Sunday, May 20, 2007
From Rachel Forman
Well we are now entering production week and i am feeling very excited about the fact that we are soon going to have an audience. I feel like i really need an audience right now to take it to the next level if you will. To try out some new things and see how the audience listens to the play. We had our first rehearsal in the space on Saturday which was very interesting in terms of adding a new level of reality to it. It was quite amazing how much it pushed things and in some ways made them more intense. I guess it's also Nick and i stepping up a gear as we approach opening. I guess i'm feeling excited and nervous. Excited about finally performing it, but nervous of performing it at the same time. In a piece that is non stop action its a real challenge to keep in control of it. I'm trying to find ways whereby i can keep in control of it while at the same time be free and open to riding the wave of emotion that it requires. Like learning to drive a car really. I'l just have to make sure i don't spin out. But i might do some wheelys, that would be fun.
Saturday, May 19, 2007
We open on Saturday!
The count down to opening night has started. The set is in and the actors had their first run through of the play on it yesterday - we are in good shape.
Opening night is booked out but still seats avaialbale for this Friday night public preview at 7.30pm - tickets only $20. Book now to avoid disappointment - 04 801 7992 or on www.circa.co.nz
Opening night is booked out but still seats avaialbale for this Friday night public preview at 7.30pm - tickets only $20. Book now to avoid disappointment - 04 801 7992 or on www.circa.co.nz
Production week - Blackbird
Production week starting tomorrow. Ten to midnight and I’ve been in my studio for the last four hours fitting all the ideas that have been creeping in over the last few weeks down onto paper. The only pen I have here is a purple ball-point I stole from Corrine. People may laugh at my purple design in the morning. I should really learn to use CAD. Oh well. I like this crossing out of things and re-drawing them. I love how these little purple diagrams are going, with a little swearing and scratching of heads, to turn into a series of states of light.
I still feel like the play is a gift. Today sat watching nick and Rachel polish and polish and polish the same quick thirty second exchange, but also sat hearing the delicate words still not exhausted by over-use. Word-to-word combat. Thrust and riposte. And not awkward, not heightened, not strained. Natural. Just the way we’d all speak in moments of tension if only we could.
Marcus.
I still feel like the play is a gift. Today sat watching nick and Rachel polish and polish and polish the same quick thirty second exchange, but also sat hearing the delicate words still not exhausted by over-use. Word-to-word combat. Thrust and riposte. And not awkward, not heightened, not strained. Natural. Just the way we’d all speak in moments of tension if only we could.
Marcus.
Playwright - David Harrower
Playwright David Harrower was born in Edinburgh in 1966. His first play, Knives in Hens (1997), was first produced at the Traverse Theatre, Edinburgh, in 1995. He is also the author of the plays Kill the Old Torture Their Young (1998), and The Chrysalids (1999), adapted from John Wyndham's novel, for the National Theatre's Connections project. Presence (2001), his third original play, was first performed at the Royal Court Jerwood Theatre Upstairs in April 2001.
David Harrower has also adapted versions of Pirandello's Six Characters in Search of an Author (Six Characters Looking for an Author (2000)), first staged at the Young Vic in 2000; Chekhov's Ivanov (2002), performed at the National Theatre in autumn 2002; and Buchner's Woyzeck, performed at the Edinburgh Lyceum in 2002. He has also translated The Girl on the Sofa (2002), a new play by Jon Fosse, presented in a joint production by the Edinburgh International Festival and the Schaubuhne, Berlin.
His play, Dark Earth (2003), premiered at the Traverse in August 2003. He has also recently written a new version of Odon von Horvath's Tales from the Vienna Woods (2003) for the National Theatre, London, which opened in October 2003. His latest plays are Blackbird (2005), commissioned by the Edinburgh International Festival, and an adaptation of Schiller's Mary Stuart (2006). Blackbird won Best New Play in the 2007 Olivier Awards.David Harrower lives in Glasgow.
David Harrower has also adapted versions of Pirandello's Six Characters in Search of an Author (Six Characters Looking for an Author (2000)), first staged at the Young Vic in 2000; Chekhov's Ivanov (2002), performed at the National Theatre in autumn 2002; and Buchner's Woyzeck, performed at the Edinburgh Lyceum in 2002. He has also translated The Girl on the Sofa (2002), a new play by Jon Fosse, presented in a joint production by the Edinburgh International Festival and the Schaubuhne, Berlin.
His play, Dark Earth (2003), premiered at the Traverse in August 2003. He has also recently written a new version of Odon von Horvath's Tales from the Vienna Woods (2003) for the National Theatre, London, which opened in October 2003. His latest plays are Blackbird (2005), commissioned by the Edinburgh International Festival, and an adaptation of Schiller's Mary Stuart (2006). Blackbird won Best New Play in the 2007 Olivier Awards.David Harrower lives in Glasgow.
Monday, May 7, 2007
The Sovereign Season of Blackbird by David Horrower, directed by Jane Waddell
26 May – 23 June at Circa Two
Blackbird is an astonishing tale of misplaced love.
This powerful drama is both unnerving and compelling from one of the United Kingdom’s most new exciting and acclaimed playwrights, David Harrower.
Blackbird narrowly eclipsed Tom Stoppard’s new play Rock and Roll to win Best New Play Olivier Award 2007.
Ray, 56, is confronted with his past when Una, 27, arrives unannounced at his office. Guilt, anger and raw emotions are running high as they recall the passionate relationship they had 15 years earlier. The details of the love affair spill out in mutual recollection, with changed emphasis between the two versions.
Blackbird has been critically acclaimed overseas. The Daily Telegraph described the award winning 2006 Albery Theatre’s production as “the most potent of theatrical cocktails … a knock out show”.
Featuring Nick Blake (writer, director Dr Bullers Birds - Chapman Tripp nomination for Most Original Production 2006 and currently performing in Two Brothers at Circa) and Rachel Forman (winner Chapman Tripp Best New Comer 2006 for Fool for Love).
Director Jane Waddell (director The Country at Circa 2 and last seen in Wild East at Circa 2 in 2006) has an appetite for new and challenging work and is excited by the opportunity to direct this hot-off-the-press award winning play. She is confident that this extraordinary work will have audiences on the edge of their seats and debating the issues it highlights long into the night.
There will be two post show forums to share your thoughts and those of the cast and crew – Tuesday May 29th and Tuesday June 12th.
26 May – 23 June at Circa Two
Blackbird is an astonishing tale of misplaced love.
This powerful drama is both unnerving and compelling from one of the United Kingdom’s most new exciting and acclaimed playwrights, David Harrower.
Blackbird narrowly eclipsed Tom Stoppard’s new play Rock and Roll to win Best New Play Olivier Award 2007.
Ray, 56, is confronted with his past when Una, 27, arrives unannounced at his office. Guilt, anger and raw emotions are running high as they recall the passionate relationship they had 15 years earlier. The details of the love affair spill out in mutual recollection, with changed emphasis between the two versions.
Blackbird has been critically acclaimed overseas. The Daily Telegraph described the award winning 2006 Albery Theatre’s production as “the most potent of theatrical cocktails … a knock out show”.
Featuring Nick Blake (writer, director Dr Bullers Birds - Chapman Tripp nomination for Most Original Production 2006 and currently performing in Two Brothers at Circa) and Rachel Forman (winner Chapman Tripp Best New Comer 2006 for Fool for Love).
Director Jane Waddell (director The Country at Circa 2 and last seen in Wild East at Circa 2 in 2006) has an appetite for new and challenging work and is excited by the opportunity to direct this hot-off-the-press award winning play. She is confident that this extraordinary work will have audiences on the edge of their seats and debating the issues it highlights long into the night.
There will be two post show forums to share your thoughts and those of the cast and crew – Tuesday May 29th and Tuesday June 12th.
Blackbird - the significance of the title
Blackbird:
Black feathers and a melodius song make the blackbird a symbol of the darkness of sin and the alluring temptations of the flesh.
The beautiful song of the blackbird suggests temptaion, especially sexual.
In religious mythology, the Devil took the shape of a blackbird and flew into Saint Benedict's face, causing the Saint to be troubled by an intense desire for a beautiful girl he had once seen.
To save himself, he tore of his clothes and flung himself into a thorn bush.
Blackbird - a bad omen.
Blackbird - a symbol of the soul.
Black feathers and a melodius song make the blackbird a symbol of the darkness of sin and the alluring temptations of the flesh.
The beautiful song of the blackbird suggests temptaion, especially sexual.
In religious mythology, the Devil took the shape of a blackbird and flew into Saint Benedict's face, causing the Saint to be troubled by an intense desire for a beautiful girl he had once seen.
To save himself, he tore of his clothes and flung himself into a thorn bush.
Blackbird - a bad omen.
Blackbird - a symbol of the soul.
Words from the cast and crew
Rehearsals are under way to bring this compelling piece of theatre to the stage. We aim to give regular updates on how the process is going.
Here's a few words from some of the key players ....
Jane Waddell - Director:
"What a buzz to be working on this beautifully constructed script and watch these two totally commited actors bring such intelligence and passion to their roles."
Rachel Forman - Actor:
"I play the role of Una. Blackbird is essentially about two people chasing each other in terms of a memory of their former relationship that happened fifteen years ago. There is a constant fight for the truth between these two people as they deal with what they use to be and what they are now. I am so lucky to be working on this fantastic piece of writing by the very talented Mr Harrower. So far it has been the most fascinating discovery of the complexities of being human, of the vuneribilites we all carry and the masks we wear in order to hide them. The writing is like a poem and each time i read it i find something new and intruiging. It is like he has left a treasure hunt of clues about the characters littered through the text and we are slowly unravelling them as we rehearse."
Nick Blake - Actor:
"I am an actor/director, and have worked across a wide range of theatre styles over the years. Early work was circus inspired, full of visual imagery, mask and physicality. Recently I have been focused on acting in a more pared back way, without all the frills!
I seem to have created a niche for myself playing, either plain evil, or damaged people recently. The character of Ray in Blackbird has given me the opportunity to dig deeply into the psychology of one such damaged person. As real-time encounter with the one person in the world most difficult for him to face ( played by Rachel Forman with raw truth) this play is a challenge on every level. I am blessed to be working with such a sweet, warm and talented crew to make this journey into the dark side rewarding and enriching, and at times even fun!"
Corinne Simpson, stage manager:
"It's an incredible thing watching Nick, Rachel, and Jane create Blackbird day to day. Even in early rehearsals the play has a very tangible power that grows with each run. It is beautiful writing, very raw and real but with an underlying poetry, and as the scenes unfold I am drawn in, captivated, and leaning forward to catch every detail of Ray and Una's story."
Marcus McShane, lighting designer
spending half days most of the week in our filthyrehearsal room. huge urge to tidy up each time i walkin, and have to remind myself that it's MEANT to looklike a pigsty, and if i grab a piece of garbage offthe floor Corrine has to reset it... already hadproblems because The Improvisors use the roomsometimes and tend to leave it nice and tidy, blesstheir improvised little hearts. nick and rachel are amazing. still a few weeks outfrom opening and they're running the whole play, and it's gorgeous. first 15 minutes still shaky, but when they get down to the meat of the piece time just goes,and even though i've seen 4 full runs it still surprises me when it ends, you're so caught up in them, and then the play just closes itself like a door slamming. keep sitting watching and scribbling excited design ideas in the back of mah script which the play dosen't really need, but it's so lovely that i want to do something just as lovely. something that's absolutely subtle and beautiful. hell, you can only try. and jane as a director gives you a lovely amount of freedom to design what you like. (thanks jane. err. it'll look beautiful yet ugly... i promise...) marcus (lighting designer)
recent work: stand-up love : a bright room called day : heroes
Here's a few words from some of the key players ....
Jane Waddell - Director:
"What a buzz to be working on this beautifully constructed script and watch these two totally commited actors bring such intelligence and passion to their roles."
Rachel Forman - Actor:
"I play the role of Una. Blackbird is essentially about two people chasing each other in terms of a memory of their former relationship that happened fifteen years ago. There is a constant fight for the truth between these two people as they deal with what they use to be and what they are now. I am so lucky to be working on this fantastic piece of writing by the very talented Mr Harrower. So far it has been the most fascinating discovery of the complexities of being human, of the vuneribilites we all carry and the masks we wear in order to hide them. The writing is like a poem and each time i read it i find something new and intruiging. It is like he has left a treasure hunt of clues about the characters littered through the text and we are slowly unravelling them as we rehearse."
Nick Blake - Actor:
"I am an actor/director, and have worked across a wide range of theatre styles over the years. Early work was circus inspired, full of visual imagery, mask and physicality. Recently I have been focused on acting in a more pared back way, without all the frills!
I seem to have created a niche for myself playing, either plain evil, or damaged people recently. The character of Ray in Blackbird has given me the opportunity to dig deeply into the psychology of one such damaged person. As real-time encounter with the one person in the world most difficult for him to face ( played by Rachel Forman with raw truth) this play is a challenge on every level. I am blessed to be working with such a sweet, warm and talented crew to make this journey into the dark side rewarding and enriching, and at times even fun!"
Corinne Simpson, stage manager:
"It's an incredible thing watching Nick, Rachel, and Jane create Blackbird day to day. Even in early rehearsals the play has a very tangible power that grows with each run. It is beautiful writing, very raw and real but with an underlying poetry, and as the scenes unfold I am drawn in, captivated, and leaning forward to catch every detail of Ray and Una's story."
Marcus McShane, lighting designer
spending half days most of the week in our filthyrehearsal room. huge urge to tidy up each time i walkin, and have to remind myself that it's MEANT to looklike a pigsty, and if i grab a piece of garbage offthe floor Corrine has to reset it... already hadproblems because The Improvisors use the roomsometimes and tend to leave it nice and tidy, blesstheir improvised little hearts. nick and rachel are amazing. still a few weeks outfrom opening and they're running the whole play, and it's gorgeous. first 15 minutes still shaky, but when they get down to the meat of the piece time just goes,and even though i've seen 4 full runs it still surprises me when it ends, you're so caught up in them, and then the play just closes itself like a door slamming. keep sitting watching and scribbling excited design ideas in the back of mah script which the play dosen't really need, but it's so lovely that i want to do something just as lovely. something that's absolutely subtle and beautiful. hell, you can only try. and jane as a director gives you a lovely amount of freedom to design what you like. (thanks jane. err. it'll look beautiful yet ugly... i promise...) marcus (lighting designer)
recent work: stand-up love : a bright room called day : heroes
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