dave's View...

Dave's View

With the arrival of this weekend's 'supermoon', many people were predicting doom, gloom and the end of the world. I, however, decided to look through a telescope and take a photo. 

I like to be reminded of how beautiful a lump of rock falling through space-time can be.

See you soon

Dave

Dave's View

                                                     This is a photo I took while walking on a Yorkshire moor
                                                              


Hello friends, I hope this Friday evening finds you well. 


Some of you may not know that I'm a keen traveller. I don't tend to go too far, often just up the road or down to the park, but as my Uncle Jonathan used to say: 'It doesn't matter where you end up, if the journey was worth the ride'. He was only a ferry boat captain for a short time.


I've been talking to Rich a lot this week, and I asked him if I could write on this blog about my travels, perhaps share some photos and some of my thoughts with you. He said that I could, which was very nice of him, so I would like to formally announce the arrival of a new regular feature to this blog....


                                      DAVE'S VIEW!


I used the CapsLock there just to add impact to the title really. Then I put it in bold and popped an exclamation mark at the end - its really amazing how fonts can help you express yourself.


Dave's View this week is about things that I found I am surprised by. Or perhaps, sometimes, things I am surprised to find that I am surprised by. Here's a short list I made on one of my journeys:




1     Your own home is always at least a degree warmer than anyone else's
2     Pancakes take a lot of tidying up after - possibly more so than any other meal
3     The last train of the day has its own unique taste
4     I am surprised that despite it being there my whole life, I still feel excited when I look up at the sky    
       (see above photo - its really a visual aid to help illustrate my point)


That's it for Dave's View this week. If there's something you'd like to add to the list, then please reply below, and I'll add it to my next one. Also, you could maybe share this blog with your friends and see if we're  surprised by the same things. That would be exciting to know.

See you soon.

Dave

Dave Interviews Rich about Casting.

Night Light are currently casting for Romeo and Juliet and two other projects, since Monday they have received over 1400 CV’s. Rich has demanded that he take control of all the casting and I asked about this earlier.

Why are you doing this?

Because I am looking for something very specific.

Have you read every single application?

Yes of course, it someone takes time to send you their CV you bloody well read it from top to bottom.

What are you looking for?

I’m trawling through hundreds of CV’s looking for magic.

What kind of magic?

Not tricksters or illusionists, although there are a lot of people applying who have ‘magician’ on their CV- those people almost always get an audition because I do love a good magic trick.

What I am searching for is theatre magic. It sounds really cheesy but I never really take much notice of drama schools, or random ‘experience‘, if someone says they have worked with a relevant company then that’s great obviously. But I don’t really know anything about ‘Oaklahoma’ or ’Devised piece from Uni’. I want to know are you the kind of person who is going to slave to make this production wonderful, for yourself, for the company and above all for the audience? I want to work with the best people, sometime that's not the best trained people. I'm not against 'training' i just find it a secondary factor in casting.

What is the most important thing about casting for Night Light?

Well, character, clarity, vocal control etc are all important but over the years working with Gomito and for Gecko and most recently Hoipolloi, the thing that I have learned and want to take forward is that good people make good theatre. You have to have heart. You have to take your heart out of your chest and hold it up to the lights and let the audience take it, or stab it, or cuddle it or roar with laughter at it. Once I have found someone with no ego, who has bags of excitement and energy, then I can decide if they have the skills required by the part.

And what are the parts for Romeo and Juliet?

Well, it’s open, I am forming an ensemble, not in an RSC sense, I’m not thinking anywhere near that scale obviously. I want a group of multi-skilled performers who can share roles, puppeteer and sing. But they have to be a great group of individuals too. If they can move that’s a bonus. I think my cast for Romeo and Juliet is 6 or 7, but it depends who I find. 3 ladies, the rest men. Sarah, our producer will have the final say on this I reckon. I’d have 50 if I could and it would be really good fun.

What tips can you give anyone auditioning or sending their CV?

I am so not the right person to answer that question. Casting is hard on everyone, the performer has to say the right things, present themselves as they think a director wants them to look and then, if they do get an audition, they only have a tiny amount of time to prove their ‘worth’. It’s rubbish. I hope to cast as few times as possible in my life, wherever I can I will try to use the same performers, over time people learn the way I think- I talk a lot of crap in rehearsal and it takes a while to get used to me…

When are the auditions?

I think we are aiming to see most people on the 24^th of March, then if we need to see any more of people then we will run some recalls the week after.

And what are you planning to do in the audition?

I really don’t know yet, depends on the people involved. Dom will need to hear people sing. I will need to do some puppetry and then we will probably run a movement sequence or two. It will be fun…

Can I come along?

No, Dave. You ask too many questions.

Artistic director Rich talks Arts Council, storyboards and Hugh Hughes

“So good to be back. I’ve missed Cambridge so much and it looks like spring is on it’s way, which is just perfect timing. Spring in Cambridge is always glorious.

2011 is proving to be a very exciting year. After a huge R+D process with Gecko Theatre and a youth theatre show with The Craft Ensemble, I am so happy to be straight back into Romeo and Juliet.

The process is at a tipping point, Are we making a funded show or are we raising money to fund the show? Scary! Or not so scary perhaps... March is the make or break month for many UK theatre companies. Night Light didnt apply for the big pot, but we do have an application in for Romeo and Juliet through GFTA. Times are tense, UK theatre holds it’s breath. There are bound to be some major companies and venues in real trouble come April. I’ve been here before, waiting to hear, with application both successful and failed. But to be honest I am calm about this application, not that I think we will get it, or not- I really don’t know but i am certainly done second guessing the Arts Council.

I just have a feeling that we are all in a time of great potential. I have made work which I have been proud of on no money at all for over 10 years. Sure, it's hard and the work doesnt ever reach it's full potential and you rely heavily on luck and the kindness of strangers, but it can be done. My production budgets have been pennies, actors working for food, props and puppets made on kitchen floors at 2am. People working together to make something beautiful. The theatre won’t die, if anything it might get more creative, the community might bond and collaborate in very interesting ways. I would love to be a part of a new era of creativity in theatre.

I know I could name at least 50 companies and artists who deserve the funding more than we do and I am rooting for them, especially companies who rely on being an RFO to keep their creative spaces.

On the other side, if we do receive support for Romeo and Juliet it will really inspire me to justify that funding. When support for the arts is so sparse it is essential that the art which does receive help is mind-blowingly brilliant. That is a challenge I would enjoy very much.

Where are we with Romeo and Juliet?

Dave, our social media man has been pestering me to put some info up about our process and so as of today I am going to be running regular insights into the Night Light way of working. We don’t know if it’s the right way to put on a classic show, but I suppose we will all find out soon enough. Having just begrudgingly edited the text down to about 2/3 of the original I am now sketching the initial storyboards, I want to have a general idea of the blocking and the shape of every moment before making a second cut. That way we can get straight to the interesting, exploration of the story when we are in the room together. I will post some of my storyboard images soon. Other things which are currently happening, set design, puppet design and most exciting (for me) casting!

Before I go, I just want to tell you about www.hughhughes.me Hugh is an emerging artist from Wales who works closely with friends of mine at Hoipolloi theatre company. On Friday he will be running a tweenterview. I made that word up, it doesn’t mean anything to normal people, I just put interview and twitter together to disastrous effect. Follow him on twitter and you can ask him any questions you like all day on Friday. visit the site to find out more.”

Ramblings from our artistic director Rich.