Skip to content

Rep Season 2013 – Performance Day 34 – KATE SAWYER (Julia/Olga/Wife)

February 18, 2013

“I thought I’d never get through it!”

…an astonished Olga exclaims in Act One of Three Sisters. And as we approach the final week of The Faction’s Rep 2013 it is a line that I can deliver whole-heartedly using my experience of being in this wonderful company of theatre makers for the past three and a bit months!

There is nothing negative in this statement. It is quite simply an expression of amazement that my mind, body & spirit have made it through this mammoth undertaking! When I rolled up for rehearsal on 26th November (in fact before that when I received my casting and started learning my lines) I felt a little like I was standing at the foot of a mountain and now we are nearly through the clouds and the summit is almost within our grasp. 
All a little dramatic isn’t it? Well, yes, I am rather prone to the the dramatic, it being my profession! But it’s true. It has been a long, sweaty, delicious slog and every second has been worth it! The three phases of the process each presented their own challenges and required their own navigation. Which now we are nearly through it I can look back and take stock of.
We started in November attacking each of the texts in turn. In the bowels of The Bridewell Institute we got to work pulling apart these texts and starting to outline their worlds. Our mornings were spent in the politics of Genoa as we pulled apart and pieced together our version of Schiller’s Fiesco, whilst our afternoons were embroiled in the psychology of Chekhov’s Three Sisters. Not forgetting Fridays which were submerged in Gareth Jandrell’s brand new adaptation of Blood Wedding. Each rehearsal room had it’s own texture and each presented it’s own challenges. For me, Fiesco was a space where I had to challenge my own physical boundaries – free dance and animal studies pushing me through and beyond my personal blocks. Whilst Three Sisters revisited some of the acting exercises and improvisation methods I hadn’t touched on since drama school – scary, revealing stuff! Blood Wedding also presented moments requiring bravery, confrontational scenes and beautiful songs that begged me to allow myself to vulnerable required a strong backbone at times. In my mind no rehearsal period worth its salt goes by without a few tears, a few boundaries being broken and a whole lot of laughter!
Openings, Rehearsals & Reviews
A new year, a new home. With that pesky midwinter festival out of the way we moved into our new home: The New Diorama. These three productions in the rep bring me up to nine plays I’ve performed in at The New Diorama, so it feels like a second home to me and it always feels great to be back. We opened Fiesco on 5th January and, as ever, it felt as if we worked to the wire before opening night. The brilliant/mad thing about rep is that the next morning we were straight back into the theatre preparing to open Three Sisters the following week. And as soon as that was open it was head-first into full-time Blood Wedding rehearsals. The biggest challenges in this phase? Getting enough sleep, finding clean clothes from somewhere in the depths of your bedroom floor, remembering to feed the cat, taking time to go to the loo, remembering to breathe…you think I’m joking? I’m not. When you’re performing in the evenings and rehearsing 6 days a week ‘life’ takes a back seat. On top of all this you have reviews drip, drip, dripping in. Whether they are glowing (as nearly all of ours were, of course!) or less than so they can chip, chip, chip away at your confidence or pump, pump, pump up your ego. Neither are really helpful, so the best advice is to avoid them altogether…though it took me a couple of weeks to work that out! I feel so much better since I stopped reading them and just enjoyed the work!
The Run.
So all three shows are open. What now? What do you do with your days? How do you speak to people who aren’t the sixteen people you’ve spent every waking hour with for the last two months? Big issues! Of course we are still performing in the evenings and with the shows being in rep it requires a bit of a brain shift & a group warm-up before each show to reacquaint ourselves with the show we are about to perform. But for me the lack of rehearsal presents a gaping hole, which last year during Rep 2012 I struggled to fill. So this year I have committed myself to thirty consecutive days of Bikram yoga and rather a lot of writing for my ‘resting’ job (I run a health blog for my shop it has filled the gap and eased the separation anxiety from my cast whilst getting me fit and keeping my mind focused – I highly recommend it as a course for sanity!
So here we are with just a week left. Heading to the theatre each night to perform a different play with a cast and creative team I adore is an absolute joy. I couldn’t be more grateful for the opportunity. As we head towards the summit I can appreciate Olga’s sentiments when she says “I thought I’d never get through it” but to expand on that I’d say: “I can’t wait to go through it all over again!”. 

Rep Season 2013 – Performance Day 24 – LACHLAN McCALL (Calcagno/Andrei/Father)

February 5, 2013

‘I didn’t sleep a wink all night.’

The history of the world is replete with legendary endurance tests: Pheidippides journey from Marathon to Athens, Shackleton’s expedition to the Antarctic, England holding Italy to a draw in a 1997 World Cup qualifier. With regards to a Rep Season by The Faction, I sometimes feel like Pheidippides, like Shackleton, like Paul Ince.

Having been involved with The Faction on and off and in various capacities since late 2010, I took part in last year’s critically-acclaimed, inaugural Rep Season. It was one of the best professional experiences of my life and I felt how I thought actors were supposed to feel: artistically sated, exhausted and frequently drunk. Going into this season, I mostly remembered the good times: the atmosphere around the ensemble as we received glowing review after glowing review, the response from the audience as we regularly killed off the Queen of Scotland (sorry for the spoilers if you haven’t seen Mary Stuart) and the quite impeccable demonstration of trout tickling by Jonny McPherson.

What I’d forgotten was the exhaustion. Physical, emotional, mental and spiritual.

The dynamic of the ensemble feels very different this year. Several important and much-loved cast members from last year are absent and we have some highly-talented newbies in (not necessarily new to the company) who are all beautiful and lovely*. The company is larger. There is a better balance of men and women. We have two directors. We have a stage manager in right from the start of rehearsals. This has helped the season not feel like a rehash of last year.

Last year’s success has filled most of us with confidence throughout that it will ALL BE OK. There are dark times, of course, and we never have the opportunity to rehearse anything as much as we’d like. I’ve genuinely had sleepless nights, I’ve had to be very careful not to exist purely on Pret a Manger and Glenfidditch, and I’ve had to try to keep a separation between the harrowing journeys my characters travel and my own life (last year we had Twelfth Night to cheer us up, this time our comedy is by Chekhov).

I’ve had to pretty much put a hold on the rest of my life. Friends, family, bills, other professional commitments, they’ve all had to take a back seat. Only one member of the ensemble is married, none have children and many are not in long-term relationships and, frankly, I can see why.

Coming out of rehearsals is always sad but it is nice to be able to head to the theatre in the evening, do a great job (hopefully) and then get back to the rest of my life. Would I do it again? Like a sufferer of Stockholm Syndrome I say ‘Yes! Please! Hurl me back into the basement!’. Bring on Rep 2014.

*except Jonathan Plummer who is handsome and brooding.

Rep Season 2013 – Performance Day 21 – TOM WHITELAW (Composer)

January 31, 2013

‘It’s a kind of refrain,’

I am nearing the end of my work on The Faction’s Rep Season 2013. Blood Wedding has now opened and Fiesco and Three Sisters have been running for a few weeks.

For Fiesco, I produced soundscapes that combined audio samples of advertisements, political speeches and war correspondence. Now, editing together snippets of Hitler’s Nuremburg Speeches with 1950’s Budweiser commercials might make for an interesting sound cue, but it doesn’t half raise a few eyebrows with the neighbours. Next time I think I will use the headphones.

For Three Sisters we experimented with the placing of sound in relation to the stage, using the New Diorama’s technical specs to have sound directed from down stage left or stage right. The chime of a clock was then used as a transition from one act to another, merging seamlessly into a string section to introduce the final act.

Finally Blood Wedding, which opened two days ago, required the most work with the ensemble. For Fiesco and Three Sisters, the cues had been produced and edited during the tech rehearsals, often being the first time the cast would have heard some of the parts. For Blood Wedding the songs have been written for the ensemble to perform live, and early on in the rehearsal process we experimented with sound during workshops to see what we could produce.

The result was fantastic. Working with the ensemble on the songs for Blood Wedding was exciting and rewarding, and their ‘can do’ approach was inspiring. My demonstrations and suggestions were met with a commitment and enthusiasm that reminded me why I enjoy working with The Faction.

The richness of Gareth Jandrell’s translation of Lorca’s play presented me with the perfect starting point from which to compose the music for Blood Wedding, and when I first saw and heard the ensemble perform these compositions with such energy and emotion, I felt it was a job well done, and I thank them for that.

Rep Season 2013 – Performance Day 18 – SAM MILLARD (Sacco/Fedotitch/Woodcutter)

January 29, 2013

‘We’re practically brothers’

Today is a big day and, by the end of it, Rep 2013 will be fully opened. 

Fiesco is flying, the heartbeat of the show is in us now and everyone feels comfortable to really play, Three Sisters too has got to that point and the enjoyment of being in it is coming through in the performance. 
Blood Wedding, that opens tonight, is a killer of a show in every sense of the word. As actors it’s physically and mentally gruelling, as a director I can only imagine how difficult it is to get your head around such a complex and unnatural world, and for the stage manager, well she has spent what must seem like a lifetime making costumes on top of doing the normal stage managery stuff. 
I am not going to lie, it’s been a long hard journey. When you have two shows already open to paying public and rehearsing a third that is particularly intense you end up slightly delirious and very tired. Don’t ask me what day of the week it is, cos most of the time I don’t know. When you are doing a show like this, tempers can get frayed and emotions can run high, but at the end of today we will have a show and have let the press and public in to praise or savage as they see fit. 

This is testament to a group of people who are basically a family. Brothers and sisters with the occasional bit of mothering thrown in, and an odd drunk uncle here and there. It sounds silly but what it boils down to is that if we weren’t so tight as people, we would not have got here. All the grumps, strops, tantrums and zoning out that goes on in every job in the world happens, but it’s not in the least bit damaging. You go into the green room, outside for a cigarette, into the bar or coffee shop. Have a grumble and it’s gone. Why? Cos you let it out properly, both barrels saying what you’re feeling and it’s gone. You can only do this with and to people you love, trust and feel wont ultimately judge you for it, cos they and you know that when your heads hit the pillow and tomorrow rolls around the stuff that was said is now nothing more than an exhalation of breath, that what you needed was a gripe or a cry or a moan, and for someone you trust to listen and put a hand on your shoulder when you needed it. This is a family, and an incredibly lovely, understanding and supporting one, each member with different strengths and needs. This is in no small part down to The Faction’s core of people. You don’t come in to a Faction show cold, you already know from the start you are going to have people around you who will support you through it all and make it the most fun it can be! Long may it continue. 
By the time you read this Blood Wedding will be open! The nerves will have jangled, and we will be getting the live show really deep into our bones. I’m sure someone else will update you on how all that went! 

Rep Season 2013 – Performance Day 2 – ALEXANDER GUINEY – (Verrina/Kulygin/Youth)

January 8, 2013

According to Thomas Wolfe, you can never go home again.

I was lucky enough to help start The Faction after appearing in Richard III at the Brockley Jack Theatre a little over four years ago. It was a thrilling production to be a part of, and opened my eyes to a style and a way of working that I had never been exposed to before. Demanding that the same rigour that is usually applied to the text is also demanded of yourself physically was a new (and a little terrifying) style of theatre-making for me, but one that I very quickly felt at home in, and what I have learned at Faction HQ (wherever that is) I have carried with pride with me throughout my career.

For one reason or another, either professional or family commitments, I haven’t worked for The Faction for almost two years. It’s been an odd one. I have sat on the sidelines for a great deal of the company’s recent artistic growth. During 2012’s inaugural rep season, I would sit in the bar at our home at the New Diorama feeling bizarrely jealous of my friends, who at this point I had known for a huge chunk of my career, having an amazing time in amazing shows. I knew that I had been away for too long, and also felt a strong desire to re-prove myself to these guys that I had grown up with as an actor.

Having the opportunity to be a part of Rep 2013 has been an immense experience so far, and it has been wonderful to back in the room with these guys. Amongst all the familiarity, it is really challenging working with other artists who know you really well. For one, they recognise and won’t accept any of your actory tricks and bad habits, nor should they. They expect you to be better, and you should be. It’s a re-education, and it’s a good one. But more than anything, I feel like I’m amongst family again, and one that I’ve missed possibly more than I realised.

We opened the season last night, with the first ever performance of Schiller’s Fiesco in the UK, to a sold-out and receptive house. We sat in the bar afterwards, amongst friends, colleagues and family, and had drinks and told jokes we had heard a million times before. It was as warm and familiar as a good home should be. And with respect to Mr. Wolfe, maybe he didn’t have as good a place to return to as I did.

The work continues, with Three Sisters and Blood Wedding joining Fiesco in the rep in the coming weeks. I really hope to see you there.

Rep Season 2013 – Performance Day 1 – ELIZABETH TWELLS (Bertha/Irina/Girl)

January 7, 2013

‘Soaring into the blue yonder…’

Currently I’m sat on a busy central line train, quietly knowing that tonight we open the UK premiere of Fiesco.
I’m looking at my fellow commuters calmly, but my stomach is flipping and I’m trying to suppress the urge to stand on my seat and proclaim my fear/excitement in what could only be vocalised as ‘mwahghhhoo!’
And I wouldn’t change it for the world. 
We have now moved into the New Diorama which will be our home until the 23rd February and what a lovely home it is. The change from the rehearsal room to the theatre is a terrifying and electrifying moment. In other words, it suddenly becomes very real.
One thing I try to bear in mind through the costume-fittings, the lighting plots and the readjustments is that, although I know the story, the audience don’t, and to tell a good story I must try and see everything with fresh eyes. I must stand USR during the top of Act 2, Scene 4 but I must also keep experiencing, listening and responding. As Mark (Leipacher, director) says – ‘never deny an impulse.’
With that in mind, as tonight is the first time we share this story with human beings, I will keep calm and remember where to stand, what to say and most importantly, why I’m saying it.
The fun thing is we have 2 more shows to open after this… 
I might have to scream at the central line for my sanity.
Or travel alone.

Rep Season 2013 – Rehearsal Day 21 – JONNY McPHERSON (Zenturione/Vershinin/Leonardo)

December 27, 2012

‘Never trust the words of women’

Typically, for the first couple of weeks of a Faction rehearsal, we break down the plays, read the words aloud and analyse them line by line. We comb through the text for a sense of the world we’ll all soon inhabit. Questions arise, discussions develop and opinions are shared. From where I’ve been sitting, the subject of gender’s been a hot topic and one that, for me, has provoked a few thoughts about the rehearsal process.

In all of the texts (as in, I suppose, many plays written around a century ago or more), the relationship between women and men is quite different to that which we’re now familiar. They are depictions of societies with morals and mores quite alien to our own. I don’t think I’m sticking my neck out too far to say that they are, for the most part, predominantly patriarchal. This means that occasionally we may come across scenes in which women are subjugated by men in a way that we now see as unjust, exploitative and even brutal.

A couple of examples: in Blood Wedding, the Bride and Bridegroom are seemingly traded on their marriage qualities. He is sold on his steady income and broad shoulders; she is sold on her mouse-like timidity, her early-morning bread-baking skills and her child-bearing hip-width. Or in Fiesco: a man goes to quite extraordinary lengths to defend the honour of his only daughter (you’ll have to buy a ticket to see what I mean).

Both of these examples, seen through the prism of our contemporary, western world-view, can seem risible and abhorrent. At least, they did to me. What sort of mother touts her daughter on the basis of her hip-width for god’s sake? Doesn’t sound like the best parenting. However, in the world of the play such behaviours seem established and accepted.

And then I thought: this is where it gets interesting. It’s around about this point that as an actor, you have to do some mental manoeuvring. You have to park your opinions and turn your perception inside out. Whatever value judgements I personally may have made of the play and the people depicted in it are useless for the job ahead – if anything they may be a hindrance. The only thing that’s helpful now is trying to understand that apparently peculiar world through the eyes of the person I’ll be playing to the point that it all makes sense to them. It’s like an exercise in extreme empathy.

So, from our collective objectivity we have to make the individual descent into our respective subjectivities.

For me, it’s the thing I find hardest and most interesting about getting stuck in to any role: gaining enough of an understanding of the world they inhabit to make sense of their behaviour. We’ve been up on our feet for a week or so now. As ever, I still feel a million miles from understanding why the hell I’m saying half the stuff that’s coming out of my mouth. But with thought, time and a bit of blind faith, I trust I’ll find out.