Tom Cooper, Lighting Designer, talks about how being involved with heat&light has helped him kick-start his career:
I got involved in heat&light back when it first began and I was still at school. I have always been more interested in the backstage side of theatre, so this is where I started. I began assisting the in-house technician in the Michael Frayn Space and operated the lighting and sound on numerous productions.
In 2007 I was offered a place on a three year degree course in Theatre and Performance Technology at the Liverpool Institute for Performing Arts (LIPA), which I’m sure was helped by my involvement with heat&light. This course gave me an excellent grounding in all aspects of technical theatre and stage management. Although lighting design is what has always interested me most, as theatre is such a collaborative art form, I feel that learning about the roles of everyone involved in putting on a production has put me in good stead.
I am just about to graduate from LIPA and have recently moved back down to London. Since I’ve been back, I have designed the lighting for the heat&light project involving five short plays at Hampstead theatre, a graduate production of Arabian Nights at Chelsea Theatre and have been lucky enough to shadow Colin Grenfell, a well-established lighting designer on productions of Fidelio and Don Giovanni at the Opera Holland Park.
heat&light has given me a fantastic opportunity to work with young, talented, up-and-coming directors in a well-equipped space, with an excellent support network –a brilliant environment in which to experiment and to push my own boundaries, which is invaluable experience for me as a young designer just starting out.
To find out more about Tom, visit his website.
Tuesday, 31 August 2010
Sunday, 27 June 2010
Never Enough to Live in the Now: Photos
It's over for another season. After three hugely successful sell-out shows, we would all like to give our thanks and congratulations to the hard-working and committed cast and creatives who enabled the production to happen. We would also like to say a sad goodbye to Kelly Wilkinson, who is now moving onto exciting new projects after six years as the creator and practitioner of The heat&light Company.
Set Designer Florence McHugh took some brilliant photographs of the dress rehearsal on Thursday 17th June 2010:
Do Us Part by Karis Halsall
Set Designer Florence McHugh took some brilliant photographs of the dress rehearsal on Thursday 17th June 2010:
Do Us Part by Karis Halsall
Living off the Land by Emily Cooper
Zeera by Zia Ahmed
Sometimes I Miss Us by Stephanie Potter
Discoverie Space by Sotirios Hatjoullis
See more on our Facebook page here.
Monday, 14 June 2010
Hotlight on... Alex Thorpe
Interview
Alex Thorpe directed Zeera and answers some quick questions for us about being a creative force off the stage...
What theatre work had you done prior to heat&light?
Professional Education: Central School of Speech and Drama
Little Angel Theatre: Puppetry Workshop Leader, Producer
Almeida Theatre: Workshop Leader, Assistant Director
National Youth Theatre: Workshop Leader (Assistant)
What have you learnt from your experience in the Summer Season 2010?
That no project can ever just happen two hours a week. Whether it's worry or panic, excitement or enthusiasm, the directing bug just hits you and you can't stop. Not only have I enhanced my skills working with actors, I have also directed a film, choreographed a movement sequence, developed a script... the list goes on. heat&light really does throw you in the deep end but maintains a safety net to allow you to experiment with new ideas that you might never have had the chance to develop before.
How has heat&light helped in beginning or furthering your career?
I joined heat&light after being appointed Assistant Director on the main youth show at the Almeida Theatre. Since starting, I have since been asked to direct a short curtain raiser as part of the above production as well as been short-listed for Birkbeck's MFA Theatre Directing.
Do you feel you have improved in any specific or technical areas?
It has allowed me to practise and develop some of the most basic skills a director needs. This has included how to communicate with a wide cross section of people such as writers, designers, production staff, producers and theatre staff, as well as actors.
Would you recommend heat&light for anybody looking for a way into theatre, and why?
Yeah, why not! It is a great opportunity to try out new skills in a safe and semi-professional environment, putting skills into practice by working towards a realised production. It's opportunites like heat&light through which the beginnings of new companies are made... what's not to like?
Alex Thorpe directed Zeera and answers some quick questions for us about being a creative force off the stage...
What theatre work had you done prior to heat&light?
Professional Education: Central School of Speech and Drama
Little Angel Theatre: Puppetry Workshop Leader, Producer
Almeida Theatre: Workshop Leader, Assistant Director
National Youth Theatre: Workshop Leader (Assistant)
What have you learnt from your experience in the Summer Season 2010?
That no project can ever just happen two hours a week. Whether it's worry or panic, excitement or enthusiasm, the directing bug just hits you and you can't stop. Not only have I enhanced my skills working with actors, I have also directed a film, choreographed a movement sequence, developed a script... the list goes on. heat&light really does throw you in the deep end but maintains a safety net to allow you to experiment with new ideas that you might never have had the chance to develop before.
How has heat&light helped in beginning or furthering your career?
I joined heat&light after being appointed Assistant Director on the main youth show at the Almeida Theatre. Since starting, I have since been asked to direct a short curtain raiser as part of the above production as well as been short-listed for Birkbeck's MFA Theatre Directing.
Do you feel you have improved in any specific or technical areas?
It has allowed me to practise and develop some of the most basic skills a director needs. This has included how to communicate with a wide cross section of people such as writers, designers, production staff, producers and theatre staff, as well as actors.
Would you recommend heat&light for anybody looking for a way into theatre, and why?
Yeah, why not! It is a great opportunity to try out new skills in a safe and semi-professional environment, putting skills into practice by working towards a realised production. It's opportunites like heat&light through which the beginnings of new companies are made... what's not to like?
Sunday, 6 June 2010
Rehearsal Room Images
Last week, one of the groups rehearsed at the Clean Break studios in Kentish Town. They worked on some important movement scenes. Take a look at these pictures:
One week of rehearsals left!
Friday, 21 May 2010
Rehearsal Room Notes: Jack Petchey Achievement Award
'Established in 1999, The Jack Petchey Foundation gives grants to programmes and projects that benefit young people aged 11-25. The Foundation is eager to help young people take advantage of opportunities and play a full part in society. The major focus of our work is the Achievement Award Scheme. The Foundation focuses on London and Essex. Since it has been established the Foundation has awarded grants totalling over £65million.
The Jack Petchey Achievement Award Scheme is our flagship programme. It is run in almost 2,000 schools, colleges and youth organisations throughout London and Essex, contributing millions of pounds each year. The scheme is a reward and recognition initiative which enables schools and youth organisations to celebrate the achievements of their young people as well as receive additional funding. The young person chooses how their £200 award money is to be spent within the organisation.'
The Jack Petchey Achievement Award Scheme is our flagship programme. It is run in almost 2,000 schools, colleges and youth organisations throughout London and Essex, contributing millions of pounds each year. The scheme is a reward and recognition initiative which enables schools and youth organisations to celebrate the achievements of their young people as well as receive additional funding. The young person chooses how their £200 award money is to be spent within the organisation.'
This term's Jack Petchey Achievement Award went to heat&light regular Ed Davis. Ed not only acts but also sound designs for many of the performances, and has been involved with the company from a young age.
He has decided the £200 will go towards the set budget for this term. Well done and thank you, Ed!
Thursday, 13 May 2010
Hotlight on... Stephanie-Jane de Whalley
Being involved with heat&light was incredibly enjoyable and above all useful. You work with people in a similar position, within the same age group – all striving towards one thing, but on different paths.
You hear about so much beyond the company, such as IsoProductions, director Kelly Wilkinson’s own company, and Lisa Woynarski’s Green Theatre Project. It's an amazing good platform not just for acting but for making industry contacts. The potential for career progression is fantastic, with so many professionals involved from the start of each project.
My expectations at the beginning were completely different from what I now know is a wholly positive and beneficial experience. I knew I'd been offered a great role, but I wasn't sure who would come and see the production or if it would throw me further into the theatre industry. I was proven wrong – the development as an actor I received was second to none. I have been put in contact with the development team at Hampstead Theatre, and received feedback from a wide range of people I would otherwise have never have participated with.
heat&light has opened up so much more than I thought it would. You don't just complete a project and move on after it's finished – you're remembered and become part of a community. I didn't expect any of that. It's definitely a programme rather than just a show – it becomes a scheme in itself.
Specifically, my comedy skills were greatly improved. Previously, I've often played serious, intense and dramatic characters, so it was so much fun to play someone a bit more neurotic.
All the training we received to enable us to improve and expand our skills was highly professional, from Gary the vocal coach to Imogen to movement director. She spent a lot of time working on my blocking. Everyone was so committed to pushing us to broaden our different abilities.
Finally, I met some amazing, friendly people, and also people I'll stay in touch with for theatre reasons. It was so great to be involved with something which allowed me to meet so many people and really begin to progress in my career. 'Progressive' is definitely the best word to describe the fantastic heat&light company.
As told to Stephanie Potter.
Stephanie played Chantelle in the heat&light Spring Season 2010 production of IN HIS IMAGE by Rosa Connor, 11th - 13th March.
Wednesday, 12 May 2010
Rehearsal Room Notes: Week 2
Rehearsals are well and truly underway.
Working in the Hampstead Theatre Rehearsal room, the Michael Frayn Space, the board room and the lobby, each play group started working through the scripts. It is important the cast work through the whole of their play before going back to work on specific areas to make sure it every actor is comfortable with working as part of a cohesive whole. Acotrs must be aware of who they share the stage with, and respond to subtle shifts in positioning to ensure that for the audience the play looks satisfying and complete.
Many groups have scheduled additional rehearsals to make sure every production receives the commitment it deserves. With only one month until technical week, there is a lot to get through.
But it's not all work and no play.. For the first time since casting, most of the actors joined the writers and directors for a few drinks in the Swiss after rehearsals. Some of us stayed until kicking out... definitely a success of a night.
Stephanie
Working in the Hampstead Theatre Rehearsal room, the Michael Frayn Space, the board room and the lobby, each play group started working through the scripts. It is important the cast work through the whole of their play before going back to work on specific areas to make sure it every actor is comfortable with working as part of a cohesive whole. Acotrs must be aware of who they share the stage with, and respond to subtle shifts in positioning to ensure that for the audience the play looks satisfying and complete.
Many groups have scheduled additional rehearsals to make sure every production receives the commitment it deserves. With only one month until technical week, there is a lot to get through.
But it's not all work and no play.. For the first time since casting, most of the actors joined the writers and directors for a few drinks in the Swiss after rehearsals. Some of us stayed until kicking out... definitely a success of a night.
Stephanie
Tuesday, 11 May 2010
Hotlight on... Jonnie Riordan
Interview
heat&light 18-25 is Hampstead Theatre's Young Company, providing professional theatre training for young people interested in or already participating in the arts.
Overall, how do you feel about heat&light?
I absolutely love heat&light - there is nothing else like it! I did not once refer to it or even think of it as an amateur youth company. It's just so professional, yet with a lovely collective atmosphere.
What did you learn from your experience in the Spring Season 2010?
I learnt the ins-and-outs of a professional working theatre. The styling of the piece enabled me to learn lots of new techniques for comedy, so now I have better comic timing and gestures. It was a first for me to see Rosa Connor (the writer) at work on her play during the process, and there was something really productive and organic about having the writer present. Also, you obviously then have an unlimited source of knowledge about characters and back stories to tap into.
How has heat&light helped in beginning or furthering your career?
heat&light exposed me to so many up-and-coming artists, directors, writers, collaborators and actors. Since my first heat&light all of a month or so ago, I have been able to work with theatre companies associated with the Hampstead Theatre on research and development projects with the aim of performing in the future. It is also a fantastic platform to which to invite agents and add credits to your CV.
Do you feel you have improved in any specific or technical areas?
I would say there was an overall improvement in my skills. I think you learn so much working on a production: one from trial and error and two just from watching and working with other people. It was brilliant to look back over the process and see some growth in terms of confidence and maturity as well and I would say that has a significant amount to do with being treated as a professional - and being the youngest last term at 18, it was nice to be treated as an adult as well! Also, the guidance from the creative team was so useful and encouraging and I thank them for that.
Would you recommend heat&light for anybody looking for a way into theatre, and why?
I have already recommended heat&light to friends for all of the above reasons and for meeting people professionally and socially. It is often very difficult to meet new people when stuck in employment like I am on a gap year; heat&light gave me an opportunity to meet a new little collective of creative individuals with similar mind-sets and career paths.
Do you have anything else to add?
This has been and is such a fantastic opportunity, and opportunities don't come along often. So anyone that is able to audition for heat&light should definitely seize the chance otherwise you're missing out!
Jonnie played Stef in the heat&light Spring Season 2010 production of IN HIS IMAGE by Rosa Connor, 11th - 13th March. See his Spotlight CV here.
heat&light 18-25 is Hampstead Theatre's Young Company, providing professional theatre training for young people interested in or already participating in the arts.
Overall, how do you feel about heat&light?I absolutely love heat&light - there is nothing else like it! I did not once refer to it or even think of it as an amateur youth company. It's just so professional, yet with a lovely collective atmosphere.
What did you learn from your experience in the Spring Season 2010?
I learnt the ins-and-outs of a professional working theatre. The styling of the piece enabled me to learn lots of new techniques for comedy, so now I have better comic timing and gestures. It was a first for me to see Rosa Connor (the writer) at work on her play during the process, and there was something really productive and organic about having the writer present. Also, you obviously then have an unlimited source of knowledge about characters and back stories to tap into.
How has heat&light helped in beginning or furthering your career?
heat&light exposed me to so many up-and-coming artists, directors, writers, collaborators and actors. Since my first heat&light all of a month or so ago, I have been able to work with theatre companies associated with the Hampstead Theatre on research and development projects with the aim of performing in the future. It is also a fantastic platform to which to invite agents and add credits to your CV.
Do you feel you have improved in any specific or technical areas?
I would say there was an overall improvement in my skills. I think you learn so much working on a production: one from trial and error and two just from watching and working with other people. It was brilliant to look back over the process and see some growth in terms of confidence and maturity as well and I would say that has a significant amount to do with being treated as a professional - and being the youngest last term at 18, it was nice to be treated as an adult as well! Also, the guidance from the creative team was so useful and encouraging and I thank them for that.
Would you recommend heat&light for anybody looking for a way into theatre, and why?
I have already recommended heat&light to friends for all of the above reasons and for meeting people professionally and socially. It is often very difficult to meet new people when stuck in employment like I am on a gap year; heat&light gave me an opportunity to meet a new little collective of creative individuals with similar mind-sets and career paths.
Do you have anything else to add?
This has been and is such a fantastic opportunity, and opportunities don't come along often. So anyone that is able to audition for heat&light should definitely seize the chance otherwise you're missing out!
Jonnie played Stef in the heat&light Spring Season 2010 production of IN HIS IMAGE by Rosa Connor, 11th - 13th March. See his Spotlight CV here.
Sunday, 9 May 2010
Rehearsal Room Notes: Week 1
The new cast assembled for the first read-through of the (nearly final) scripts for each play.
At the beginning of the rehearsal we played some getting-to-know-you games. While a lot of familiar faces are involved this term, there are always new actors to introduce and make welcome. Each director had prepared a game which forced us to talk to everyone - and also to do a lot of jumping around!
After ensuring the actors were comfortable with their assigned characters, each play group discussed the work with its writer. Actors were encouraged to think about the background to their character and to consider the intentions behind the writing. Directors then began to introduce their ideas for the production.
A successful rehearsal - and only 5 weeks until production week!
At the beginning of the rehearsal we played some getting-to-know-you games. While a lot of familiar faces are involved this term, there are always new actors to introduce and make welcome. Each director had prepared a game which forced us to talk to everyone - and also to do a lot of jumping around!
After ensuring the actors were comfortable with their assigned characters, each play group discussed the work with its writer. Actors were encouraged to think about the background to their character and to consider the intentions behind the writing. Directors then began to introduce their ideas for the production.
A successful rehearsal - and only 5 weeks until production week!
Tuesday, 4 May 2010
It's never enough to live in the now
Hampstead Theatre is committed to the continued production of new writing. This term, the heat&light 18-25 Young Company takes inspiration from the structure and themes of Canary by Jonathon Harvey, the main show running 19th May - 12th June. Five new writers have responded with five 15-minute plays which will be shown with full production on the 18th and 19th June at 8pm, with a Saturday matinee at 4pm.
The work, to be performed as one night of new theatre, will be:
Zeera by Zia Ahmed
Living Off The Land by Emily Cooper
Descoverie Space by Sotirios Hatjoullis
Do Us Part by Karis Halsall
Sometimes I Miss Us by Stephanie Potter
Living Off The Land by Emily Cooper
Descoverie Space by Sotirios Hatjoullis
Do Us Part by Karis Halsall
Sometimes I Miss Us by Stephanie Potter
Tuesday, 27 April 2010
Tuesday, 16 March 2010
IN HIS IMAGE: The End
It's all over.
What a fantastic run. Every night was a success, with the audience in stitches. The set looked amazing and the costumes were brilliant. After all the hard work, we spent one last night together drinking in a basement bar. Until next time...
A huge congratulations to the team:
Cast
Tahirah Sharif - Tanya
Chris Sheridan - Sharkey
James Haymer - Merv
Jim Tanner - Sam
Stephanie-Jane de Whalley - Chantelle
Elizabeth Gaubert - Millie
Bryony Reiss - Alex
Jonnie Riordan - Stef
Dritan Kastrati - Darren
Selom Awadzi - Lawrence
Chinelo Obibuaku - Natalie
Biba Osman - Shaniqua
Supraneeti Verenya - Melissa
Creatives
Writer - Rosa Connor
Director - Kelly Wilkinson
Movement Director - Imogen Knight
Set Designer - Cate Blanchard
Costume Designer - Phoebe Allies
Lighting Designer - Carmen Martinez
Sound Designer - Ed Davis
Assistant Director - Lisa Woynarski
CSM - Steve Hubbard
DSM - Anna Hughes
Technician - Cressy Klaces
Lighting Assistant - Daniel Bodie
Assistant Producer - Emily Cooper
Assistant Producer - Stephanie Potter
Thank you to Kelly Wilkinson and the Hampstead Theatre Creative Learning department for the opportunity to meet so many talented and passionate people.
What a fantastic run. Every night was a success, with the audience in stitches. The set looked amazing and the costumes were brilliant. After all the hard work, we spent one last night together drinking in a basement bar. Until next time...
A huge congratulations to the team:
Cast
Tahirah Sharif - Tanya
Chris Sheridan - Sharkey
James Haymer - Merv
Jim Tanner - Sam
Stephanie-Jane de Whalley - Chantelle
Elizabeth Gaubert - Millie
Bryony Reiss - Alex
Jonnie Riordan - Stef
Dritan Kastrati - Darren
Selom Awadzi - Lawrence
Chinelo Obibuaku - Natalie
Biba Osman - Shaniqua
Supraneeti Verenya - Melissa
Creatives
Writer - Rosa Connor
Director - Kelly Wilkinson
Movement Director - Imogen Knight
Set Designer - Cate Blanchard
Costume Designer - Phoebe Allies
Lighting Designer - Carmen Martinez
Sound Designer - Ed Davis
Assistant Director - Lisa Woynarski
CSM - Steve Hubbard
DSM - Anna Hughes
Technician - Cressy Klaces
Lighting Assistant - Daniel Bodie
Assistant Producer - Emily Cooper
Assistant Producer - Stephanie Potter
Thank you to Kelly Wilkinson and the Hampstead Theatre Creative Learning department for the opportunity to meet so many talented and passionate people.
Wednesday, 10 March 2010
Performance Week
The time has come!
The set is complete, the costumes are made, the programme is printed... After an intense, exhausting and above all enjoyable rehearsal period, IN HIS IMAGE by Rosa Connor will be performed in full for the first time tomorrow evening.
This is the 21st century. Popstars are our politicians...
The set is complete, the costumes are made, the programme is printed... After an intense, exhausting and above all enjoyable rehearsal period, IN HIS IMAGE by Rosa Connor will be performed in full for the first time tomorrow evening.
This is the 21st century. Popstars are our politicians...
Monday, 1 March 2010
Rehearsal Room Notes: Week 6
This was the first week that we had the stage set up in the round. The cast and crew were all very excited to finally see how the space was going to work. It also gave our set designer Cate Blanchard an opportunity to physically realise her ideas. For the cast it was a good to see the size of the space and also how they were now going to be dealing with audience on all sides. Most of the cast of Scene Four began work staying inside the Michael Frayn space with Kelly, whilst the rest went to work on Scene One and character development with Lisa.
Throughout the rehearsal, members of the cast were taken aside by Phoebe, our costume designer, to go over and try on possible outfits for the play. Towards the end the cast worked on Scene Nine, and it was great to see them really enjoying taking on their roles for this dramatic and conflicting part of the play.
With a music video to shoot, a programme to make and production and technical week to get through before the opening night, Heat&Light 18-25 are BUSY!
Throughout the rehearsal, members of the cast were taken aside by Phoebe, our costume designer, to go over and try on possible outfits for the play. Towards the end the cast worked on Scene Nine, and it was great to see them really enjoying taking on their roles for this dramatic and conflicting part of the play.
With a music video to shoot, a programme to make and production and technical week to get through before the opening night, Heat&Light 18-25 are BUSY!
Monday, 22 February 2010
Friday, 19 February 2010
Rehearsal Room Notes: Week 5
This week vocal coach Gary Horner was able to join us again. He introduced some exercises for the cast to help maintain their voices, including asking them to lie on the floor, lie on their sides and crouch curled up.
Following this Gary wanted to help the group develop their articulation. Imagining a statue they wanted to build, each member of the cast was asked to use sounds as 'vocal chisels' to imagine building their statue with, beginning by softening the imagined marble by blowing bubbles that made a P sound. To blow the dust off they had to use Ba sound. Finally, using the biggest chisel to finish using Da and using a G chisel to sign their masterpieces with, the cast had to illustrate to the others what their statue was.
The cast then did a run-through of the movement piece that is going to be used at the beginning of the performance, with Emily and Lisa helping out with the timing. Afterwards, the cast worked on the play itself. There were some character changes this week to adapt to and a very cool handshake was added in. The characters of Sharkey and Sam are becoming closer as we see how they manipulate members of Divinity to do their ill-will as a team. We also saw how Chantelle was having to cover up her true feelings more and more when following the teachings of the 'Exalted Enlightened One'...
Following this Gary wanted to help the group develop their articulation. Imagining a statue they wanted to build, each member of the cast was asked to use sounds as 'vocal chisels' to imagine building their statue with, beginning by softening the imagined marble by blowing bubbles that made a P sound. To blow the dust off they had to use Ba sound. Finally, using the biggest chisel to finish using Da and using a G chisel to sign their masterpieces with, the cast had to illustrate to the others what their statue was.
The cast then did a run-through of the movement piece that is going to be used at the beginning of the performance, with Emily and Lisa helping out with the timing. Afterwards, the cast worked on the play itself. There were some character changes this week to adapt to and a very cool handshake was added in. The characters of Sharkey and Sam are becoming closer as we see how they manipulate members of Divinity to do their ill-will as a team. We also saw how Chantelle was having to cover up her true feelings more and more when following the teachings of the 'Exalted Enlightened One'...
Wednesday, 10 February 2010
Rehearsal Room Photos: Week 4
This week the cast worked on the opening sequence to the play with movement director Imogen Knight.
Time is running out and production is swift...
Time is running out and production is swift...
Thursday, 4 February 2010
Rehearsal Room Notes: Week 3
Rehearsal 1
This week the group began work on staging the first scenes of the play, trying out different ways for their character to move around the stage and getting used to performing in the round. Throughout this process the cast discussed with Kelly what their characters were feeling at crucial points and how they would react to the space they were in and the people surrounding them.The set was rudimentary, but necessary to begin this process.
Rehearsal 2
In Thursday's rehearsal the group had the opportunity to work with vocal coach Gary Horner. He began by getting them to do an exercise beginning with everyone standing relaxed, eyes closed, imagining the sea. From this they started making the ss sound of waves, then moved through into a sh sound, then mm, then jj and then back to the mm sound by using pitch to help expand their depth of voice. Gary got the group to feel the tops of their heads and cheeks whilst doing this so that they could feel how the sounds created vibrations and what pitch was needed to create the most powerful vibration. Following this, they moved onto more traditional exercises to open up their lungs even further.
After this the group was taught a Slavic drinking song to which they added movement. All these exercises are important in the deveopment of the actors' voice awareness.
Jack Petchey Achievement Award
This term's award was given to Jim Tanner for his continued hard work in Heat&Light. Jim has decided the £200 prize money will be spent on set.
Rehearsal Photos
Tanya, Darren and Sharkey:
This week the group began work on staging the first scenes of the play, trying out different ways for their character to move around the stage and getting used to performing in the round. Throughout this process the cast discussed with Kelly what their characters were feeling at crucial points and how they would react to the space they were in and the people surrounding them.The set was rudimentary, but necessary to begin this process.
Rehearsal 2
In Thursday's rehearsal the group had the opportunity to work with vocal coach Gary Horner. He began by getting them to do an exercise beginning with everyone standing relaxed, eyes closed, imagining the sea. From this they started making the ss sound of waves, then moved through into a sh sound, then mm, then jj and then back to the mm sound by using pitch to help expand their depth of voice. Gary got the group to feel the tops of their heads and cheeks whilst doing this so that they could feel how the sounds created vibrations and what pitch was needed to create the most powerful vibration. Following this, they moved onto more traditional exercises to open up their lungs even further.
After this the group was taught a Slavic drinking song to which they added movement. All these exercises are important in the deveopment of the actors' voice awareness.
Jack Petchey Achievement Award
This term's award was given to Jim Tanner for his continued hard work in Heat&Light. Jim has decided the £200 prize money will be spent on set.
Rehearsal Photos
Tanya, Darren and Sharkey:
Wednesday, 27 January 2010
Rehearsal Room Notes: Week 2
Character Development
This week the actors implemented the character homework they had been set the previous week. With everyone sitting in a circle, each actor spent a few minutes as their character explaining to the rest of the group what they were doing before working with the band Divnity. They explained how they'd met Sharkey - the overbearing manager - and what their lives had been like up until the events of the play. They revealed their hopes and ambitions and their worries and insecurities.
Character Spotlight
Sharkey feels a cut above everyone else apart from Alex, whose intellectual life before Divinity is most down-played. He feels that celebrity culture is the aristocracy of the modern age and he wants a part of it. He has always had a thirst for money and power and here, as the puppeteer of an influential and vulnerable girl band, he has it in abundance. Sharkey is the lynchpin - for better or worse - of all that corrupts and disintegrates as the play progresses...
Movement
In the last half hour the group did some movement work based on three celebrity/modelling poses each actor had to find in the media. Everyone then split into groups where they worked the poses into a sequence of four, with the fourth being a shared position. They had to work through the sequence faster and faster, with the fourth position changing each time. The actors are learning how to best use their bodies in the space provided, with a focus on integrating into rhythmic harmony with everyone on stage at the time.
This week the actors implemented the character homework they had been set the previous week. With everyone sitting in a circle, each actor spent a few minutes as their character explaining to the rest of the group what they were doing before working with the band Divnity. They explained how they'd met Sharkey - the overbearing manager - and what their lives had been like up until the events of the play. They revealed their hopes and ambitions and their worries and insecurities.
Character Spotlight
Sharkey feels a cut above everyone else apart from Alex, whose intellectual life before Divinity is most down-played. He feels that celebrity culture is the aristocracy of the modern age and he wants a part of it. He has always had a thirst for money and power and here, as the puppeteer of an influential and vulnerable girl band, he has it in abundance. Sharkey is the lynchpin - for better or worse - of all that corrupts and disintegrates as the play progresses...
Movement
In the last half hour the group did some movement work based on three celebrity/modelling poses each actor had to find in the media. Everyone then split into groups where they worked the poses into a sequence of four, with the fourth being a shared position. They had to work through the sequence faster and faster, with the fourth position changing each time. The actors are learning how to best use their bodies in the space provided, with a focus on integrating into rhythmic harmony with everyone on stage at the time.
Thursday, 21 January 2010
Rehearsal Room Notes: Week 1
This week the cast and crew began with some bonding exercises. It's important we all get to know each other as rehearsals progress, so we ran around trying to tell as many people as possible one fact from our day. We discovered that one man had spent his morning playing with a sword, one lady had eaten birthday cake that was not her own and someone else had claimed a free pasty, among other both interesting and prosaic excerpts of daily life.
After the introductions, the chosen Spring Season play was read through. Just hearing the characters being read aloud together showed how accurate the casting is, even before the stage and movement directions are implemented. IN HIS IMAGE has been written by dedicated Heat&Lighter Rosa Connor, so this term is exciting for its support of Heat&Light talent. It's also the penultimate one for Director and Company Producer Kelly Wilkinson, so we're striving to make it one of the best terms yet.
If everbody has completed their character and movement tasks before Week 2, then the next rehearsal should be even better - and the characters even more well-defined.
See you next week!
Stephanie & Emily
After the introductions, the chosen Spring Season play was read through. Just hearing the characters being read aloud together showed how accurate the casting is, even before the stage and movement directions are implemented. IN HIS IMAGE has been written by dedicated Heat&Lighter Rosa Connor, so this term is exciting for its support of Heat&Light talent. It's also the penultimate one for Director and Company Producer Kelly Wilkinson, so we're striving to make it one of the best terms yet.
If everbody has completed their character and movement tasks before Week 2, then the next rehearsal should be even better - and the characters even more well-defined.
See you next week!
Stephanie & Emily
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