EVERYTHING MUST GO Or the Voluntary Attempt to Overcome Unnecessary Obstacles

A Piece I wrote last September after seeing Everything Must Go in Edinburgh. It seems fitting to re-publish here as the show is now touring and deserves the attention...

The enthralling Kristin Fredricksson takes her audience on a journey through a personal, yet marvellously entertaining tribute to her father.

Graduating from Kent this year, Kristin has gone on to take her brilliant show created for her MA in Practice as Research to Edinburgh and has returned with outstanding five star reviews and widely acknowledged critical acclaim. Winning the Total Theatre award for Devised Performance and The Arches Brick Award, Edinburgh has opened up the opportunity to tour with Everything Must Go, journeying Kristin to The Barbican in London, The Theatre Royal in Bath and The Arches in Glasgow, as well as other upcoming venues across Britain next June. It is decidedly a performance not to be missed.

Within an installation format, representative of ‘her dad’s house’, the piece itself is a theatrical approach to documenting her father’s life, as Kristin describes; “I curate my dad’s art”. The structure and content of the piece is both reflective of her father’s personality and of the disruption one feels when they lose someone close to them. It is also a further experiment for Kristin about the blurring of the line between art and theatre. This is an installation that moves.
A highly eccentric character, Karl Fredricksson experienced life from an interesting and heart-warming perspective. From training for the Olympics to dressing up in drag, from inspiring a following of school boys as a teacher to his obsession with money saving schemes, there is no doubt that Karl’s life was anything except extra-ordinary. His attempts to pick up women through ‘facial dances’ and ‘lady lifting’ are hilarious conceptions and his ‘newspaper stealing shoes’ are equally as fascinating. His daughter relates to us through a montage of cinema, puppetry, costume, physical theatre and props just how varied and inconceivably remarkable his attitude to life was, and the effect left no audience member with a dry eye. When Kristin originally performed the show in the Aphra theatre on campus in June this year, her father would join her dancing on stage to bring his life story into the present. Witnessing the same scene as Kristin danced across the stage with a life size ‘Karl’ puppet whilst the footage from June was screened behind her was heart wrenching as you realise that he had since, sadly passed away. I asked Kristin how she had felt about continuing with the piece once her father was gone and she explained how for the first few performances in Edinburgh she had felt detached, leading her to create an almost ‘emotional warm-up’ before the show began. However, whilst the piece relies on Kristin’s emotional attachment to the character of Karl, do not be tempted to believe that the aim for Kristin was to dismantle her audience and leave them in a state of emotional despair; the piece is as unsentimental as they come. Kristin uses humour and careful structures of pace and rhythm to eliminate the feeling that she is provoking the audience to break down in tears. The tears come as a consequence of an enlightening experience of one man’s life, very simply laid before us through various techniques of storytelling. For this is what Kristin is doing; she is telling her dad’s story, which in itself is a beautiful thing.

Kristin is exhilarating to watch; we witness her bounce on a trampoline, hurdle across the stage, tap dance, dress up as her father and lip sync with a hanging basket on her head. Her energy is similar to that of a little girl; she is a comedic, likeable character and when we come to the end of our meeting with her we recognise that the same uplifting spirit we can see in Karl has lived on in his daughter. I wondered how scripted the performance was, as I felt I was just watching Kristin be herself on stage. To my surprise she answered that the entirety of the piece was scripted, and yet she delivers it so naturally and profoundly that it is difficult to believe this is not the first time these words are being spoken. In fact, Kristin as herself is thoroughly more subdued than we witness on stage; there is a distance between herself and her character.

Kristin has worked in theatre since she graduated with a degree in History of Art from University of Cambridge in 1994. Her previous work has been mainly based outside the UK in places such as France, Portugal and Japan; making it broad in its style and format. Training with Jacques Lecoq in the 1990s has given her a dance / acrobatics background, which has lead to work with puppets and consequently with props. The base of Everything Must Go is the props used which not only aid the performance, but actually enable it. Kristin described to me how often rehearsals would be long periods of time spent by herself with various items from her father’s house; a rather lonely process. The props were used as inspiration, which then lead to improvisation and eventually resulted in a piece of theatre that used basic house hold props in a brilliantly imaginative way.

This enticingly strange man is a joy to get to know, as is his daughter, so by the end of the show you feel you have made and lost a friend all in the same hour. An attachment to Karl is incredibly difficult to get away from or ever forget (not least because of the many cardboard cut outs of him that litter the stage by the end of the performance). This show is a must-see, so book your tickets soon to witness it in its full glory next month:


2 May 4pm, The Junction, Cambridge www.junction.co.uk/sampled 01223 511 511
5 May 7.45pm, The Castle, Wellingborough www.thecastle.org.uk 01933 270 007
10 May 9pm, The Pavilion, Brighton www.caravanshowcase.org.uk1
3-15 May 8pm, Tobacco Factory Bristol www.tobaccofactorytheatre.com 0117 902 0344
18-19 May 7.30pm, The Arches, Glasgow www.thearches.co.uk 0141 565 1000
21 May 7.30pm The Carriageworks, Leeds www.carriageworkstheatre.org.uk 0113 224 3801
26-30 May 5pm, Ruhrfestspiele, Reckinghausen, Germany www.ruhrfestspiele.de +49 (2361) 9218-0
3 June 7.30pm, Theatre Royal Margate www.theatreroyalmargate.com 01227 787 787
5 June 7.30pm, New Wolsey Theatre, Ipswich www.wolseytheatre.co.uk 01473 295 900
11-12 June 8pm The Ustinov, Bath www.theatreroyal.org.uk/ustinov 01225 448 844
16-26 June 7.45pm, Barbican Centre, London www.barbican.org.uk/theatre 020 7638 8891
30 June 7.30pm, West End Centre, Aldershot www3.hants.gov.uk?westendcentre 01252 330 040

An Attempt at a Book Review...

My apologies for not having blogged for nearly a whole month! I can't quite believe it myself, or indeed believe how busy I have been to justify this terrible lack of enthusiasm towards writing. And for shame, it is not because I have been busy writing elsewhere.

It occurred to me on the train to work the other day that perhaps I could branch out from theatre reviewing. As I know next to nothing about art, except from whether it is aesthetically pleasing, and love too many of the crappy films slated by critics, I decided to try my hand at a book review. This is typical of me - to turn something I love into work, but whenever I finish a book, if the book is good, I always feel a wave of sadness wash over me in the knowledge that it is over. This way, I get to tell people about it, so here it goes...


'One Day' by David Nicholls

David Nicholls, best known for 'Starter for Ten', has created a cleverly structured and all round interesting concept with 'One Day'. The story follows Emma and Dexter, two friends who meet after graduation and spend the next twenty years in each other's company. We meet the pair, sometimes simultaneously, sometimes apart, on one day of each year from 1988 until 2008 until the story comes to its natural end. In this respect the story doesn't drag, nor does it cut short where you wished it would continue; the framework within which Nicholls writes is a wonderful technique for providing the audience with a unavoidable connection to these characters.

The characters themselves, more casually referred to by each other as Em and Dex, couldn't be more different, and yet compliment each other so brilliantly. The depth in which these characters are created is ingenious in drawing the reader in; one feels at various moments throughout that you can relate to Em, Dex or both, in their quest to fulfill life expectations. In Emma's case, these are self-inflicted aspirations to 'change the world'; fighting for what is right which includes not paying for a hair cut and wearing dodgy NHS glasses. For Dexter, whilst he feels the pressure of his parent's expectations, he goes through life grasping at success for being 'cool'; fame and money drives his life and often the wrong way. The pair are perfect for each other and yet fail to see it for the majority of the novel. There is a certain (sexual) frustration to this for both characters and reader, which is only aided by the often disruptive nature of the book; the cliff hangers are infuriating at times and often left unresolved- one craves the knowledge of the 364 days that bridge each chapter. Nevertheless, one does get a full sense of a life lived and at least Nicholls stays true to his structure, choosing the same day every year, no matter how menial and dull that day is for one of the characters.

The significance of such a magnificently crafted book is most felt when reaching the end. I certainly felt greatly upset by the story coming to a close, whilst finding myself questioning my own life in relation to the circumstances explored. Nicholls writes so true to life with such a natural flare that I found myself easily absorbed by the story from beginning to end; I eagerly await his next masterpiece.

Reviewing Peers

It is an issue for me, whether or not to review my peers if I am given the choice and in most circumstances I have turned down the opportunity. This problem has been in the back of my mind since I recently (for the first time I hasten to add) told my editor that I could not review my good friend's production of Arturu Ui for the unsubstantiated fear that if it were not successful I would be unable to set aside my allegiances and give an honest report. It is my belief that when reviewing, one should not be influenced by the relationship they have with the people involved in what is being reviewed, loyalty should remain with reader; this is the critic's job. However at this point in my career I have not yet had the ability to separate the two.

After a pleasant evening spent at a double bill dress-rehearsal performance, both written, directed and created by friends of mine, I have decided to confront my fear and write a fair and honest response to each show:

'Until She Showed Me Otherwise'

The night begins with a relaxed atmosphere as Lisa Ellis welcomes us into the intimate space she has created in order to perform a one woman show in which she engages us with stories of lesbian and bi-sexual women. As a lesbian herself, Lisa has a strong connection to the verbatim material and she shows a passion and respect for the women she embodies as well as revealing her own personal 'coming out' story. Her persona is one which is comparatively a cross between the carefully constructed persona of Lian Aramis in 'Swimming to Spalding' and Kristin Fredricksson's relaxed amicability in 'Everything Must Go'. There are also elements which strongly resemble the form of 'The Vagina Monologues' and work magnificently.

Ellis' characters and the stories they tell are intriguing and yet heart-breaking; Ellis has an ability to draw the audience in, at times using us, without expectation or pressure, to read out individual stories of women which are capable of inducing shock and dis-belief. It is an eye-opening experience for anyone who refuses to accept that there are still problems in the acceptance of gay women in our society today. The effect is one similar to DV8's 'To Be Straight With You'; you leave the theatre feeling ignorant of the issues still plaguing the gay community and at times, this realisation brings a tear to your eye.

Some of the less effective elements of the piece includes the total ignorance of the elaborate set behind Ellis (constructed mainly for the second part of the double bill, 'Toast') to the point where one forgets that it is even there, and the placement of an onstage dramaturg. The dramaturg, Gemma Williams, becomes more of a distraction than a help, as she is used to dress Ellis in the various costume pieces and to occasionally clear up after her. It seems to be a case of anything Williams can do, Ellis could do better, which begs the question; why is she there?

The show itself, however, is strong, engaging and full of impact. Ellis raises issues that need to be raised without preaching or running her audience into the ground with overly-emotional lesbian horror stories. There is a careful balance of humour and integrity which keeps the audience amused and involved.

'Toast'

The second half of the show, although presented in a very separate format with different directors, continues along the theme of homosexuality, exploring the relationship between gay men and straight women. Through a text created part from Verbatim material and part from cast improvisations, the play introduces the space as a wake for Dixie Spartan; a drag queen who has seemingly left his best friend Maggie in the lurch by not acknowledging her in a letter he has written before he died. The dedication to delving deeper than the label 'fag hag' makes this piece interesting in it's new perspective, however some plot holes diminish the impact of this by diverting the audience's attention to what is not justified by the end.

The cast are superb in their very natural characterisation of Dixie's friends and one by one they make their own arena of debate on the subject through beautifully delivered monologues created from the Verbatim material. Unfortunately, at times, it is rather too obvious what has been improvised and what is other peoples' words; there is a missing connection between the two which creates a barrier between the humour of duologue's and the more serious nature of the monologues. The audience interaction is plausible and does not intimidate the audience, rather one feels a part of the celebration for Dixie, who is present throughout, mounted on the stage surrounded by glittering trees, shoes and over sized apples. It is a shame that this arena is not used by the other characters as instead we are diverted around the space to various tables at which they sit.

Whilst there are flaws at this stage of the rehearsal process, with development and attention to the finer details, this play, with it's fantastic array of colourful characters (in particular Dixie) and superbly fabulous set, has the potential to be thought-provoking whilst remaining thoroughly entertaining.

The day flies by... when you're with Ian Rickson

Today I had the pleasure of spending a full 6 hours with the inspirational Ian Rickson. This was my fourth and final session with the former Artistic Director of the Royal Court Theatre and I must say I was sad to say goodbye. One might expect the reputation Rickson has earned to have had some effect on the man's ego, yet his calming presence and gentle voice put me at ease immediately; he is neither patronising or self-absorbed, nor did I get the impression he was killing time to get the work day over and paid for.

As a former teacher I believe that this is the most positive influence on his work as a director. He clearly has an understanding of people, he is an excellent listener and extremely patient. Here is where the key to his success lies; he is a people person and undeniably has a passion for what he does. Furthermore, his investment in people obviously informs his character work which is detailed, precise and well thought-through.

The workshop itself was a balanced melange of script work and textual exercises (surrounding a new play by Joe Penhall) injected with ball games which saw us all laugh and relax around each other. Throughout, Rickson maintained a level of respect and admiration without demanding either. It is refreshing to meet such a big name in the theatre industry without feeling at all intimidated by their career history. In fact, this pressure was non-existent, rather I felt that this was how all workshops should be; fun and thoroughly enjoyable.

Rickson has a way of meeting everyone in the room's needs. I was impressed that he remembered all of our names from last year and took the time to listen and get to know each of us individually in a one to one tutorial.

His advice to me seemed to be rooted in a real belief that I could actually achieve my dream of becoming a theatre critic. What a wonderful feeling to be complimented by Ian Rickson! My time with him today and the advice he gave me has reaffirmed my self-belief and boosted my confidence in what I do. If I can perform well in an Ian Rickson workshop and be pointedly thanked for my contribution, why could I not convince any editor of my capabilities? Hard work and passion is all I need, he said. I have both, I just need to demonstrate them to the right people now.

How far is too far?

Smoking Bans. I can understand them in certain circumstances. Nobody wants to be coughing down a mouthful of smoke with their dinner. Nobody wants to wake up after a night out and realise that that smell is coming from the clothes you wore the previous night. And nobody wants to pay good money to see a film, or a performance only to be stuck in that space breathing second-hand smoke from an audience dotted with smokers. But what happens when it comes to the arts? How far is too far when it comes to smoking on stage?

These questions have arisen in my mind due to being presented with the issue myself. 'Pornography' requires cigarettes to be smoked; it is written in the script on a number of occasions and to my fellow directors and I, fake cigarettes will just not cut it. We want the visceral effect of the smoke, the smell of it drifting downstage, the sight of smoke rising up to the rig and the sound of a performer inhaling a long drag. The atmosphere someone smoking creates is irreplaceable. Yet, to achieve this effect, we must first gain the permission of the Council, then the University and finally, if we do break down these authorities and are allowed to smoke on stage, a complaint from an audience member could see us facing a fine! Is it just me, or is this ludicrous?

It was not so long ago that people smoked on public transport and only recently was our country made completely smoke free, yet attitudes to smoking and smokers have changed to such a dramatic effect that it instigates outrage. What used to be a part of a culture, has now been eliminated for health and safety reasons. Health and Safety regulations may be in place to protect, yet most times they seem to restrict and limit artistic vision. What is surprising is that these rules are even more imposing at University. Particularly one such as ours which ironically pushes us towards the contemporary, the experimentational and the original. However we are stifled by these boundaries and the endless paperwork that has to be done just to smoke on stage. When did society get so uptight to the point where art is suffering? A line needs to be drawn at some point, the question is where? However, until it is realised that it is more practical to use discretion in these matters, art will continue to struggle against such rules and we will continue to go through the many motions to ensure that our artistic vision is not compromised.

The Future of Theatre Criticism...

A few days ago I attended 'Leading London Theatre Critics In The Spotlight' at Royal Holloway University. This event was, for me, an exciting one. Lyn Gardner, Mark Shenton, Ian Shuttleworth and Kate Bassett in one room? I entered the dark studio with an anticipation rivalling that of a child on their first day of school; I was ready to be inspired. I was not disappointed, particularly with Lyn Gardner. Her contribution as a theatre critic to the theatre world is not only insightful, but it is admirable. Unlike other London critics, she ventures outside the big city to support regional theatres and shows which do not boast the likes of Jude Law of Keira Knightley. Although this is not to diminish the respectability of the other critics. It is the sad truth of the situation that under the pressures of the recession, theatre critics are not provided with the expenses to travel out of the city. Worse news still, with no money in the newspaper business and the rise of free blogging sites such as this, why is there a need to pay struggling theatre critics when there are so many online going unpaid?

Now this is not the first time I have heard all of this. In fact, this is the third time I have been warned off my career path, and even though this time it is by the top end theatre critics who even worry about keeping their jobs, I am not going to give up before I have even begun. This could be a terrible mistake that sees me near enough wasting a year of my life with no income or means of supporting myself, but who knows? I could just get lucky.

What worries me more in fact is how the lack of 'expert' theatre critics will affect the reception of theatre and performance. With The Times employing in-house staff such as culture columnist Libby Purves to replace Benedict Nightingale as the new drama critic (a position that comes around once in a blue moon) to cut costs, it is difficult to see how, at age 60, she can even find the working years left in her to fill his almighty boots. It takes years of experience, preferably some notion of what it is like to work in the theatre world, and a great interest in performance to be heard and respected by someone like myself, a mere student. I listen to the experts because they are exactly that. They know more about it than me, they have been around longer, seen many more shows and written tens of thousands of words in their time. They know what they are doing. Who do I listen to if all the experts die out?

What is of even further concern is how contemporary theatre will be affected. It is my belief that there will always be some instances where contemporary performance is better understood or appreciated by someone who has experience with new styles of theatre; someone who can contextualise a company with other works they have produced; someone who understands what the whole point of a piece is. It is true that in some cases contemporary theatre fails, and this can be determined by most audience members, with or without the background knowledge, but do we want to risk not going to see a new and exciting piece of theatre because the reviewer (through no fault of their own) just didn't get it? Even the critics who have been around a while have got it wrong from time to time so what chance does anyone else have? My theories are yet to proved, but I know that if the reviews of an ignorant, inexperienced critic become detrimental to the progress of contemporary theatre, the editor will have a lot of people to answer to. Lets just hope Livvy Purves does justice to her new title.

It's all coming together!

We now have our cast for our production of Simon Stephen's Pornography and I couldn't be more excited!

There were problems with auditioning this year. The situation is that usually all Masters student directors hold group workshop auditions and from these we call back the people we are interested in. Of course this means that people may be called back for more than one production and inevitably some of these auditionees will be sought after in casting. We call this discussion 'The Big Fight' which took place last night for nearly two and a half hours, including a cooling off period to alleviate the tension in the room.

The problem this year was the lack of auditionees. I remember auditioning myself in first, second and third year for the fourth year directors auditions because back then they were considered a big deal and I wasn't the only one to think so; there were always plenty of people to pick and choose from. So I am wondering, what happened this year? Why are the students, particularly in a university with a strong drama department seemingly uninterested in performing? I have considered the possibility of this being a generation thing, perhaps the younger years are becoming more complacent in getting involved with extra-curricular activities. Or, perhaps the drama society are becoming increasingly popular and casting potential fourth year cast members. Whatever the reason is, it means that no one sat in that room last night was able to cast everyone they wanted to.

Luckily we came out of the whole process well off. We have a talented and dedicated ensemble of performers who are perfect for their roles and extremely good physically. By melding character with physical theatre we set ourselves a task and a half. Not only did we have to find talented actors, but ones which were also interested or had experience in physical theatre as well as looking right for the part. But as I have said previously, I am sure that we have a winning team in our hands, along with brilliant designers and an on-the-ball dramaturg to ensure that we do not let Stephens' writing down. Rehearsals begin tomorrow when finally we will be able to hear the script come to life - it is moments like this that remind me why I love what I do and why it is worth all the hard work and stress.