It’s that creative time of year again and local playwrights, are busy with pens, pencils, laptops, chalk boards (whatever works for them) creating brand new works to submit for Progress WriteFest.
The deadline for entries has been extended to 10th May and that date is fast approaching. I, of course, am doing my usual last minute dash because I am an expert in procrastination.
Over the years I have tried to find the answer to “How do you write a play?” and have discovered that writers approach their plays or stories in very different ways and there is no one and only way. Some like to plot the whole piece in detail, some just plunge in, others become inspired by an idea and form their play around this, some write to a formula or get inspiration from an exercise.
Most of my plays have started with a piece of dialogue that pops into my mind and I pursue this without knowing where it is heading. I do speak out the words while I am typing and I have often shouted, screamed and cried over the keyboard before realising the window is open.
The most essential lesson I have learned and re-learned is that I do actually have to stop procrastinating and SIT DOWN AND WRITE IT.
So all you playwrights who are also experts in the procrastination game - your deadline approaches. It’s time to tidy up that baby you have been nurturing and submit it now! The run time is 10-20 mins, it should not been produced elsewhere, UK residents only. Full rules are on the website - please check before submitting.
-- Liz Carroll
To read more about The 11th Annual WriteFest, you can visit our website: http://www.progresstheatre.co.uk/get-involved/writefest
Tuesday, 3 May 2016
Thursday, 14 April 2016
Stones in his Pockets Review
Arthur Burke, a long-standing member of Progress, recently watched Stones in his Pockets and sent us the following review:
---
OK, I’m going
to fess up and say I am a member of Progress Theatre, so I do have a
vested interest in the place. But my mother taught me always to tell
the truth, so if one of their shows is rubbish, I say so.
No danger of that
here, though. Marie Jones’s Stones in his Pockets works very
well. It doesn’t have a plot so much as several intermingling
subplots. It’s about Charlie and Jake, two Irish extras on a film
set. They both know they’re at the bottom of the heap. They’re
never allowed to forget the huge gulf that exists between the stars
and the extras. Charlie, played by Christopher Hoult, tries to hide
his sadness behind an ebullient optimism. Owen Goode plays Jake as an
almost broken man. He is generally accepting of his position, but the
fag end of his pride creeps out occasionally.
Charlie and Jake
are not the only people on the film set. But Christopher and Owen are
the only people on the stage. How does that work? Well…
brilliantly. With minimal props and the occasional hat, the two
actors morph energetically into all the other characters.
Everything’s done with changes in voice and body language. Owen
minces around like Harry Solomon to play Assistant Director Aisling
and twists himself into Verbal Kint when he’s the drug addicted
Sean. Christopher camps it up as the other Assistant Director, Simon,
and even manages to be convincing as a glamorous American actress.
(I’m guessing this is why he shaved his beard off before the show.)
It says a lot for the actors’ skill that it’s very easy to
suspend disbelief. And there’s never any confusion about which part
they’re playing when.
John Goodman’s
direction keeps everything moving at a fast pace. He allows the two
performers free rein to use their considerable talents. And Kelly
Hugo deserves credit for agreeing to be Assistant Director of a play
that regards assistant directors as the spawn of Satan.
I have a few
doubts about the play itself. Some of the transitions from comic to
tragic are a bit jarring. But this doesn’t detract from the
enjoyment of the evening. It’s primarily a showcase for two
versatile and charismatic actors. Go and see it. And be nice to
Christopher and Owen if you see them in the bar afterwards. After
playing fifteen characters as well as doing some Irish dancing, they
will be a bit tired.
Sunday, 3 May 2015
Killer Joe's Set Builder
Tony Travis fits kitchens for a living so spending the bank holiday weekend building the Killer Joe set is a bit of a bus man's holiday. The set is more than just a kitchen; it is the inside of trailer and also includes the suggestion of the roof and sides.
Tony doesn't only fit kitchens, he is also an electrician and a voluntary sector consultant after spending ten years as the director of a disability charity in London. He is a writer, holding an MA in writing for Television and a musician. He played bass and backing vocals in Ray Fay a new wave band in the 1980s, you can find the videos on YouTube.
He doesn't just build Progress sets he performs on them too. You can see him next month playing Jack in The Weir.
Multi-talented as he is Tony hasn't built the set all by himself. Several members of the cast and crew willingly pitched in, many sporting their Love's Labour's Lost...And Won t-shirts from last summer's outdoor production.
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| Tony working on the Killer Joe set |
Tony doesn't only fit kitchens, he is also an electrician and a voluntary sector consultant after spending ten years as the director of a disability charity in London. He is a writer, holding an MA in writing for Television and a musician. He played bass and backing vocals in Ray Fay a new wave band in the 1980s, you can find the videos on YouTube.
He doesn't just build Progress sets he performs on them too. You can see him next month playing Jack in The Weir.
Multi-talented as he is Tony hasn't built the set all by himself. Several members of the cast and crew willingly pitched in, many sporting their Love's Labour's Lost...And Won t-shirts from last summer's outdoor production.
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made roughly weekly so you won’t be swamped with emails.
Wednesday, 15 April 2015
Talking Heads
When I visited a Talking Heads rehearsal last weekend their technical team were busy putting up lights and painting doors. This meant the actors had been sent back to the foyer to rehearse their monologues. It can be difficult to revert to adhoc spaces and random furniture when you have just got used to using the stage space. From what I saw they seemed to be coping well with their temporary arrangements.
Our production of Talking Heads is made up of three separate monologues and initially rehearsals were one actor at a time working with the director. It quickly became clear that it was more fun to have joint rehearsals so that they could encourage each other, watch each piece develop and feel like a cast rather than individual performers.
Each piece has it's challenges, apart from remembering all the lines with no-one to help you out. The actors have to open margarine tubs, put on make-up on stage and shuffle along the floor during a blackout but it was decided that eating toast while delivering a monologue was a step too far!
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Talking Heads by Alan Bennett, 7.45 Monday 20th April - Saturday 25th April 2015
Sunday, 15 March 2015
Animal Farm Musical Director
Animal Farm is a joint production with Progress Youth Theatre and the principle has been carried through to the backstage roles. The musical director is Amelia, who has been a member of the Youth Theatre since she was seven. Her most recent roles were in Roses of Eyam and Murmuring Judges. Although she was only intending to be backstage for this production she has found herself taking on some on-stage roles as people have had to withdraw for various reasons. She is now playing Moses the Raven, a pigeon, Mrs Pilkington and potentially a goat. As she says if she has to be at rehearsals anyway she might as well go the whole hog (pun intended) and be in it is well.
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| Amelia (right) with assistant stage manager Josie, also a youth theatre member |
The first question I asked Amelia was what does a musical director actually do. The rights to the play come with music for all the songs and Amelia arranged some of them to suit the range of voices in the cast. She has then been responsible for teaching the songs at rehearsals and leading vocal warm-ups. She is well qualified for the role as she is studying music A level, plays the violin, sings in the Taplow Youth choir and leads a choir at school.
Animal Farm starts on Monday 23rd March and runs until Saturday.
Calling all male actors There is still an opportunity to take part in The Merry Wives of Windsor, this year's outdoor production in Caversham court gardens. The performance dates are 15th - 25th July. It should be great fun, please contact the director on merrywives@progresstheatre.co.uk
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merrywives@progresstheatre.co.uk for more details
Sunday, 22 February 2015
Lit by Gaslight
In a previous Gaslight blog post I talked about the stove that had been found on a skip. This week I was able to see it in its full working glory. Gaslight starts tomorrow (Monday 23rd February 2015) but there was no last minute rehearsal going on when I went down to the theatre on Sunday afternoon. Everything was very calm and the only person there was lighting designer Martin putting the finishing touches to the lighting effects, including the fire.
It was difficult to get a good photo but it did look very realistic (you'll have to go and see the show to judge for yourself).
The smoke is actually water vapour created using a pond fogger. I had never heard of a pond fogger but they are commonly used in garden water features when a misty effect is required and are particularly good for creating witches' cauldrons at Halloween. The glow comes from LEDs underneath the 'coals'
The lighting is designed to replicate a Victorian living room lit by a combination of wall gas lights and free standing oil lamps. On set two Raspberry Pi (small basic computers) are linked into the lighting control desk. Martin has written some code so that one turns on and off the fire glow, gas lights and oil lamp. The other one controls the pond fogger and a small fan making sure the smoke goes in the right direction. All are operated on the night with a click of the mouse from the tech box at the back of the auditorium.
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Gaslight by Patrick Hamilton, 7.45 Monday 23rd February – at Progress Theatre
Monday, 9 February 2015
Read Through of The Merry Wives of Windsor
A 'read through' of a play is just that - a group of people get together to read the play aloud from beginning to end, but without acting it out. The first rehearsal after a play is cast is usually a read through, giving a chance for the new cast to meet each other and start to get a feel for the production.
A read through might also be used if a writer wants to test how a new play sounds. It can also be used before auditions, particularly with a less well known play, to raise awareness and interest among actors who might come to audition.
The motivation for the recent read through of The Merry Wives of Windsor was a combination of these last two points. Director Tony Wernham has worked on the play; cutting some bits and adding a prologue and inter-scene pieces (Tony is calling them interlogues ) to make the production more accessible for a modern audience. He was also hoping to interest people in coming to the auditions in early March.
The people attending were a mixture of those considering auditioning, backstage crew, curious spectators and those looking for something to do on a Sunday night. The parts where randomly allocated after each scene so that everyone had a chance to read different characters.
The Merry Wives of Windsor is the perfect play to perform in Caversham Court Gardens. There are mentions of various places in Berkshire including the only reference to Reading in a Shakespeare play. The Thames also gets a look in and, without giving anything away, will feature in the production.
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Gaslight by Patrick Hamilton, 7.45 Monday 23rd February – at Progress Theatre
Tuesday, 27 January 2015
Gaslight fireplace
Gaslight was written in 1938 but is actually set in late Victorian London around 1890. At Progress we like adapting and reusing things especially if they are free! The fireplace in the photo below is from our props store and has been used in other productions. The stove was found in a skip and while it may not actually be Victorian it is cast iron and certainly looks the part, It will be made to look like it is burning with the magical use of smoke and mirrors (well smoke and lights anyway).
They are also reusing the beautiful leather sofa that was first bought and renovated for Blithe Spirit in June 2013. The sofa and chairs have been seen on stage a few times since then in various combinations and settings. In this production they will also be using the wing backed armchair you can see behind it in the photo.
You can also see the wooden bureau that prop finder extraordinaire Tony Powell sourced from his mother's flat. During the set build session it was mainly being used as somewhere to leave tools but by opening night everything will be cleaned polished and looking perfectly in keeping.
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Auditions for Killer Joe Wednesday 28th January 7.30 Progress Theatre
Gaslight by Patrick Hamilton, 7.45 Monday 23rd February – at Progress Theatre
Auditions for The Weir by Conor McPherson, Sunday 15th February 2.30 or Tuesday 17th February 7.30 Progress Theatre (details available on the website soon)
Monday, 5 January 2015
Muskets for the Three Musketeers
Any staging of The Three Musketeers is going to need swords and, of course, muskets.
Fortunately there are people involved in this production who were able to source both. Ian Belcher, who plays Athos, is involved in LARPing (Live Action Role Play) which he described as like cross country pantomime. During a LARP participants dress up and physically act out their characters actions using props were appropriate. In this case Ian's beautiful Renaissance era muskets are very appropriate.
Even though the muskets are only models they still have to be kept safely under lock and key while at the theatre. Alex McCubbin who has various roles on stage is also official armourer for the production. This means he has to make sure that as soon as the muskets come off stage they are whisked away and locked back in their box.
Dani Davies from Reading Between the Lines theatre group has been working on the production choreographing the fight scenes. She has lent her swords to the production and made sure that all the actors now how to perform a stage fight so it looks exciting but is not dangerous.
You can enjoy all the action and adventure in The Three Musketeers safe in the knowledge that you won't be threatened by a musket or hit by a stray sword.
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made roughly weekly so you won’t be swamped with emails.
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| Kevin Copping (Aramis) modelling one of the muskets |
Fortunately there are people involved in this production who were able to source both. Ian Belcher, who plays Athos, is involved in LARPing (Live Action Role Play) which he described as like cross country pantomime. During a LARP participants dress up and physically act out their characters actions using props were appropriate. In this case Ian's beautiful Renaissance era muskets are very appropriate.
 |
| The detail on one of the muskets |
Even though the muskets are only models they still have to be kept safely under lock and key while at the theatre. Alex McCubbin who has various roles on stage is also official armourer for the production. This means he has to make sure that as soon as the muskets come off stage they are whisked away and locked back in their box.
Dani Davies from Reading Between the Lines theatre group has been working on the production choreographing the fight scenes. She has lent her swords to the production and made sure that all the actors now how to perform a stage fight so it looks exciting but is not dangerous.
You can enjoy all the action and adventure in The Three Musketeers safe in the knowledge that you won't be threatened by a musket or hit by a stray sword.
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made roughly weekly so you won’t be swamped with emails.
Monday, 8 December 2014
Mojo
Most theatre groups have more female than male actors and are constantly looking for plays that offer good parts for women. I was intrigued therefore that Progress Youth Theatre have chosen to produce Mojo - a play with six males and no females at all.
I asked youth theatre leader and director Ben Sandiford about the choice of play. He said that it is something he has wanted to stage for twenty years but had always hesitated because of the lack of female roles. This year because of the short gap between Noises Off and the Youth Theatre production they needed to find a play that could use the two level stage already constructed. Mojo needs an upstairs and downstairs area and so it seemed time was finally right.
Sometimes the Youth Theatre increase the number of roles for girls by changing the sex of a character, for example they have performed female versions of Julius Caesar and Lord of the Flies and even had a female count Dracula. Ben was clear that this was not an option with Mojo as the relationships between the characters and their masculinity is an important element of the play.
The gender balance has been restored off-stage as long-term Youth Theatre member Poppy Price has taken on the role of assistant director. Poppy said that she did question the choice of an all male play but feels that there doesn't necessarily need to be a balance in each production as long as there are good opportunities for both sexes across the season. The most recent production, Roses of Eyam had many more girls than boys in it.
The cast are just pleased that for once they can take over the larger dressing room normally used by the girls!
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made roughly weekly so you won’t be swamped with emails.
Progress Youth Theatre, Mojo by Jez Butterworth, 7.45 –
Most theatre groups have more female than male actors and are constantly looking for plays that offer good parts for women. I was intrigued therefore that Progress Youth Theatre have chosen to produce Mojo - a play with six males and no females at all.
 |
| photo by Richard Brown |
I asked youth theatre leader and director Ben Sandiford about the choice of play. He said that it is something he has wanted to stage for twenty years but had always hesitated because of the lack of female roles. This year because of the short gap between Noises Off and the Youth Theatre production they needed to find a play that could use the two level stage already constructed. Mojo needs an upstairs and downstairs area and so it seemed time was finally right.
 |
| photo by Richard Brown |
Sometimes the Youth Theatre increase the number of roles for girls by changing the sex of a character, for example they have performed female versions of Julius Caesar and Lord of the Flies and even had a female count Dracula. Ben was clear that this was not an option with Mojo as the relationships between the characters and their masculinity is an important element of the play.
The gender balance has been restored off-stage as long-term Youth Theatre member Poppy Price has taken on the role of assistant director. Poppy said that she did question the choice of an all male play but feels that there doesn't necessarily need to be a balance in each production as long as there are good opportunities for both sexes across the season. The most recent production, Roses of Eyam had many more girls than boys in it.
The cast are just pleased that for once they can take over the larger dressing room normally used by the girls!
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made roughly weekly so you won’t be swamped with emails.
Progress Youth Theatre, Mojo by Jez Butterworth, 7.45 –
Wednesday, 19 November 2014
Noises Off - life imitating art imitating life
Alex McCubbin is playing Lloyd Dallas, the director of the play-within-the-play in Noises Off. He claims that he only agreed to be assistant director for Love's Labour's Lost...And Won last summer as a way of building up useful knowledge to help him audition for and play this character. He was diplomatically silent as to how much material he gathered. He did say he can sympathise with Lloyd's frustration when actors blame their mistakes on other people. Equally as an experienced stage manager and actor he can see what a monster Lloyd is putting his personal agenda ahead of the production (not that anything like that ever happens at Progress of course!)
Noises Off is a very fast farce with lots of doors opening and closing and people coming in and out in quick secession. Watching part of rehearsal I was amazed at how the actors could remember where they were supposed to be and what they were supposed to be doing. Alex said that it reminded him of his time on a performing arts course when he had to learn dance moves.
Noises off starts on Thursday and tickets are selling fast on popular nights. Don't forget we now have our own on-line booking system with a lower booking fee so it is worth booking in advance to make sure of seeing this very funny show, Click here to book.
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made roughly weekly so you won’t be swamped with emails.
Progress Youth Theatre, Mojo by Jez Butterworth, 7.45 –
Tuesday, 4 November 2014
Noises off - constructing the set
Noises Off is a difficult play for small non-professional theatres to put on. There are three acts, the first one showing the stage set of the play within the play. The second act shows the backstage view of the same play and then back to the on-stage view in the final act. In the West End this is achieved by having a large revolving stage that can be quickly turned round during an interval. This is not an option in the more limited space available to Progress.
Aidan Moran and Martin Noble started designing the set about three years ago. They began with sketches on paper and then once the basics had been worked out Martin used modelling software to perfect the design and all the measurements. He even drew in sightlines from different parts of the auditorium to ensure that no-one in the audience misses any vital action.
The set is based on a metal structure for strength. It is built in modules that the stage management team can individually turn or flip to achieve the scene changes.
Other small theatres have shown an interest in how Progress is building the set for this popular play. Unfortunately we can't sell on the set because it has all been built in situ and won't fit through the doors.
There has been a huge amount of pre-planning and liaison with the other productions during this season. The staircases and platform were built before the start of the season and used for Darwin and Fitzroy. During WriteFest the constructed parts of the set were hidden behind a curtain at the back of the stage.
The Youth Theatre have the slot after Noises Off and were asked if they would select a play that could make use of the set. Director Ben jumped at the chance to stage Mojo, a play he had wanted to do for some time that needs different levels and staircases - perfect! Finally The Three Musketeers will use the staircases but the rest of the set will need to be dismantled to leave plenty of room for all those sword fights.
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made roughly weekly so you won’t be swamped with emails.
Progress Youth Theatre, Mojo by Jez Butterworth, 7.45 –
Aidan Moran and Martin Noble started designing the set about three years ago. They began with sketches on paper and then once the basics had been worked out Martin used modelling software to perfect the design and all the measurements. He even drew in sightlines from different parts of the auditorium to ensure that no-one in the audience misses any vital action.
The set is based on a metal structure for strength. It is built in modules that the stage management team can individually turn or flip to achieve the scene changes.
Other small theatres have shown an interest in how Progress is building the set for this popular play. Unfortunately we can't sell on the set because it has all been built in situ and won't fit through the doors.
There has been a huge amount of pre-planning and liaison with the other productions during this season. The staircases and platform were built before the start of the season and used for Darwin and Fitzroy. During WriteFest the constructed parts of the set were hidden behind a curtain at the back of the stage.
The Youth Theatre have the slot after Noises Off and were asked if they would select a play that could make use of the set. Director Ben jumped at the chance to stage Mojo, a play he had wanted to do for some time that needs different levels and staircases - perfect! Finally The Three Musketeers will use the staircases but the rest of the set will need to be dismantled to leave plenty of room for all those sword fights.
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made roughly weekly so you won’t be swamped with emails.
Progress Youth Theatre, Mojo by Jez Butterworth, 7.45 –
Wednesday, 15 October 2014
An abundance of scripts - 9th Annual Writefest
Our 9th annual Writefest starts tonight (15th October) and runs until Saturday 18th you can now buy tickets on-line using our new booking system here.
As you can imagine with seven separate plays on one night there is a lot for the backstage team to keep track of and they have to be very organised. In this photo stage manager Emma is making a list of all the bits and pieces that have to be in a cardboard box on stage for The Deep Blue. Razor blades and pills were top of the list of essentials.
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made roughly weekly so you won’t be swamped with emails.
Progress Youth Theatre, Mojo by Jez Butterworth, 7.45 –
As you can imagine with seven separate plays on one night there is a lot for the backstage team to keep track of and they have to be very organised. In this photo stage manager Emma is making a list of all the bits and pieces that have to be in a cardboard box on stage for The Deep Blue. Razor blades and pills were top of the list of essentials.
On the list of props to be set for The Flood is 'Liz
Carroll'. Liz recently broke her ankle but in the true spirit of theatre
"the show must go on". In The Flood she plays a
hairdressing client so once the play starts she doesn't have to move about. She
is now wheeled into position by the stage management team as part of the set up
of the play.
As all
plays in Writefest are new unpublished works they are liable to change between
being submitted and the first night. Some of these changes come from the
writers and some are suggested by the directors and actors as they see what
works and what doesn't during rehearsals. This is a common process and is why
published scripts usually credit the director and cast of the first run. Of
course at some point the changes have to stop and everyone needs to be working
from the same script. Lighting designer Richard got some blank looks from the
cast of Yawn when he read out what he thought were the cue
lines for lighting changes, apparently they had been cut in a later version.
After some quick checking and reprinting we are now confident that everyone has
the same version of the scripts and everyone knows exactly what they are doing.
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made roughly weekly so you won’t be swamped with emails.
Progress Youth Theatre, Mojo by Jez Butterworth, 7.45 –
Tuesday, 5 August 2014
Reaching Out
The first in a series of blog posts from our members comes from Shona Pepper, our Graduate Intern
Welcome to my first blog post at the Progress Theatre! I’m Shona, the Progress Graduate Intern and I’m currently researching way in which the theatre can reach out to the older generation. I’ve recently graduated from the University of Reading with a BA in Film and Theatre and am very excited to have the opportunity to work in the industry so soon after graduating. Progress Theatre has begun to realise that there is ample opportunity to extend their services, in the way of workshops or performances to the older generation. I think this is a brilliant idea, as much of the research I have already done has shown that there is a limited number of activities in the Berkshire area, (particularly those who don’t drive or are confident using public transport on their own) and this is something I am very happy to try and change!
The project as it stands is very much in its early stages and I am currently doing as much research as I can to find out what ways that we, as a theatre, can create events, specifically catering for the tastes and need of those who are unable to get to the theatre independently. I am currently looking at a range of different activities, such as, creating play reading groups (perhaps also exploring scenes or plays either practically or verbally), workshops on different aspects of the theatre (for example – set design, costume, lighting, writing, or directing), giving the older generation the opportunity to write plays based on recollections or memories (potentially to be performed by the theatre), or for them to become a regular attendee at performances at a time suitable for the majority.
One factor that has become apparent is that the research and outputs from this project could have equal relevance to other groups, particularly adults with learning and other disabilities. As such, whilst my research is primarily focussed on the older community, I am also exploring the extent to which the kinds of things which are of interest to this group could also be tailored to other groups. While the research is currently very broad, we hope that once we have successfully trialled a few things with the older community, we can start to also look at trials with other groups too.
On behalf of the theatre I am also trying to emphasise the ways in which we can adapt and allow the potential activities to be sympathetic to disabilities, such as Dementia and Alzheimer’s, so that if possible we can incorporate practical activities for the less mobile attendees so that everyone can have the opportunity to get involved. (At this point I should really thank my Grandma Catherine, who has been the guinea-pig for most of the ideas, particularly the ones involved around memory. She has Dementia and none-the-less has enjoyed the opportunity to tell many stories about herself as she can, including many comical ones during her time running her own hotel on the seafront!)
Bearing in mind Progress is a charity with limited resources, I’m also looking into several funding avenues that could prove useful for either bringing people into the theatre for workshops etc, or for taking members of Progress out to groups. This can hopefully provide those who struggle with lack of transport the opportunity to engage with the theatre and not miss out on what will hopefully be a great opportunity!
The next part of my research is to conduct focus groups or one to one chats with potential attendees so that we can really look into exactly what our target audience are interesting in coming and getting involved in. In the next few weeks, I am aiming to come out and meet the residents in residential homes, library groups and other care facilities and find out who would be interested and what sort of things we can organise and Progress can offer.
After we have reviewed the research, we are hoping to arrange opportunities to trial different workshops/performances/events so that we can establish the best type of event to pursue. I am currently handing out surveys to collect this information, please email to request a copy if you are happy to fill one out.
If you are a member of a local church group, care home, local councils, or day centre etc., and would either like to get involved, offer advice or fill in a survey for the project, please contact us via Shona Pepper, 07732332337, outreach@progresstheatre.co.uk.
Keep an eye out for more information on news on our project development!
The project as it stands is very much in its early stages and I am currently doing as much research as I can to find out what ways that we, as a theatre, can create events, specifically catering for the tastes and need of those who are unable to get to the theatre independently. I am currently looking at a range of different activities, such as, creating play reading groups (perhaps also exploring scenes or plays either practically or verbally), workshops on different aspects of the theatre (for example – set design, costume, lighting, writing, or directing), giving the older generation the opportunity to write plays based on recollections or memories (potentially to be performed by the theatre), or for them to become a regular attendee at performances at a time suitable for the majority.
One factor that has become apparent is that the research and outputs from this project could have equal relevance to other groups, particularly adults with learning and other disabilities. As such, whilst my research is primarily focussed on the older community, I am also exploring the extent to which the kinds of things which are of interest to this group could also be tailored to other groups. While the research is currently very broad, we hope that once we have successfully trialled a few things with the older community, we can start to also look at trials with other groups too.
On behalf of the theatre I am also trying to emphasise the ways in which we can adapt and allow the potential activities to be sympathetic to disabilities, such as Dementia and Alzheimer’s, so that if possible we can incorporate practical activities for the less mobile attendees so that everyone can have the opportunity to get involved. (At this point I should really thank my Grandma Catherine, who has been the guinea-pig for most of the ideas, particularly the ones involved around memory. She has Dementia and none-the-less has enjoyed the opportunity to tell many stories about herself as she can, including many comical ones during her time running her own hotel on the seafront!)
Bearing in mind Progress is a charity with limited resources, I’m also looking into several funding avenues that could prove useful for either bringing people into the theatre for workshops etc, or for taking members of Progress out to groups. This can hopefully provide those who struggle with lack of transport the opportunity to engage with the theatre and not miss out on what will hopefully be a great opportunity!
The next part of my research is to conduct focus groups or one to one chats with potential attendees so that we can really look into exactly what our target audience are interesting in coming and getting involved in. In the next few weeks, I am aiming to come out and meet the residents in residential homes, library groups and other care facilities and find out who would be interested and what sort of things we can organise and Progress can offer.
After we have reviewed the research, we are hoping to arrange opportunities to trial different workshops/performances/events so that we can establish the best type of event to pursue. I am currently handing out surveys to collect this information, please email to request a copy if you are happy to fill one out.
If you are a member of a local church group, care home, local councils, or day centre etc., and would either like to get involved, offer advice or fill in a survey for the project, please contact us via Shona Pepper, 07732332337, outreach@progresstheatre.co.uk.
Keep an eye out for more information on news on our project development!
Sunday, 20 July 2014
Love's Labour's Lost ...And Won, First Night Nerves
This year's open air Shakespeare Love's Labour's Lost... And Won opened last Wednesday at Caversham Court Gardens. I was helping on the box-office that night so got a good view of the first night nerves - I'm talking about the production crew, I'm sure the actors were all fine.
For the first time this year we are able to take payment by card on the night. It is a mobile phone based app rather than the usual card machine so box office manager Heather was slightly anxious about using it for the first time. She was very relieved that the first customers were friends of hers and willing to act as card using guinea pigs.
There is a 'Bard's Bar' available for audience to buy drinks before the show or during the interval and bar managers Helen and Tony were busy trying to attach bunting advertising the availability of Pimms.
There are seven front of house stewards needed every night, in addition to the box office and bar volunteers. The steward slots are filled by a mixture of Progress members and Friends of Caversham Court Gardens. The job of training them all every night falls to front of house manager Stuart. He has to ensure that they are aware of all the safety procedures and are happy with selling programmes, hiring chairs and guiding the audience in the dark.
I don't know if site manager Laura had first night nerves as she was too busy rushing about ensuring everything was running smoothly for me to ask. I did hear the handheld radio's go off several times with the inevitable question "is Laura there?"
Love's Labour's Lost... And Won runs until next Saturday 26th July and has been getting good revues like this one from Get Reading here. You can enjoy the evening safe in the knowledge that you can buy your ticket by card, get a Pimms and hire a chair - everything is under control.
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made weekly so you won’t be swamped with emails.
Reading Open Air Love's Labour's Lost... And Won – at Caversham Court Gardens
Auditions for Noises Off by Michael Frayn Sunday 27th July 2.30pm or Monday 28th July 7.30pm
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| Getting ready for the audience (photo Richard Brown) |
For the first time this year we are able to take payment by card on the night. It is a mobile phone based app rather than the usual card machine so box office manager Heather was slightly anxious about using it for the first time. She was very relieved that the first customers were friends of hers and willing to act as card using guinea pigs.
There is a 'Bard's Bar' available for audience to buy drinks before the show or during the interval and bar managers Helen and Tony were busy trying to attach bunting advertising the availability of Pimms.
There are seven front of house stewards needed every night, in addition to the box office and bar volunteers. The steward slots are filled by a mixture of Progress members and Friends of Caversham Court Gardens. The job of training them all every night falls to front of house manager Stuart. He has to ensure that they are aware of all the safety procedures and are happy with selling programmes, hiring chairs and guiding the audience in the dark.
I don't know if site manager Laura had first night nerves as she was too busy rushing about ensuring everything was running smoothly for me to ask. I did hear the handheld radio's go off several times with the inevitable question "is Laura there?"
Love's Labour's Lost... And Won runs until next Saturday 26th July and has been getting good revues like this one from Get Reading here. You can enjoy the evening safe in the knowledge that you can buy your ticket by card, get a Pimms and hire a chair - everything is under control.
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made weekly so you won’t be swamped with emails.
Reading Open Air Love's Labour's Lost... And Won – at Caversham Court Gardens
Auditions for Noises Off by Michael Frayn Sunday 27th July 2.30pm or Monday 28th July 7.30pm
Full details about out theatre and all our activities can be found on our website.
Monday, 14 July 2014
The Roses of Eyam backstage
During the dress rehearsal for Roses of Eyam I went backstage to talk to some of the young actors. I found Poppy going over her lines in the dressing room while waiting to go on stage.
The busy cluttered dressing room will be familiar to any reader who has performed at Progress (or any other theatre I'm sure). While there will be a tidy up session before the performance, with nineteen actors sharing the limited backstage space a certain amount of chaos is inevitable. Performers have to be very disciplined about hanging up costumes and putting vital props somewhere safe. This can be difficult with quick changes and there will probably be several moments of panic during any show while an actor frantically searches for a missing shoe or cloak (and I'm not just talking about youth theatre productions!)
When putting on a show with anyone under sixteen there are legal restrictions on the number of rehearsals and performances. This meant that the Sunday had to be kept as a rest day before the first performance on Monday so there were two dress rehearsals planned for the Saturday.
During the first rehearsal the director noticed that the bottom of the large trunk recycled from God of Carnage still needed painting (it is going from cream to black). While there were willing hands to do the painting it was quickly realised that there wouldn't be time for it to dry before the second rehearsal. Luckily there are no laws about the number of hours adults spend at the theatre so no problem with them staying late to paint after the second rehearsal.
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made weekly so you won’t be swamped with emails.
Progress Youth Theatre The Roses of Eyam by Don Taylor Monday 14th July - Saturday 19th July.
Reading Open Air Love's Labour's Lost... And Won – at Caversham Court Gardens
Auditions for Noises Off by Michael Frayn Sunday 27th July 2.30pm or Monday 28th July 7.30pm
The busy cluttered dressing room will be familiar to any reader who has performed at Progress (or any other theatre I'm sure). While there will be a tidy up session before the performance, with nineteen actors sharing the limited backstage space a certain amount of chaos is inevitable. Performers have to be very disciplined about hanging up costumes and putting vital props somewhere safe. This can be difficult with quick changes and there will probably be several moments of panic during any show while an actor frantically searches for a missing shoe or cloak (and I'm not just talking about youth theatre productions!)When putting on a show with anyone under sixteen there are legal restrictions on the number of rehearsals and performances. This meant that the Sunday had to be kept as a rest day before the first performance on Monday so there were two dress rehearsals planned for the Saturday.
During the first rehearsal the director noticed that the bottom of the large trunk recycled from God of Carnage still needed painting (it is going from cream to black). While there were willing hands to do the painting it was quickly realised that there wouldn't be time for it to dry before the second rehearsal. Luckily there are no laws about the number of hours adults spend at the theatre so no problem with them staying late to paint after the second rehearsal.
If you are interested in what goes on at Progress Theatre then sign up to this blog. Enter your email in the box under ‘about us’ and click on subscribe. New postings are made weekly so you won’t be swamped with emails.
Progress Youth Theatre The Roses of Eyam by Don Taylor Monday 14th July - Saturday 19th July.
Reading Open Air Love's Labour's Lost... And Won – at Caversham Court Gardens
Auditions for Noises Off by Michael Frayn Sunday 27th July 2.30pm or Monday 28th July 7.30pm
Full details about out theatre and all our activities can be found on our website.
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