About 25 minutes of watching a couple of videos, and I feel proud to be British, proud to have been born into a time when so many changes were made for the better, proud to vote (or about to vote) Labour, and my faith is restored. Yes I'm a sucker for propaganda, but everything said on these two videos is absolutely right and true. You may look like a pug, Gordon, but you know what you stand for, and it's just unfortunate that you happened to come into power at a time when things were taking a downturn. Now things are starting to look up, so COME ON!!
Sunday 28 February 2010
Sunday 14 February 2010
William Spold
An old short of mine, written about 3 years ago on one of my many coach journeys to London from North Yorkshire. I may have plans for this character sometime in the future, so don't get too depressed!
William Spold
The soggy cylinder rotated and rolled between the expert fingers of a terminal nicotine addict.
The hunched figure looked up into a sky full of falling rain. On nights like this, there was the void, and the world was painted upon it in a network of soaking highlights.
And then there was light. A match flared in the darkness.
The man in the rain mused upon his life so far. His name was William Spold, and he would be the first to admit that he hadn’t achieved much in forty-six years.
In fact, he wouldn’t get the chance to admit it - many people would do him the service of admitting it for him.
He sucked on the glowing cigarette banefully as he hunched under what little shelter a vandalised bus-stop offered.
He could remember having ambitions. Long ago. He’d wanted to join a service - be a soldier or a firefighter - a man in uniform. He remembered thinking that the title “Firemaster” sounded rather grand. But somewhere in all the years of mundanity, all that had disappeared, along with the money pissed down the back alley of the pub, along with the women who had loved him.
Had he loved them back? He couldn’t remember anymore. They had all left with the same words - that he was too selfish, too naïve, too lazy to love. Perhaps they were right.
He didn’t have the willpower to make any effort in any part of his life. Relationships, career, money - they all went down the drain, like the rain forming rivulets in the gutters. He’d even lost touch with his parents simply because he couldn’t be bothered to contact them.
Spold splashed his way down a rain-soaked street, lit by orange lamp-posts. One of the lamps flickered on and off, on and off, over and over again.
How different it could be if he’d been brought up differently. His parents had cushioned him, prevented him from getting into any kind of trouble. So there never seemed to be any point in doing anything. Eventually it would be done for him.
And now, half-a-lifetime later, he had achieved nothing.
Spold reached a bridge across the great, slow river which meandered its way through the city. Climbing with difficulty onto the balcony, he looked up. Although it was still raining, the clouds were thinning, and one star winked at him from amongst the smog.
Standing up, he took in the view and realised it was higher than he thought. There was the void, with the world painted upon it in patterns of light. He flicked the dying cigarette into the blackness.
He didn’t really want to kill himself, he thought, as he stepped forward. But then he was too lazy to live, so what was the point?
The expanding ripples were disturbed only by the raindrops falling to meet them, patterns of light on the void. Noticed by no-one.
And then there was only the void.
William Spold
The soggy cylinder rotated and rolled between the expert fingers of a terminal nicotine addict.
The hunched figure looked up into a sky full of falling rain. On nights like this, there was the void, and the world was painted upon it in a network of soaking highlights.
And then there was light. A match flared in the darkness.
The man in the rain mused upon his life so far. His name was William Spold, and he would be the first to admit that he hadn’t achieved much in forty-six years.
In fact, he wouldn’t get the chance to admit it - many people would do him the service of admitting it for him.
He sucked on the glowing cigarette banefully as he hunched under what little shelter a vandalised bus-stop offered.
He could remember having ambitions. Long ago. He’d wanted to join a service - be a soldier or a firefighter - a man in uniform. He remembered thinking that the title “Firemaster” sounded rather grand. But somewhere in all the years of mundanity, all that had disappeared, along with the money pissed down the back alley of the pub, along with the women who had loved him.
Had he loved them back? He couldn’t remember anymore. They had all left with the same words - that he was too selfish, too naïve, too lazy to love. Perhaps they were right.
He didn’t have the willpower to make any effort in any part of his life. Relationships, career, money - they all went down the drain, like the rain forming rivulets in the gutters. He’d even lost touch with his parents simply because he couldn’t be bothered to contact them.
Spold splashed his way down a rain-soaked street, lit by orange lamp-posts. One of the lamps flickered on and off, on and off, over and over again.
How different it could be if he’d been brought up differently. His parents had cushioned him, prevented him from getting into any kind of trouble. So there never seemed to be any point in doing anything. Eventually it would be done for him.
And now, half-a-lifetime later, he had achieved nothing.
Spold reached a bridge across the great, slow river which meandered its way through the city. Climbing with difficulty onto the balcony, he looked up. Although it was still raining, the clouds were thinning, and one star winked at him from amongst the smog.
Standing up, he took in the view and realised it was higher than he thought. There was the void, with the world painted upon it in patterns of light. He flicked the dying cigarette into the blackness.
He didn’t really want to kill himself, he thought, as he stepped forward. But then he was too lazy to live, so what was the point?
The expanding ripples were disturbed only by the raindrops falling to meet them, patterns of light on the void. Noticed by no-one.
And then there was only the void.
Friday 12 February 2010
RIP Alexander McQueen
I'm usually the first to say I don't know much about fashion, but from the point of view of an artist obsessed with fairy-tale, fantasy, nature, and the animal, McQueen's catwalk creations filtered down even to me. I loved the fantasy world that he created with his fashion. He was a true original, and will be sadly missed by all of the art world, not just fashion. Here's a few of my favourites:
Tuesday 9 February 2010
Elizabeth I at Hampton Hill
Elizabeth I by Paul Foster
Above: synchronised speaking of lines at the beginning of the play. From left to right; Miranda Marvin, Arthur Mollett, me, Adam Brett.
Above: The Two Hannahs - Hannah Ledwith and Hannah Thompson as Burleigh and Elizabeth I - another of my many tasks was to dress a bushy 80's ginger wig to look like Elizabeth I's hairstyle. It took several hours, about 200 bobby-pins, and a shitload of hairspray.
Above: The battle of the Armada; What Ben wanted for this scene was for us to be carrying actual model ships. He set us making these, and then left for an hour or so. After hours of trying, we had not even half a ship, which looked shit. I made some sails ready for the ships, and we all agreed that these looked pretty good, and gave the idea of ships without actually having shit papier mache models of ships to carry around (and break, likely as not). We also found that under certain lighting conditions, the shadows on the back of the stage of the sails looked like a fleet of ships, and if the people holding the sails swayed from side to side, as if on the sea, then it looked REALLY impressive! We were very excited about this but a little worried that Ben wouldn't agree. So we ambushed him when he got back with our idea, and it turns out we were needlessly worried, because all he said was "Ok, cool. Now what's next?"
Above: Me (can't actually remember the name of this character, but I had 2 days to learn the lines, and in a scottish accent too, because someone left) and Hannah Thompson as Elizabeth I. I never realised my face was so malleable.
Anna Stumpf-Condry as the French Queen in her big speech. Behind her: Hugenos (or Catholics - can't remember which). Another task I took on (I just love to be busy!) was to finish sewing the crosses onto the tabards, as time was getting short and Sarah had to take the baby home, and I was the only other person who knew how to use a sewing machine. You can see me in the middle of the row there - I'm the only one who's tabard seems to be wonky (typical).
The bath scene - an initially embarrassing but eventually fun scene full of misunderstandings, where the Laundress Tilly Boom (me) rushes about collecting items of clothing for Elizabeth and the Archbishop (Miranda Marvin) - the audience can only see the shadows, and it all looks and sounds very, very wrong. It was a very hard scene to stage, especially as the two characters have to emerge when the curtain goes up fully-dressed with nothing falling off and nothing coming undone. The bath was practically the only thing that was made that I didn't make (I was busy with the ship sails at the time) - Hannah and Miranda made it and they were extremely proud of it (and no-wonder too it looks fabulous!)
Me (Tilly Boom) in the same scene as previous. They got me to do my native North Yorkshire accent for this scene - I think this is the play in which I had the most different accents too!
The aforementioned bath - now you can see why they were so proud of it! Left to right: Aliette, Hannah, me (blurred), Miranda, and Becky Lewis.
Directed by Ben Davies, Co-directed by Clare Williams
Venue: Hampton Hill Playhouse 5-8 November 2008
Youth Action Theatre
This was probably the first play that I helped a lot on backstage as well as acting onstage - I was in the Playhouse for 15 hours on the get-in prior to the show opening. It all started with some coconuts (one coconut in fact, which I had to saw in half and de-coconut to make coconut halves for Dana to bang together as she skipped onstage on her "horse" with a message, and skipped off again; Monty Python-style), and culminated in painting the chessboard on the stage at midnight - no easy task, as we kept on running out of paint.
Venue: Hampton Hill Playhouse 5-8 November 2008
Youth Action Theatre
This was probably the first play that I helped a lot on backstage as well as acting onstage - I was in the Playhouse for 15 hours on the get-in prior to the show opening. It all started with some coconuts (one coconut in fact, which I had to saw in half and de-coconut to make coconut halves for Dana to bang together as she skipped onstage on her "horse" with a message, and skipped off again; Monty Python-style), and culminated in painting the chessboard on the stage at midnight - no easy task, as we kept on running out of paint.
Above: synchronised speaking of lines at the beginning of the play. From left to right; Miranda Marvin, Arthur Mollett, me, Adam Brett.
Above: The Two Hannahs - Hannah Ledwith and Hannah Thompson as Burleigh and Elizabeth I - another of my many tasks was to dress a bushy 80's ginger wig to look like Elizabeth I's hairstyle. It took several hours, about 200 bobby-pins, and a shitload of hairspray.
Above: The battle of the Armada; What Ben wanted for this scene was for us to be carrying actual model ships. He set us making these, and then left for an hour or so. After hours of trying, we had not even half a ship, which looked shit. I made some sails ready for the ships, and we all agreed that these looked pretty good, and gave the idea of ships without actually having shit papier mache models of ships to carry around (and break, likely as not). We also found that under certain lighting conditions, the shadows on the back of the stage of the sails looked like a fleet of ships, and if the people holding the sails swayed from side to side, as if on the sea, then it looked REALLY impressive! We were very excited about this but a little worried that Ben wouldn't agree. So we ambushed him when he got back with our idea, and it turns out we were needlessly worried, because all he said was "Ok, cool. Now what's next?"
Above: Me (can't actually remember the name of this character, but I had 2 days to learn the lines, and in a scottish accent too, because someone left) and Hannah Thompson as Elizabeth I. I never realised my face was so malleable.
Anna Stumpf-Condry as the French Queen in her big speech. Behind her: Hugenos (or Catholics - can't remember which). Another task I took on (I just love to be busy!) was to finish sewing the crosses onto the tabards, as time was getting short and Sarah had to take the baby home, and I was the only other person who knew how to use a sewing machine. You can see me in the middle of the row there - I'm the only one who's tabard seems to be wonky (typical).
The bath scene - an initially embarrassing but eventually fun scene full of misunderstandings, where the Laundress Tilly Boom (me) rushes about collecting items of clothing for Elizabeth and the Archbishop (Miranda Marvin) - the audience can only see the shadows, and it all looks and sounds very, very wrong. It was a very hard scene to stage, especially as the two characters have to emerge when the curtain goes up fully-dressed with nothing falling off and nothing coming undone. The bath was practically the only thing that was made that I didn't make (I was busy with the ship sails at the time) - Hannah and Miranda made it and they were extremely proud of it (and no-wonder too it looks fabulous!)
Me (Tilly Boom) in the same scene as previous. They got me to do my native North Yorkshire accent for this scene - I think this is the play in which I had the most different accents too!
The aforementioned bath - now you can see why they were so proud of it! Left to right: Aliette, Hannah, me (blurred), Miranda, and Becky Lewis.Here's the Review by John Roth December 2008 - Not the best review we've had, but you take the good with the bad, and there's some good things in there about the lighting and staging etc:
We've had an abundance of the Tudors lately, so we should all be "clued up" about 16th Century England, as we see a group of strolling players perform their version of QE1 on a Street Corner. It is, as the programme told us, American author Paul Foster's own "very special take". I am not sure what that means, since it appeared a burlesque - a mock-serious commentary, which is one definition of the word, on Elizabeth I (at least up to 1588), but it did not seem to develop Elizabeth's character over-much, so I am not sure exactly what it was trying to do, but mine not to reason why, but to look at the finished product, and see what came about.
Whatever Mr. Foster's intention was, how should it be played? Presumably "mock" and "serious"- logically both, but there you have the problem as to what is real and what is being burlesqued - are we looking at real people, or the author's commentary on them, as portrayed by the strolling players? Moving on from that, do I look at the actors in the context of the roles they were portraying? I think I have to: "All the World's a Stage" after all, and the production switched between reality and burlesque/comedy, but the joins were uncomfortable in places.
However, I'll start with the credits, and there were many: a fast-moving, superbly staged and choreographed production by Ben Davies, some stunning lighting - the silhouette scene in particular, earning a well-deserved round on the night I was there - well chosen music, a sparse decor, with a chess-set floor (political manoeuvres in the 16th Century?). The cast's enthusiasm and discipline was most noticeable, so was the ensemble playing, and my congratulations go to everyone who popped in and out of differing 16th Century characters so slickly and so well.
When I come to performances, I have to return to my question of what the play was trying to do. It is almost impossible to comment on everyone, since there were so many doubles in small roles, and little or no chance to develop any character, but cameos were very much in evidence, so I really have no choice but to commit my observations to the major roles. There were three outstanding realistic performances. First and foremost, Rowan D'Albert as Leicester. Rowan has a commanding presence, is strong and commanding in his delivery, and was totally believable in his characters (he doubled as the Lord Mayor). I must express admiration for his final, colossal speech, taken at full flood, which should have merited a Round in itself.
Then, Antony Antunes as Philip II - same accolades. The fervour and bigotry which Philip possessed, although lampooned, in this play, still came across, and told most strongly. Finally, Hannah Ledwith as Burleigh, who strongly made her mark in a rather fragmented, but telling, part. Again, she has presence and command. These are actors to watch.
However, their undoubted strengths made me question the other leading roles; the above players gave us Elizabethan England, but elsewhere I felt there was a confliction of acting styles, and an intrusion of modernity, which brings me to two of the Queens.
There is no doubt in my mind that Hannah Thompson (Elizabeth) and Anna Stumpf-Condry (Catherine de Medici) are very capable actresses, Hannah in particular having a nice throw-away touch, and some good comic timing; both possessing a regal and commanding presence, especially Anna, (but I worried about her skittish entrances, which she was obviously required to do, but I couldn't see the reason for them). Once those were over, she convinced me, as the "bete noire" of the Valois Court with Medici craft.
However, vocal command was not as it surely should have been, by both Queens, but particularly in the Armada sequence, when I sensed that burlesque had become reality. Elizabeth's final speech before the curtain must surely be stronger than it was. Hannah gave us splendid reminiscences of Miranda Richardson, but, whilst acceptable en route, it is, in the end, superficial and Hannah was not allowed to go further to the point where we get to "I am Gloriana"; otherwise, why is the play called "Elizabeth I?"
Was this a Directorial lapse? I feel so. The programme according to Mr. Foster, stated that she emerges from her father's shadow as "Gloriana Personified". That, for me, did not happen, and I saw little, if anything, in the text to justify this, so I do not criticise Hannah in this respect, but I came away thinking that Mr. Davies had presented a highly entertaining evening, which I would not have missed, but he had not probed as deeply as perhaps he could have done, and had moreover not moved Elizabeth in particular to a convincing climax, so as to give us that personification with which the play must surely end. Then, the epilogue, as spoken by Elizabeth, becomes a summing-up of her, and her era, to its crisis point in 1587/88. This last was a draw-back of emotion, and, again, I wanted more. To use a Victorian term, it is jingoistic, but not to play it as such threatens anti-climax, and the curtain came down somewhat unsatisfactorily in this respect.
This has been a difficult review to write, and I may be misconstruing Mr. Davies' and the play's intentions, but there were no "passengers" in this production. Everyone made a contribution and the sense of enjoyment in so doing was most noticeable. Having seen, and indeed reviewed, several YAT shows, I continue to be optimistic and enthusiastic with what I have experienced What I am chiefly convinced of is a plethora of talent and commitment. YAT has done great things: they will assuredly go on to greater horizons.
We've had an abundance of the Tudors lately, so we should all be "clued up" about 16th Century England, as we see a group of strolling players perform their version of QE1 on a Street Corner. It is, as the programme told us, American author Paul Foster's own "very special take". I am not sure what that means, since it appeared a burlesque - a mock-serious commentary, which is one definition of the word, on Elizabeth I (at least up to 1588), but it did not seem to develop Elizabeth's character over-much, so I am not sure exactly what it was trying to do, but mine not to reason why, but to look at the finished product, and see what came about.
Whatever Mr. Foster's intention was, how should it be played? Presumably "mock" and "serious"- logically both, but there you have the problem as to what is real and what is being burlesqued - are we looking at real people, or the author's commentary on them, as portrayed by the strolling players? Moving on from that, do I look at the actors in the context of the roles they were portraying? I think I have to: "All the World's a Stage" after all, and the production switched between reality and burlesque/comedy, but the joins were uncomfortable in places.
However, I'll start with the credits, and there were many: a fast-moving, superbly staged and choreographed production by Ben Davies, some stunning lighting - the silhouette scene in particular, earning a well-deserved round on the night I was there - well chosen music, a sparse decor, with a chess-set floor (political manoeuvres in the 16th Century?). The cast's enthusiasm and discipline was most noticeable, so was the ensemble playing, and my congratulations go to everyone who popped in and out of differing 16th Century characters so slickly and so well.
When I come to performances, I have to return to my question of what the play was trying to do. It is almost impossible to comment on everyone, since there were so many doubles in small roles, and little or no chance to develop any character, but cameos were very much in evidence, so I really have no choice but to commit my observations to the major roles. There were three outstanding realistic performances. First and foremost, Rowan D'Albert as Leicester. Rowan has a commanding presence, is strong and commanding in his delivery, and was totally believable in his characters (he doubled as the Lord Mayor). I must express admiration for his final, colossal speech, taken at full flood, which should have merited a Round in itself.
Then, Antony Antunes as Philip II - same accolades. The fervour and bigotry which Philip possessed, although lampooned, in this play, still came across, and told most strongly. Finally, Hannah Ledwith as Burleigh, who strongly made her mark in a rather fragmented, but telling, part. Again, she has presence and command. These are actors to watch.
However, their undoubted strengths made me question the other leading roles; the above players gave us Elizabethan England, but elsewhere I felt there was a confliction of acting styles, and an intrusion of modernity, which brings me to two of the Queens.
There is no doubt in my mind that Hannah Thompson (Elizabeth) and Anna Stumpf-Condry (Catherine de Medici) are very capable actresses, Hannah in particular having a nice throw-away touch, and some good comic timing; both possessing a regal and commanding presence, especially Anna, (but I worried about her skittish entrances, which she was obviously required to do, but I couldn't see the reason for them). Once those were over, she convinced me, as the "bete noire" of the Valois Court with Medici craft.
However, vocal command was not as it surely should have been, by both Queens, but particularly in the Armada sequence, when I sensed that burlesque had become reality. Elizabeth's final speech before the curtain must surely be stronger than it was. Hannah gave us splendid reminiscences of Miranda Richardson, but, whilst acceptable en route, it is, in the end, superficial and Hannah was not allowed to go further to the point where we get to "I am Gloriana"; otherwise, why is the play called "Elizabeth I?"
Was this a Directorial lapse? I feel so. The programme according to Mr. Foster, stated that she emerges from her father's shadow as "Gloriana Personified". That, for me, did not happen, and I saw little, if anything, in the text to justify this, so I do not criticise Hannah in this respect, but I came away thinking that Mr. Davies had presented a highly entertaining evening, which I would not have missed, but he had not probed as deeply as perhaps he could have done, and had moreover not moved Elizabeth in particular to a convincing climax, so as to give us that personification with which the play must surely end. Then, the epilogue, as spoken by Elizabeth, becomes a summing-up of her, and her era, to its crisis point in 1587/88. This last was a draw-back of emotion, and, again, I wanted more. To use a Victorian term, it is jingoistic, but not to play it as such threatens anti-climax, and the curtain came down somewhat unsatisfactorily in this respect.
This has been a difficult review to write, and I may be misconstruing Mr. Davies' and the play's intentions, but there were no "passengers" in this production. Everyone made a contribution and the sense of enjoyment in so doing was most noticeable. Having seen, and indeed reviewed, several YAT shows, I continue to be optimistic and enthusiastic with what I have experienced What I am chiefly convinced of is a plethora of talent and commitment. YAT has done great things: they will assuredly go on to greater horizons.
Photography
Most of these are pretty old, but are still my favourite photographs that I've taken. Here they are in chronological order (oldest at bottom, newest at top):
"Ferris Wheel Darlington"(2009) - 5mp digital camera on Nokia Mobile Phone
"Dog"(2009) - Digital (some editing in Photoshop)
"Pathway"(2009) - Digital
"Doorway"(2009) - Digital
"Ready to Store"(2008) - Digital
"Ferris Wheel"(2008) - Medium-Format Film (Eastman-Kodak Box-Brownie)
"Nemo Fish"(2007) - 35mm film in Lidl £4.99 underwater camera (!)
"Snow White" or "Eve"(2007) - Digital (some editing in Photoshop)
"Red Riding Hood"(2007) - Digital (some editing in Photoshop)
"Hansel and Gretel"(2007) - Digital (two photographs of me 'playing' the two characters, stitched together on Photoshop)
"Sleeping Beauty in the Wood"(2007) - Digital (some editing in Photoshop)
"Tree"(2006) - Digital
"Tower"(2006) - Digital
"The Road Goes Ever On and On..."(2005) - 35mm Film in my trusty Practika SLR
"Next Collection"(2005) - Digital
"The Lonely Giant"(2005) - 35mm Film in my Practika
"The Mound of the Northern King"(2005) - 35mm Film in my Practika
"Ferris Wheel Darlington"(2009) - 5mp digital camera on Nokia Mobile Phone
"Dog"(2009) - Digital (some editing in Photoshop)
"Pathway"(2009) - Digital
"Doorway"(2009) - Digital
"Ready to Store"(2008) - Digital
"Ferris Wheel"(2008) - Medium-Format Film (Eastman-Kodak Box-Brownie)
"Nemo Fish"(2007) - 35mm film in Lidl £4.99 underwater camera (!)
"Snow White" or "Eve"(2007) - Digital (some editing in Photoshop)
"Red Riding Hood"(2007) - Digital (some editing in Photoshop)
"Hansel and Gretel"(2007) - Digital (two photographs of me 'playing' the two characters, stitched together on Photoshop)
"Sleeping Beauty in the Wood"(2007) - Digital (some editing in Photoshop)
"Tree"(2006) - Digital
"Tower"(2006) - Digital
"The Road Goes Ever On and On..."(2005) - 35mm Film in my trusty Practika SLR
"Next Collection"(2005) - Digital
"The Lonely Giant"(2005) - 35mm Film in my Practika
"The Mound of the Northern King"(2005) - 35mm Film in my Practika
Sisters of the Deep
An old poem and picture I found that I wrote/painted ages ago:
Sisters Of The Deep
Cold as ice we are,
But you can warm our hearts.
Listen to our song,
Whilst Eros draws his darts.
Bathe in our green waters,
Kiss our ruby lips,
Worry not about the ghosts,
That haunt forgotten ships.
And when the night is over,
The sun will make his dawn.
Go down to join the sleeping ones,
Once more to be reborn.
Sisters Of The Deep
Cold as ice we are,
But you can warm our hearts.
Listen to our song,
Whilst Eros draws his darts.
Bathe in our green waters,
Kiss our ruby lips,
Worry not about the ghosts,
That haunt forgotten ships.
And when the night is over,
The sun will make his dawn.
Go down to join the sleeping ones,
Once more to be reborn.
Video Art
Two 30-second arty shorts made for the Kingston University Making and Showing Exhibition, February 2009.
Untitled 1 from Catie Atkinson on Vimeo.
Untitled 2 from Catie Atkinson on Vimeo.
The Royal Hunt of the Sun
The Royal Hunt of the Sun was my first YAT play - and a blog post on it is waaay overdue. However, I am fixing that now, as I'm currently updating my blog with everything remotely interesting that I've been doing over the past couple of years.
The Royal Hunt of the Sun by Peter Shaffer
Directed by Bill Compton
Venue: Hampton Hill Playhouse
28th April-3rd May 2008
The Royal Hunt of the Sun by Peter Shaffer
Directed by Bill Compton
Venue: Hampton Hill Playhouse
28th April-3rd May 2008
Flyer/Poster
The Inca King; Atahuallpa, played by Anjum Dosaj
De Candia and Miguel Estete, played by Mark Williams and Me :)
The Incas bring a message. Incas played by Amy Southby and Tegan Arnold, Miguel Estete played by Me, and Felipillo played by Asha Gill
Francisco Pizarro played by the amazing Rowan D'Albert - being in my first play with someone as talented as him was a great experience and an amazing learning curve. Also visible are De Candia (Mark Williams) and I think Manco played by Ellie Giffard (I can't see the other person's face so I don't know who it is sorry!)
"You See Villac Umu, Chief Priest Of The Sun!" Pizarro and Co have just climbed the mountains and this is what they are confronted with. Villac Umu (centre) played by Hannah Thompson, to the right of Pizarro is the zealous priest Valverde played by Hannah Ledwith. The two other incas are myself (right) and I think Tegan Arnold (left).
Forground - King Atahuallpa played by Anj Dosaj, visible in the background is Jason Evans (the tall one at the back) me (front left) Tegan Arnold (front right) and from the height I think the one just visible behind Adahuallpa is Hannah Thompson.
The Inca Massacre. Hundreds (use your imagination here) of Incas have died to protect their King/God. This is the scene at the end of Act I.
Royal Veedor Estete (me) tells De Candia to end the pathetic madness of Pizarro and kill the Inca King.
Atahuallpa is about to be sacrificed. From back left: the slightly nicer priest, De Nizza (Miranda Marvin); Hernando De Soto (Charlie Lowry-Corry); Manco (Ellie Giffard); Rodas (Jason Evans); Atahuallpa (Anj Dosaj); Domingo (Jess Morley); and unfortunately I can't remember the last and the actor I know only as Raf - I'll update this as soon as I know better. Obviously Pizarro in the foreground played by Rowan D'Albert.
Francisco Pizarro played by the amazing Rowan D'Albert - being in my first play with someone as talented as him was a great experience and an amazing learning curve. Also visible are De Candia (Mark Williams) and I think Manco played by Ellie Giffard (I can't see the other person's face so I don't know who it is sorry!)
"You See Villac Umu, Chief Priest Of The Sun!" Pizarro and Co have just climbed the mountains and this is what they are confronted with. Villac Umu (centre) played by Hannah Thompson, to the right of Pizarro is the zealous priest Valverde played by Hannah Ledwith. The two other incas are myself (right) and I think Tegan Arnold (left).
Forground - King Atahuallpa played by Anj Dosaj, visible in the background is Jason Evans (the tall one at the back) me (front left) Tegan Arnold (front right) and from the height I think the one just visible behind Adahuallpa is Hannah Thompson.
The Inca Massacre. Hundreds (use your imagination here) of Incas have died to protect their King/God. This is the scene at the end of Act I.
Royal Veedor Estete (me) tells De Candia to end the pathetic madness of Pizarro and kill the Inca King.
Atahuallpa is about to be sacrificed. From back left: the slightly nicer priest, De Nizza (Miranda Marvin); Hernando De Soto (Charlie Lowry-Corry); Manco (Ellie Giffard); Rodas (Jason Evans); Atahuallpa (Anj Dosaj); Domingo (Jess Morley); and unfortunately I can't remember the last and the actor I know only as Raf - I'll update this as soon as I know better. Obviously Pizarro in the foreground played by Rowan D'Albert.
Review by John Thaxter, The British Theatre Guide, May 2008
Peter Shaffer's exotic piece of 'total theatre', first staged at the Olivier in 1964, now looks like a poke in the eye for the rigid Christian ethic of the Conquistadors in Peru, coupled with imperial plunder as Francisco Pizarro's ramshackle army crosses the Andes in a desperate search for gold - turning fine Incan works of art into gold ingots to line their knapsacks and the Spanish royal treasury.
When it was revived at the National a couple of years ago some saw it as a contemporary metaphor of American oil greed in Iraq. But the Incan emperor Atahuallpa is no Saddam Hussein and the intellectual love affair between Pizarro and this self-styled Sun God is more about the mystic meaning of life and death, than conquest and regime change.
Director-designer Bill Compton's staging for Youth Action Theatre goes some way to match the magnificence of Trevor Nunn's NT production, making brilliant use of the deep Hampton Hill Playhouse stage to create a huge chamber of gold for Atahuallpa's first appearance, seen through a circular gauze portal; a space later flanked by acolytes bearing precious gold objects as ransom tributes for his brutal Spanish captors.
Downstage is a collection of box-like structures to represent the Andean rocks and an Incan habitat, all caught in the tightly-focused precision of Simon Roose's lighting plot, cleverly picking out essential moments on a stage often crowded with Peruvian natives, Catholic priests and the idle Spanish soldiery. Strobe lighting for the village battle and bloodbath was used with restraint.
The production, presented as a Gala event, is the 100th by Youth Action Theatre. With its close link to Teddington Theatre Club, the company was founded by Eric Yardley back in December 1970. And before he retired in 2004 Eric had directed no fewer than 73 of its major shows.
Since its inception, YAT has provided free opportunities for any young person aged between 16 and 25 to acquire or enhance acting and theatre skills by participating in the regular drama workshops and on-stage performances. YAT now presents some three or four productions a year, between running the workshops and media-based activities.
Shaffer's play with its challenging demand for a 30-strong cast (and almost as many again backstage) is a natural for a youth company of mixed ability but with a huge enthusiasm to get involved, plus a dozen adult members in support who share their dedication to the company.
For a play with mostly male characters it was inevitable that half the masculine roles would go to girls in the company. But never once did I sense a moment of gender confusion. Charlie Lowry-Corry in particular was a magnificent Hernando de Soto, second in command to Pizarro and looking all-powerful in her Spanish-inspired armour and helmet. A lovely performance.
Likewise were Hannah Patrice Ledwith and Miranda Marvin, figures of striking appearance who as Spanish priests carried the cross and Catholic insignia, not to mention the word of their God, with tremendous attack and conviction, representatives of the only true religion - but, more than that, winging their words to the back of the auditorium.
The leading Iberians were all chaps. Tall, elegant and clearly no stranger to the stage, Tom Kirkin was pitch perfect as the older Martin Ruiz, regretting his role in the destruction of a civilisation; while Miles Orru as his young counterpart revealed similar moments of compassion as the Spanish-Incan go-between and translator.
The central roles of Pizarro and Atahuallpa, one delivering long, reflective speeches, the other coping with the constantly changing demands for physical presence, were given performances that would not have disgraced a professional production.
I have never seen Rowan D'Albert before but his physical likeness to the popular image of Cervantes' Don Quixote, with a neatly bearded chin, gave him a head start as the impassioned but slightly dotty military commander with an angry streak of fatalism. And his nicely judged, demotic speech patterns perfectly suggested a man of the people, born a bastard and risen to fame and royal acclaim through his own dogged determination to succeed. Truly, a magnificent performance.
The role of Atahuallpa demands a powerful sense of spirituality coupled with a kingly understanding of practical politics; assured belief in his physical immunity from harm, while recognising the potential dangers of any developing situation - after all (as yet another bastard) he has killed his own stepbrother in a bid to seize the throne.
But despite the essentially unemotional manliness of the part, this sun-god was played with total truth by Anjum Dosaj, a dazzling female figure with strong features, who demands an inviolate space around her; her silky complexion and striking beauty bringing an almost ethereal quality to the portrayal, yet fused with droll humour and self-perception.
These two fine performances must have delighted director Compton, as they clearly did an enthusiastic audience, listening with close attention to the constant changes of fortune between these big-hitters. And they really showed us what Shaffer was banging on about when he wrote the play. Bravo!
Peter Shaffer's exotic piece of 'total theatre', first staged at the Olivier in 1964, now looks like a poke in the eye for the rigid Christian ethic of the Conquistadors in Peru, coupled with imperial plunder as Francisco Pizarro's ramshackle army crosses the Andes in a desperate search for gold - turning fine Incan works of art into gold ingots to line their knapsacks and the Spanish royal treasury.
When it was revived at the National a couple of years ago some saw it as a contemporary metaphor of American oil greed in Iraq. But the Incan emperor Atahuallpa is no Saddam Hussein and the intellectual love affair between Pizarro and this self-styled Sun God is more about the mystic meaning of life and death, than conquest and regime change.
Director-designer Bill Compton's staging for Youth Action Theatre goes some way to match the magnificence of Trevor Nunn's NT production, making brilliant use of the deep Hampton Hill Playhouse stage to create a huge chamber of gold for Atahuallpa's first appearance, seen through a circular gauze portal; a space later flanked by acolytes bearing precious gold objects as ransom tributes for his brutal Spanish captors.
Downstage is a collection of box-like structures to represent the Andean rocks and an Incan habitat, all caught in the tightly-focused precision of Simon Roose's lighting plot, cleverly picking out essential moments on a stage often crowded with Peruvian natives, Catholic priests and the idle Spanish soldiery. Strobe lighting for the village battle and bloodbath was used with restraint.
The production, presented as a Gala event, is the 100th by Youth Action Theatre. With its close link to Teddington Theatre Club, the company was founded by Eric Yardley back in December 1970. And before he retired in 2004 Eric had directed no fewer than 73 of its major shows.
Since its inception, YAT has provided free opportunities for any young person aged between 16 and 25 to acquire or enhance acting and theatre skills by participating in the regular drama workshops and on-stage performances. YAT now presents some three or four productions a year, between running the workshops and media-based activities.
Shaffer's play with its challenging demand for a 30-strong cast (and almost as many again backstage) is a natural for a youth company of mixed ability but with a huge enthusiasm to get involved, plus a dozen adult members in support who share their dedication to the company.
For a play with mostly male characters it was inevitable that half the masculine roles would go to girls in the company. But never once did I sense a moment of gender confusion. Charlie Lowry-Corry in particular was a magnificent Hernando de Soto, second in command to Pizarro and looking all-powerful in her Spanish-inspired armour and helmet. A lovely performance.
Likewise were Hannah Patrice Ledwith and Miranda Marvin, figures of striking appearance who as Spanish priests carried the cross and Catholic insignia, not to mention the word of their God, with tremendous attack and conviction, representatives of the only true religion - but, more than that, winging their words to the back of the auditorium.
The leading Iberians were all chaps. Tall, elegant and clearly no stranger to the stage, Tom Kirkin was pitch perfect as the older Martin Ruiz, regretting his role in the destruction of a civilisation; while Miles Orru as his young counterpart revealed similar moments of compassion as the Spanish-Incan go-between and translator.
The central roles of Pizarro and Atahuallpa, one delivering long, reflective speeches, the other coping with the constantly changing demands for physical presence, were given performances that would not have disgraced a professional production.
I have never seen Rowan D'Albert before but his physical likeness to the popular image of Cervantes' Don Quixote, with a neatly bearded chin, gave him a head start as the impassioned but slightly dotty military commander with an angry streak of fatalism. And his nicely judged, demotic speech patterns perfectly suggested a man of the people, born a bastard and risen to fame and royal acclaim through his own dogged determination to succeed. Truly, a magnificent performance.
The role of Atahuallpa demands a powerful sense of spirituality coupled with a kingly understanding of practical politics; assured belief in his physical immunity from harm, while recognising the potential dangers of any developing situation - after all (as yet another bastard) he has killed his own stepbrother in a bid to seize the throne.
But despite the essentially unemotional manliness of the part, this sun-god was played with total truth by Anjum Dosaj, a dazzling female figure with strong features, who demands an inviolate space around her; her silky complexion and striking beauty bringing an almost ethereal quality to the portrayal, yet fused with droll humour and self-perception.
These two fine performances must have delighted director Compton, as they clearly did an enthusiastic audience, listening with close attention to the constant changes of fortune between these big-hitters. And they really showed us what Shaffer was banging on about when he wrote the play. Bravo!
Digital Painting
Since I got my first Graphics Tablet about a year and a half ago, I've done a lot more digital paintings than 'real' ones - I don't feel guilty though as it's lots of fun, they look great, and they have the advantage of being able to be lazy and leave them fore ages without all the colours you've mixed going dry! Here are a few examples of what I've been up to:
"Susan Sto Helit" - a character from Terry Pratchett's Discworld Series.
"Magrat Garlick" - another character from Pratchett's Discworld.
"Santa and God" - a christmas card born from a conversation between my housemate and myself - how amusing would it be if Santa and God were flatmates?
"Edmund Meets the Queen" - a scene from the beginning of The Lion, The Witch, And The Wardrobe by C.S.Lewis.
"The Sword and the Mirror" - Cover design for my Dad's novel available online here
Sunday 7 February 2010
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