"If You Do A Normal Character You Are Totally Wrong."

Showing day today. We've all been working in pairs on the opening scene of The Seagull between Masha and Medvedenko.

Medvedenko: Why do you always wear black?

Masha: I'm in mourning for my life. I'm unhappy.

~

I worked with Claudia - a new girl in our class from Switzerland. We rehearsed away, trying to bring life to the scene but not really having any idea about what to aim for for Philippe. It's frustrating because this week Philippe hasn't clearly told us how to perform for Chekhov, he's just told us how not to, and he's waiting for us to discover for ourselves. I like that approach - but it's hard! 

Anyway, we did a pretty straight performance of the scene (no ideas or interesting interpretations) in which I tried to play boring and jealous (as Philippe had suggested) and Claudia tried to play repulsed-by-Astrov. 

But we bombed.

It felt awful. As soon as we walked out on stage I felt that we'd got it wrong. That the audience were cold towards us. I kind of froze up - stressed a bit - and from that point it got worse and worse. Philippe stopped us before we could finish:

"We don't feel pity for him...He doesn't look poor." This is important. Although Astrov is a loser, we have feel sorry for him, or else we're going to want to kill him for the whole duration of the play!

"We don't like them." They can be ridiculous idiots, but we must love them.

It felt really awful to be bad today. I felt really embarrassed. I think because we were the first group to be bad today (the two before us were good), but also because I expect more of myself for this workshop because I feel like I know the context a bit - I've done Chekhov and Shakespeare before. But I really need to be easier on myself and start at square one here.

I think the fact that I think I know a bit about Chekhov and Shakespeare is one reason why I flunked today. A cockiness, or relaxedness might come through. I've been a bit more chilled-out / less-caring over the last week, which might not be helping. I don't know. I think it's pretty good for me to chill out and not care so much actually!

~

"If you have a distance [physically, from the audience] it's easier to play. Too close and we don't see the conflict."

In Chekhov "So many beautiful things come quick, light..."

"If you do a normal character you are totally wrong."

"You have to put all your fun in the text...and Chekhov is good for that." 

- I lacked this today - was just technical and thus boring and unlikable. 

- The ones that worked did this. Good pleasure, complicité and fun.

"He's [Medvedenko's] boring and a miser...and a miser doesn't move much because shoes are expensive!"

"The text is for something fantastic. They say they are sad but they laugh. If they say they are sad and they are sad, it is boring. But if they say they are sad and they laugh it's something artistic."

Seduction: "BUT THIS IS WHAT MY DAD DOES!"

The first half of class of today was for the girls. 

A scene from Uncle Vanya between Irina and Sonya. "The storm is over..."

"Two women - they decide to be friends in a beautiful way. This is what we need for this scene."

It's kind of as simple as that. But not simple to do! Lots of people either didn't give enough (so it feels like nothing has happened), or the new friendship was really awkward ("Yay! My Step-Mum's my friend now!"...*hug*), or it was over the top and frantic with giggling and jumping up and down. It's a fine line. It requires real sensitivity from the actors, good complicité, play, and pleasure. Anna and Steph did a great scene though. You could feel their real friendship underneath the playing of the scene, which helped.

"It's never good to good to start with two people sitting."

~ 

In the second half of the class the boys got to have a go! We did a scene between Elena and Astrov from Uncle Vanya (Act III). In the scene, Elena enters, and Astrov shows her his paintings. But really what is happening is seduction.

"He speaks about the painting - colours - there's a big erotic atmosphere around what the doctor says... The guy wants to fuck her. No doubt."

Elena needs to be a "mega bitch" too. And "when she enters - *SHUCK!* - it's sensual."

I had a go with Anna...and it was awful! The first time there was no eroticism whatsoever - I was more interested in the details of the painting than her! And the next time (we got a second try) I stupidly got us to bend down so that our eyes were in line with the tabletop in order to see the texture of the individual paint strokes. As soon as we started lowering I knew it was a bad idea! And it was! Awkward!! Philippe killed us and I said "BUT THIS IS WHAT MY DAD DOES!" but Philippe said he didn't want to hear about it...!

Again, a fine line. It's not love. It's not gay. It's not just-friends. It's sex. I guess Anna and I just aren't destined to one day be lovers...(damn!) 

~

Philippe said a few days ago about how as actors we can't play everything - we specialise. This makes a lot of sense. Especially like today where I'm playing a role I'm just awful at! Maybe I'm not suited to a classic seducer? I just don't get it. I'm amazing at it in real life!!

Also noticing a better feeling in the class now in terms of getting up and risking. We were tentative at the start of the week but over the last few days we've all got things moving which is great.

~

Finished reading War Horse by Michael Morpurgo. 

I bought the young adult's novel whilst in London at the National Theatre Bookshop. I've seen the show and absolutely loved it. It's now gone to West End, has just opened on Broadway, and Steven Spielberg is making a film of the book! Thought I would read the book to get an idea of how the adaptation to stage took place (one day I'd like to adapt a popular New Zealand children's book to stage). Interesting to see the things they've stretched and the things they've cut. Especially the things they were able to do without words. I really enjoyed the book. A great story, told in an exciting way (from the perspective of the horse), that deals with war, life and death in a really accessible way for kids.

*SHUCK!* A New Impulse! A New Life!

Today was all about flirting!

We started with an exercise in which we had to dance with a partner, and flirt. Sounds easy. But to flirt is a delicate thing! It's not with the pure intention to fuck ("we could, but not for now...") - it's in between friends and lovers. 

I danced with Claudia...GOODBYE! Then with Sam...GOODBYE! Then with Maria-Luisa (who is back again!) and we were chosen to do the next part of the exercise. Which was for the woman to look at the man, and then walk forwards with the intention of getting the man to follow her. And then the woman, with the knowledge and feeling of the man following her, recites a recipe of a cake. "The trick to making a good moist chocolate brownie is..."

= A way of finding pleasure and fun (the joy of life) in otherwise unexciting text.

~

Then the men had a go at an exercise in which a husband/writer gets out of his house, escaping his horrible wife of 20 years (who he's sick of), and meets a young 'fresh' woman who he instantly falls for. They flirt. (This is the bones of a scene in The Seagull between Nina & Trigorin).

I got up first (as I was trying to get the ball rolling for the class to get up more - it worked - today was much better) but was too small and didn't risk anything. Boring. Goodbye.

Later I had another go in which I spoke to Maria-Luisa as the young woman. I was playing a bit awkward and nervous. A bumbling fool. Like Hugh Grant does so well.

I thought it was going okay. I was alive and the conversation was fun. But Philippe made it clear that I looked stupid - "He looks intelligent? Or like a Pharmacist from Sceaux?". I didn't really get what he meant at first, although I could tell it was to do with the way I was standing and what I was doing with my hands. But later I realised I needed to be much more grounded and simple. You don't have to say much at all. Philippe demonstrated this with Franck, who he got to slowly open a packet of cigarettes...

...and then pull one out, put it in his mouth, light it, breath it in, and then say some simple text, with lots of room around it. I was bla bla bla. Not super attractive. Not super electricity.

Again it's a fine line with flirting. As well as an idiot, it's easy to come across like a criminal, or a pimp too!

~

Philippe wanted to see the moment of change. Of decision. Of everything shifting.

"We don't have *SHUCK!* a new impulse! A new life!"

"I don't feel *SHUCK!* ... you need her for your work."

It doesn't matter what you talk about. You can talk about anything. But when you talk we need: "Ah! We see something special."

"Chekhov is like this. They open the window and see the snow and *SHUCK!*... Let's go to Moscow!"

~

Watched the Barcelona VS Real Madrid tonight with Thomas and Hadleigh - a friend from NZ who's in Paris at the moment as one of many stops on a massive round the world trip. Barcelona won 2-0! Messi scored 2 goals! Didn't know anything about him before, but he's brilliant!

"When You Lose The Good Feeling With Your Partner...Theatre = Kaput!"

Started Auto-Course this morning. I'm working with Claudia from the flat German speaking part of Switzerland. 

We're doing the opening scene from The Seagull. Fun looking through the text. It has lots of opportunities to play!

~

Today we did basically the same as yesterday - improvising the Uncle Vanya scene between Astrov and Marina - which was slightly disappointing. Philippe started the class by asking if any of us had a dream last night that today we would be beautiful on stage and dare to be big and bold. A strong hint at where we should be aiming for...?

I got up and chose Vicky as my dance partner. We had good complicité and pleasure but Vicky didn't give enough. Philippe said I was "not bad" but that Astrov is not ashamed of being an alcoholic (which I played). He's not ashamed. He loves his drink! He's just not drinking any more... Since when? Since this morning!

~

A lot of today was just about two actors having pleasure on stage together. The pleasure to play together, to speak with a theatre voice... It seems to be the most important thing for us to learn right now.

"When you lose the good feeling with your partner...theatre = kaput!"

Thomas did a bit of unnecessary pantomime acting in one improvisation - Instead of the grimace or explanations, change rhythm to guide the audience: "The rhythm gives the meaning of the game" 

~

Later I got up again - this time with Katy. Philippe played 'When You're A Jet' from West Side Story and we both got into Musical Theatre mode, clicks and all.

We had great complicité and pleasure. We were together. I went big too. Took the risk. "No! No vodka for me!!" I played. Changed rhythms. Good listening. It was another moment of freedom. "Not bad." Philippe said we weren't far and that soon we could try the scene in a normal staged setting (as opposed to dancing with music) but he wanted to continue with others in the class I think. Anyway - good to try and reach out and find another more exciting way to play the text. 

~

People were particularly hesitant to get up today. Philippe will say "Alors who?" and there'll be a long silence in which a lot of time goes by before anyone gets up. A waste of time. Come on class!

"All Of Chekhov's Characters Are Fantastic Liars" (Day One of 'Shakespeare & Chekhov')

Back to school today: Day One of 'Shakespeare & Chekhov'.

We improvised the gyst of a scene (just as The Factory did...)

 from Chekhov's Uncle Vanya.

Anton Chekhov

Basically, the action of the scene involves Marina trying to get Astrov to accept a drink, and Astrov avoids one. He's got a drinking problem (Philippe says everybody in Chekhov's plays have drinking problems) and they both know it, but he won't admit it, and she wants him to. 

Philippe encouraged us to use tactics to get what we want. Specifically, to lie: "All of Chekhov's characters are fantastic liars."

M: A cup of tea? [Marina tests a very hungover Astrov]

A: I don't feel like one, thanks. [Astrov avoids]

M: How about a drop of vodka? [Marina pushes harder]

A: No. I don't drink anymore... [Astrov lies] How long have we known each other? [Astrov changes subject]

He said Chekhov is not small. We can laugh and be big. He demanded a big voice, and plenty of pleasure. "You have to put your words on the pleasure of being together."

"If you explain [have long text] without the pleasure of two actors on stage together, it's nothing...but Chekhov is not nothing."

Philippe then got us to do the scene with a tennis ball balanced between the two actors' foreheads, with music in the background. This helped with complicité and pleasure. It's hard to have a big voice but still remain with your partner when they are inches away!

Then he got us to come out on stage and say "Is that a gun in your pocket, or are you just happy to see me?" A pick up line basically. For the boys (after I did a rather camp version) he got us to say "Take off your clothes." Charming...

"Is that a gun in your pocket, or are you just glad to see me?" - May West

And then he got us to keep the feeling of the pick up line in our voice as we said a line from the scene in which Astrov admits Marina is right about him. The text doesn't mean anything without the energy of the pick up line behind it.

Really great to see everybody again. And we've acquired 3 new faces. Ben from England, Claudia from Switzerland, and Sam (f) from Australia. The weather is great in Paris now (warm enough to wear just a T-Shirt) and the sun's out till late now, so after class we all went out to the park to have a drink and play a game of Ultimate Frisbee. 

On Yer Bike! (5 Days In Paris With Ryan Mulcock)

Over the past 5 days Ryan and I visited Sacre Coeur, Notre Dame, Père Lachaise, Versailles, Marché aux Puces, the Maraie and more...

Saw Pina one night. The first film I've seen in 3D that I think is better in 3D than in 2D. Watching something that is meant for the stage on screen is usually never as good, but the depth of 3D helps. Beautiful dance too. I'd heard of Pina Bausch but never seen any of her work. 

Most of the time we hired a Velib' bike and just explored Paris. It's been really nice.

Bye London! Thanks for the Inspiration!

Today I sped through the Tate Modern and the National Gallery (I get a bit bored at galleries...sorry Dad!...although the work is fantastic and very inspiring). 

The Unilever Series: Ai Weiwei (Tate)

National Gallery

I was going to try and fit one more show in...but I think I've done pretty damn well over the past nine days actually! 

I felt super inspired today. I wrote down ideas for a bunch of shows I want to make. And lots of little dreams for how I want my theatre company to run in the future. I'm very happy training at the moment, but I also can't wait to get out there and into some real world-domination work.

 I've totally fallen in love with London this time. Good weather helps so much! It's like home in a way, but far bigger and busier. And the best thing is there are just so many things going on, everywhere, all the time. And that goes for theatre too. If I lived in London (which could be the case in a year or so) I'd go to shows all the time. Wow. What an awesome holiday I've had. I'm a very very lucky man. 

Hopping on an overnight bus back to Paris tonight! Fingers crossed it's a better experience than on India...!

Coffee, Shopping & One Man

This morning I caught up with Trygve, an NZ friend who I met at Gaulier when I came to Paris 2 years ago. We had coffee on the Southbank and a good catch up which was really nice.

Then I did some clothes shopping which I usually HATE, but as I was by myself I could really take my time which helped take the stress out of the process...

Then tonight I went to One Man by Steven Berkoff at Riverside Studios.

It featured two short solo plays: 

Tell Tale Heart by Edgar Allen Poe... 

...and Dog by Steven Berkoff.

It was good. He was good. But he never totally won us over as an audience. And it was hard for me to like him too, because I've heard a few stories about what a nasty guy he is in real life. Still, his technical skill, particularly in mime, was very good. I didn't like the first as much as there was a lot of talking - it was in a direct-to-audience storytelling style. But Dog was fabulous because it was big and theatrical and physical and fun. Still not sure if I like the guy though. In his curtain call it felt like he was just phoning it in. Faking his gratitude. Again that's problem me reading into things. But it's interesting how an audience's idea of the real person can sway their experience of a performance.

Bible @ The Globe, Beethoven & Macbeth (FAIL)

This morning I went and watched a bit of the London Marathon (wish I could have run it!)...

...then went to Shakespeare's Globe Theatre to watch a few hours of readings of the King James Bible celebrating the 400th anniversary of the text.

The readings went on for 6 hour slots, and you could come and go as you please.

One actor entered on stage at a time, and spoke a chunk of text. They wore iPod headphones which had recordings of the text they were saying - I imagine to help remember the ample amount of text they had to learn, as well as to maintain a good pace in order to fit within the 6 hour slot! Sometimes you could hear the headphones say something just before the actor said it, which was kind of fun.

In the beginning God created the heaven and the earth. And the earth was without form, and void; and darkness was upon the face of the deep.  And the Spirit of God moved upon the face of the waters. And God said, Let there be light: and there was light.

Unfortunately I'm a rubbish listener (more of a visual person) and so I found the production quite boring...Instead I just enjoyed being in the theatre. But when the actors played with rhythm, and us, or enjoyed the text, or were bigger physically, I liked them. I wonder what a more exciting way of presenting it might have been. Maybe acting them out? Or animations/images of some sort. Still, the simplicity was charming. It was about the words anyway.

~

I decided to try out some classical music (as I've been getting into it a bit lately) and went to a concert at The Red Hedgehog, a tiny little intimate homely theatre...

...and listened to Peter Donohoe play the last three of Beethoven's piano sonatas (he'd been playing some every weekend for a while). 

It was incredible playing! And beautiful powerful music - totally evokes the spirit. But I was tired and it wasn't interesting to watch (from where I was...although the audience was - playing along with their fingers, fist pumping when he got through a hard part!) so I nearly fell asleep.  I enjoyed the music. And I guess live is always best. But I'm happy to listen to recordings I think.

~

In the evening I met up with an old high school friend, Natalia De Palma, who I performed with in The Crucible back in the day. We went to go and see a site-specific production of Macbeth by a young theatre company called Belt Up...

...but when we got there the actors were drinking in the bar! And the producer came over to tell us that nobody had booked so they decided not to do the performance tonight! BOO! I tried to convince them that we were an audience and that should perform for us, even with a beer in their hand, but they weren't to be swayed. So Natalia and I had a drink there with them. They invited us to come back the next night to a performance specifically for the press. A review night. I decided against it. The professionalism they showed tonight didn't bode well for a professional show. And I'm glad I didn't.

In A Forest Dark And Deep & Sex Idiot

Today I went to a matinee of In A Forest Dark And Deep by Neil Labute at Vaudeville Theatre.

To be perfectly honest, the only reason I went was because Jack from LOST (Matthew Fox) was in it. So it was a little geek/fan moment for me. Wanted to experience 'Jackface' up close...

The actors (Olivia Williams was the woman) were strong, but there was a lot of yelling (Philippe would have killed both actors very quickly!) and the performance felt pretty phoned in.

Unfortunately the play was boring. Just 'bla bla bla theatre'. A brother and sister with issues - stuck in a cottage for a night - they deal with their issues. The script was predictable and extreme/melodramatic. I'm okay with that. But it felt forced. And I don't really care about the characters and their problems, and if I don't feel sorry for them by the end of the play then the whole thing doesn't really work.

I liked the staging: A tall triangular-roofed cottage, in which we can see two stories. The roof flashed with lightning at times which was a very cool lighting effect. And they made it seem real outside the house - when Fox opens the back door we see rain and think he really could walk out into the forest. 

The below photos give you a good idea of the angst in the play (there's a lot of it):

This production really felt like a producer's money making venture and not much else. Hey producer! It would be much better on TV...so why put this on stage?

~

Tonight I went to Sex Idiot at Soho Theatre.

It was genius! I loved it!

Performance artist Bryony Kimmings takes us on a journey of discovery...to find out who gave her an STD.

It was full of little songs and contemporary dances and stories of all her previous sexual experiences, and what it was like when she contacted them to find out if they gave her the STD.

I totally fell in love with Kimmings. She was wacky and quirky and utterly charming. Even with her STD, I'd have sex with her!

This was a song about all the different names you can use for vagina. 'James Blunt' was a new one...

In one moment she needed to cry...so she got Tiger Balm and spread it under her eyes, and then waved a fan furiously into her eyes whilst keeping them as wide open as possible...

Various funky outfits. She was naked under this one. And before she got into it, she sat on my knee (I was in the front row) and got me to undo her bra. What an honour! 

For one song she passed around a few bottles of whiskey, some scissors, and a cup. She then encouraged those that were willing to take a swig of whiskey (to loosen up, of course) and to cut some of their pubic hair off with the scissors (she showed us a crafty discreet way) and put it in the cup. I did it...

And then after she'd done this, she told us that over all the time she's been performing this show she's never washed the cup or scissors or whisky bottles...and warned us to be more careful!

THEN she got double-sided tape and made a pubic-hair moustache...

It was necessary! The song was about a boyfriend who had a moustache.

Bashing her face with a bunch of flowers...

A brilliant show. Fun, silly, imaginative, distinctly Kimmings, crazy, honest, beautiful. I want to see her next show now! Apparently she's spending a week in the rehearsing room completely drunk, and then performing what she's made, sober. Fucking cool.