We have just completed our research and development time on Sheriff at Shoreditch Town Hall.
It was wonderful.
Of course full of challenges, but ones that were a pleasure to take on and try to overcome. The project marks a very important moment for us as artists and makers, a moment in which we are really able to define a language and an approach that is truly ours. It has taken us a while to get here, and who knows how it will develop or where it will go, but it is a milestone. It is our most precarious and most confident moment in a long time, even if those two things don't logically fit together.
This is a project that has grown out of a number of workshops, all very different in their focus, but all involving wonderful and generous collaborators who have helped lay down many many levels of sub-strata that underpin the material that we are working with now. We could not have done this without them, they are brilliant and they know who they are.
We were also blessed to be able to work with a brilliant team for the past two weeks. First of all the wonderful people of Shoreditch Town Hall, who were unquestioning in their generosity. Our own team with Emma Mckie as our stage manager, Gareth Fry helping us start to develop our sound ideas and the amazing Flick Ferdinando and Vinicius Salles helping us mould and shape our on-stage material - their daring and generosity was irreplaceable.
Carolina's writing brilliantly held its own and it will be a joy to take it to the next level, as we decide how to move the project forward.
It was also invaluable to have people come and watch us present some of the material we'd been working on - their feedback will be hugely important to the choices we make. So thank you all of you who came along.
For now we need a little bit of time to reflect, but we can't wait to get on with the next stage.
In the meantime, here are some images from the 2 weeks.
From where I sit I can see the spire of Salisbury Cathedral - I'm in this spired city to work with the excellent director Melly Still, on her production of Agatha Christie's 'The Mirror Crack'd'.
It's a brand new version for the stage penned by Rachel Wagstaff, and has a wonderful ensemble of performers who bring it to life in unexpected and unorthodox ways. We spent 4 weeks rehearsing at the Menier Chocolate Factory in London Bridge (there's no chocolate), but have now decamped to the Salisbury Playhouse, where we open on the 16th of February. The dates are:
Last week also saw the opening of 'Tonight the World', a film I made with the artist Daria Martin last year.
It's being exhibited at the Barbican in the Curve Gallery and is the third film that we've made together. Daria was also the winner of the Jarman Film Award for 2018, which featured another film, 'The Hunger Artist', which Carolina and I helped develop and that I directed with Daria (and which featured both our children!).
Best till Last!
The very exciting news is that Carolina received an award from the Arts Council to develop her creative practice. This is an amazing opportunity for her to develop her skills as a writer; in particular the excellent work she has been doing for Sheriff. In March we hope to present some of this in performance, with the idea of bringing on board co-producers and theatres to make this exciting project a reality! Watch this space...
I can’t believe it’s almost the end of the year, but I can believe that it’s been a while since our last update - on the upside it means that your inboxes aren’t filled with the unnecessary any more than they need to be :)
The last time we were in touch was, I think, just before the Summer. It’s been fairly busy since then and now we’re in a short period of reflection before a new cycle begins. Very exciting.
In brief; after the Royal Opera House, Carolina and I had a few days working through some ideas for Sheriff and also for 'Tonight the World' with Daria Martin (more about that later) - we worked with the amazing performer, Hayley Carmichael and the brilliant dancer Vinicius Salles. As I'll mention later, this was the final step of a workshop which allowed Carolina then to start writing; a new departure for us and one that we're very excited about.
Once we'd done this, I went off to work on a production of Ariadne auf Naxos by Strauss, at the Aix Festival - it was performed in the very beautiful Archevêché theatre, an outdoor space and a truly magical environment. We had an absolutely outstanding ensemble cast who were a joy to work with.
After Aix, Carolina and I went to the lovely Snape Maltings to work on developing a new opera with composer Sivan Eldar and Librettist/Playwright, Cordelia Lynn. Snape Maltings is where Benjamin Britten wrote a lot of his work and is now a centre for opera creation and composition. This was the first of 2 short workshops we did to explore how visual and physical languages can be incorporated from the start of a process of creating an opera - essentially another strand of writing that can be woven together with the music and text from the earliest stages, rather than being imposed once the piece is written. We did another short workshop in October and the plan is to now look for a commission. The piece is called ‘Like Flesh’ and more information on its genesis can be found here. We worked with truly amazing singers Juliet Fraser Elaine Mitchener and Jimmy Holliday, cellist Séverine Ballon and again with Vinicius Salles - Carolina also performed and I directed. We’ll keep you posted on how it develops!
Following that I briefly went to the Czech Republic to continue my collaboration with artist and filmmaker, Daria Martin. This time we were filming a piece called ‘Tonight the World’. It’s a fascinating film which we developed from the dream diaries left behind by Daria's Grandmother, Susi Stiassni. Susi had to flee Czechoslovakia and the Nazis at the start of the Second World War. We filmed at the home that her father built, the Stiassni Villa, in Brno. The film will be screened at the Curve Gallery in the Barbican from the end of January 2019.
Then… the wonderful summer holidays and finally some proper time with the kids… we had a spectacular trip across the north of Spain with the northern cousins, then down to the Costa Brava for time with Carolina’s immediate family.
After Spain, to Amsterdam to work on a production of the very beautiful Jenufa by Janáček - this is an opera that comes directly from a play, and as such has a drama and a narrative that is much more coherent than a lot of operas! Again, the cast was delightful; the amazing Annette Dasch as Jenufa and Pavel Černoch (another Brno connection) as Laca.
Now we are preparing for the wonderfully important next stage of Sheriff. Carolina has been doing some very exciting writing and we hope to bring this to the world next year. As always we are faced with the vertiginous struggle of fundraising, but right now we are focused on the creative preparation for what is going to be a thrilling project, marking the next phase of us as artists and theatre makers. No less! :)
Hello again! I'm quickly bashing this one out as I know that later I'll also be working out how to get a form out to you so that we comply with the new GDPR rules...
I just wanted to update you with what we've been up to since October last year and throw a couple of pictures into the mix as well. It feels like it's been non-stop, which is wonderful, but also creates its own set of problems - but at the same time it really makes you appreciate the moments of relative tranquility!
After Moscow I went to Warsaw to direct, with Gilles Rico, the revival of Debussy's 'Pelleas et Melisande' at the Wielki theatre. The Wielki is one of the worlds biggest opera stages - it is truly enormous - when they were rebuilding Warsaw after the war, they took advantage of the destruction to vastly expand the footprint of the opera house.
It was lovely to revisit the opera; we had a new cast, which made the whole process and the piece itself feel new again. It was also lovely for me to revisit the city that my parents had lived in for 4 years in the 1980s. I hadn't been back since then. It was completely transformed - almost unrecognisable - when I left in 1989, it was still under the yoke of communism and now it is a capitalist paradise... It's also being led by a government that is increasingly autocratic which, in its own way, is just as extreme as the government was in the 80s. BUT - it was lovely to be there and to rediscover the city, to see old friends and make new ones. It was also very cold! But it wouldn't have been true to my memories of the city, such as they were, if the place hadn't at some point been covered with snow!
It was also lovely that my parents were able to come out for the opening of the opera - the last time we'd been there all together I was 16 years old, and now they were able to see work that I'd helped make on the biggest opera stage in Europe. My father had been Director of the British Council when he lived in Warsaw, and he knew the current Director of the Wielki, Waldemar Dąbrowski, very well - it was lovely to have them there and to take them backstage in this crazy building.
I also saw some of the most inspiring theatre that I've seen in a long time at the excellent Powszechny theatre - really vital, engaging and important - if you're passing by, do try and see something there.
Carolina and the kids were also able to come out and spend Christmas there with me, which was the icing on the cake!
After Warsaw there were various trips to give workshops in Paris and in Aix en Provence whilst Carolina worked on a brand new immersive virtual reality project called 'Somnai' - it's always challenging to work with new technology and I'll let her describe her experience elsewhere - I haven't had a go at it yet, but here's some info on what is a very intriguing project...
Whilst Carolina was working in a virtual world, I had the joy of being the UK for a little while - I was helping out on Dennis Kelly's new play 'Girls and Boys' at the Royal Court with Carey Mulligan. Lindsey Turner was directing this devastating piece that is now off to Broadway for a limited run in July - very exciting!
After that I worked on George Benjamin's new opera at the Royal Opera House, 'Lessons in Love and Violence' - it was great to work on a brand new opera; a very different experience to working on one of the 'classics'. A wonderful cast, amazing music and a brilliant team made it a very pleasurable process. The press has been great and after London the piece has a long life at various other opera houses around the world.
Next week I'm off to Aix en Provence to work on yet another opera - this time Strauss' 'Ariadne auf Naxos'. It's always very lovely to work on a project in the south of France :)
We hope that, when you get the email asking you stay with us, that you do...
I've just got back from working at The Bolshoi Theatre in Moscow. I was there to revive the production of Alcina that I made with Katie Mitchell in Aix en Provence in 2015.
It was an extraordinary experience; the Bolshoi is mainly set up as a repertory house, meaning that it rotates its shows on a night by night basis - in opera this is often possible because the staging does not require anything too complex, particularly from the soloists - in the case of Alcina though, this is not the case - it's a very complex production that demands an extraordinary amount from everyone involved, from the singers to the actors to the back stage crew, to the orchestra and the conductor. We also had to work with an almost entirely new cast, with the only original cast member being the wonderful Katarina Bradić as Bradamante. Everyone else was different, including our cast of 7 actors. In fact we had two separate casts of actors, 4 of whom are actresses working in several Moscow theatres, and 10 of whom are from the Bolshoi acting ensemble. Our Alcina is the remarkable Heather Engebretson who quite literally stepped in at the last moment as our original Alcina (for the Moscow performances) pulled out 2 days before rehearsals began. Heather arrived and totally nailed it - if you get a chance to see her, take it! Working with me to get the show on its feet were the brilliant Gilles Rico and Robin Tebutt.
The cast and the team were remarkable - once we had made it clear what would need to be done in order to achieve what we needed, everyone stepped up and worked extremely hard to make it happen. It was not without difficulties, mainly due to the fact that the Bolshoi is an enormous and old institution that is used to doing things in particular ways - but we were also surrounded by people who took enormous pride in what they do, which meant that we got there in the end.
We had the enormous good fortune of working with Alisa Spirina as our interpreter, whose energy and generosity of spirit was absolutely remarkable, Daria Sorokina, who was our producer and always fought our corner and Elizaveta Moroz, who is a staff director at the Bolshoi. But really it is the whole team that made it possible and their commitment and dedication was inspirational.
I should also give a special mention to the amazing Jane Thorne - Jane was the original actress who played older Morgana when we did the production in Aix en Provence. 2 weeks or so before we were due to open in Moscow, we were informed that neither of the actresses who had been cast in this role in Russia were available for the second performance (despite this being precisely the reason that we had cast two people in the role) - after many unrealistic suggestions, it was proposed that we contact Jane to see if she would come out and do it. After a lot of changing of plans, problems with visas etc. Jane was finally flown over for one performance - with virtually no rehearsals she brilliantly made her Bolshoi debut on October 20th. Here she is:
This September I was in Paris working at the Opera Comique for the first time. This was another Katie Mitchell project - 'Miranda - after Henry Purcell' - this was a collaboration with the brilliant conductor Raphaël Pichon and playwright Cordelia Lynn. Taking Purcell's music they had fashioned something of a 'sequel' to Shakespeare's 'The Tempest'. It was a fascinating exercise in making something new from something old - it was wonderful to have the freedom to play with the form and, most importantly, with the music. Raphaël was amazing at being open to playing with the music, adding an abstract soundscape - this is something that rarely happens in the opera world, where there is often an incredibly restrictive 'respect' for the music - I say 'respect', because I don't believe for a moment that the composers whose music we so often work with, would have been as intransigent as the conductors into whose hands that music is now placed. Miranda was a fascinating step in a very interesting direction.