The final curtain

So here I am, Sunday afternoon, the day after the night before. Feeling slightly hazy and numb. One of the worst parts of the theatrical journey; the end. We have created a little community, a world and a web of shared references, jokes, thoughts and experiences. And then it is gone. Although the rational part of my mind reminds me that there is no such thing as an 'end' as such, but rather different chapter along the way.

I have come away from the final performances of 'Orestes' feeling like this has been a rich and valuable experience for all involved. From chatting with the company at our after show gathering last night, I have been touched by how moved everyone has been, how much the project has stimulated personal thought and discovery, and been a chance for us all to be enriched in various ways. For me, this has been a really important leap. The opportunity to form an ensemble of such talent and diversity, has allowed me to work harder, deeper and faster than usual. As a teacher/practitioner, I think it is so vital to keep your own professional practice going, to challenge yourself, and be reminded of the different pace and depth of the professional rehearsal room. I have been through so many different phases of thought throughout this process; during rehearsals I felt passionate about the gathering and telling of truths, and felt as if I had arrived at my most satisfying form of directing: stimulating the cast, generating material through a deep immersion into the content and substance, then shaping and facilitating the subsequent units of action. The rebel chorus only claimed text if it resonated with them, and they connected to it. This felt really honest and organic in rehearsal, and audience later commented on how clear it was that this process had reached into actors' bones.

Reflecting back, the most affirming and positive feedback from audience includes:

• The clarity of the story - felt 'guided' through the piece
• Being fully engaged and captivated throughout
• Feeling stimulated, angry/passionate and responsive throughout
• Feeling the weight/burden of responsibility when asked to vote
• The commitment and investment of the cast
• The aptness of the space/site
• The unity and cohesion of the ensemble
• The pertinence of this re-telling to today

Much of these responses describe my aims for the project. More and more, I am keen to explore ways for audience to shift from passive spectator to active engagement. But this is such a finely tuned craft. In one post show 'Q&A' I was asked whether audience really reacted freely throughout, or whether we they were still well behaved and only 'acted' when asked. Mostly our audiences followed the rules, and often then felt that they were colluding when they did nothing at the end, as the rebels are led out to their certain fate.

It is indeed tough to swallow negative reviews, particularly if they are non-constructive ranting. Watching a piece of art is of course so subjective, and I had to often remind myself that every opinion and reading is valid - and that I was assured that the work we had made was honest, heartfelt and achieved exactly what we had set out to do. Interesting that reinventions of classical work such as this divides opinion so extremely.

Watching the show last night, I felt that all strands of the work came together at its best. I was struck almost afresh by the mis-en-scene; the beautiful layering of the stage pictures, the wealth of stories alive onstage, the strength of feelings, and that magic that exists amongst a truly cohesive, synthesised ensemble. The chorus knew of each others' movement, breath, impulse from moment to moment. This felt so powerful and precious to watch. I wonder why human creatures delight so in watching synchronisation; a choir singing in harmony, a flock of birds flying in perfect formation. There is something so harmonious and pleasing, perhaps it chimes with our yearning for how we secretly want the world to work.

It was wonderful to have an opportunity to appreciate all the company members in the form of a 'ceremony' in between the last two shows. Typically thoughtful, generous and totally without ego, each company member sang, read their poem, presented their gift for one other. Lullabies were sung, games were offered, honest feelings shared...and I was struck by how privileged we are as artists to be able to fuse, play and be together in this way.

Where next? The dream - to form a more permanent ensemble with whom I could continue to explore and play and create. Wouldn't it be wonderful to have a space to make and create? I also have a yearning now to do something very small, very concentrated perhaps. I come away feeling tremendously nourished, inspired and excited to keen creating.

Thank you to everyone who made this possible. Amazing really when you have a vision and a plan in your mind, and then slowly a creative and production team form, and the project comes to life. The production team have been ace; totally supportive and committed to perfection. The cast have been a true delight; constantly open, playful, brave, investing, honest and so much fun to get to know.

Until the next time...Thanks for reading!

Emma

Raving Review for Orestes!

A truly vibrant and atmospheric production of a challenging play is on show at the Southwark Playhouse near, appropriately as it turns out, the London Dungeon. The play tells a story, ancient and modern, of murder and revenge, resistance and retribution, and of the arrival of law, order and democracy. But the arrival of 'civilisation' comes at a price, one that undermines the justice that it seems to bring about.

The play reworks Aeschylus's telling of the story of Orestes, of his murder of his mother, the avenging Furies, and the final reckoning of trial by jury and judicial settlement . It is called Orestes: Re-examined but the story is not just re-examined, it is also re-charged with amazing energy, insight and passion by Full Tilt Theatre Company under the direction of Emma Gersch.The Furies have become outcast Rebels. With these Rebels the young company succeeds where almost all modern productions fail in making a chorus that speaks, moves and sings with collective solidarity and yet also displays individuality. There is also room for the audience to act as individuals as they vote on whether a murderer can be allowed to run the state, and then to consider the actual outcome of their collective decision.

The characterisation of the other side, Authority, is weak. But this is a small shortcoming when compared with the achievement of the chorus of Rebels, victorious and victimised, disturbing and appealing. This is theatre at its best. Intellectually and emotionally this is a play and a performance that are not to be missed.

Bob Catterall

CITY: analysis of urban trends, culture, theory, policy, action

Only Connect (working with ex-prisoners)

http://www.onlyconnectuk.org/About-Us.asp

this is a really interesting company/ organisation; might be worth trying to reach their admin team... Chloe x

Production Images

All images by Tom Jewett

Review

An appreciative review on London's SE1 website! Click here to read.

Open for Business

Well and truly open for business, Orestes: Re-Examined has opened it's doors to our audience, last Wednesday 16th September. As ever, a mad rush towards opening night - but the company really pulled together, rooted themselves and gave a great first performance. It is always terrifying as a director watching an audience watching your show, and particularly with 'Orestes', as our audience is seated in traverse, in clear view of each other throughout! So I hid in the shadows, and tried not to mouth words, beat rhythms or nod appreciatively during the show.

On the opening of the show, it is always really important to give the show to the cast, so that they have total ownership over it. There was a real sense of buzz and excitement in the air, and it was clear that the cast were ready for an audience, ready to share and tell their stories. The first show was really tight, full of energy and purpose - I was extremely proud. We had a larger than expected house, and Orestes was acquitted. In fact - we are now at show 5 and he has been let off each time. We are left to wonder whether any audience might find him guilty. Thrilling that the cast are genuinely unaware of the outcome, and that they can experience the real feeling of anticipation and uncertainty.

And then we were storming ahead towards the heightened states of press night. Not before a cheeky birthday prank for Filip (our Deputy), who was lured into a believing that I wanted to change the pre-show speech into a jazzier, cabaret version. He took it brilliantly - a real sport!

After a warm up aimed to level everyone, I discovered queues of audience at the box office, the show had somehow been oversold, and there was a bit of a 'fraccas' regarding tickets, but we wedged, pushed and shoved, and there were quite a few folk standing at the back. But I'm pleased to say there was a real buzz in the air, and a truly engaged (albeit hot) audience. Talking to audience after the show, they reported on how immersive, clear and dynamic the show was. The show really lifted onto the performance plateau, and it was wonderful to watch the cast really starting to play, connect and try out new things. They weren't at all thrown by the size (and familiarity) of the house. In the bar after the show, lots of positive responses, questions and points for discussion.

And then the tough bit - where I have to slip away and leave the cast to do their thing. My least favourite part of the process, but really necessary. Back on Monday though - and from reports, the show has been going from strength the strength.

More soon...

It's Begun - The TECH!

I type from the tech desk at the Southwark Playhouse on day two of the big tech experience. All going well, slowly - but that is to be expected when you have a bunch of perfectionists creating a show!
We had a 12 hour day yesterday, the set looks fantastic, and Alex has done a grand job with the lighting conjuring just the right atmosphere and impact to frame and reinforce the play. The cast displayed amazing patience yesterday as they were required to stand still for hours on end as we plotted lights and sound around them. It's always difficult from where I am sitting to grasp the whole picture at this stage in production, when the show is spliced up into cues and technical chunks. Of course the artistic anxiety kicks in that all the beautiful rehearsal detail is lost in the melais of dry ice and parcans. But - deep down I trust that once we join up all the dots, it will fit back together again.

Adam Griffiths has very kindly joined the team and created the AV and film work for the pre-show, looking great - and we are most grateful to him. Our long day was concluded by a burst of song from our team of authorities who had put their long hours of sitting around to good use, and written a spoof song about 'Argos' - which was then performed in the style of a frog chorus to the rest of the company. A perfect way to end the day.

More soon....
Emma

Orestes - GET IN!

Well how exciting - our GET IN day at Southwark. Pleased to report that Mike and has team have everything in hand, and there was a real buzz in the theatre today as the scaffolders came in, the seating was built, the lights were rigged, and the set began to get dressed. Delighted to announce we have also managed to acquire two lovely ASMs (below) Maddie and Lillie, who watched a rehearsal and subsequently signed up! It's days like these that remind you what its all about. All hands on deck, music blasting, a buzz of activity and all working towards the same goal: TO GET THE SHOW ON THE ROAD!

(We were even treated to Mike on the piano in a tea break!)

Last rehearsals!

Can hardly believe we have finished rehearsals. Three weeks have flown by, yet also - so much has been developed and grown. We started running the show on Thursday, to see what we have. Really pleased to see how it all held together, but also discovered lots of areas to clarify and develop. Started now to really think about our audience, and how vital it is to distinguish their role and function. In participatory theatre, it is all too easy to 'tack' on the audience involvement, and forget to interrogate every interaction for believability and clarity. We have therefore spent the last two days working in minute detail on the text, re-writing and refining to improve again. We weren't helped by having to work in what I can only describe as a bright white airport hanger with intense echo - not ideal for working with focus on detail! So Friday will go down as my most challenging rehearsal yet, but miraculously, we managed to achieve a great deal in developing and improving the work.

Thursday night saw our first company night out! We were all very much ready to let our hair down and enjoy some socialising. Natasha, our very own events organiser (!) did brilliantly in coordinating 30 of us to go out for dinner and drinks, and much fun was had by all!

Final Unit

Dear all,

In thought of todays work, here are some areas of research that Philip directed me towards. 

Exodus: Vukover 1991

Srebrenica 1994/5

Harrowing echoes to our final unit.

The painting is called 'The Parting' by Alicia Melamed Adams (1991).

Thank you

Kitty

Rehearsal progress

Another successful day at the Southwark Playhouse, and - amazingly, we are nearing the end of the show! I don't want this week to go too quickly - and am trying to savour each moment of this wonderful rehearsal journey. More exploring, playing and risking from all. There is such a positive energy in the rehearsal room, and I come away each evening feeling so inspired and enhanced. This project has confirmed to me the profound impact that theatre can have on us - politically, socially, culturally. Having the opportunity to sculpt and create work that is absolutely up to date, relevant and resonant feels so critical. Being able to create with a group of artists who are so open, generous and ready to explore is a real privilege. It is rare to find yourself in amongst an ensemble that has an innate cohesion, total lack of ego, and a shared desire to make the work the best it can be. Horay.

Yesterday, we welcomed another seven cast members into the team; our ensemble of authorities, who are now working hard with Andrew Beckett to develop the key audience interaction for the pre-show. Stirling work going on. Kitty has also been developing wonderful movement work with the rebels, and Kat came back for more singing. A veritable hub of creativity. Some images below to try and capture the life of our day:

The end of week 2!

The Orestes company bid farewell to their Muswell Hill rehearsal space today, as we draw to the end of week 2 of rehearsals. Pastures new next week as we head South to the Southwark Playhouse, to begin getting the space into our bones. A hugely successful day today - lots of tightening, refining - work is blossoming each day. Finally got to welcome Athena into the play, and to develop more live music with Kat. A much needed weekend break for all, before we storm into our third and final week of rehearsals. On Monday, 7 more company members to join. Strength in numbers!

Until next time...Emma

Rehearsal update

Hello again!

Been a little while since my last entry, as we had an unexpected interruption. On Monday we returned to our rehearsal room to discover a fire had broken out over the weekend, damaging our costumes and plans for the day. All a bit shocking. So we used the day without a space as a chance to do some more bonding and picnicing in the park. Back to work on Tuesday, and even more developments. The company continue to take risks, explore and find even more personal connection with the story. Today we were lucky enough to rehearse in the space at Southwark, and it really helped to take the work to another level. The environment is key, and the rebel ensemble have had to work hard to ignore the shiny, clean, mirrored rehearsal room and imagine the dank, dark, cavernous space that is their home. Ellie Jones (Artistic Director at SP) came to watch some rehearsal today, and was pleased to see how the work is shaping up. We have now also gained our stage manager, Chandni - back from Edinburgh, and our sound operator Clare - so the company feels as if it is growing daily. Today we worked on the entrance of Menelaus to the dungeon, and explored the many complexities of having him agree to an audience with the mob. The presence of the International Delegation (in the shape of the audience) is key, we have found, to his agreeing to come. Some powerful work developed on the ritualised tormenting of Orestes - and Mat (our prince) is holding up well with what is proving to be a huge challenge for even the strongest of beings. Having 16 people torment, abuse, jeer and taunt - not an easy task. We always ensure much love is shared at the end of a rehearsal!

Phil Mathews, editor of the Drama Student Magazine came to watch and interview some of us today, and plans to run a feature on the production. He is interested particularly in the way our Bath Spa graduates have made the leap from student to professional domain.

Until soon....Emma

Burma VJ

I have just returned from watching Burma VJ and find I have no words.

I can try to explain but words are not enough. The bravery and hope of the people in the film; of those who risked everything to film the days of the protests; those who risked everything to be filmed; those who risked everything to demonstrate and call out for the East and for the universe to be free from fear, free from poverty; those who risked everything and when surrounded by the military, called for those not afraid to die to go to the front.

Please if you haven't already try to see as much as you can of this on the internet and visit the website.

Thank you

Kitty

Orestes Rehearsal Room

Hello bloggers,

Emma here - just wanted to share some responses from my director's perspective, on the progress of the rehearsal room. Only three days in, and it feels as if we have been working together for a long time. We have enjoyed an immersive and intensive start to the project, with in depth character and ensemble exploration, and a chance to really start scoping out the new contexts for the piece. The cast have been responsible for bringing their own responses to current world events, and the room has been awash with political debate, story sharing and an overall generation of critical resource and stimulus material for the work. I have been overhwelmed by the company's investment and commitment to the work, the passion and energy with which they engage with each exercise, and the quality and depth of engagement amongst a newly forged ensemble. It has been moving and humbling to watch the cast explore personal resonances and truths, and there have been many affirmations of why it is so vital to be creating work in this way. There is a great appetite for exploration, and a atmosphere of real respect and generosity for each others' work. We have worked in detail on the underlying themes of urgency, potency and 'need to tell'. Andrew (Assistant Director) has developed wonderful detailed work with characters, Menelaus and his Deputy, Orestes, Electra and Athena.

Tomorrow is our first day on the script 'proper', and I feel we shall now come to it brimming with character back story and imagination. The rebels have ow developed individual stories, drawn from/inspired by real life events and stories that have struck them.

Here's to more discovery...

Emma

Research blog...

Hello all,
I found this blog whilst researching and found it very interesting as an example of how a prolonged exposure to events such as the ones we have been looking at can really eat away at a person.....each month this blog seems to become (understandably) more angry and bitter. www.arabwomanblues.blogspot.com

Hope it's of some use....
Sarah x

Animal Farm and In Place of War

http://www.youtube.com/user/thefreedomtheatre
Thought this was interesting. Palestinian theatre company in the Jenin refugee camp doing animal farm. I especially like the former guerilla fighter saying "all theatre is revolution". Also the idea that the 'pigs' become like Farmer Jones when they start saying 'I' not 'We'.

The Freedom theatre was built largely with money made by a documentary called Arna's children. It is by a half Israeli half Palestinian actor who filmed the children he did drama classes with in the refugee camp. He returns years later after the battle of Jenin to find out what became of the children. Most of them are dead, either through fighting or becoming suicide bombers. In tracing the kind of life that can lead people to do such terrible and extreme things it is very interesting, and, of course, heartbreaking. If anyone would like to borrow it just ask me.

I recommend this as a general resource:
http://www.inplaceofwar.net/

"What is In Place of War?
In Place of War researches theatre and performance practice from sites of crisis and armed conflict. The first decade of the 21 st century has witnessed multiple wars and humanitarian crises - connected to the instabilities of economic globalization, historical political grievance, global structural inequity and new forms of ecological threat. While the events of our contemporary 'times of blood and crime' are not without historical precedent, they have never before had such evident global reach, impact and interconnectedness. "

Lastly - I met a man on a train once who was a refugee from Sudan. He said that in his village it was not safe to talk about politics. So, in the guise of theatre, they would perform to each other in mime. They had a set of complex physical symbols, so they could have political discussions, while to anyone watching it would look like they were just playing. Today i thought of him in relation to the non verbal communication between the rebels.

Clare

Religious police in Saudi Arabia arrest mother for sitting with a man

A 37-year-old American businesswoman and married mother of three is seeking justice after she was thrown in jail by Saudi Arabia's religious police for sitting with a male colleague at a Starbucks coffee shop in Riyadh.

Yara, who does not want her last name published for fear of retribution, was bruised and crying when she was freed from a day in prison after she was strip-searched, threatened and forced to sign false confessions by the Kingdom's “Mutaween” police.

Her story offers a rare first-hand glimpse of the discrimination faced by women living in Saudi Arabia. In her first interview with the foreign press, Yara told The Times that she would remain in Saudi Arabia to challenge its harsh enforcement of conservative Islam rather than return to America.

“If I want to make a difference I have to stick around. If I leave they win. I can't just surrender to the terrorist acts of these people,” said Yara, who moved to Jeddah eight years ago with her husband, a prominent businessman.

Her ordeal began with a routine visit to the new Riyadh offices of her finance company, where she is a managing partner.

The electricity temporarily cut out, so Yara and her colleagues — who are all men — went to a nearby Starbucks to use its wireless internet.

She sat in a curtained booth with her business partner in the café's “family” area, the only seats where men and women are allowed to mix.

For Yara, it was a matter of convenience. But in Saudi Arabia, public contact between unrelated men and women is strictly prohibited.

“Some men came up to us with very long beards and white dresses. They asked ‘Why are you here together?'. I explained about the power being out in our office. They got very angry and told me what I was doing was a great sin,” recalled Yara, who wears an abaya and headscarf, like most Saudi women.

The men were from Saudi Arabia's Commission for Promotion of Virtue and Prevention of Vice, a police force of several thousand men charged with enforcing dress codes, sex segregation and the observance of prayers.

Yara, whose parents are Jordanian and grew up in Salt Lake City, once believed that life in Saudi Arabia was becoming more liberal. But on Monday the religious police took her mobile phone, pushed her into a cab and drove her to Malaz prison in Riyadh. She was interrogated, strip-searched and forced to sign and fingerprint a series of confessions pleading guilty to her “crime”.

“They took me into a filthy bathroom, full of water and dirt. They made me take off my clothes and squat and they threw my clothes in this slush and made me put them back on,” she said. Eventually she was taken before a judge.

“He said 'You are sinful and you are going to burn in hell'. I told him I was sorry. I was very submissive. I had given up. I felt hopeless,” she said.

Yara's husband, Hatim, used his political contacts in Jeddah to track her whereabouts. He was able to secure her release.

“I was lucky. I met other women in that prison who don't have the connections I did,” she said. Her story has received rare coverage in Saudi Arabia, where the press has been sharply critical of the police.

Yara was visited yesterday by officials from the American Embassy, who promised they would file a report.

An embassy official told The Times that it was being treated as “an internal Saudi matter” and refused to comment on her case

Saudi Arabia -Women

— Saudi Arabia’s Mutaween has 10,000 members in almost 500 offices

— Ahmad al-Bluwi, 50, died in custody in 2007 in the city of Tabuk after he invited a woman outside his immediate family into his car

— In 2007 the victim of a gang rape was sentenced to 200 lashes and six years in jail for having been in an unrelated man’s car at the time. She was pardoned by King Abdullah, although he maintained the sentence had been fair

http://www.timesonline.co.uk/tol/news/world/middle_east/article3321637.ec

Story of Malalai Joya

This is the story of an inspirational Afghan woman, who grew up in the refugee camps of Iran and western Pakistan. She returned to Afghanistan to set up a secret school for girls, an extremely dangerous endeavour under Taliban rule. Once the Taliban were toppled, she became involved in politics, and was elected an MP, but was voted out by the warlords she was seeking to expose and remove from Parliament. Now she continues the fight for women's rights in Afghanistan, albeit underground. She moves to a different safe house every day, and her life is constantly in danger.

She is an inspiration to all women, with an all-important cause.

http://www.independent.co.uk/news/world/malalai-joya-the-woman-who-will-not-be-silenced-1763127.html

Useful Website for Rebel Ensemble

http://womenagainstshariah.blogspot.com/

The above website has articles from all over the world, many relating to the oppression of women.

Words from the front line: the bloody truth of Helmand – by a combat soldier

This is worth a read, one of the most truthful accounts of the front line.

http://www.guardian.co.uk/uk/2009/aug/23/afghanistan-soldier-diary-helmand-taliban

Iranian boy who defied Tehran hardliners tells of prison rape ordeal

http://www.timesonline.co.uk/tol/news/world/middle_east/article6805885.ece

Rehearsal Day One

Day One: The beginning of something exciting!

Hello All, this is Andrew, the assistant director of Orestes Re-Examined. Over the coming weeks I'll be keeping a blog of the process of the project, from within the rehearsal room. Hopefully just as exciting for the reader as it i for the company.

Rehearsals got off to a great start today, the company met, shared, and learnt everyone's names. After a little encouragement, the company accepted that Philips name was not Steve and adjusted to it accordingly. We've explored the Southwark Playhouse with an attention to space, detail, and feeling. From the smoggy surrounding areas to the darkest vaults of underground London. Not to be confused with the London Underground. A promising start to a voyage of discovery.

Blog One, much more to come...

Show Announced - Southwark Playhouse Website

Click here for link to Southwark Playhouse Website, for details of the show...

Euripides - Orestes

For a useful background read, click here for a good translation of Euripides Electra.

Thanks,

Emma

The Remorse of Orestes by William-Adolphe Bouguereau

Very striking image...

Emma x