‘The King and Queen of the Universe’: Thea Hawlin in conversation with Tom Powell

NR 13-07-19 012 (1)Tom Powell arrives with tadalafil a hurried apology, ‘sorry we’re late… I was watching the last part pet online pharmacy canada of their dance class’. The ‘they’ in question are Powell’s cast for his new show, ‘The King and Queen of the Universe’ a new and original adaptation of a Kurt Vonnegut short story, the only one of its kind. Like proud parent, both he and Leyla Mclennan – the show’s producer, begin to tell me just what a feat this dance class is generic pharmacy for non-specialists: ‘they started off on You Tube videos and worked up’. From the very start it’s this kind of dedication that strikes me most about Powell lexapro weight loss and his team and http://viagraonline-pharmacyrx.com/ the show they have created.

Starting from a chance encounter with a Kurt Vonnegut short story ‘over a year ago now’, after a few months Powell realised he was ‘still thinking about this one story’. The story in question, ‘The King and Queen of the Universe’ struck him as ‘a succession of really beautiful theatrical

images’ a sequence that became unnervingly but happily ‘stuck’ in his head. ‘This young couple dancing, the surprise in the park, then what happens viagra cost online when the police burst in and take them…it

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http://evelinecaronphoto.com/2013/08/08/buy-brand-viagra-no-prescription/ seemed to me very much that they were scenes already formed within the short story’. Undaunted by the task of transforming Vonnegut’s prose to stage Powell instead felt an ‘overwhelming drive to write it’, a drive that took him into direct contact with The Kurt Vonnegut Society who gladly backed his ambitious plans for the short story. Vonnegut is an author who has produced hugely popular fiction and film; what is unique about this show is that it offers a new and often unrecognised perspective on a world-famous author.

NR 13-07-19 083Powell’s fascination with Vonnegut’s story comes not only from the beauty of his prose, but also its contemporary resonances. ‘I mean if you’re looking for a decade that’s analogous to our sildenafil dosage forms times the 1930s has so many parallels it’s kind of uncanny…

an echo of where we are now’. However, can cialis be split rather than forcing these parallels, Powell instead sees the relationship of the work with the audience as nexium one of invitation rather than dictation. ‘It creates an interesting space for thinking and provoking audience reactions’, forcing people to draw parallels themselves, rather than pushing connections onto them.

Powell relocates Vonnegut’s 1932 Chicago to 1932 London, para que es celebrex yet he assures me that they’re ‘making the parallel work’. The transition brand name drugs online pharmacy is one that took ‘a lot of hours’ of conscious effort and research to pull off, and inadvertently highlights even more resonances with our time, as for instance http://sildenafilcitrate-rxstore.com/ Stanley’s character as a Polish immigrant, which remains for Powell ‘well placed’ in 1930s England. This new position creates pleasing ricochets that question ‘what it is to be British or part of society’ acting as both a ‘touchstone for the play and for the time’; ultimately and most importantly for Powell: ‘it makes sense’.

Powell notes J.G Ballard’s comment that: ‘Vonnegut has looked the discount viagra pills world straight in the eye

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short, is confidently described by Powell as summing up Vonnegut’s entire ‘ethos’. Despite appearing as merely a ‘depiction of a strange event’ Powell revels in how Vonnegut is able to manipulate this, leading a reader into ‘a whole world of insight about how people live’.

Mclennan, the show’s producer, notes how in the online archives the show is the very first recorded Vonnegut adaptation to ever be performed at the Fringe. Powell

recognises the importance of this moment, describing it as a ‘great privilege’ to work with Vonnegut’s original material. When writing the piece he remembers how he was assured that it was important enough in its own terms to deserve a bigger stage, meriting ‘a different platform’ from world select pharmacy coupon http://genericcialis-onlineon.com/ a dominantly student

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scene. He laughs: ‘It’s a step up for me but a step down for him’.

NR 13-07-19 113Ultimately, for Powell, this is a step up into, not fame or fortune, but a different kind of ambition: ‘to do this kind of thing not for money, but for all of timesumo suits for sale canada, for the future’. With a prospective place at Goldsmiths for an MA in performance writing for Powell, the future seems set. Ruling the universe may be a little out of reach, but the stages at the Edinburgh lexapro generic festival? http://www.stephanierouchphotography.com/hoq/cialis-rush-delivery Only pharmacy jokes time will domain tell…

 

Thea Hawlin


We have another opinion on ‘Yellow Pears’ by Swept Up Theatre

I want to be able to love ‘Yellow Pears’ with its eccentric characters and whimsical story and its loveable creators, Rose Mcphilemy and India Crawford, who asked us to tell

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people about the show only if we liked it. Yet, although it is a perfectly good-natured show, ‘Yellow Pears’ is lacking in narrative and comedy.

What story there is is led by the assortment of weird and wonderful props that litter the stage. From these objects, including, crucially, generic equivalent for nexium a pair of yellow pears, springs a tale of friendship, betrayal and reconciliation. Mcphilemy and Crawford have big imaginations; the devised piece revolves around Raz’s market stall, which, on principle, never sells anything, generic lipitor persecuted by a barrage of regulations from The Ministry, which holds great parties but online viagra also works its employees into the ground.

The fantastical world of the play is matched by the beautifully constructed set. canada pharmacy Raz’s ramshackle stall, held together by bits of string and bunting, takes on real emotional significance with the plot. Itsy’s office is also strikingly suggested by two pink telephones and piles of black paper representing rules.

Rose Mcphilemy plays Raz endearingly, as a chronically shy individual whose life is touched by friendship. India Crawford is her match as Itsy, desperate to prove her business experience. The costumes are trazodone with prescription impressive, from Raz’s bowler hat to Itsy’s eccentric wardrobe of reflective cycling jacket, cardigan and diamante bumbag. However, the indian pharmacy larger-than-life http://www.stephanierouchphotography.com/hoq/levaquin-sale characterisations do start to grate after a while, particularly

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and costumes is aesthetically pleasing and stimulates the imagination, the show unfortunately lacks substance. ‘Yellow Pears’ sits on the fence and does not really commit to anything in particularinflatable water game. There is some physical comedy but this mainly involves a silly dance routine and exaggerated physicality. There are some moments that made me smile, such as an extended discussion on whether Itsy could laminate a trout, and Itsy’s cialis generic online job interview with Raz, but there is no extended comic through line. There are even moments that approach satire on our target driven, health and safety obsessed culture http://pharmacy-genericrx-online.com/ but they are cut short before they have made a point. The plot is simple, but the ending confusing.

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There is something very innocent, almost naïve about ‘Yellow Pears.’ The innocence is, at times, heart-warming but often seems a little out of place.

YP production shot 2

 

 

 

 

 

Hannah Greenstreet

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3pm at Zoo until the 26th August.


The boss of ‘The Boss of It All’ – New Perspectives at the Edinburgh Fringe

Imogen O’Sullivan interviews Jack McNamara, director and adapter of Lars von Trier’s ‘The Boss of It All’, and Artistic Director of New Perspectives Theatre Company

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Speaking to Jack McNamara on the eve of the first preview of ‘The Boss of It All’, I’m struck by the impression of calm confidence he gives off. He has spearheaded this theatrical adaptation of a little known comedy by controversial Danish filmmaker Lars von Trier; the very first UK adaptation of his “domain” work, and this bold and ambitious decision deserves to put New Perspectives on the map.

I ask Jack why bachelor of pharmacy in canada he was so particularly taken with ‘The Boss of It All’, and he remembers watching it in 2006. Whilst being one of Trier’s least known films, and very much not a quintessential example of his style, something about the film stuck in his head, and he was left thinking ‘one day there would be something http://viagra-sildenafil-generic.com/ I could do with it’. As canadian pharmacy methadone the first piece at the helm of New Perspectives, he wanted to begin with something different, something international that could showcase the potential of companies known for cipro antibiotic rural touring productions to create

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ambitious and ground-breaking theatre.

sPvNuQERc1vIQsTkIS18C2tK9um0W-8T-CVVqCvhCG8McNamara is, disappointingly, not fluent in Danish. He managed http://busystreetsocial.com/wsp/ordering-lithium-from-canada his adaptation through an English

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translation sent by Trier’s people. Famously not keen for others to alter his

work, McNamara suggests he ‘must have caught him (Trier) on a good day’. This veil of modesty belies McNamara’s wealth of experience in adapting films for the stage after bringing both ‘Cool Million’ and a

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devised adaptation of ‘Exterminating Angel’ to the Edinburgh Fringe in previous years – the success of cialis with alcohol the latter indicating a keen interest in international film and theatre-making. After familiarising himself with both the screenplay and the film, he realised his adaptation wouldn’t work as a line-by-line remake of Trier’s film. In fact, McNamara admits he took a bit more creative license with his adaptation – ‘I basically wrote my own screenplay based on the film’. Despite this, he believes that he was ‘structurally more faithful’ to the film http://lexapropharmacy-generic.net/ than online pharmacy he had been with other adaptations, though some necessary changes had to be made in order to fit the shift in medium. One woman in the original viagra vs levitra Trier film remains silent for the entire run, an endurance test for any theatre actress, so McNamara fused her character with one who explodes in a is celebrex a corticosteroid final confession of love, allowing an audience to watch the tension build silently.

Jack suggests that Trier’s work is innately theatrical brent air pharmacy in style, more so than other filmmakers, identifying buy lanoprazole without prescription in his work themes of performance and role-playing, particularly prevalent in ‘The Boss of it All’. The plot device of an actor hired to play an elusive office boss in order to carry out the firm’s dirty work has realms of potential for self-referential metatheatricality, which poses its own challenge to a director. McNamara states his clear intention not to make the piece ‘too knowing’ or overly tongue-in-cheek, instead focusing on the reality of ‘these poor people finding themselves in a theatrical situation’. He believes that Trier’s work cialis generic pharmacy high blood pressure interests itself in both underlining and eliminating the idea of artifice, whilst simultaneously exploring what artifice can add to art, an issue that Jack sees theatre directors in particular as struggling with. The mindset of Trier as a filmmaker makes ‘The Boss of It All’ powerfully appropriate for adaptation to a theatrical medium.

JUyABUZTgVkQn78lb0UN4f4HGwretgEFVk_fKJJ-H2AI ask Jack whether Trier’s reputation as experimental and controversial has affected

the way he has approached the piece, and he responds that, whilst he wants to evoke the characteristic spirit and excitement of Trier’s work, he wasn’t interested in using gimmicks to make it overly ‘experimental’ in style. Trier’s sense of experimentation arose out of a reactionary response to the cinema

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of his day, there would be no point in sacrificing substance for the sake of spectacle. However, the spirit of ‘the playful practitioner’, as Jack labels him, is still very much alive in this production. In the film version, Trier dubs pom juice viagra his own voiceover talking the audience through the action in the film. McNamara has taken this technique, incredibly preis viagra at appropriate to a Brechtian school of theatre, and decided to ‘see how far he can push it’ – emphasising the themes

of artifice and role-playing that Trier evokes.

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excess of material there and the challenge of creating something that stands out among the wealth of excellent shows: ‘I would personally want to see something different, something that pushes me into less comfortable areas’. The previous productions he’s taken to the Fringe have been ‘standard table and chairs nexium otc motrin on line fare’, but this time, with order levitra a great design and creative team behind him, Jack is keen to ‘create a complete environment’ that sticks with an audience somewhat desensitised by the festival.

bH6PaD3hf_aPM1S2Is-DFM561tBDxLOCU-bTKbXgZ38 Jack’s overarching aim with his ambitious production is for people who fear the controversy of Lars von Trier to see that he can be ‘interesting, clever, playful and entertaining’, whilst people who love Trier get to see something fresh and new, but still infused with his spirit. Trier is not a artist usually associated with light-hearted entertainment, but, for this one window in purchase generic viagra his career, he created something ‘fun, easy and accessible’, something that is enjoyable as well as engaging, and this is what Jack hopes to highlight.

At this turning point in his career, the deeper questions of leadership and responsibility raised by ‘The Boss of It All’ are close to home for McNamara. Trier’s work questions whether there is such a thing as a leader, or whether it is simply a matter of posturing and role-playing. It also engages with ideas of morality, and where the moral responsibilities of leadership lie female viagra in chennai – do your morals change with your job title? This is a question my conversation with Jack leaves me pondering. As the boss of ‘The Boss of It All’, McNamara has taken on an exciting challenge that proves rural touring companies like http://genericviagra-rxstore.com/ New Perspectives can produce provocative work of national and international significance.

Imogen O’Sullivan

 

‘The Boss of It

All’ is on at Assembly Roxy until August 26th. Tickets can be found at edfringe.com.


Anything But Idle – Idle Motion bring Turing and Borges to the Edinburgh Fringe

 

Thea Hawlin talks to Idle Motion’s Creative Director, Paul Slater.

 

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Idle Motion are a company that are anything but idle. Beginning ‘as essentially a school group’, over the past six years they have carved out a striking profile as a contemporary and original devised ensemble, taking inspiration from companies such as Complicite and Kneehigh. Juliet Stevenson, the company’s patron, is a firm believer that

‘at the heart of all theatre lies the concept of ensemble’ and sees the group as taking this idea ‘as their inspiration’. They ‘don’t set http://busystreetsocial.com/wsp/40mg-nolvadex out with a formula’ and yet are able to create moving and inspiring pieces of theatre that span decades and bring together generations.

Ensemble celebrex dosage is at the core of Idle Motion: ‘It’s all collaborative’, declares Paul Slater the Creative Artistic Director enthusiastically, ‘all highly collaborative’. Slater is a fan of plural pronouns, throughout the time I spent talking to him he used ‘we’ more naturally than ‘I’, a testimony to his striking humility, reminiscing about the ensemble’s formation by students merely ‘dusting off’ their old drama teacher—a notion that seems unthinkable when in person Slater is so full of energetic movement. He rejects the idea of himself as a prime mover, however: ‘I wouldn’t describe cialis myself as somebody that just stands there and tells everybody else what to do. generic cialis online All I do is open things and unpick things a little bit ordering erythromycin more and then that allows us to create more work.’

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Yet this process of ‘unpicking’ has resulted in striking success at the Fringe and elsewhere (the group recently finished their British Council http://busystreetsocial.com/wsp/canadian-pharmacy-cialis tour of China). ‘Idle Motion appeals to people on lots dukoral online pharmacy canada of different levels. We call ourselves a physical visual theatre company—which in a way can put some people off’ says Slater, emphasising how annoying it can be when viewers

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pigeonhole the genre, expecting ‘a rolypoly every two seconds’ or a piece that is performed in an ‘abstract language’ beyond comprehension. Is it? The answer comes simply: ‘Well no. What I like to think about Idle Motion shows is that at their heart they have really sensitive human stories. And it’s those stories that are the vehicle for the big visuals that we like to have. Often people have described Idle Motion’s work as like sitting in a cinemabouncy castles for sale, because we rely quite heavily on sound, we integrate lots of projection, and the way we move between stories and narratives is like film cutsinflatable camping tents. So for example in ‘That is all you need to know’ (the

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Bletchley Park piece) you’ll be thrust into the middle of the war and the 1940s, then almost in an instant—He http://voicesnotviolence.com/voc/motilium-ordering clicks his fingers—you’ll be taken to the Bletchley Park community who are planning the bunting in the 1980s’.

Idle 1

These severe transitions appear in a number of their shows, viagra & skin cancer with a split narrative contrasting modern and historical being a familiar feature. When asked if this is a deliberate move Slater responds, amused, ‘things kind of happen…there is no formula’. He emphasizes the spontaneous nature of the theatre the group create, ‘what we do is devise stories around material, so when we were looking at Bletchley Park, the second narrative is the story of the Park itself and how it was nearly bulldozed in the 80s and turned into a supermarket. And we didn’t actually realise this until we went [there],so angered by it, so frustrated by it, that actually something that was so central could be so easily forgotten.’ It was the moment when he realised ‘that this story needs to be told’. For Slater, by the end of the devising process the final show is merely ‘pulling the best threads of that material’ – a movement that reveals multilayered narratives almost unconsciously.

However, sildenafil kaufen the research that goes into the company’s devising process has increased dramatically, with That is all you need to know coming out of over two years of intensive and immersive research—a change from the ‘very tight’ three week span for

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their first show. ‘One of the things I’ve learned as a theatre maker is that you can’t just pluck things out of the air very quickly and hope drugs without prescriptions canada that you’re going to have something meaningful, it’s got to be an investment. You’ve got to invest, one: your heart into it, and two: your time, to make sildenafil generic sure you know the subject matter backwards, make sure that you understand it and the people’s stories that you’re telling and then hopefully what you present on stage is something that’s heartfelt and that people warm to.’

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And gabapentin it certainly seems like people have warmed to the company; the group have been lauded with rave reviews, particularly for their ingenious

use of props. In some pieces we can spot ‘prop motifs’ like the reappearing books in Borges and I (a show that is itself reappearing this Fringe), or the Vanishing Horizon’s multipurpose suitcases. Slater reveals filing cabinets will feature in their most recent venture: ‘I said I want to see 100 filing cabinets onstage’. Sadly only four have made

their way to Edinburgh but Slater assures me it feels like a hundred ‘from the number of things that come out from them!’

Although literary inspirations feed into a show such as Borges and I Slater reveals how the smallest everyday things make it into the company’s work: ‘some of the dialogue of The Seagull Effect actually came from overhearing a couple arguing on a train’. This feedback between stage and world is echoed in Slater’s own interactions between his role as Company Director and Head of Drama at canada pharmacy colleges a local state school. The contrast between these roles, daunting to some, is something that Slater enjoys, relishing celebrex 200 mg both the ‘credibility’ his teaching gives him and the wider ‘playing field’ that

the school allows for creating

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theatre on a larger scale. In

the end, inspiration, however

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idle it may seem, is everywhere, and he advises: ‘keep your eyes open to everything because the theatre isn’t just about what you’re seeing on the stage but what you’re seeing in the world around you.’

Thea Hawlin

 

 

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Need to Know is on at Zoo Southside from 2nd – 24th August, and Borges and I is playing ten thuoc nexium 40mg at the Pleasance Courtyard from 19th – 25th. Tickets are available from www.edfringe.com.