Haevichi Arts Festival in Korea

Haevichi Arts Festival in Korea

As part of Farnham Maltings’ international strand of work, artistic director Gavin Stride and tour associate Mark Makin attended the 10th Haevichi Arts Festival on the island of Jeju, South Korea.

Gavin Stride and I had the pleasure of being invited to the 10th Haevichi Arts Festival on the island of Jeju, South Korea. The trip was a wonderful way to learn more about the arts infrastructure in Korea, get a better understanding of the artists and cultural needs of colleagues.

The showcase element of the festival was delivered in short, bitesize chunks, which was great for the amount of work we got to see, but we were keen to see them in a more theatrical environment so we could best imagine the full-length work. The work on show was very traditional music, dance and operetta which felt very well placed for a local Korean market but less so for international export.

Gav and I co-delivered an informal introduction to the UK arts scene covering touring infrastructure, programming, audience development and sustainable venue and festival management. I was happy to be able to dispel one of the main myths in Korea around the Edinburgh Festival Fringe (primarily being that if you take a show there, you find fame and fortune!). We were able to give the pros and the cons of visiting the major UK and European festivals and shared how best to get every opportunity out of visiting them.

We enjoyed the opportunities to get off site to go and explore, connect with local people and enjoy the cuisine (very tasty, with the occasional issue that some of our food would try to leave the plate mid-meal).

We got to spend a day exploring Jeju City, visited its expansive food market which was a feast for both eyes and bellies. Whilst walking in the main park we found ourselves included and involved with several groups of elders engaging in activities including croquet, dancing and extremely vocal games of what we believe to be Chinese chequers. Lots of fun and the language barrier didn’t matter as with gesticulation, smiles and laughter we all were able to enjoy the moment and be included for a short time in the daily activities of a very close knit group of friends.

The trip was a great opportunity to connect with companies already scheduled to be at this year’s Edinburgh Festival Fringe, as well as broaden our knowledge of the arts in Korea. We found a real appetite and willingness to openly share experiences and working practices and we look forward to some of these new relationships building in the future.

Mark Makin, touring associate, house

Farnham Maltings are acting as Executive Producers on the performance strand of a year-long exchange programme between the UK and South Korea. The programme includes projects by LIFT, Crying Out Loud, Momsori Voice Theatre and Ray Lee, a tour of Factory Girls by Yangson Project and a series of collaborative residencies.

 

gav mark jeju 2 small           gav mark jeju 3 small           gav mark jeju 4 small          gav mark jeju 5 small

 

 

 

Craft and Theatre commission for new project ‘My Shout’

Farnham Maltings is looking to commission and present a new piece of theatre which will be created and performed by elders from the Farnham area.

What is ‘My Shout’?

This new creation will be one of four pieces of art created by elders for ‘My Shout’, a Celebrating Age project (an initiative funded by Arts Council England and the Baring Foundation). My Shout aims to challenge stereotypes of ageing and present a vibrant and surprising alternative for what it means to grow old in England. We want to enable elders from our community to create art that has integrity, resonance and perhaps a touch of mischief.

Theatre performance commission

We will commission a theatre maker (an individual or small group) to work with a newly-formed group of elders to workshop, devise, develop and create a new performance. The theatre maker(s) will be responsible for leading the group, as well as writing, rehearsing and directing the performance. They will also produce the technical and design aspects of the production (although we can work with you to bring in the right people, as required).

The production will be a short performance of up to 30 minutes. The performance will be presented as part of Spark Youth Arts Festival and the audience is likely to be predominately young people living in Surrey.

We are looking for makers that can demonstrate their ability to work on bold, considered ideas with communities.

Theatre commission brief

Craft commission

We will commission a craft maker to work with a newly-formed group of elders to develop, design and create a new piece of craft that will sit in a public context. The piece will be displayed long-term in Farnham – potential sites include indoor and outdoor locations at Farnham Maltings, soon-to-be-renovated Gostrey Memorial Hall or another location in the town (subject to permission). We are looking for makers that can demonstrate their ability to work on bold, considered ideas with communities.

Craft commission brief

Closing date 12pm on Thursday 20 July 2017

For more information, visit My Shout

Farnham Maltings announces its first production at Edinburgh Festival Fringe

Farnham Maltings announces its first production at Edinburgh Festival Fringe

Following on from its London run in 2016 at the Orange Tree Theatre, Jess and Joe Forever will play at the Traverse Theatre and features the same cast and creative team.

Meet Jess and Joe. They want to tell you their story. Joe is Norfolk born and bred. Jess holidays there with her au pair. They are miles apart even when they stand next to each other.

Jess and Joe Forever is a coming of age tale that explores rural life and what it means to belong. It is a story of growing up, fitting in (or not), secrets, scotch eggs, love and friendship that will make you both laugh and cry.

Gavin Stride, Director of Farnham Maltings said: I am so pleased that we are working with the Traverse to show Zoe’s play. We are pleased because of the story it tells, because of the characters and people on the stage and everyone who made it and because we are really proud of it as a show from Farnham Maltings, the first we have presented at the Fringe.’

Zoe Cooper (Petrification and Nativities at Live Theatre Newcastle and Man on the Moon for New Writing North/Sage) received the Off West End Award for Most Promising Playwright 2017 for Jess and Joe Forever during its run at Orange Tree Theatre. Zoe was also longlisted for Most Promising Playwright at the 2016 Evening Standard Awards. The play will again be directed by Derek Bond (Sweet Charity and Little Shop of Horrors at the Royal Exchange Theatre, Stig of the Dump at Storyhouse, Chester and Alice Birch’s Many Moons at Theatre503).

Jess and Joe Forever was originally commissioned by Old Vic New Voices.

See the full Press Release

Tickets available from the Edinburgh Fringe website

Are you a brass musician in Brighton or Reading?

ugly chief brass musicians invitation - ACCA and South

Job Opportunity: Marketing Coordinator for house

We are looking to appoint a new Marketing Coordinator for house. This role works across the whole network supporting both touring companies and venue marketing teams as well as leading on all audience development initiatives. We are looking for someone with 2 years experience in an arts role, with excellent communication skills and knowledge of the South East and/or touring sector.

This is a full time role based in Farnham with a salary of £26,500.

Deadline for applications is 12 noon, Tuesday 4 July 2017. Interviews will be held on Monday 10 July 2017.

Marketing Coordinator Jobpack (May 2017)

‘You’re a Long Way from Home’ by Action Hero

‘You’re a Long Way from Home’ by Action Hero

We’re just back from a research trip for our new project ‘Oh Europa’. Next year we’re going to drive continuously for six months through Europe in an RV, making a piece as we go. So thanks to some funding from Arts Council England and support from Farnham Maltings (UK), Vooruit (BE), Matchbox (DE) and Cabanyal Intim (ES) we’ve just spent a month in a motorhome driving to parts of the UK, Belgium, Germany, France and Switzerland so we could develop the idea and also get used to working, creating and living on the road before we set off for real next year.

After our month away we think the project will be about somehow collecting and carrying sentiments of love, loss, hope, longing, union, heartbreak. A way to orient ourselves as a continent by building a library of voices and then somehow transmitting those voices from the edgelands, hinterlands and boundaries of Europe.

Our motorhome will become a kind of ‘All Terrain Vehicle’ to explore all the terrains of Europe – psychological, emotional and geological. We’ll travel to every country in Europe, to the most northerly, southerly, easterly and westerly points of the continent, explore its limits and its very edges. Destinations will be chosen for their (in)significance as boundaries, margins or thresholds of Europe both historic and present day. The literal edges of the continent such us Cabo Fisterra on the far Western coast of Spain and Cabo da Roca in Portugal but also the invisible boundaries, the geological thresholds and the cultural junctures that populate the continent. The rivers that divide cities, the forgotten borders, the remote outposts of vanished empires, the ancient walls, the ultra-modern dams, the bridges, the mountain ranges, the channels, straits and canals. It’s our hope that the voices of participants in the project might create an alternative atlas of Europe. A different kind of map that might let us see the space we share in a new light. That map will then become the blueprint for a performance. The fragments of sounds/sights/sites of Europe we discover on the way will feed into something we develop as we go, on the road, and present at host destinations on the way.

The sounds we carry with us to the edges might act as disruptive beacons – transmitting an opaque but heartfelt message. The transmission perhaps, as an interruption to the landscape that might re-configure or re-contextualise European identities. A dispatch from elsewhere, broadcast loud and clear from the borderlands/hinterlands/thresholds of Europe. Detached from political soundbites, diplomacy, or art speak the messages might speak about who we are and how we feel and might offer us an opportunity to re-orientate – to hear ourselves emerge out of the white noise.

Now the research period is over we’ll take some time to reflect and think on it and then we’ll plan with our partners in the UK, Germany, Belgium, Hungary and Spain for the real thing next year. We can’t wait!

an exciting opportunity for local brass musicians

ugly chief brass musicians invitation - all venues2

Advancing Artists in Surrey

Advancing Artists in Surrey
“Completely inspiring two days […] I feel energised and excited about my own paths.” Participant, Advancing Artists in Surrey 2017
“We’ve been given such a golden opportunity through this course […] Sky’s the limit!”  Rachel Burn, Advancing Artists in Surrey 2017

Last week saw the first 2 days of Advancing Artists in Surrey: Working In A Social Context. Sixteen established Surrey-based artists (of a multitude of disciplines) came together to discuss and discover the world of creating art in social contexts. The course was guided by arts consultant and creative director Chris Fogg who created a warm and engaging atmosphere.

On day 1, there were sessions lead by guest speakers Maya Twardzicki, the Public Health Lead for Surrey County Council; Diane Amans, an Independent Performing Arts Professional who works predominantly with movement and older people; and Lucy Cash, an Artist and Moving-Image Maker.

Day 2 began with a practical demonstration with Digital Media Artist Richard Tomlinson and his ‘carrot piano’. Caroline Barnes, a Hospital Art Coordinator in Yeovil, and Viv Gordon, Artistic Director, Independent Artist and advocate of mental health awareness, demonstrated very different approaches to working with health and wellbeing. Ali Clarke, of Surrey Hills Arts, finished day 2 with a session about her experiences of commissioning and receiving proposals.

The participants got the opportunity to meet representatives of Watts Gallery, Ruth Williams, and Prospero Theatre’s Artistic Director Beth Wood, whose contributions as Surrey-based organisations were valued greatly.

The final day of the course will take place in June and will be a chance for the artists to reflect on their learning and network with local arts organisations.

Advancing Artists in Surrey was delivered by Arts Partnership Surrey and Farnham Maltings.

in conversation with assistant director, jess daniels

jess daniels

Jess Daniels, Assistant Director of Jess and Joe Forever

One of the highlights of 2016 was Jess and Joe Forever, a co-production with the Orange Tree Theatre which also toured to (most rural) UK venues. Recently we caught up with Jess Daniels, the Assistant Director (a role which was supported by Old Vic New Voices), and she told us about how she found the directing process and life on the road.

Jess & Joe Forever

I’ve just discovered it’s 12 weeks to the day since our final touring performance of Jess & Joe Forever – which I can’t really believe! It was such an excellent and exciting project to be part of. I was assistant director on the show, a role that meant that I got to be part of the rehearsals for the Orange Tree run, and then I went with the show as it toured theatres in the South East.

I happened to see the read through of Jess & Joe when it was at the Old Vic New Voices festival back in 2015 – and I loved it. I loved the story and the characters but I particularly liked the style in which Zoe had written the play. I’m a big fan of audience-inclusive work – in particular direct address. So when the assistant director role came up it felt like my perfect job!

My experience so far of being an assistant director is that it’s very hard to predict in what way you’ll be most useful to the production and that (inevitably) the role varies massively with each production and director that you work with. For the Orange Tree, the show was in the round and so often my job was to sit on the opposite side of the room to Derek (Bond, director) and keep an eye on the sightlines so that no part of the audience would feel neglected at any point. Sometimes it also included keeping lists of sections we needed to revisit, or generally helping make sure the story was clear. We spent a lot of rehearsals swapping stories about being teenagers & tweenagers, helping to build the world of Jess & Joe.

The show ran at the Orange Tree for a month and during that time I visited roughly once a week to watch the show and pass on any notes as necessary.

Then we went back into the rehearsal room for three days to restage the play as an end-on production in order to take it on tour. At times this was quite a challenge as having spent a month performing the show in the round, it could feel pretty confusing trying to work out how to achieve the same feel for the show but in a very different situation. But we got there, and at 7.30am on 13th October we set off for Havant Spring Arts Centre for the first show of the tour.

Tour Life

I’ve never gone with a show on tour, in the same way that I did for Jess & Joe – it was definitely eye opening! We were doing mostly single performances in each venue so often our days consisted of a 10am get-in that everyone helped with, then the actors would set up their dressing rooms & sort props while Lisa, our stage manager, and I focused lights. Well, I should say Lisa focused lights – I just stood in different places around the stage so she had something to focus them to! We’d aim for a 3pm dress run, which would normally happen around 4pm by the time everything was ready. Then as long as everything ran according to plan we’d be able to grab some food before getting ready for the show. On days where we just did one performance, as soon as the audience had cleared out we would begin to sort the props in order to start the get-out. Each venue had amazing technicians that made this job much easier than it would otherwise have been – helping clear gels from the lights, lift pieces of the floor and generally being super.

On tour my job changed all the time – in some venues it involved helping put colour into gel frames and rigging lights, and in others I would work with the actors to re-block scenes as necessary for each venue. Although we had restaged it for end-on performances, which worked in the majority of theatres we visited, there were a couple of places that needed slight adjustments so that the show would look its best. Similarly with lighting and sound, often the nature of the changing venues would mean Lisa and I would make decisions on small adjustments to the show in order for it to work the best in each of the venues that we were in.

I think it’s quite unusual for an assistant director to go with a show for the whole tour – I was really glad of the experience and I think it was so useful for my work as a director. It was good to see the ins and outs of what is needed to take a show on tour as well as how the actors keep the show fresh even after a 10 hour day. I’m looking to tour a show of my own later this year and it was certainly good to know the reality of what that means.

What I found particularly brilliant was seeing how each different audience reacted. In London, you could predict where people would laugh and where there might be some knowing looks. But the tour went to all sorts of places – from Live Theatre right in the centre of Newcastle to Little Theatre in Sheringham, a tiny Norfolk town. I have always loved how the play develops and the audience begins to realize there is more to Jess & Joe than is immediately obvious. It was fascinating seeing how in each different place the audiences would be absorbed by the story but in very different ways and in very different parts. By the end, Nicola & Rhys (Jess & Joe) would have every audience in the palm of their hands, and you could feel how the final scene had people gripped.

A couple of things I learnt on tour that I didn’t know before…

  • Tension Wire; a tight grid of rope above the stage but below the lighting rig. Very useful for quickly adjusting the focus of a light or changing a lighting gel, without having to climb up and down a ladder. Not so good if you want to hang a ceiling piece…
  • Take spare EVERYTHING. Lisa (stage manager) had boxes and toolkits full of things that at the start I didn’t think we needed and by the end we had used everything in some variety. Each venue was different to the last and so what had worked in one wouldn’t work in another, and when you thought you’d encountered all the possible ‘on-tour’ problems, something unexpected would turn up! Having spare everything helped solve lots of things.
  • Never underestimate the power of a great breakfast. (To be honest I did know this before, but a good breakfast was definitely fundamental to the tour!)

Next, Jess is directing The Many Crimes of Hector Cartwright at VAULT Festival 1st March – 5th March 2017.

Ovid, romcoms and the magic of being a teenager

credit: The Other Richard

Rhys Isaac-Jones and Nicola Coughlan in Jess and Joe Forever. Photography credit: The Other Richard

 

Jess and Joe Forever, a recent co-production between Farnham Maltings and Orange Tree Theatre, is currently on tour. When the company was in Richmond, Orange Tree Theatre’s Literary Associate Guy Jones talked with writer, Zoe Cooper, and director, Derek Bond, about romcoms, Ovid and the magic of being a teenager.

Guy Jones: Zoe, could you tell me a bit about why you wanted to tell this story?

Zoe Cooper: I was really interested in Ovid and magic and the power to transform. In Ovid women turn into birds, and trees; people shapeshift. At times he employs a mode of writing called free indirect speech, which he uses for female voices. Women and queer characters (although he wouldn’t have called them queer) don’t get a voice in work by his contemporaries. And then I was thinking about Norfolk, and that there would be something great about creating magic in landscape that was very flat, and grey, and isn’t cute or dramatic. And finally there was the magic of teenage-hood – the edge place, the last time you can really believe in magic.

Derek Bond: Also that’s when magic happens. Anyone who’s ever been a teenager knows that the transition from child to adult is seismic. Your body changes, your perspective, the loss of innocence. You become aware of your body in a way that’s about fitting in and social norms, and people feel a growing anxiety about how their bodies are different to other people’s bodies. A lot of times it’s horrible and upsetting, but it could be magical.

GJ: As well as being about moments of change and transition, it also feels to me like you’re exploring what it is to be on the fringes of things in so many ways – in terms of your class, or geography, or sexual identity.

ZC: One of the things I wanted to do was write absolutely in my own voice. I live in  Newcastle and I love writing for those theatres and those audiences. But with this play I wanted write a character that had my accent and was from my part of the world, which is Twickenham. Jess arrives in the play with a sense of her own superiority as a sophisticated London child but as she’s launched into this world in Norfolk she has to face up to the fact that she doesn’t know everything, and that in many ways she has had a very sheltered middle class upbringing. In a way Joe has a lot of authority – he knows how the countryside works. But in another way – because of his identity – he’s definitely on the fringes.

GJ: And for this play to have come to life and have a long run in London, followed by a regional tour – does that feel curiously appropriate for a play which explores the  relationship between the centre and edge?

ZC: We talked about the Orange Tree from the start. We felt that it would be great for this.

DB: And we also said wouldn’t it be great to take it to rural communities. I grew up in a tiny village in Worcestershire. The idea that there are venues now which thanks to organisations like house and Farnham Maltings, can get theatre like this, is really exciting. We can take the play to places which wouldn’t normally get new writing.

ZC: It’s not just about good quality work. It’s about work which honours the fact that rural communities are not necessarily conservative.

GJ: The mode of storytelling in the play is distinctive. Where did that come from?

ZC: Jess and Joe was commissioned by Old Vic New Voices originally, and they had quite a clear brief for it: they wanted it to be an hour long or a bit over, and they wanted it to be for a younger audience. It coincided with what I wanted to do next. I’d started to employ direct address in my plays because I was a bit bored with the fourth wall and this felt like a play where the characters absolutely had to tell their story themselves.

DB: I’ve also become a bit bored of the fourth wall. I’m doing three shows this year, and they’re all in the round. I’ve found myself finding ways to break the fourth wall in all of them.

GJ: What is that a response to?

ZC: I wanted to write plays that acknowledged the audience. Because I don’t live in London, and a lot of my friends don’t work in theatre – or necessarily go to the theatre as much – I am always particularly interested to hear what they think of the plays we see together. One of the things they always seem to comment on is how strange and old fashioned it seems to perform whole plays without ever allowing the characters to acknowledge that they are being watched. I was also really encouraged by the work of other writers that have broken the fourth wall, like Caroline Horton, Charlotte Josephine and Lucy Kirkwood.

GJ: What were the challenges of this kind of writing?

ZC: Trying to create drama. With the direct address you have to make sure they don’t just say all their feelings. How do you create unreliable narrators in a way that’s interesting? I’ve wanted to write queer characters for a really long time, but the plays that I’ve seen are issue-driven plays – you have the monologue where a character says ‘I feel so alone, I just want to come out, transition’. I hate that, but with direct address you can very easily back yourself into that corner.

DB: What I love about a play where there’s direct address is that it makes the audience a character. They’re an actual part of the experience, a participant in what’s going on, not just a spectator. It makes me think of Daniel Kitson, who went from a world of stand up where you’re directly addressing an audience, to the work he’s been doing recently where he blurs the line between standup and theatre. There’s something really very pure about someone standing on a stage and telling you a story.

GJ: You mentioned romcoms. How much are each of you aware of genre when you work?

ZC: There’s something familiar about genre: the coming of age genre. Poets have it easy because they have, say, a sonnet, and that’s the shape of the poem. They can pour everything into it but there are limits. Young writers really need those limits. But in theatre we’re not always great at putting limits on things because we don’t do genre. Lots of writers have got rid of the three-act structure, but it’s really useful to have that shape.

DB: It’s useful to identify the form of the story: it’s a mystery. There is something that these characters are not telling us, and as the play goes on we get closer and closer to finding out what that might be. So it’s a murder mystery, but with something in the will-they-won’t they of a romcom.

ZC: I had felt that I wanted to be taken seriously and so I shouldn’t write jokes. But I like romcoms more than I like any other kind of film. There was a chasm between that and the kind of things that I was writing. So I was creating work, not that I wouldn’t choose to go and see, but that wouldn’t necessarily make me go ‘Oh brilliant’.

DB: I think there’s a similar thing with directors. Up until a few years ago I was doing a lot of new plays in which dead children featured largely – abuse, grief. And then when I started to do some comedy, I found that I really enjoyed it. I realised that was okay. It didn’t make you less of a director if you didn’t reduce everyone to tears.

 

See Jess and Joe Forever at Farnham Maltings on Thursday 3 November. Read the 4* review (The Stage).Originally commissioned by Old Vic New Voices.