Since we started in 2005 we seem to have thrived off some kind of horror or another, whether that be a story that informs the content of a project – blasphemy, cannibalism, murder, or whether that be an actual part of the making process; we went through a phase of using an excessive amount of fake blood and stained lots of things: the herringbone tiles of a church floor, a ceiling and various articles of clothing and costume. (We do always repair our recklessness)

(Image: Bianca Hervey)

After 7 years it seems we’ve graduated from the use of the fake stuff to actual blood, sweat and tears of taking our first touring project THE FURIES to London. Of course we’ve not done it alone. Collaboration is a massive part of how we work and we’re indebted to those who have encouraged, coerced and worked with us along the way.

THE FURIES in London is part of a larger independent festival called VAULT produced by Heritage Arts who we met when we took EAT YOUR HEART OUT to London last year for Ideas Tap’s Coming Up Festival. Once again we find ourselves at home not in the hospitable warmth of a theatre with cushioned seating, sprung floor, readily available power – not unheard of in our modern time; but rather a filthy, damp, dripping tunnel under Waterloo which has been locked up for 8 years. These are ideal conditions for pleurisy and THE FURIES.

(Image: Graeme Rose)

We’re certainly no strangers to post-industrial spaces, our first solo project the glasshouse, 2006 was a temporary installation on the 7th floor of Chance Brother’s Glass Works, Smethwick, where we spent two weeks clearing the vast space of literally tons of computer equipment before installing a temporary exhibition. We followed that by working in cavernous Birmingham churches, the deep underground of Iron Ore mines, Clearwell Caves and the most recently the well loved A.E Harris.

For VAULT we’ve been hugely supported by the West Midlands theatre community and beyond. We’ve had help with everything from producer support, steel deck and lighting, to cabling, rigging, hand-made treads and general good will towards the project. We are very grateful for this support and we hope that we are doing our region proud by presenting our particular brand of Birmingham-born theatre-making in the UK capital.

Sam and Graeme have been project-managing THE FURIES, sourcing equipment, pulling together our marketing, talking with the creative team, all in a relatively short space of time. Following a two day period of re-rehearsal at mac in late January, a huge articulated lorry chaperoned by Tim and Martin from Heritage rumbled into the city and into cannon hill park to collect the necessary FURIES equipment for it’s safe delivery to London. The following week, a straining dehumidifier was airing our tunnel and Road-Runner Rigging had installed a spidery erection of aluminium from which to hang the lights of Ben’s design. Graeme looked like a wild man when we arrived, slightly paler and with wider eyes. There was no time for a cup of tea or the usual social pleasantries, it was: get your sleeves rolled up we have draping to hang followed by a series of run throughs to get familiar with the acoustics and uneven floor. I invite you to imagine it. A humid, dark tunnel, a channel of water running along the muddy floor and walls that give off a strange creamy matter. There is the intermittent rumble and screech of trains above you, high vaulted ceiling and grafitti on the walls that look like a kind of primitive cave art from something that had been deliberately locked in there for years.

When we first made a site visit back in December last year the door creaked opened and we squinted into the blackness, real dark black, carbon black. With a little torch we could make out the lake on the floor and as we moved inside, eventually getting to a back wall we discovered a second arch – just the right height for a subterranean creature to creep in and out of. If you have read the book ‘The House of Leaves’ or seen the film ‘CREEP’ then this space felt like the perfect setting. The further we got from the door the more I wanted to get out. So it was dark and wet and then Bungle pointed out the massive issue of the four second sound delay that created an echo so profound that it distorted any kind of normal speech into an eerie, inaudible blur. So… the drapes, kindly loaned by Stan’s Cafe were configured into two funnel shapes either end to dampen the sound, that, and once audience are inside has sorted any sound nightmare we may previously have feared.

(Image: Graeme Rose)

THE FURIES has gone through a couple of phases to reach full development. From a thirty minute work-in-progress showing at mac birmingham in April 2011, an award-winning performance at BE Festival for a big audience of over two hundred, to tests at Forest Fringe, Edinburgh and The Basement, Brighton. In October 2011 we finished work on it and the hour long piece was presented again at mac as part of Supersonic Festival and it is this finished version that we present at VAULT. It’s been very different at VAULT because it’s a longer run – four shows a week over three weeks and the space is very unique. The length of the run is the most significant difference. At the heart of the work is the voice and this is based on an expressive vocal technique borrowed and developed from Roy Hart Theatre. In January 2011 when we started working, Margaret Pikes a founder member of Roy Hart Theatre worked with us to examine how the technique related to each of our voices. Sam had done some work with Margaret so Emily and I were doing lots of learning of how to use the entire body not just the ‘head voice’ as a focus for sound. Having this focus and technique has proved valuable for us a performers and the work we did with Margaret encouraged us not just our head resonator to affect sounds but rather the entire body, from out feet, to bellies to chests. It is very physical work and the sound created can be very powerful and wild.

(Image: Graeme Rose)

It would seem THE FURIES has created the most talk about our work in our short time as a company and this, I suspect, is to do with the subject matter, how we have chosen to present it and also where we find ourselves as a company seven years in. Our team is vital to the work. This includes Margaret, Jill, Ben, Bungle, Phill and Russell as musicians but it’s also the first time we have worked with a male director – Graeme who has proved a fantastic interrogator of the work, also someone who is sensitive and musical and someone who can give us a kick when we need it.

This project came from exploring horror on stage. Two years ago China Plate invited us to The Darkroom (where we had to repaint a ceiling after spitting on it with fake blood) and we worked with writer Rob Ritchie to examine this topic. From this came a short vocal score of the sound of fury. When we make our work we always start by ‘doing’ – an important legacy from when we started out under the direction of Carran Waterfield, Triangle. We play and practice in the rehearsal room and it became clear during the inital research and development period that what we were looking at was closely related to the Greek myth of Clytemnestra in the first part of Aeschylus’ epic triology The Oresteia. In this part of the myth Clytemnestra avenges the slaughter of her own family by murdering her second husband, Agamemnon and his mistress Cassandra. We have borrowed THE FURIES, also know as THE FATES or THE EUMENIDES from a later part of The Oresteia and it is through them that Clytemnestra’s story is enacted. In our version they are a ensemble of female energy and they enable Clytemnestra to get to the place where she can carry out the ultimate act of revenge. So, in our own way we adapted the story so as to present it in the way we wanted to and this we have done in a truly theatrical way: a garish rock gig that borrows stylistically from our native regions heritage for Heavy Metal with influences of glam rock, punk, and opera.

It is conjured by three very distinct characters. These characters are all peculiar to the each of us and they represent vital elemental energies from the myth. On one level THE FURIES can be read as a three piece girl band, on another it can be read as ritual where the performers occupy multiple roles to serve the story, it can be read as a gig or as a piece of theatre or a theatrical-gig. It depends on what you as audience choose to focus on. I think in this way it’s why we’ve had such a variety of responses to the work. We’ve never explicitly used the term feminist to talk about the work, and this is perhaps a topic for another article, but some people have choosen this word to talk about the work. Some audience experience it as wild, chaotic catharsis and some people leave outraged and irritated by its ambiguity, peculiar sound – and those reactions are provoked by the work and personal to each audience member. There is no one answer, the work is a provocation and we hope it engages people in discussion / debate/ nodding and maybe even crowd surfing one day.

(Image: Max Letek)

We hope you will come and see it when it tours this year – although this may be your only opportunity to see it in a filthy tunnels in London. It’s on until Sunday 26th February, 9pm – 10pm, tickets available through www.vaultfestival.com

…the power of these rock-chick Furies is in the way they use their voices and bodies as weapons…They are a force of nature, making their voices heard at last.

Lyn Gardner, Guardian

Written by Olivia, Kindle Theatre.

A bride and groom hold two families hope for a better future, but the past is always waiting, desire cannot be tamed and even the moon is hungry for blood.

Lorca’s scorching tale of passion, morality and vengeance is reinvented with RoguePlay’s unsurpassable Physical Theatre style, combined with stunning innovative aerial circus, making this classic story of the uneasy marriage of two villagers against a backdrop of betrayal and violence all the more eloquent and evocative.

Saturday 3rd March, 7.30pm
Sticky Dance Studio, Lower Trinity Street, Digbeth.
£8. Tickets available on www.rogueplay.co.uk

Please note, tickets need to be booked in advance as the space has a limited capacity of 60 seats.

DO YOU WANT TO BE AN ACTOR?

Well the Young Rogues are a group of young people from a variety of backgrounds, who perform on stage and in film and TV. Ages 12-18 years.

The Young Rogues meet every Saturday during term time and develop work and skills for public stage performance in Birmingham. We also work with a casting agent named The Young Actors Company who specialise in young people in TV and Film. That’s not to say you would be out filming every week, but if it’s an industry you want to get into then you will need an agent, and The Young Actors Company have been specialising in young people for nearly 30 years. You will have a webpage with professional photographs and voicereel created and then you are open for auditions and castings.

The focus however is on stage performance, and they perform almost every term around professional venues in Birmingham. To add to their most recent list of credits, the Young Rogues have performed at the International Youth Arts Festival in London July ’11, ArtsFest in Birmingham in September ’11, as well as various Birmingham Theatres.
Our next audition is on the 3rd March at South Birmingham College, Digbeth, 12pm. Contact;
kim@rogueplay.co.uk to book a place.

People from across Birmingham have told us their stories and passed on words of wisdom. About how to…make ends meet, eat well, strengthen relationships and get the most out of life.

Could we make more, do more, mend more…and spend less? Do you wish you were more resourceful? Have you got a good idea? A top tip? Come along and pass it on. Women &Theatre invite you to be a part of their new theatre performance.

There will be a week of performances in five community venues throughout Birmingham including:

Monday 27th February 2012 , 1.15pm: Stanhope Hall Community Centre, Emily Street, Highgate, B12 0XG
Tuesday 28th February 2012, 1.15pm: Balsall Heath Church Centre, 100 Mary Street, Balsall Heath, B12 9JU
Wednesday 29th February 2012, 1.15pm: Centre for the Aston Family, 359/361 Witton Road, Aston, B6 6NS
Thursday 1st March February 2012, 1.15pm: 610 youth & Community Centre, Kingstanding Road, Kingstanding, B44 9SH
Friday 2nd March 2012, 1.15pm: The Main Hall, All Saints Centre, 2 Vicarage Road,
Kings Heath, Birmingham, B14 7RA

MORE INFORMATION or contact Women & Theatre on 0121 449 7117 or email info@womenandtheatre.co.uk

Highlights for 2012 include:
Dachshund U.N. – Live sausage dogs will take over Brindleyplace in Bennett Miller’s playful, satirical (and often chaotic) piece, examining the utopian aspirations of the Commission on Human Rights.
See a totally different view of Spaghetti Junction in Track, a moveable immersive participatory installation by Graeme Miller.
Encounter a ‘human book’ in Birmingham Central Library and be treated to a personal storyteller in Mette Edvardsen’s Time Has Fallen Asleep in the Afternoon Sunshine.
Sign away a night of your life to Fierce and Capsule to experience a totally Secret Show.
Curious Sounds in Curious Spaces – Discover unusual sounds and hidden spaces in Birmingham’s Symphony Hall.
Plus live art, live music, free haircuts and the famous Fierce parties.

WEBSITE

Speaking not Speeching Shakespeare

A Workshop for Actors who have performed Shakespeare roles and who want to explore and experience a different way of working with Shakespeare.

This fresh and unique session, using exercises derived from the work of Meisner, Brook & Rodenburg, will encourage participants to find their own Shakespeare voice.

The all-day Workshop costs just £10, and places are allocated on a first come basis.

@ Blue Orange Theatre, 18 February 2012, 9.30am to 5.30pm

If you are interested in taking part, please contact Frank Bramwell with a copy of your Theatre CV:

inamoment@hotmail.co.uk
www.inamoment.org.uk

FOR AN INFORMAL DISCUSSION REGARDING THIS PROJECT PLEASE E-MAIL A BRIEF CV TO: fireduptheatre@aol.com
OR CALL 07985 030585.

Simon Quinn

The RSC and PILOT are interested in seeing new performance ideas that explore how Shakespeare’s work is referenced within contemporary culture and how his words, stories, characters and ideas have seeped into our everyday lives.

Responses to the brief can be wide ranging and could explore big thematic ideas or a single stage direction. Ideas can be dark, satirical, visual, humorous or irreverent. The performance should avoid using Shakespeare’s text in a literal sense and focus instead on using his words, ideas or stories as a starting point for a new theatrical idea.

The work created can be up to twenty minutes in duration and will be created to be performed somewhere within The Courtyard Theatre at the RSC in Stratford Upon Avon on the 12th July.

Submissions are by open application and the RSC and PILOT will select up to five artists or companies that are based within the West Midlands. The five selected artists will each be offered expenses of £500 towards development of the work.

The closing date for applications is Monday 12th March 2012 at 12 midday.

FURTHER DETAILS

The Edge, 79-81 Cheapside, Birmingham, B12 0QH

FURTHER DETAILS

Day tickets are available from Warwick Arts Centre. Day passes are only available via the Warwick Arts Centre box office 024 7652 4524.
]]> http://midpoint.org.uk/2012/02/09/bite-size-tickets-now-on-sale/feed/ 2 Bite_Size_2012 midpointadmin http://midpoint.org.uk/2012/02/03/924/ http://midpoint.org.uk/2012/02/03/924/#comments Fri, 03 Feb 2012 09:55:47 +0000 Midpoint http://midpoint.org.uk/?p=924 Read more]]> Capital Theatre Festival is delighted to announce a host of opportunities for people to get involved in this year’s event. If you’re interested in writing for theatre, making connections, or adding new skills to your CV, Capital is on the lookout for participants and volunteers.

BACKGROUND
Capital is an independent theatre festival to be held from 24-27 May 2012, at MAC, Birmingham. It aims to celebrate and promote the work of writers and theatre-makers across the West Midlands and beyond. The Festival will provide an informal platform for artists to showcase new work, explore new ideas and develop new skills. Featuring performances, workshops, discussions, rehearsed readings and networking events, Capital aims to encourage writers to explore new ways of working and making theatre. The Festival is hosted and supported by MAC and supported by The National Lottery through Arts Council England and the Sir Barry Jackson Trust.

OPPORTUNITIES
There are several ways to get involved, both now, and in the lead-up to the Festival itself. Whether you’re a writer just starting out, an experienced playwright looking for new challenges, an audience member looking for a good night out, or a student hoping to gain new skills, there’s something for everyone to enjoy. Here are a few examples of how you can take part:

 Call for Scripts
We are looking for writers and theatre-makers to submit new scripts for one-hour performances during the Festival in May. There are three slots available and successful applicants will be offered a £1000 bursary to self-produce their shows. Applications are welcomed from playwrights, devisers, writer-performers and theatre-makers of any designation working with the spoken and written word. See website for more details.
Deadline: Monday 5th March, 12noon
Further info: Email writers@capitalplays.co.uk or visit http://capitalplays.co.uk/

 High Jump

Talking Birds will be working with Capital Theatre Festival and Writing West Midlands to stage a night of short performances at mac, Birmingham. We are looking for 5 minute pieces (stories, monologues, plays) which engage with the high jump, either metaphorically, or literally.
Deadline: 28th February 2012, 12noon
Further Info: http://www.talkingbirds.co.uk/pages/decathloncalls.asp

VOLUNTEERS
Capital is also looking for volunteers, in partnership with Writing West Midlands, to assist with the Festival in May and to help with the distribution of promotional materials beforehand (both online and in person). Volunteers may be expected to help with:

 Social media updates
 Co-ordinating writers and performers (also, taking care of them if they need it)
 Setting up and tidying venues
 Serving refreshments
 Ushering
 Gathering feedback
 Any last minute emergencies!
A Volunteer Meeting has been scheduled for 27th February 2012, which will provide more information about Capital Theatre Festival and the roles we’ll need you to fill, as well as answering any questions you may have. Email joanne@writingwestmidlands.org to register your interest.