This unique and exclusive documentary opens the door to life at the Lyric Theatre in Hammersmith, west London, during summer and autumn 2017. DT+ goes behind the scenes to access all areas of the company, from their extensive young people’s programme to the key planning stages for their main house production of Anton Chekhov’s The Seagull.
In this inspiring and extraordinary exchange of ideas, Professor Carol Chillington Rutter, editor of Clamorous Voices: Shakespeare’s Women Today, revisits the seminal book with one of its most celebrated interviewees, Harriet Walter. With reference to Walter’s subsequent career and, more recently, her foray into playing male roles, the two explore Shakespeare’s characters and plays in fascinating detail.
Professor Kate McLuskie, former Director of the Shakespeare Institute, leads two directors – Lucy Bailey and Phillip Breen – and two actors – Ray Fearon and Zoe Waites – in an in–depth discussion of gender with reference to Julius Caesar and As You Like It.
Professor Kate McLuskie, former Director of the Shakespeare Institute, leads two directors – Lucy Bailey and Phillip Breen – and two actors – Ray Fearon and Zoe Waites – in an in–depth discussion of love and sex with reference to Romeo and Juliet, The Taming of the Shrew, Othello and A Midsummer Night’s Dream.
Professor Kate McLuskie, former Director of the Shakespeare Institute, leads two directors – Lucy Bailey and Phillip Breen – and two actors – Ray Fearon and Zoe Waites – in an in–depth discussion of family with reference to Macbeth, King Lear and The Merry Wives of Windsor.
Professor Kate McLuskie, former Director of the Shakespeare Institute, leads two directors – Lucy Bailey and Phillip Breen – and two actors – Ray Fearon and Zoe Waites – in an in–depth discussion of conflict with reference to Titus Andronicus, King Lear and A Midsummer Night’s Dream.
Oswald explores the symbiotic responsibility of opening the play to an audience in soliloquy, inviting them as friends on a shared journey, while coming to terms with and conveying the emotional singularity of her own story.
Barker outlines his process of learning to play a son, a daughter, a brother and a sister, within the precincts of the same character. He discusses the edifying journey through language, science and autobiographical illustration, which allowed him to sit comfortably in playing the understanding that there are as many stories about transition as there are people who experience it.
Mylan reads Things I Know To Be True as a continuous crisis point for Ben, an impending train wreck, hurtling towards a catastrophic act of envy and selfishness. He describes developing Ben’s character by learning his extremes, before pulling back to something stiller to internalise that turmoil, and explains that every moment of the production is intensely physical, even in its stillness.
“The writer is the thing. Sometimes I feel that I haven’t really earned the accolades – I didn’t write it, I’m only saying it out loud really. But when those big parts come along you do have a huge responsibility, and I will rise to that because I am my worst critic... So it's exhausting doing theatre, but wonderful.”
George shares why he credits Berkoff with inventing physical theatre, the distance between the suspension of disbelief and belief itself, and the physics of playing a beetle.
Talking About Plays
Meera Syal is one of the UK's best-known performing arts polymaths, having turned her hand to acting, writing, singing and producing across both stage and screen. She is currently playing the role of Nurse in Kenneth Branagh's all-star Romeo and Juliet at The Garrick Theatre.
In this interview, Meera explores the origins of her stage-adapted novel Anita and Me and reflects upon the joy of collaborative work and why it's important for a writer to invest in the small characters.
Tarek Merchant discusses the technicalities of Musical Direction and explains how his role is a constant conversation with the composer, director, sound designer, musicians and cast. He expounds on the necessity to form a robust and shared musical vocabulary with the wider creative team, and explores the symbiotic relationship between the architecture of a production’s design and that of its music.
How do you take a 40,000 word classic novel and transform it into a piece for the stage? Join the director, writer, composer and actors as they reveal how they took Thomas Hardy's classic Far from the Madding Crowd and made it work on the stage.
Leila Benn Harris played Emily in Aaron Lee Lambert's musical From Up Here, developed by Perfect Pitch.
Leila reflects on the experience of originating a role, being filmed in performance on stage, and what she considers to be her favourite moments of working on the production.
Filmed by Perfect Pitch.
In this unique insight into the secret world of backstage, Digital Theatre go behind the scenes at the Clapham Community Project during the RSC and Told by an Idiot’s young people’s production of The Comedy of Errors.
This short film explores the development of Craig Adams and Ian Watson's new musical LIFT, as it happened.
From the first morning meet and greet to devising movement sequences, join the cast and creative team in the rehearsal room.
Created by Perfect Pitch. Filmed and edited by Wayne Eagles.
Julia Ford took to the Liverpool Everyman to play opposite David Morrissey in Gemma Bodinetz’s post-apocalyptic Macbeth. Ford considers how Lady Macbeth was able to persuade her husband to commit murder, and explains how she, as an actor, interprets Shakespeare’s words – and silences.
Renowned stage actor Michael Ball made his name when he originated the character of Marius in the West End sensation Les Misérables.
Now a patron of musical theatre company Perfect Pitch, Michael shares his thoughts on the value of new writing and supporting musical theatre.
Filmed by Perfect Pitch.
Adam Kotz starred as Pastor Manders in Richard Eyre's award-winning revival of Henrik Ibsen's Ghosts.
Adam discusses playing a character with a fractured sense of self and a strongly held dogma, and explains how, in giving Manders a complex inability to govern his emotions, Ibsen succeeds in fleshing out the familiar literary figure of 'the Pastor'.
Adrian Schiller played Reverend John Hale in Yaël Farber's acclaimed production of The Crucible at The Old Vic.
Adrian reflects on Hale's struggle with Deputy Governor Danforth and the challenge of fighting for the truth within a suspicious and paranoid community.
Scottish actor Alex Ferns played Lee in Phillip Breen's acclaimed production of Sam Shepard's True West.
Ferns shares how his childhood experiences helped him identify with Lee’s wild behaviour and why observing coyotes enabled him to access the character's physicality on stage.
Contains strong language.
Amanda Drew plays Joy, a character whose lacklustre life pushes her to the edge of social and moral boundaries. Amanda gives a frank and detailed account of her work on the part in the acclaimed production of Parlour Song.
Contains references to sex.
Anna Chancellor shares her feelings about the character of Amanda in Private Lives and what she does to prepare to bring her to life in all her glory on stage.
Anna Madeley played Elizabeth Proctor in Yaël Farber's acclaimed production of The Crucible at The Old Vic.
Anna describes how integrity is essential to her character, the role Mary Warren plays in her secluded life, and the rehearsal exercises used to build intimacy between John and Elizabeth in performance.