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Tuesday, 1 October 2019

THERE’S A ROOM Book Launch

This month, which marks the 24th anniversary of our first performance, Testcard, we are delighted to be publishing There’s A Room: Three Performance Texts by Third Angel with the brilliant folk at Oberon Books.

Early on in our career we talked more about writing down than about writing. The durational and installation works were represented as lists of instructions – if they were written down at all. Texts for the theatre pieces were assembled from improvisations, transcriptions of film dialogue found texts and conversations with audiences. We didn’t really think of them as scripts, or about other people performing them.

That probably changed with Where From Here, which we made with Jerry Killick in 2000. We’ve talked in the past about this show being a ‘coming of age’ show for Third Angel, and certainly it toured more extensively than anything we had made before. Several times in the touring life of the show Alex stepped in for Jerry when he wasn’t available. Even though the show was made and presented using a substantial amount of autobiographical improvisation, we found that Alex borrowed most of Jerry’s material and only added his own material in the final scene. At some point there was a conversation about other people performing it, and after the touring was finished, Rachael and Jerry wrote down their improvised sections (the rooms and the stories in them, if you know the show) and we added in the written speeches and made a script. There were a couple of conversations about publishing it, but it never quite happened.

Since then writing has become a more deliberate aspect of our process, and even in the more devised shows, printed scripts/texts are created for dramaturgical and technical purposes – for cueing the shows and for surtitling international gigs.

From the Introduction: There’s A Room
“Who’s in the room?” This is the question we ask ourselves about each project. It means, who is making this show? Who is in the room in which the work is getting made? Whose voices, whose expertise, whose experience is being brought together to tell this story with us?

When we started talking to Oberon about publishing some of the shows, a couple of years ago, we realised that a ‘complete works’ volume was not financially viable, and that we had to make a first choice of what we want to publish in this collection. We were interested in collecting shows that were created through exploratory, collaborative devising processes, and had resulted in scripts that could be performed by other artists and companies. With that in mind it was clear that the other two texts should be Presumption, made with Chris Thorpe, and What I Heard About the World, made with Chris and our Portuguese friends at mala voadora. These are the shows that have either been performed by another company (Presumption, The ECC, Brussels, 2012/13) or people have asked about the performance rights.

So we’ve gone back to the touring scripts, updated whilst on the road as the shows evolved, and added in some stage directions on top of the Stage Management notes, expanded some of our performer short-hand to make a few things clearer. We’ve written new introductory essays to explain the devising process of each show, and some more background about the company. We’re looking forward to it being out in the world.

The title of this collection also refers to the situation of each show, and the concerns of the work. Each takes place in a particular room – in which the audience are acknowledged to a greater or lesser extent. In each piece the lives of the people in the room together are affected by events in the world beyond its walls. Events they have taken part in, events they have heard about, events they have imagined. Taken chronologically, the three shows turn their attention outward, from the intensity of personal relationships and our domestic lives, to the overwhelming number of stories and events taking place in the world beyond.

We’re launching the book on 14th October 2019 at the Off The Shelf Festival in Sheffield, at 7pm, at Sheffield Hallam University’s Performance Lab on Arundel Gate. Rachael and Alex will be in conversation with writer and critic Lyn Gardner*, and we’ll be reading a few selections from each show. We’d love you to join us – tickets are available here.

After the launch There’s A Room will be available to buy from Oberon Books or directly from us.

**

Thanks to everyone at Oberon for pulling this together. Cover design above by Konstantinos Vasdekis. Photograph of Rachael Walton in Where From Here by Rob Hardy. Publication supported by Leeds Beckett University.

*Update: we’re sorry to learn that Lyn has had to clear her diary to deal with a family emergency. Chris Thorpe was scheduled to be with us for the event anyway, and will now help lead discussions. We wish Lyn the very best and thank Chris for stepping up. 

Tuesday, 17 January 2017

That was 2016 - an anniversary year

Partus
Partus. Photo by Helena Fletcher.

This was meant to be our New Year’s Eve post, but for various reasons, that didn’t happen. But here we are.

Usually for New Year’s Eve we post something from the previous year - a bit of text created for a show, an out-take or an extra, as it were. But 2016 has been so busy, it feels more appropriate to look at it all - or most of it, anyway - and say, well, that was a good year. An annual review, if you like. An annual review of a year that was a two decade review.

We started the year opening PARTUS with a week’s run at The Crucible Studio in Sheffield. We tried out baby and breast-feeding friendly audiences for the first time, which were a great success, over 30 and 50 babies at the two daytime performances.

Partus

Partus. Photo by Helena Fletcher.

Sheffield blogger Katie Hilton wrote:
“Partus is about births. Funny ones (and it really was funny in places), scary ones, multiple ones, sad ones, young ones, and exhausting ones but all of them real ones. It was born out of a research project and included real life experiences of mums, dads, doulas and midwives. I have no idea how you would begin to decide which stories to highlight out of the hundreds they heard but Third Angel chose well, I think, setting the balance of humour and emotion.”

And other audience members wrote:

Brilliant – best theatre I’ve been to. •  I chose to come to the baby-friendly performance which added an amazing atmosphere •  Wonderful. A must see. • Thank You, Thank You, Thank You!  I love that you talk about women’s stories, that they matter.

Alongside making the show, and feeding in to it, we ran The Young Mums Project, in collaboration with the brilliant, and important, Young Women’s Housing Project.

Partus is on tour in spring 2017 - check the tour calendar for dates. If you’d like to book Partus for the autumn, do get in touch.

2016 was our 21st Anniversary year - which actually kicked off in October 2015 with a revival of PRESUMPTION, performed by Lucy Ellinson and Chris Thorpe - who toured the show from 2007 to 2010 (I wrote about that here.) In February 2016, we revisited Presumption again, with performances at Northern Stage, this time with Rachael performing the show for the first time since 2006. (And I wrote about that, here.)

Rachael in Presumption 2016. Photo by Martin Fuller.

Rachael in Presumption 2016. Photo by Martin Fuller.

It was a joy to return to again. We had made a deliberate decision that reviving Presumption for the 20th Anniversary would be a remount of the existing show (we have thoughts about re-interpretations of a couple of other early shows), and in rehearsal we talked quite a lot about a couple of lines that we wouldn’t have written now. We did make one or two tweaks, and of course some later sections are partly improvised. But this is a couple who live together but who appear not to have mobile phones… in the light of that, Megan Vaughan wrote a really interesting response to the piece, here.

Shortly after that, we were back out on the road with 6OO PEOPLE, which we were lucky enough to tour to a host of brilliant Festivals: Castaway in Goole, Pulse in Ipswich, The NRTS Showcase in Falmouth, the Edinburgh Fringe with Northern Stage at Summerhall, Greenbelt Festival, Festival of the Mind and Off The Shelf in Sheffield (in a Spiegeltent and the Crucible Studio, respectively), Warrington Contemporary Arts Festival and the Sidewalks Festival in Beirut. Amidst a tour of brilliant gigs, the first night at Sidewalks stands out as one of my favourite performances ever.

600 People at Crucible Studio

Audiences have been brilliant for 600 People, and I’ve had some fascinating conversations after performances. We also had the show Peer Reviewed, by research scientist Dr Nathan Adams, who said that the show’s explanation of CRISPR (*happy science geek klaxon*) was “almost perfect” - and reminded me of the precise detail needed to improve it. He concluded: “Overall a wonderful piece of work.”

In May we brought two well toured pieces back to Sheffield for the beautiful WROUGHT Festival. We had two lovely gigs of CAPE WRATH:


And it was great to bring INSPIRATION EXCHANGE home to Sheffield (as it was created for a workshop at The Showroom in 2010) for presentations at both Wrought and at the first Hillsfest in the summer.Inspiration Exchange

Inspiration Exchange. Photo by Joseph Priestly.

Throughout the year we’ve been running TAMS - the Third Angel Mentoring Scheme - through which it has been a pleasure to support:

Yolanda Mercy
Luca Rutherford
Chella Quint
Joely Fielding
Jack Dean
John R. Wilkinson
Louisa Claughton
Charlotte Blackburn & Tim Norwood
and Pauline Mayers

Through Theatre Delicatessen’s great Departure Point scheme we also got to support: 

Tribe Arts
The52
Buglight Theatre
My Big Phat Writers Group
The Travelling Shadow Theatre

We also got to start or carry on mentoring conversations with:

Action Hero
Flickbook Theatre
Daniel Bye
Paige Stillwell
Ellie Harrison
Holly Gallagher

and Hannah Nicklin, who was on tour with EQUATIONS FOR A MOVING BODY, made in collaboration with me, including a three week run at the Edinburgh Fringe - again with Northern Stage at Summerhall. There were loads of really lovely responses to the show online and in person (it made the BBC sports pages), but this from Rosie Curtis was probably my favourite.

Equations For A Moving Body. Photo by Niall Coffey.

Hannah Nicklin’s Equations For A Moving Body. Photo by Niall Coffey.

We’ve had a long relationship with brilliant theatre maker and friend of the company, Michael Pinchbeck, and this year that was more apparent than ever. Rachael was a guest performer in Michael’s show The man who flew into space from his apartment at Wrought, and then also worked as a dramaturg, with Ollie Smith, on Michael’s new show Concerto (touring this year). 

Concerto by Michael Pinchbeck.

Concerto by Michael Pinchbeck.

Back in Sheffield in October we realised the long held ambition to make the full version of THE DESIRE PATHS. Originally conceived for Northern Stage’s Make. Do. And Mend. event in Edinburgh 2013, The Desire Paths was created in full for Sheffield’s Year of Making, October 2016. 

The Desire Paths, Sheffield. Photo by Joseph Priestly.

The Desire Paths, Sheffield. Photo by Joseph Priestly.

We chalked out the city centre street map from the Sheffield A-Z, and asked the public to rename the streets - not after some past event, but to commemorate a hope or a dream for the future: personal or political, serious or lighthearted. We heard so many stories, of first jobs, chance meetings, lost loves. A moving, brilliant day, and a chance to work with some regular collaborators, and some who we’ve been wanting to work with for a long time.

We’re currently compiling and editing all of the documentation of the day, and that will all go up on this site soon. In the meantime, if you’d like us to come and remake The Desire Paths for your town or city, do get in touch.

In the autumn we also launched FUTURE MAKERS, our new free workshops for 14-19 years olds, introducing them to routes into the theatre and film industries. The project carries on in school holidays in 2017 - all the information is here.



Our good friends at mala voadora invited us back to Porto for the second incarnation of Uma Famillia Inglessa. When we first met Jorge in in Lisbon in 2004, we were making the show that would become THE LAD LIT PROJECT. So if felt fitting to revisit and revive that show, to present with them, in their amazing space in Porto.


I’ve been performing The Lad Lit Project for 12 years now (though this performance ended a three year hiatus). I was worried that it would feel dated, but in the end, the only section that needed an ‘update’ is the Friends Map, which is much more complicated than it was in 2005, due to social media and being a parent.

In November 2016, to close our anniversary year, Leeds Beckett University and Compass Festival of Live Art hosted the symposium WHERE FROM HERE: 21 Years of Third Angel, convened by Alex, Michael Pinchbeck, Oliver Bray and Hannah Nicklin. Third Angel artists were joined by other friends, colleagues, artists and academics from around the country, who gave performances, papers and presentations either directly about our work, or their own work which explores a similar territory, or, most often, a combination of the two.


The (free) event was sold out, and it was great to present it in collaboration with long time partners Compass and Leeds Beckett University. We’ll be putting documentation of many of the talks and performances up online in the near future. As well as ‘our own’ symposium this year, we also presented papers about our work at the TaPRA Interim event, Training To Give Evidence, at Northumbria University (‘Telling Other People’s Stories’), and at the Staging Loss symposium at the University of Lincoln (‘Cheers Grandad!: Third Angel’s The Lad Lit Project and Cape Wrath as Acts of Remembrance’).

Where From Here was also the first public screening of THE SMALL CELEBRATIONS, a series of five short films - one by us, the other four commissioned from artists who we have mentored in some capacity over the last few years. After a second public screening at The Showroom/Workstation in Sheffield (where Third Angel was born in 1995), we put all of the films on line. You can watch them all for free:

Action Hero: THE THIRD ANGEL ANNEXE:


Hannah Butterfield: OENOMEL


Massive Owl: THE DOLPHIN HOTEL

RashDash: THERE WERE GODDESSES


And from us, POPCORN, made with long-time collaborator Christopher Hall:


Mixed in with all that there was of course more education work, and research and development on five or more other shows and projects. About some of which, more soon.

So that was 2016. Thanks for joining us for some of it.

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