Five Kinds of Silence by Shelgah Stephenson started its life as an award-winning radio play that first aired in 1997. She then adapted it for the stage, and in May 2000 it had its debut at the Lyric Hammersmith in London. The cast included Gina McKee, Lizzy McInnery, Linda Bassett, Dione Inman, Gary Whitaker and the wonderfully immortal Tim Pigott-Smith in the cast. The tone of the piece is often lyrical, particularly from the revenant ‘animal Billy’ ('the tarmac road made my dog teeth tingle")
My love for Neil Simon started as a youngster. I was off school with Asthma and ‘Barefoot In The Park’ was showing on television and even though it was, what I considered, an ‘old’ film, I loved every minute of it. That love affair with his work continues until today. He had the very rare talent of being able to make you roar with laughter one minute and the next have you crying into your tissue. He was an exceptional, insightful playwright.
I have been really enjoying the new series of Talking Heads on the BBC. The first series was aired in 1988 with Alan Bennett in A Chip in the Sugar, Patricia Routledge in A Lady of Letters, Maggie Smith in Bed Among the Lentils, Stephanie Cole in Soldiering On, Julie Walters in Her Big Chance and the wonderful Thora Hird in A Cream Cracker under the Settee. I remember watching these and being totally enthralled. In 1998 the second series was aired with some of the same cast playing different roles Patricia Routledge in Miss Fozzard Finds Her Feet, Eileen Atkins in The Hand of God, David Haig in Playing Sandwiches, Julie Walters in The Outside Dog, Penelope Wilton in Nights in the Gardens of Spain and Thora Hird in Waiting for the Telegram. When they were first published I remember appearing in and directing the odd one or two here and there. I even have a dusty old copy of the scripts on my bookshelf but haven’t revisited them in a good few years.
Back in early February, just a few weeks before the world turned upside down, the lovely Simone Stewart interviewed me for her podcast ‘How to Adult’. She says she started this podcast because at, aged 25: “I am trying to dig my way out of a quarter-life crisis. I've realised that burying my head in the sand (no matter how deep I go) doesn't actually help, but talking to people about their experiences, really does! Here, on How to Adult, I’ll be talking to different people about their quarter-life journey's and hearing some incredible stories along the way. I'm hoping that we can learn, laugh and get through this together! I mean, does anyone really know how to adult?”
Happy New Year!
2019 was a big one for The Green Room Productions. Being our 10 year anniversary we chose to start our season with the amazing (world premiere!) play Someone, Somewhere by Pat Davis. This was the true story of 22- year old Jessie Earl, who disappeared from her flat Eastbourne in 1980. She was a 'missing person' until 9 years later when her body was discovered hidden in dense undergrowth on Beachy Head. We worked with Pat and Jessie’s parents, John and Val, to bring this story to the stage. We all invested our hearts and souls into this production and we are incredibly proud and honoured to have produced a piece of theatre that impacted so many people in so many ways. It was a very moving experience for those onstage and off, and I know that those of us who were involved in the play will ever forget that time. When we collated all the emails, comments and letters we had received to give to John and Val, there were 10 A4 pages! We are hoping for some more news about Someone, Somewhere in 2020 so watch this space.
***** ‘Simply stunning’ *****’
Producing a play is not just about the actors, we have to think about the set, the soundscape, costumes, the lighting and the props. Each of these elements is as important as the other, and a successful production will have a great artistic team working tirelessly behind the scenes with the director.
Some playwrights (and directors - and I personally hold my hand up to this) like to task huge complex challenges for the companies producing their plays, with difficult sets, extraordinary props, flamboyant costumes and complicated lighting effects & soundscapes.
These are shortened and much more condensed descriptions of what were, at times, heart-stopping theatrical nightmares! Each one of these situations was eventually overcome and - thank goodness - solved without the audience suspecting a thing. But for those of us backstage, on stage, or out front we all gained a few more grey hairs on those days.
I am 100% sure there is no ‘good way’ to give this kind of news to anyone involved in the theatre. There never seems to be time to even fully digest what you have just been told because as soon as the news is delivered a plan has to be made (usually extremely quickly) as to how to combat the issue. The time to fall apart is post-show in the bar. But maybe the blow would be softened by some of these gorgeous baby animals delivering the news. What do you think?
