As a club that is dedicated to producing drama of high quality, we frequently look for opportunities in which to develop and improve as performers. It was with this in mind that we arranged for professional actor David Hall to present a workshop with a focus on vocal work and physical theatre. Being alumni of the Bristol Old Vic, as well as having over twenty-five years’ experience, he was an ideal individual from whom to learn.
We were treated to an illuminating and immensely enjoyable four hours. In a sense, teaching a class or workshop is like a performance itself; the teacher needs to demonstrate their passion, or they will inevitably elicit a subdued and bored response from the students. David possessed an infectious enthusiasm which quickly spread and invigorated those of us still bleary-eyed from rising so early on a Sunday.
I think we often forget the extent to which our body affects our communication, and with an extended and embellished form of communication such as acting, it becomes an even greater mechanism for effective portrayal. The merest change in posture can tell an audience a lot about a character’s mood or status. I have always viewed acting as a primarily mental exercise – which it undoubtedly is – but the workshop served as a reminder of the neglected physical aspect and the use of our body to convey as much as we do from the words we deliver from the script.
An exercise which I think everyone found of interest was our work with character archetypes; these being various models of certain kind of personalities which are all, to a degree, drawn upon in literature and drama, and which are all present in human identity. In Jungian psychology, archetypes are thought to be “universal patterns and images which derive from the collective unconscious.” Jung expounded on this in a 1934 publication, in which he argued that:
“…the content of the collective unconscious is made up essentially of ‘archetypes’. The concept of the archetype, which is an indispensable correlate of the idea of the collective unconscious, indicates the existence of definite forms in the psyche which seem to be present always and everywhere.”
Such archetypes include models of ‘The Mother’, ‘The Trickster’ and ‘The Fool’ and one activity included performing a piece (poem, speech, etc) using a mixture of archetypes in our speech. I had a lot of fun delivering a verse of Philip Larkin’s cynical and unhappy poem ‘This Be the Verse’ using the archetype of innocence, which turned his work of pessimism into one of satirical comedy.
I believe that one of the marks of a successful workshop is when the individual teaching it is enjoying themselves as much as those attending, and this was clearly the case with David. It was a day of great fun for everyone fortunate enough to be there, and provided much for us to reflect upon when determining the progression of our approach to performance. We anticipate more of such events in the future, which we’re already looking forward to.
by Guest Blogger Michelle Gibson
To contact David Hall about drama workshops visit his website http://www.davidhall.info/contact.html
Since Mischief Theatre’s rise to prominence with The Play that Goes Wrong, the company has been soundly riding the wave of success. Two further plays – Peter Pan Goes Wrong and The Comedy About a Bank Robbery have helped cement the group of LAMDA graduates as a fixture in the current West End and dispelled any suggestion that they might have been a flash in the pan.
My first exposure to Mischief Theatre was on a club trip to see The Play that Goes Wrong in February 2015. Delighted with the non-stop hilarity, chaos and robust youthful energy, I insisted that my friend (who had at that point never been to a theatre in his life) accompany me to see it again. It might be a tad excessive to say that I pinioned his arms and frogmarched him into his seat, but ‘fan’ is abbreviated from ‘fanatic’, after all, and I’m sure my cajoling at times took on the tenor of an Evangelical preacher. (As it happens, the friend in question is glad that I got him to go.)
So I already had an idea of what to expect when I went to see The Comedy About a Bank Robbery last month. Although I anticipated a great show, I had to brush back the niggling concerns that I think we all experience when returning to the work of any kind of artist – “what if they’re not as good this time?”, etc.
Any vague doubts I might have had were groundless. The Mischief Theatre actors exploded into action with a verve that I’d been looking forward to. The play charges forward at such a frenetic pace that it can be hard to keep up with every single bit of action (part of the joy of such plays is that you’re sure to spot new things upon a second or even third viewing) but the story introduces us to a the eccentric staff of a Minnesota bank (upon which is soon to bestowed a priceless diamond) and the efforts of a jail-busting bunch of ne’er’-do-wells to execute a robbery (one of whom happens to be the daughter of the bank manager.) Also in the mix is the neighbourhood’s conman/petty thief who begins a relationship with aforementioned daughter, which leads to him being dragged into the diamond-snatching escapade.
The Comedy about a Bank Robbery is a ridiculous farce through and through, delivered with all the outrageousness that I’d seen in The Play That Goes Wrong. For me, particular scenes of note included a Fawlty Towers-esque sequence in which Sam Monaghan (impersonating Mr Freeboys) is forced to stumblingly deliver a potted history of Freeboys’ life, based upon his attempts to read the miming of Caprice. Later in the play, there are no fewer than three Freeboys (minor tongue twister there) – the real one and two impostors – whose multiple run-ins with the police officer and fellow bank staff are a source of much confusion and amusement. There is also a clever segment in which Freeboys and his lackey Warren are conversing in an office – suspended sideways on the wall, allowing the audience a bird’s-eye-view of the scene.
Performances were strong all around, but two that I especially favoured were Sean Kearns as the greedy, self-important bank manager and Tania Mathurin as Ruth Monaghan. Kearns seemed to fairly revel in his role as he barked orders at staff, butted heads with his daughter’s boyfriend and screamed and stomped his way around the stage in a verbal to-and-fro with Officer Shuck. Mathurin at first added a more low-key humorous warmth to the show, but as time stretched on, revealed her character to be just as conniving and corrupt as everybody else. Adding to the show’s charm was the interspersing of short doo-wop songs (performed by the cast) between scenes – matching the time-period of the play, which is set in 1958. Above all, just as with The Play That Goes Wrong, you knew that the cast were having the time of their lives, and their exhilaration and glee spread like a welcome virus through the audience.
If this hasn’t yet convinced you, I’ll leave the final word with theatre critic Dominic Cavendish, who failed to be impressed by Mischief Theatre’s first effort and declared The Play That Goes Wrong to be one of the “worst shows of 2014.” After reluctantly allowing them a second chance, Cavendish emerged from The Comedy About a Bank Robbery with an entirely new outlook. “This is the funniest show in town,” he raved, as though apologetic for his earlier dismissal of Mischief Theatre’s abilities. “The jokes, visual and verbal, are piled skyscraper high…there’s such youthful relish to the playing and so much surrounding theatrical invention that even the hoariest gag earns its keep.”
Glad you finally came around, Mr Cavendish – what took you so long?
By Guest Blogger Michelle Gibson
HDC’s social calendar normally includes at least one or two excursions to London per year, and the first of these took place last Saturday, when a group of us headed out to attend a two-hour workshop at the Donmar Warehouse, followed by Steve Waters’ new play Limehouse.
Any of the club’s social outings is of course something to be looked forward to, but this occasion particularly stood out for me because of its workshop component. As a group that takes pride in its resolution to maintain a professional approach to our work, this was an opportunity for us to learn directly – and borrow inspiration from – those working in the field of theatre.
If weather can be taken as an augur of what’s to come, then the sunshine and unusually warm temperature (for April) heralded a fantastic day out. Our workshop leader started with a few preliminary ice-breaking exercises aimed at establishing some social rapport between attendees, which served as another reminder of what a communal effort acting really is – without the foundations of mutual cooperation and give-and-take, a performance is sure to suffer. In a professional setting, she explained, such social practices would be a lot more in-depth.
This was followed by some historical background to the occurrences leading up to the subject of Waters’ play; the media-dubbed ‘Gang of Four’ (David Owen, Bill Rodgers, Shirley Williams and Roy Jenkins), and their issuing of the ‘Limehouse Declaration’, which marked the formation, two months later, of the Social Democratic Party in March 1981. Suitably educated on the political atmosphere of early 1980s Britain, we were next divided into groups to experiment with naturalistic and non-naturalistic approaches to acting, which we then transposed onto short sections from Limehouse.
There is a limit to how much can be imparted over the course of just two hours, but I felt that the workshop was adequately broken into sections so as to give us reasonable insight into the approaches used during rehearsals. Their perspective seemed to me to offer an open, experimental method infused with pragmatism, a process in which innovation is pursued, but encouraged to conform to the parameters of the play. While choosing to stage a play unconventionally is something to be admired, there is the potential for such inventiveness to deteriorate into egoistic self-indulgence; my impression of the Donmar Warehouse was that they sought to promote a disciplined and streamlined creative endeavour. What was also striking was the informality of the atmosphere – reflected in their recognition of the necessity to craft an environment which facilitates cast affinity and communal spirit.
Following on from this, we had the production of Limehouse itself, which I thought to be a mentally-energising and thought-provoking play. Performances were very good, especially from Roger Allam (as Roy Jenkins) and Debra Gillett (as Shirley Williams), but I was also impressed with how amusing I found much of it to be. I’d been rather expecting a lofty screed on civic matters, and not being one to overly acquaint myself with political knowledge, I’d been imagining that a fair amount of dialogue would be over my head. That wasn’t the case: whilst certainly providing much to consider intellectually, both in the framework of the 1980s and our current climate, Limehouse is also accessible to those with only a modicum of interest in the affairs of government. The action taking place in a kitchen setting served to further extend the broad appeal of the play; the characters seemed less like politicians – isolated and removed from the public’s general vision of everyday experience – and more like a group of impassioned friends, into whose intimate gathering we were stealing a glimpse.
I think we all came away entertained and having learned a thing or two – and in keeping with our aim of emulating professional, high-quality artists, I expect the club will make use of such experiences in further ventures. In the meantime, we look forward to the next trip out!
by Guest Blogger Michelle Gibson
Improvisation Workshop – Join us for a workshop on Improv with the excellent Mischief Theatre Company – producers of ‘The Play That Goes Wrong’. Limited places – book via the website. Learn about the basics of long form improvisation and story telling with professional actor & Mischief Theatre Company member Harry Kershaw.
A review of our Meet and Greet by Josephine Hussey
On 19 March we had our first social gathering since the AGM and the new committee were elected. We ventured to the Falcon in Huntingdon for a drink and a chance for everyone to meet the committee.
Our meet and greet was an enjoyable evening. Lots of members turned up and we spent the hours in the pub swopping ideas for what we want to happen with the club and productions over the next year.
It was great to see people were excited by some of the ideas thought up for social and the other aspects of our group. It was also fun to chat, get to know more people and feel the enthusiasm other members have for the club.
Our next social is a play reading of ‘Noises Off’ at St Mary’s Parish Hall in Huntingdon on 16 April. Come along and enjoy reading and listening to a very funny play.