Firehouse Creative Productions
Stories; Collaboration; Innovation: making global local through live and digital performance

Feb
14

5 Yrs old: My Mum and Dad

I remember being a football match for the Cleveland Browns. The memory is not of the games though, but of looking across at my parents. My Dad is sitting next to me. He is clean shaven, and his hair is neat as it pokes out from underneath a Cleveland Browns cap that he wears backwards. I see him fiercely munching on popcorn, and spitting it back out again when he shouts at the game being played. He frowns a lot as well. He’d occasionally shoot a smile across at me and say, “Concentrate on the game, son.” My mother is sat the other side of him. I can only catch glimpses of her in between my Dad rocking back and forth as he moves with the football game. She is softly staring ahead of her, towards the pitch. She doesn’t smile, or frown. She also never looks across at me. It’s obvious that she doesn’t belong there.

6 Yrs old: The day I found out Mum had gone

My Nan picked me up from school that day. That’s where my memory starts. She was standing talking to my teacher, who was frowning at what she was saying. I shouted to get Nan’s attention. Her worried face turned towards me and changed to a beaming smile. We walked hand in hand to the car. I didn’t ask why Dad hadn’t come to pick me up. I sat in the back of the car, rather than the front, as I would with Dad, and that annoyed me. I could tell Nan was thinking a lot, but I didn’t think ask her what it was about. I was more interested in the dark clouds infringing on the beautiful blue sky. We pulled into the drive, and the house was dark, but I could see that Dad was looking out of the living room window. His eyes were swollen; a little like a teddy bear I used to have once. The next image I have is me standing in the living room doorway, with my Dad silhouetted at the window looking out onto the front yard. His back slumped as I had never seen it before. I felt grey. Everything was grey. Grandma just kept smiling. All I can remember then is Dad holding me. His heart beat was slower than normal, and he was colder. It felt like he was trying to get heat from me.

9 Yrs old: When we left our home

I was in my room, building a huge Lego machine. I’m not sure what the machine was, but it was huge. I knew my Dad had gone out earlier, but I didn’t know where. He didn’t say. He often went out, leaving the door unlocked and the TV on, but he always came home. I also knew that he had lost his job recently; I had only eaten noodles for the last week. The front door opened, and I could hear more than one voice, shouting and arguing. I stopped building as I heard him coming towards my room. I was a little scared, actually. The other voice I recognized as Grandma. Dad was saying, “We don’t need your help!” and Grandma was saying, “Please! Just let me give you something!” He burst in. I’m not sure if I was crying at this point or when I was being dragged down the hallway to the front door with a small bag of clothes. Grandma was still doing something between begging and shouting. He put me in the car. I was definitely screaming by this point. We drove away, leaving Grandma behind. I never saw her again. I never went back to that house again, and I never saw Dad cry again. That was out first day as drifters.

16 Yrs old: Detroit

We were in the upstairs private section of a bar in downtown Detroit called Charlie’s. Dad had befriended the owner of the car after several well received jam sessions with a local band. After much persuasion, Dad convinced the owner, Roger, to let me into the private area and take part in a poker game. Dad had been teaching me the basics and thought it was time to play a proper game. “If you can’t learn to gamble, then how will you know what you’ve got to lose?” he always says. I liked being among older people. It gave me a pride in being so mature and grown up. I was also allowed to drink that night; one of my first ‘proper’ nights of drinking. As the booze flowed and the money changed hands, I felt a joy and acceptance I hadn’t felt for a long time. I felt a strong friendship towards my father, and that I could do anything he would support me. I felt part of a team, a troupe, a family, if only for one night. Everything I said seemed to make people laugh as well; I was on form.

Feb
11

SCENE. STELLA AND SAMI FIRST MEET.

SAMI: Internal Monologue

You are here. I can’t believe it but you are. I am standing here right now looking at you. Feeling you, smelling you, tasting you taking you in.

Everything  inside is buzzing. But it’s a hard buzz, it is light and strong as hell. It tickles to have it inside of me. My head, my heart my lungs my gut it all feels like it’s going to burst cause of it.

I’m unable to control it, I’m not sure I want to control it but I know that if I completely let it go I’ll go stark mad and throw myself over everyone that is in my way. Squeezing it to death, crushing it or crushing myself. Crushing everyone in the ritual of kisses and hugs. I feel like screaming my head off. Right now scream how much I love you and everyone, and everything over and over until my lungs crack.

I’ve missed you beyond anything that can be described in words or pictures or sounds or anything tangible. I would hope for this until I made myself sick, But still not daring to hope for anything else.  And now with you here I can’t see anything, know anything or sense anything apart from that you are here. I’m blind to everything else. I’ve been blind for a long time but now I don’t recognize myself right now. I’m not in a place where I can or should.

I just know that wherever I am heading it’s going to be amazing.

Feb
11

What was it like being with her at first, this whirling dancer?

Everyone was after her, this freest of spirits. Then there was one night, late when we were all pretty cut when she said ‘Well, are we going? I said, “I think everyone is happy to stay for a while?” she said “ no just you and me, dumbass’. She did the sexiest drunken strip tease for me while I sang, “Angel is the centrefold” by the J Giles Band.  I don’t know how she made taking off a pair of jeans the sexiest thing in the world but she somehow did. And when we were together, her taking her jeans off, even when she was in the worst of moods would just turn me on! When we were on the road together, we would split off from the rest and go and do our own thing. I remember that I would walk along the street and she would skip sideways until that was too frustrating for her so she would break into a run. I would run after her for a while, but I could never catch her. She would take a corner disappearing from view, and when I caught up with her I would find her lying on the sidewalk and she would say, “You win, take me!” She had a talent for getting into fights in bars and winding up guys who would visit her with unwarranted attention. I step in, but she would flash one of her dagger looks at me like ‘I can handle this’ and handle it she would! I know from experience that she has a deadly left hook though I have never been on the receiving end of one, praise be to Jesus.

What was it like her having your child?

She was shit scared. Though I tried not to pressure her, I was over the moon about it. We talked about whether she wanted to go through with it and I reassured her that whatever her decision was, and I felt that it was her decision, I would abide by it. The day she said, “ OK, let’s do it!” I felt a happiness I had never felt before and by the spark in her eyes, I could tell that the decision had turned a light on in her. She was not happy during the pregnancy. She got really big, and used to stay in eating pizza and ice cream, saying how ugly she felt. It used to be a relief to go out and buy her more pizza and ice cream but then she would accuse me of having affairs the checkout girls at Wal-Mart. Memory is a funny thing. It tends to catalogue the hard times more than the rosy times. And there were rosy times, but thinking about them is like taking cocaine; the first hit is great, but then you just want more and more as you slip deeper into the darkness. So I try and focus on the now, and not get caught on reflecting on how things might have been, and I try to be strong for Leo. And the day he was born was the happiest day of my life. Him all covered in goo and her looking flushed, and exhausted and completely in awe of what she had achieved.

What was it like when she left you?

I’d be lying if I said I didn’t see it coming. She found our domestic bliss oppressive and our circle of friends with children, dull and conservative. She would roll her eyes at dinner parties, whenever the conversation got on to soft furnishings, home improvements or college fees. I guess she was suffering from postnatal depression, though she would never go see a doctor and she hit the roof when I suggested it. Her body came back amazingly quickly after the birth but she used to say that she felt like a whale with concrete flippers. She had a few girlfriends who she used to go out clubbing with but they were bad news. Jenny was high on junk most of the time, and Beth, who had given her child up for adoption would disappear with random men creating dramas both told and untold. So I was split when she finally left. I resented her for abandoning Leo and me, but I also knew that we could not go on the way we were. Leo saved me, that and the routine of going into work every day. I would wake in bed expecting to find her there then remember she had gone and I would feel this hole that had ripped open in side of me. Leo would come in full of joy and life and jump on the bed, with an uncanny knack for landing on my balls, causing real pain and nausea that would obscure the imaginary pain. I never tried to call her. She would send Leo birthday cards and Christmas cards to my folks’ place, but then one year, the birthday card never came and neither did the Christmas card. Her mom still sends Leo little gifts though. I feel sorry for myself sometimes. But I try not to show it. Back in the day, I would get drunk and rage with the guys at the studio. Calling her all the names under the moon. Unfeeling bitch, feckless whore, irresponsible child woman, selfish cunt…  feckless whore, I like that one. But I take pride in the fact that I have never defamed her in Leo’s hearing. And I never will! Sure I get blue, and Leo can read it on me. But he knows that some time spent playing guitar can turn my mood around.

Feb
07

These are the scenes we’ll be building from monday:

Sam bring Isabelle back into the living room
He introduces her
Where’s your father?
Leo asks, should we go?
Sam says, no, stay.  You entertain her while I fix the bedrooms
Sam leaves Is and Leo alone

Is and Leo
This is a coincidence
Leo gives enough information so that Is starts to feel uncomfortable with the coincidences about their pasts.
Ray enters.
Theres a moment of paralysis
Is tries to leg it
She falls
Revelation to Leo that Is is his mother
Leo goes out to the porch
Moment between Ray and Is
Ray reaches out to Is to help her up
Their past is contained in that moment
Is declares she is going to go away with Leo and Ray
Ray demands that Is say goodbye to Sam:  She’s must break this running away cycle

Is goes to Sam to say goodbye
Sam leads a flashback of their past lives together.  During that time, the following happens:
Is says she has to help Ray and Leo leave
Sam offers she doesn’t have to leave now: they could stay for the night and leave tomorrow
Is deflects
Sam offers they can walk if they need.
Is deflects
Sam offers that he can be everything she loved about him, and fix the things she didn’t like about him:  he can change
Is is swept up in the flashback and Sam’s present.
Leo enters.
Sam welcomes him and tries to send him out.
Leo says, are you coming
Sam tries to get him to just go away and wait for a bit.
Leo asks, you’re not going to tell him
Tell him what?
Leo leaves
Is reveals her relationship with Ray and Leo
Is runs after leo and ray

Feb
06

Ray and Sam are playing a card game on the floor. They have been drinking. The game has peaks and troughs followed by more drinking. After a while, Leo comes in with the guitar case.  He stands in the doorway. 

Leo: Dad?

Ray: Hey, Leo!

Leo: What are you doing?

Ray: Sam, meet my beautiful son.

Sam: Hey, Leo.

Leo: Hi.

Ray: What are you doing with my guitar case?

Leo: You left it outside.

Ray: Oh, did anyone throw any money in it?

Leo: Have you been begging again?

Ray: I don’t beg!

Leo: I’m sorry Sam if my Dad has intruded in your day.

Sam: No, not at all!

Ray: Hey, how did it go in town?

Leo: Umm…

Ray: Did you get a job?

Leo: No.

Ray: Aw, that’s a shame.

Leo: I found us somewhere to stay though! The Salvation Army will take us in if we get there by seven.

Ray: Well, I better get my toothbrush from the van then.

Sam: Wait a minute. You don’t need to leave.  I can put you up here for a night.

Ray: Sam, you are a saint.

Leo: You don’t have to do that.

Sam: It’s not a problem.

Leo: You don’t have to be so nice.

Sam: I want to. It’s just good old southern hospitality.

Ray: You’re from Chicago.

Sam: (handing Leo a Coke) How about a drink?

Leo: Umm…

Ray: Take the offer, Leo!

Leo: (taking the drink) Thanks.

Ray returns to floor and picks up the cards and demonstrates the game.

Ray: Leo, have a go at this. You might actually be good at this game. You just throw the card into the basket, and if you get one in, the other one has to drink.

Leo: Ok.

Leo attempts, and fails. Ray then cheats and gets one in.

Ray: Ah! You have to drink now!

Leo: You cheated!

Ray: I did not!

Ray starts throwing cards at him.

Leo: Stop throwing cards at me.

Ray: I’m not. I’m throwing them around you.

Leo: Yea, but you’re trying to hit me.

Ray: That’s your interpretation.

Leo: Right, that’s it!

Leo jumps on Ray and starts throwing cards at his head.

Leo: You like that? How do you like it you bastard?!

Ray: Get off me you psychopath!

Sam: Whoa! Guys! Calm down! Ray, I think you need to sober up if you’re gunna play tonight.

Leo climbs off Ray and slouches in a chair.

Ray: You couldn’t be more right, Sam.

Sam: I’ll get you coffee.

Ray: That would be great. Thank you.

Sam leaves for the kitchen.

Leo: Hey Dad, there was a lady in the coffee shop today. 

Ray: Did you get her number?

Leo: No, she was way too old for me.

Ray: Did she have nice Chihuahuas?

Leo: I didn’t look.

Ray: Pity.

Ray picks up his guitar and starts warming up his finger.

Leo: Hey Dad, does Sam live here on his own?

Ray: I believe so.

Leo: What’s that all about?

Ray: I think he used to live with a woman.

Leo: Oh.

Ray: Something to do with her leaving him. Still trying to work it out.

Sam returns with coffee.

Sam: Here you go, strong and black.

Ray: Ah, just how I like my woman.

Leo: Dad.

Sam: Don’t have a go at your old man, just because he likes to dip it in the chocolate.

Ray and Sam share a laugh.

Leo: So Sam, how long have you lived on your own for?

Sam: Umm, about two years now.

Leo: Cool. A bachelor.

Sam: Yea, something like that.

Leo: You must have loads of women over.

Sam: Not really.

Leo: Oh.

There is an uncomfortable pause.

Ray: So! Are we gunna do one of our songs tonight son?

Sam: You two play together?

Leo: I just sing a bit with him.

Ray: He has the voice of an angel.

Leo: No I don’t.

Sam: Can I listen to one?

Ray: Umm, I don’t see why not. It’ll be a good warm up.

Ray goes over to where Leo is sitting.

Ray: Which one shall we play my boy?

Leo: The blues one is easy enough.

Ray: Ok.

They sing. Sam gets up and starts casually dancing to the song. They finish.

Sam:  That’s was really something. It’s been so long since anyone has been here; I almost forgot how to have fun.

Leo: Hey Sam, who was it that you used to live with?

Sam: Look, I’m not sure if I’m comfortable…

Ray: Sam, if there’s one opportunity us crashing at your house has given you, it’s to talk.

Sam looks at them both, hesitating slight, then gives in.

Sam: Her name was Stella. Druassi can use some of his homework here where he talks about when Stella left, but it might nice to end it with

During his speech, Sam goes to the draw and brings out a picture. He stares at it.

Ray: Lost love.

Silence. Sam stops the music.

Ray: Burn everything you have of hers. Every item of clothing, every picture.

Sam: It’s not that easy.

Ray: Go into your memory and turn it around onto her.

Sam: Ray.

Sam goes over to Leo and hands him the picture.

Sam: There is my favorite picture of her. It was taken when we were in Mexico.

Sam goes and sits down at the table.

Sam: Fancy a smoke Ray?

Ray: Sure.

He starts rolling a cigarette. Leo looks across at his Dad and catches his eye.

Leo: Hey Dad, you that girl I met in town?

Ray: Yea.

Leo mimes “this is her.” Sam looks up at him, but Leo just smiles at him. He catches Ray again and mimes “should I tell him”. Ray shakes his head.

Leo: (wearily) Sam, before I came here, I had a coffee at Hardmans cafe on the corner. I had a conversation with this woman.

Sam: What?

Leo: She was sitting opposite me.

Sam rises.

Sam: You’re not messing me around are you?

Leo: No, I swear it.

After a while, Sam rushes off.

Leo: Wow.

Ray comes over and takes the picture.

Ray: Did she say why she was here?

Leo: She said she was just passing through.

Ray looks at the picture. He freezes.

Leo: She said, “to live is to lose.” What shall we do?

Ray takes a while to respond, working things out in his head.

Ray: I need…you should stay here and I’ll go and see if Sam is alright.

Leo: Oh, ok.

Ray leaves.

Feb
06

The first week has been a week of acclimatizing and discovering. 

Day 1: We started with the exploration of the original script by Geothe; discussing it’s themes of love, completion, balance, and God. We then went into detailed analogy of the characters and how they tick. Some interesting things that struck me with the original:

-          Very wordy and expressive. Each experience and emotion is explored in extreme detail.

-          The author was only 18 when he wrote ‘Stella’, so he was trying to understand the issues himself.

-          There is a lot of explicit ‘feeling’ going on. Almost feeling for the sake of feeling.

-          It has an etiquette and formality that would be interesting to play within our time.

Day 2: We talked mainly today about place; the place of the original, and then the placement and location of our adaptation. From the original we determined the following:

-          Small town – room for gossip

-          There is a routine and custom for when visitors arrive.

-          It gives an impression of the area being run-down slightly.

-          Stella lives in a big house.

-          There is no sense of temperature. Therefore there are no extremes to affect the action.

-          It is easy to become anonymous.

-          What does it border on???

-          People often are passing through on their way somewhere.

We then made the decision to set our adaptation in Macon, Georgia. It fitted the scenario of our piece and made sense to react to the environment we, as actor, were staying in. The strongest aspect was the feeling and possibility of anonymity.

Day 3: We decided to plot the entire journey of our play out on location around the town that is going to be set:

-           This allowed for the physical journey to be scoped.

-          It changed some dynamics of the characters altering them to being American.

-          It gave the piece a strong identity, pace, and attitude.

What it did for my interpretation/development of Leo:

-          Leo is older than first thought. He is at college, and therefore 18 rather than 16. This gives a more mature view, but also allows for more conflict between him and his father. “Dad, I need some kind of order!”

-          His reactions and decisions are still based upon his fathers, whether or not he acknowledges it or not.

-          His father’s fight or flight mechanism is in built in Leo as well.

-          Leo’s instinctive impulse is to protect his father.

Day 4: The first day of practical work.

Scene one:

-          Leo and Ray leaving the van

-          Walking down Spring Street

-          Leo leaving Ray on his own.

We improvised around these movements a few times, and several observations and structures cropped up:

-          Leo is returning from enquiring about a mechanic. He also got some fried pickles from Zaxby’s. This adds and nice dynamic in the scene.

-          Ray is playing guitar and singing on the bumper of the van at lights up. This nicely frames his character.

-          They’ve come from Atlanta after Leo was thrown out of college, and Ray was fired. They broke down on their way to Miami. The element of passing through Macon feels right.

-          Leo isn’t so naïve and innocent as first thought.

-          How are we relating to the space?

-          Ray gives Leo the impression of responsibility. “Lead the way pilgrim.”

Scene three:

-          Leo has had rotten luck looking for some work/money/accommodation, so goes to the café before returning (having failed) to his father.

-          Stella is passing through, contemplating returning to Sam.

Again, we improvised a couple of times with the situation, and several things cropped up:

-          Leo’s aggressive attitude gives a nice dynamic.

-          Stella needs to hear his say that he forgives his Mum for leaving.

-          Leo is working himself around to feeling sympathy for his Dad. “I suppose he’s had it rough.”

Day 5 and 6:

Scene four:

This scene has proven and a very tricky scene to get going. This is because it has and needs many movements which need to flow into each other. This creates some difficult character dynamics and some strong choices need to be made. Those movements are mentioned in a blog above this one.

Leo’s key points and aspects for the scene:

-          Leo’s first intention is to determine the situation. Who is this man he’s with? Does he own this house? Does Dad know him? What is Dad doing in here? Why did he leave his guitar case outside? Do I trust this man?

-          Leo’s weariness of Sam leads to finding out Sam’s story with Stella.

-          A sense of play with his father needs to be strong.

-          It’s three and a half house later after leaving his father, and he has achieved nothing in town.\

We scoped Leo’s physical journey from finding that his father wasn’t there, to finding him in the house with Sam. Interesting things came out of that:

-          He takes time to make the decisions to move and enter the house.

-          There are a lot of active facial expressions.

-          He only moves when he is certain of where he wants to move to.

-          His feeling threatened instinct is lead by his chest.

-          His main inner qualities are earth and fire. The balance of these two creates the action.

-          Very reactive and responsive to his environment.

-          Use of hands to scales things out with.

Feb
06

Thursday am: physical warm up followed by specific scene work. Alan and Richard worked on Leo and Ray’s arrival in town and their journey to Sam’s house. Durassie and I worked on Sam’s dream of Isabelle returning and Isabelle’s inner monologue as she comes into town.

Using my homework piece: “I think I’m going to come back”, we devised a “dance”/physical map of our journeys through that piece, connecting with the words and each other’s bodies in the space. We  recorded the piece and used it as a soundtrack to the movement sequence. We then each went through the movement sequence on our own, imagining the other body. We then both came back into the space but continued to repeat the movement sequence in isolation from each other. We repeated this two or three times changing direction, playing with tempo, dynamics and playing with which parts of our bodies were leading us at any given moment. We then experimented with starting the sequence in isolation and finding points where our bodies would come together and break apart again. We finished by coming back together, Rachel reading the inner monologue aloud and us “dancing” together in a much smaller space.

Discoveries: (1) “dancing” it together in a smaller space felt much more intimate and intense; (2) The parts of the body which lead Isabelle the most seem to be her pelvis, solar plexus, eyes, head, heart and arms, often the pelvis is pulling forwards as the eyes/head are pulling away, the heart is pulling forwards as the pelvis is pulling away etc. (3) There is a strong physical connection between Is and Sam.

pm: creating scene between Leo and Is, impro’d 3 times and then tried to script it using material from the impros, story station and original script (scene already blogged here).

Discoveries: (1) “Marty McFly and his Mum in the past” – chemistry; (2) Not needing anything from each other at the start of the scene but both taking something valuable from each other.

Friday am: physical warm-up (discovered that 20 burpees in a row are very painful!!) – rest of the day spent working on fun scene: Ray, Sam & Leo (bullet points already blogged here). I watched and noted then went to work on refining the “I think I’m going to come back” inner monologue using story station material and Goethe’s original script, see below:

I think I’m going to come back. I’m excited about coming back I think, I do keep thinking it might also be a really bad idea, I’m scared.
I love you so much and I’ve already lost so much, you are the only thing I have left to lose, I think I need to come back.

I need to wake up to life again after a long, cold, joyless sleep of death. I need to disappear into your eyes, your beautiful endless eyes that seem to look all the way inside me and still love what you see. The way you used to look at me made me forget everything, you made me feel pure. I need to feel clean again.
Your hands on my skin used to transport me to another place where I felt strong, young and beautiful. Oh, to be in your arms, to forget everything. When I look at myself through your eyes I feel like the woman I want to be, good, kind, strong, hopeful.

I miss your eyes, your hands, your lips, the certainty of love on your lips, your energy, the way you used to run out of the house to meet me and dance with me on the porch, making me feel fifteen again. I even miss you talking over me in your rush to express yourself, not listening to me, your jealousy, your possessiveness, all the things I used to fight against are some of the things I miss the most.
I miss your innocence, it enveloped me and made me feel safe inside it, we lived in a world where anything was possible as long as we were together

but I think that’s really what I’m afraid of. I broke the spell and I took all that away. I’m afraid of what I might have done to you when I left. I made you give up your life for me and that you accepted so eagerly made me feel so powerful and necessary. You needed me and I left you, all alone. I am afraid that you might not be the same person any more. I’m afraid that you might never forgive me, never look at me or touch me again and never let me lose myself in you.

The way you used to hold me when we danced, so strong, you made me feel like we were the whole world, everything inside me disappeared and we were flying. I need to feel that again.

Feb
06

First draft created through 3 impros + material from story station and Goethe script:

Isabelle is sitting at a table in a café. Leo enters and buys a coffee. He then moves to a table near to Isabelle and sits down aggressively. He starts pouring in copious amounts of sugar.

Is: Would you like some coffee with that sugar?

Leo looks up at her unimpressed.

Leo: Ha!

He returns to stirring his coffee.

Is: You alright?
Leo: No. You?
Is: No. You having a bad day?
Leo: Yea. You?
Is: I’m hoping it’s going to get better.
Leo: Then that’s something we have in common.

Leo smiles.

Is: You have a nice smile.
Leo: You have nice calves.

They share a laugh. Leo puts more sugar in his coffee.

Is: Do you mind if I join you?
Leo: The table’s between us, which is the way I like it.

Isabelle withdraws.

Leo: (suddenly) Do you have a Dad?
Is: Umm…Yea.
Leo: Do you like him?
Is: What I remember of him, haven’t seen him in a while but, yea.
Leo: Well mine sucks.
Is: Is he really that bad?
Leo: He jokes around; can’t take anything seriously. Treats me like a kid.
Is: He sounds kinda fun.  What’s so great about taking things seriously? I thought young guys like you would like a bit of adventure.
Leo: What young guys do you know?
Is: Oh, a few.

They share another laugh.

Leo: Seriously though, he’s totally rootless. He tries to erase everything serious in life. I suppose he’s had it rough.
Is: What about your mother? Doesn’t she kick him into shape?
Leo: I don’t have a mother. I mean, I do, but I don’t know her. She left when I was stupidly young.
Is: I’m sorry.
Leo: It’s not your fault. It’s not like I care. I’ve accepted it. It’s my Dad who can’t accept it. I just wish the fucker didn’t have to be so obtuse about it.
Is: To live is to lose.

Beat.

Leo: Everybody needs their freedom? That’s the way I see it. I forgive her.
Is: You astonish me.

Beat.

Leo: So, do you stay around here?
Is: I lived here once. I was just passing through, thought I’d stop and have a look around the old place. I’m glad I did.

Beat

Is: Well, it was nice to meet you.
Leo: Yeah.
Is: Don’t give up on that Dad of yours.

Feb
06

Ray is sitting on the bumper of his van playing guitar and singing. After a short while, Leo enters from the audience eating some fried pickles. He paces past Ray, giving him the fried pickles as he passes, then  to the bonnet of the van, inspecting it.

Leo: The guy in Zaxby’s said that we won’t get a mechanic until Monday morning. That’s 36 hours Dad!

Ray: Well then, we’ll have to find somewhere to stay…

Leo: (interrupting) …He also said that he thought it was funny, of all the places to break down, our van broke down at a Greyhound bus station.

Ray: Thank the lord for the gift of humor

Leo: I hope they’re not all like him in Macon.

Ray: Well there’s only one way to find out. Let’s go make us some friends.

Leo moves around to the front of the van where Ray is sitting.

Leo:  How can you be so relaxed Dad?! Eat your pickles.

Ray: Thank you. Mm, fried pickley goodness.

Leo: We have two dollars and change. That is not enough for a place to stay or more food.

Ray: I can tell by the look on your face you gave him too much.

Leo: That’s irrelevant.

Ray:  You don’t need to tip a guy working at Zaxby’s.

Leo: We need a plan!

Ray: (standing to face him) Ok Leo!  There must somewhere in town we can get help. We’re in the south, after all. “Good ole southern hospitality”. Failing that we’ll find someone to beg, borrow or steal from.

Leo: You’re not funny you know.

Ray: I’m being serious.

Leo: (leveling with him) Ok. Let’s head into town.

Ray: Lead the way, pilgrim.

Leo locks the van and walk out towards the audience looking for a direction to head or sign. Ray observes him.

Leo: Spring street. As good a way as any.

Ray: Hope springs eternal in a young man’s breast.

They both walk out into the audience.

Ray: Beautiful houses don’t you think?

Leo: Yea, and so close to the grotty suburbs.

Ray: It all has the calm of newness for me.

They come to a fork in the road as they walk out of the audience. Leo leads the way and scales up the area.

Leo: Magnolia Street or Cherry Street?

Ray: Where ever leads to a bar where the people are as green as the money.

Leo: Don’t start that talk again.

Ray: I’m being serious. A bar needs music, music pays, and I can play music. Plus, I need a drink.

Leo: There are more important things than your darn music and drinking habits!

Ray sits on a bench in between the two roads.

Ray: Listen, while you get all hissy and worked up, I’m gonna create a set list.

Leo: No matter where we are, you always find a way to torment me.

Ray: (passively) You torment yourself.

Leo: God!

Ray: There’s no God, son. Just chaos and freedom.

Leo: I’m leaving. Stay here if you want, I just need to work things out on my own.

Ray: Don’t do anything I wouldn’t do.

Leo looks down both roads.

Leo: Cherry Street.

Leo leaves. Ray watches him.

Ray: (to the audience) My son’s kinda impetuous. It’s just his age. Those proud seas will run low in time. More’s the pity.

Feb
06

STELLA’S GONE

That afternoon when I got home from work (I was covering for one of the tutors that day) Well at first it just seemed like any other tiring day where I first go to the fridge to get some snack and then head to the showers. When I passed our bedroom I noticed the messy state of it. There were mainly clothes lying around, her clothes and the drawers were open as well and the closet half closed.

The first thought that struck me was that someone had been in here. And my mind started racing but then I noticed that her suitcase was missing.

I started calling Stella’s name and searching through the house, but no one was here. I began checking for things that we’re missing. The funny thing was that none of my stuff was missing just some of her clothes and shoes.

By now I started to get even more confused. I started checking the apartment again for missing stuff and as before none of my stuff was gone only hers. I also noticed that her passport was gone as well.

I couldn’t really understand what had just happened. One of the first things that was racing through my head was that she maybe had to visit some friend. But I knew most of the people Stella knew. And that didn’t seem possible.

I began thinking of whether someone had broken in to the house. So I began checking the windows and back door for any signs of forced entry but couldn’t find any.

After about 20 minutes I began phoning some people/acquaintances if they’d seen Stella or if she was with them but they all said no. I began asking some of our remote neighbours if they’d seen anything suspicious or if they’d seen Stella but no. By the time it started to get dark I took the car out and started looking for her. I drove out to the desert some how thinking that she was stuck there. Maybe she’d had an accident or someone had forced her out of the house. Could someone have taken her away.

When I came back home and noticed that no one had called and that she still wasn’t there I began to worry. Early the day after I went to the police I asked people in the town showing them her picture but no one had seen her. Drove to the nearest city where we both work asked people at work if anyone had seen her but no.

I’d by now already started to panic but I kept thinking that something terrible had happened to her. I couldn’t come to the terms that she’d actually left but deep down I sensed it with her suitcase gone along with her passport. It just didn’t make that much sense in my head at first. During the 1st week I kept going to the police and they said nothing had come up.

During the next couple of weeks I kept waiting for her to call, Or at least getting a phone call or a knock from the police. But after a couple of months I finally came to terms with my worst thought. That she’d packed most of her belongings and left.

I kept running the image of the last time I saw her in my head. Was she angry with me? What had I done? I remember a couple of days before that we had an argument about her scratching the car. But it wasn’t too serious. But kept afterwards thinking of the other arguments we’d have, sure they we’re just like any other ones. Me being sloppy and not cleaning after myself sometimes I got a bit too jealous when she was being a bit over friendly with some guy whenever we went out. Lately I’d been working a bit more than her and probably not been as fun. She seemed a bit quiet the last few days. Was she trying to tell me that she’d grown bored of me?

 MOMENT STELLA COMES BACK

2. From the moment she called me and suddenly stood there on the doorstep I was just in a maze. Not sure how I can explain this but it was like this heavily pulsating feeling all over me. My heart was bouncing at the distance between my chest and my stomach and my hands and fingers we’re tingling.

When I held her I felt like I had to grip her hard. Not just her back but her arms her hair her face. It’s was like I had to see if this really was real. I’d had some terrible dreams where I dreamt that she had come back and we’d be in an embrace like this or even kiss or we’d not say anything and just make love and it would all be so vivid and real and then I’d wake up.

So I just stood there holding her, gripping her and smelling her in almost being torn between the thought of a nasty dream or reality. I could feel my heart beat pounding to her chest and I felt a bit of hers, and that almost fully convinced me that this wasn’t one of those dreams. I felt a surprising erection as well. At that point things felt timeless. It felt like I stood there for ages until Leo interrupted it. And as I was leaving to speak to Ray I could feel my body resisting me from moving from the spot almost. It felt like I had to pull myself away. Was she still going to be here when I got back?

I gave her a hard look when I told her I’d be back. Almost as if I was pleading with her already then.

I had this feeling or extreme joy and uncertainty and stress. Right at that moment what I wanted was just to be alone with her.

 STELLA COMES TO SAY GOOD BYE. EARLY MEMORY

3. Stella: There you are.

She startled me and has caught me talking to myself. It reminds me of our very first date. It was about 5 days after I first kissed her about 3 weeks before Christmas. It took me like a week to finally brave myself enough to ask her on a date or face her again. After class when waiting for everyone to leave I remember almost saying it in a kind of formal but blasé way. Like “what kind of food do you like eating” just out random like that. And she answered that she liked French food. I told her about this French restaurant that actually wasn’t too far away from where she lived and I asked her if maybe she wanted to go there sometime. I was a bit stiff when I said it. It sounded like I wasn’t interested in it, probably because I half expected her to turn me down and I was trying to cover up my nervousness. I was so surprised when she said yes, and she said it with a smile. We arranged to meet there at 8pm on that Saturday. From there on I had already pre selected my best most adult looking costume to wear. I wore this grey sweater and black suit pants along with my best brown loafers, looking at least 2 years older. I had pre booked the table like 4 days before. I arrived there about 45 minutes before the actual time. I was terrified, thinking about what I was going to say. What would we have to talk about? I started talking to myself as I sat there by my self, practising lines to say to make her laugh. Things that would make me sound more sophisticated, what kind of stories I could spice up to seem more interesting to her. I wish I could’ve picked her up at hers with my fathers black 1967 Rolls Royce but he’d have my fingers chopped off before I was aloud to touch it. Kept thinking about witty jokes I could tell her. What kind of jokes could I tell her. I bet she liked British ones, her accent was one of the things that really fascinated me. I Could I tell her the one I once had heard on Saturday Night Live, or maybe she’d seen it as well. While I was practising out some jibberish I heard a familiar voice saying my name. I turned around and there she stood. Wearing light make up and a beautiful fitting black dress that wasn’t revealing but  headturning. Shed done up her hair real nice too sort in a swirl. She looked so beautiful and different from the way I’d usually see her. At that moment my prep just dropped. She had caught me off guard talking to myself. I felt quite stupid. The fact that she had this funny smile on her face sort of happy but humoured made me think “Oh god! How long had she stood there listening to me. I felt like I was eight. But I was more stunned over the fact that she’d actually turned up. There she was all made up for me.

 WHAT I GAVE UP FOR STELLA

I remember the day my Father found out about the affair. And how furious he had been. That evening we had a big row. He kept telling me how I had shamed him and dirtied my name and his name to the school. I’d probably have to change school now or even be home tutored or sent away to some boarding school. He kept telling me how stupid I was to actually believe that She/Stella really loved me. Saying that I was just a nice temporary young thing she could take advantage of. Referring to her as a gold digger and depraved. I remember how I was starting to bubble up inside telling him that he was lying and that he didn’t know anything. He kept telling me how stupid and naive I was, kept denigrating me and undermining me, undermining what I had between Stella and me, turning what we had found into something filthy, temporarily  and pathetic. What really made me snap was when he called her a Whore! From that moment I just saw red. And before I knew It I had punched him right in the face, just between the nose and his right eye. It was almost as if I didn’t know where I got that strength from. It was like he had pushed different buttons and then touched this one that was active. When I stood there towering over him I felt this anger that I’d never really felt before or felt brave enough to express until now. At that point I could’ve killed him. I was shaking so hard. I was shaking even when I came into Stella’s apartment that very night telling her what I’d done. I couldn’t stop shaking. I’d never stood up against him like that before or been that mad before. I felt like I could’ve killed him at that spot. It felt so liberating and terrifying at the same time.

 WHAT STELLA PROMISED ME

I remember how Stella just sat next to me in silence and took my hand squeezing it tight. I looked at her and she just smiled at me, Didn’t say anything. She had been listening to me going on about how much I hated him and wasn’t going to go back there ever again. She just sat the holding me and at that moment I felt this feeling of belonging. Like it was just us 2 against everyone else but she made me feel like we we’re going to be ok. And I believed her. Despite what my dad had said about her she wasn’t going anywhere. She was in this with me. Reassuring me of it.

 WHAT I MIGHT’VE DONE WRONG

I know that I can be quite lazy at times. Coming from having people doing things for me most of the time and me paying them. Even the simplest things like doing the dishes cleaning up after myself in the bathroom or clearing after myself. But these we’re some of the fun things to adapt.  One of the things was that I easily got jealous. When I disowned my family I became more dependent on her, emotionally. I know that a part of Stella liked feeling needed. There was a natural mothering instinct with her but maybe I didn’t give her enough time to breathe. Cause unlike me she was a more free natured person. And she needed to breathe. She was an independent woman. Maybe I was becoming a burden to her more and more so by the minute dragging her down. As she’s come back I find it difficult not to be on her case. Not in the aggressive way I almost try to stop myself but it’s difficult even when I try to tell her let her know that I really have been considering changing because she is all I really have left.

 INTERNL MONOLOGUE AFTER FINDING OUT ABOUT STELLA, RAY AND LEO

4.

Her son! She has a son, who’s only a few years younger than me. And she’s married!!!! She was married. She’s been married all the time. That guy that’s been playing pal with me is her fucking husband. And they’re all under my roof!

All these years she’s been married!! Is this why she came back? She left me for him? But why would she bring them here for me to see this. To rub this in my face? Why the fuck would she do that? What was she doing with me all these 6 years? I gave up everything I had for her and everything I could have because I felt that none of that mattered cause I thought it was all fake. It was all bullshit. She was the first real person I met. The first person that I felt something authentic with.  What did that mean to her. Did any of that mean anything.  It must have or… I don’t know….

Does she still love him? She can’t be. Why didn’t she tell me about him when I first met her? She’s been lying to me all these years. The only person that I can trust and I don’t even know her. What the fuck is up with this guy coming here pretending to be friends with me before laying this bomb. He must think I am stupid. They must think I am stupid. I feel like such an idiot. Is she going to go back to him?! Is she leaving with him tonight? Is she leaving with them right this moment? She can’t be!! She can’t fucking do this to me. She can’t

Feb
06

- Sam and Ray play a game

- Leo enters tentatively, he needs to get Ray to leave soon to get to the Salvation Army before 7pm

- Ray teases Leo about what he found/didn’t find in town (song)

- Sam offers them a place to stay, Ray reveals to Leo his plan to play at the 550Blues, things are looking up

- Sam changes the song, Leo and Ray talk about the woman Leo met and the time Ray has spent with Sam

- Mood changes as Ray decides he needs to sober up, conversation turns towards Sam’s past

- Ray offers Sam advice, Sam produces photo

- Leo recognises woman, Sam leaves to find her, Ray recognises photo, leaves to buy cigarettes

Feb
04

Day 1 – am: physical warm-up at the Indian mounds followed by viewpoints work related to depth of field and following instincts.

pm: reading the original Goethe script. Very useful. Things I took from the original which I think will help inform my character – Fernando’s confidence; he was just passing through town on his way somewhere else – not necessarily returning specifically to come back to Stella; fate/lack of responsibility/cursing the Gods; definitely left Stella to look for his wife and child; possibly didn’t look hard enough.

Day 2 – am: physical warm-up focussing on ensemble work as well as general fitness.

Exploration of place within the original script: non-specific European; small town; knowing each other’s business; Stella’s house is THE big house in the town; strong sense of community; temperate climate; station tavern and country house; ability to travel; crossroads; busy; routine; community kicks into gear when the stagecoach arrives.

How does this place effect the emotional landscape of the play? Simple space allows epic emotions to unfold.

Where is our play? Macon, Georgia, USA – we want to use our surroundings to inform our choices.

Location trip around Macon, talking through plot points. Bus station (battered old van broken down in bus station); houses on Spring Street – we choose the location of Sam’s house as the house on the corner of Spring and Magnolia with a little park at the front; downtown – La Dolce Vita; the Macon dance school; a bar near the bus station which isn’t suitable for a location in the script but which is brilliant for back story.

Discoveries: Isabelle drives into town. She drives downtown on a  nostalgia trip and goes into Dolce Vita because it is new. She thinks a lot about Sam and needs a drink to clear her thoughts. She doesn’t check into a hotel.

Day 3- am: We start the day inside Rachel’s house, to get a feel for the interior locations. We continue to work through the plot points “on location” with one of our designers present.

Discoveries: (1)Isabelle doesn’t ring the doorbell/knock on the door. She is still hovering on the porch trying to decide whether or not to go in when Sam comes out and finds her. (2) When left with Leo, Isabelle slowly begins to piece things together and realisation of who he is begins to dawn on her. (3) When Ray arrives, she panics and runs for the door but she trips on a rug on her way out (inspired by a true accident, I have the bruise to prove it!). (4) The re-connection between Ray and Isabelle could be a simple as a touch of hands as he helps her off the floor. (5) Ray forces Isabelle to go to Sam to confess and say goodbye. (6) Isabelle doesn’t intend to say goodbye, she intends to make up a story about Ray and Leo leaving and her helping them back to their car. (7) Leo comes in to find out if she is ready to leave – when he leaves she is forced to confess quickly in order to go after him. (8) Ray will not leave with Sam on his conscience.

Physical work-out with our choreographer followed by more ensemble work.

Improvisation workshop lead by Alan – very useful and lots of fun.

Sharing of pre-US homework, very interesting – lots of crossovers, lots  to think about, some things to change slightly bearing in mind the work we’ve done over the last three days.

Feb
04

Pre-US homework

Jan
15

Here’s a breakdown of what happens in our play!  Have a look if you want to see what happens succinctly in the plot of our story.  

DO NOT READ…

…if you would prefer to be surprised by the events as they unfold live!

 

1. 

Ray and Leo get into a fight as they’re coming into a small town. 

Ray is perfectly optimistic that their luck will change, he’s just got to find a horserace or a betting table but Leo has had enough, and he berates him and demands that Ray stay out of town.  Leo will go into town to find a job, and orders Ray to stay out of trouble. 

2. 

Ray sits down in front of Sam’s house and begins singing.  Sam comes out of the house.  Sam invites Ray in, and they begin to bond over music, which leads them to the discussion about their pasts, and they find they’ve got more in common than a love of music…..

3. 

Leo gets a job in town. Leo and Isabelle meet in town, and they talk about love.  Isabelle confides in Leo that she has hurt someone, and she doesn’t know if she should go back to him or not. Leo reassures her that whatever it is, she’ll probably be forgiven.

4. 

Leo comes back to find his father, and finds Sam and Ray as friends.  Sam invites Leo and Ray to stay. They have another few drinks and play music and cards. 

Sam shows a photo of Isabelle to Leo.  Leo says, I’ve seen this woman in town today. The doorbell rings.  Its Isabelle.  Sam rushes to the door.  Ray sees the photo, goes silent, then demands that he and Leo leave the house.  Leo refuses.  Ray tries to escape, but there’s no way out that won’t bring him past Isabelle.

5. 

Isabelle and Sam reconnect.  Leo enters to speak to Sam about his father.  Sam goes to tell Ray its okay to stay the night.

6. 

Leo and Isabelle go into the living room.  Ray is almost hiding in the corner.  After a while, he starts to sing a song, which Isabelle (Stella) recognizes as Ray’s song. Isabelle recognises Ray.  Ray tells Leo this is your mother. Leo leaves. Ray and Isabelle reconnect.  Isabelle decides she’s going to leave and go with Leo and Ray.  Isabelle and Ray part:  with Isabelle leaving to go tell Sam she has to leave him and Ray to go find Leo to tell him the good news.

7. 

Isabelle finds Sam and begins to try to say goodbye, and fails to do so.  Leo comes in and tells Sam about Isabelle and Ray.  Leo goes to tell Ray that she wasn’t going to leave Sami after all.  Isabelle goes after Leo and Ray. 

8.

Ray and Isabelle meet.  She can’t stay with him and without him. Sami comes outside and confronts Ray and Isabelle. But Isabelle begs them: Can we just all live together?  We’re left wondering if they will or not.  Leo leaves them alone and heads out on his own.

Jan
10

Ray is leaning out of the window as Leo and Isabelle enter. Leo shows Isabelle into the room and sets her up to introduce his Dad.

Leo: Dad, I’d like to introduce you to…

Isabelle: Stella.

Leo: Stella!

Ray doesn’t react. Leo laughs uncomfortably.

Leo: Umm, he’s just tired.

Isabelle: Ah, right.

There is an uncomfortable silence.

Leo: Cards?

Isabelle: Sure.

They both and sit and Leo starts shuffling.

Leo: Twenty one?

Isabelle: Ok.

Leo starts dealing. He shoots glances across to Ray, and then to the door looking for Sami. They play.

Isabelle: Hit me.

Leo deals.

Isabelle: Stick.

Leo: Ok.

Leo deals himself.

Leo: Umm, I’ll stick. We’ll show at the same time.

Isabelle: Ok.

They show their cards.

Isabelle: Ah, you win!

Leo laughs with contained delight, before collecting the cards together. He sits wondering whether to play cards again, or do something else. He looks again towards the door. Isabelle glances thoughtfully at Rat by the window.

Leo: Sami!

No answer.

Leo: Umm, guitar!

He dashes towards the guitar and offers it to Dad to play. Ray doesn’t respond.

Leo: Probably shy.

He thinks for a moment, then decides to play himself. He’s not very good, but tries hard to impress. After some average guitar playing, he thinks what to do next. Isabelle stares at Ray as he turns to show himself to her.

Leo: I’m better at cards.

Leo sits and starts to deal again. Isabelle rises.

Isabelle: I think I better go.

Leo: Sorry?

As she leaves, Ray starts singing an Icelandic tune he used to sing to her, stopping her in her track. Leo glances between the two, confused. The song comes to an end; there is huge tension in the room. Leo knows some big revelation is coming. Ray and Isabelle stare at each other. Isabelle then drops to the floor.

Ray: Leo, meet your mother.

Leo looks at Ray, before snapping back to Isabelle. He looks as if he wants to say something but can’t. He runs out of the room. Silence. Ray sinks to the floor to be at Isabelle’s level. They inch towards each other, then leap into a passionate embrace.

Jan
10

Sami walks out.

Ray: Sami..

Sami: So you’re leaving.

Ray: Yeah!

Sami: That’s a good idea! why don’t you take your kid and get the fuck out of here.

Stella: Sami No! I want them to stay!

Sami: What! You can’t be serious. There is no way they’re staying in my house. (To Ray) You planned this very well. you and your kid coming to my porch and befriending me. Yes you did didn’t you you shit… (Goes to attack Ray. Stella comes in between)

Stella: Sami If you don’t calm down and listen to what I have to say then I’ll leave.

Sami forces himself to calm down. Grows a bit more tense.

Stella: Sami I love you and I can’t leave you. But I love him too (Points at Ray)

Sami on the verge of nausea

Sami: Stella you can’t be serious!

Stella: I am. H e’s my husband and I love him.

Sami: Why are you doing this to me? Is this why you came back? You can’t do this. Do you know what I’ve given up for you? (On his knees by now gripping Stella Fear has struck in) Stella please don’t do this! You can’t!!

Jan
10

Knock on door.

Sami: Yeah!

Leo walks in.

Sami: Hey Leo! what’s up?

Leo: Uhm nothing. I’ll just come back later.

Sami: No. no it’s fine. What can I do for you?

Leo: I’ve just come to say that me and my dad are leaving. Ready whenever you are Isabel.

Sami: Isabel?

Leo: Err Stella.. whatever. Are you coming?

Sami: Coming? Where is she going (to Stella) Where are you going?

Leo: You mean you haven’t told him!?

Sami: Told me what?

Leo: Isabel! Tell him what you told my dad!

Sami: Tell me What!! Stella what the fuck is this guy talking about and why does he keep calling you Isabel?

Stella shying away by now upset, very uneasy.

Sami: Hey, hey baby what’s wrong? come on you can tell me.

Leo: Tell him or I will!!

Sami: Don’t use that tone against her alright!!!

Stella: Sami it’s ok!

Sami: No It’s not ok!

Stella: Leo I need more time. Just please give me morre time.

Sami: More time for what? What do you mean. What is going on? Could someone please just tell me what’s going on.. Stella!?

Jan
10

Stella: There you are.

Sami: Hey! Look what I found! (Pulls out ring) Remember how embarrassed I was when I put it on your finger and it didn’t fit you. Lets see now It Fits.

Stella: Sami It’s the wrong finger. You’ve got guests out there….

Sami: Hang on a sec. They can wait! Remember this (Takes out a picture) Playa del Carmen, Tijuana, Remember! I must’ve had like 12 Tequila shots and you, what, 8 or something. I don’t know, maybe it was the The kick from the pure Mexican brand but it went a bit buck wow afterwards.

Stella: Look Sami I…

Sami:  Wait! before you say anything I have a confession to make. (Brings out cactus plant) I know you kept nagging me to water this stupid thing every once a month. Obviously I haven’t. And I know what you’re thinking.  I’m so stupid I can’t even take care of a cactus plant, how can I even take care of myself…. I’ve been thinking a lot these past 2 years. From the day you left. Kept wondering where you were. If you we’re still alive or if god forbid you found someone. Kept thinking what I must’ve done to have driven you away. My head is still in a daze. But one thing I am clear about Stella is that from now on things will be different. From this day and very moment we’re starting fresh. I give you my word on that. There’ll be a change in me.  But I can’t do it without you…. And if you want, I’ll go back to Tijuana and get you a new cactus plant.

Stella has already knelt down by sami and they kiss.

Jan
10

Opening movement sequence

Leo and Stella meet in town

Stella and Sami reconect

Leo and Stella in hallway

Leo, Stella-Isobel and Ray

Isobel tries to tell Sami: Entrance, ring, try to speak, Tijuana, try to leave, cactus, decide to stay

Leo interrupts: 5 more minutes, I can’t, I’m his mother.

Final Scene: I need Ray, I can’t leave, Sami needs me, I want Ray to stay, it’s simple – we should all stay (?)…

I feel much more uncertain about the final three scenes at this stage but these are the rough outlines which stick in my head most.

Following yesterday’s rehearsal, there are some changes which need to be made to Leo and Stella meet in town but they are mainly changes in focus and objective rather than script changes. Focus begins as an inward focus but then snaps outwards to Leo and stays there until he mentions the loss of his mother. MAsk of femme fatale needs to e stronger, ned to push harder for his attention. Things to definitely try to keep: reaction to loss of his mother (seeing his vulnerability and then dropping the act); giving him the glass at the end of the scene.

Jan
10

Leo: Interuption caugh!

SAMI: (Just remembering Leo again) Oh! Hi.

Leo: Err Sami. I know things have changed slightly but I since me and my dad don’t have any place to stay for tonight I just wonder if we still could stay her

SAMI: (Remembering his promise) Oh Shit! Yes of course you can. Err.. There’s a guest room just down the hallway the second to the right. It’s small but cosy and it’ll fit both you guys.

Leo: Thanks! Could you just tell that to my Dad cause I think he’s trying to jump out the window right now.

SAMI: (Slightly confused about that) Err.. Right? (To Stella) I’ll be back in like 20 seconds (Kisses her and rushes off)

SAMI: Ray!! Ray!!

Ray get’s a bit startled. Releived over the fact to see Sami instead of someone else.

SAMI: (Excited) Guess What!! She’s back! Stella, she’s back. She called. She’s the one who called a while ago and now suddenly she’s standing in the hallway. I can’t fucking beleive this.

Ray tries to speak but Sami interupts.

SAMI: Oh shit! I need to clean this place up. It looks like a friggin pig sty. God this is so embarrassing. She decides to come back when the place is at it’s worst

sami has his back towards Ray and strats cleaning up.

Ray: Erm! Is she coing in here?

SAMI: Er What? … I don’t kno. You know what! I haven’t seen her for 2 years and the itch is driving me NUTS! I think I’ll take her to the bedroom first before I introduce her to you guys If you don’t mind. Oh shit! The bedroom!! I definitelt need to clean that up.

Sami almost runs off. Turns back to Ray

SAMI: Could you do me a big favour and jsut clear this up and dust this off. Please just help yourself in the Fridge by the way.

Sami Runs off comes back and gives Ray a shake.

Jan
07

Every little thing.

 

 

LEO: Excuse me

IS: Well well, and we’ve hardly even met.

LEO: Sorry?

IS: Here you are, sweeping me off my feet.

LEO: Excuse me?

IS: You’re here… sweeping me,  off my….oh, nevermind

LEO: Oh, no, I wouldn’t do that.  I mean…

IS: I see

LEO: Has that happened to you?. .I mean, being swept off your feet?   

IS: How long have you got?

Leo: Well, I can’t really.  I’ve just got a job (thumbs up, out to the audience).  Well they’re trying me out.

Is: Best behaviour.

Leo: That’s right

sweeps

Is: Tell me about a time you were swept off your feet?

Leo: Oh, I don’t think that happens to boys, I mean men.  That happens to girls, I mean, women, doesn’t it? 

sweeps

Leo: Whats it like?

He wants to sit

 

Is: Go on, live dangerously.

He sits on the edge of the seat.

Is: It was 1976, and I was in Amsterdam….

Leo: Wow.

He has to get up and sweep again.  Thinks as he sweeps.

 

Leo: There was this one girl.  With blue eyes.  I think I must have been in love.

Is: Ah love.

Leo: It hardly seems like its worth it, does it?

Is: Given up already, so young?

Stops sweeping

Leo: Well, I haven’t seen it work out much.  But I don’t know.  We’ve never stuck around anywhere for too long.

Starts sweeping

Leo: But that’s all going to change now.  We’ll stay here.

Is: We?

Leo: Yeah, me and my father.

Is: And your mother?

Leo: I don’t know.  Where she is.  Dead probably.

Is: Oh, I’m sorry.

Stops sweeping

Leo; It’s not your fault.  I mean, she left

Is: Why?

Leo: I don’t blame her.  Maybe she just didn’t love us. Maybe we weren’t right for her.

Is: Or maybe she made a mistake.

Starts sweeping.  Beat beat beat beat

 

Is: I’d better go.

Leo: Why are you here?

Is: I don’t know.  It was a mista… maybe…

Leo: What?

Is: Look I’m not … I’d better just

Leo: What is it?

Is: Look, I hurt people, I hurt someone. Quite a while ago. That’s why I’m here. I think… I’ve come home, but I’m thinking maybe I really shouldn’t be here. Maybe he’s better off without me, I should leave him alone, to get on with his life… I’m bad for him.

Looks at her, flips a coin, looks at it.

Leo: I think you’re alright…. And I think he’d want you to come back, whatever you’ve done, I think he’d forgive you. I would.

Jan
05

Me and Liz (F) atima we’re assigend to create a scene where we reconnect with each other. Strating with a phonecall from F Isabel/Stella to Me S. And how we are to create a movement influenced by our emotions at that point ending up with us coming together and reconnecting.

Me and Liz Had designed it starting with a phone call. I pick up the phone asking who it is. I recognise her voice on the lone and get emotional. Lost for words we try speaking to each other but never manage to get the words out.

During this sequence we are circling each other twice and changing directions standing back to back and hanging up. We turn facing each other and start doing a tangoesque routine almost barely touching each other and finally embracing face to face.

One note was that some of the movements i.e the circling did not come across as intentional.

I personally didn’t feel that the whole scene/excercise was intentional enough. I think that one of the reasons was because we we’re almost too focused on what we we’re going to “try” to say on the phone whilst circling each other.

 I think that the beginning of the scene can start naturalistically . Probably not circle each other as much. If we decide to circle each other then make it more naturalistic and have more of the awkwardness in it and a quicker temporhythm (Thinking wise) also tidy up the bit where we try to speak to each other so that some of the words that we try to say to each other on the phone can be understood even though they are half cut off because of the excitement and heart raising.

The bit where we are finally back to back and start facing each other doing the abstract movements can also be tidier like facing each othere the same time. Just wondering if the movements have to be abstract? could they be naturalistic but still in sync. I.e us doing same movements but having slightly different emaotions behind it.

S- Joy and relief and nerves

F-Nervous, guilty, awkward and releived

Jan
03

Durassie´s notes from last.

I’ve been thinking about my relationships with mainly F and C. And some  of the affinities we´ve got. In order to get more of that I dug more into S´s biography.

I designed that S´s relationship with his parents is distant and strained and has grown so throughout the years.  Espescially with his father. His father, a self made successful man (conductor) a dominant controlling man used to getting his way and keeping up appearences. Strongly wanted me to be a certain way and can see myself being somewhat of a dissapointment to him at times. Donated quite some money to the dance school where S meets F.  One of the big reasons for him washing his hands off me  is because I have caused him a bad name at that school.

Our relationship was a one where I could´ve tested him a lot and challenged him cause I felt that he never really loved me or cared. In his eyes id never be good enough or as good as him.

My mother, though encouraging often submissively played by his rules, even tensing the frustration I had with both parents.

With C: We touched on it a bit on the last assignment where we link via music

I thought that maybe we had similar fathers. Different upbringings but similar dad´s(what do you think Gummi?).  C has an impulsive nature to him.  Creative and reckless never taking life seriously enough. S- has never really had to take too many responsbilities for himself since growing up very comfortably and shares an impulsiveness and a reckless ness (dreamer as well) and creative. This can be some of the things that F could find attractive in both of us.

With F: I mainly think it´s because she´s different from other teachers. Yes. she´s probably very attractive but there is a feeling of fresh air coming in. Sensual kind of mysterious. She seems to have a sense of freedom that I can see myself getting instantly attracted to as well. Because that´s one of the things I feel lacking in my life. Her sensuality, mysteriousness and her sense of freedom can easily be ingredients of her mask/cover that I get attracted to.  I also get an impression that she is one of the few people in my life who shows some interest and care. The texture is like water. there is a flow between us and fire. Water cause I think we can compliment each other.

Although! I need her more than she needs me. Why I think so is because I sacrifice everything I´ve got for her and offer myself fully to her. I think I am the one who pursued her before our relationship started. She came into my life and not the other way around.

L: I spoke to Richard the other day via mail regarding impressions of our relationships since it is the most recent one. I mainly see it as friendly formal. I see him as a boy who is mature for his age who is hard working and capable. Willing to get on with his stuff in order to get by. And a part of me respects that. Not sure if I might also find that slightly intimidating cause he´s only a few 4,5 yrs younger than me or so and I´ve got a lot of waste in my life. Just my impression

The play seems to circle Loneliness and survival among wasted lives and abandonment. And how we all four deal with it.

F- has been places and lived through different people probably more men than women for various reasons.  Either way she is an adaptable woman able to fit herself into most enviroment tempoarily before deciding to move on to the next enviroment/life.

I think L has gotten some of her natural sense  and capability for survival. The other of course by having to grow up quickly to take care of dad who was deteriorating.  Realising that he in a sense can only count on himself.

As for S and C. Another thing I think they´d have in common is that they both don´t seem to have this survival instinct that F and L would have.

C  might have had it a good while a go making his way through busking and sometimes conning people but now seems like he has given up and allowed him self to sink further taking whatever that comes by.

S: As I thought of previously has never really had to fend for himself. His life being comfortable and safe and secure. Kind of like a bubble and him bursting it. A lot of Air one of it being a dreamer.

Jan
03

My thoughts on our rehersal on the 17th of December and what I have been thinking over the holidays.

C’s drive – what keeps him going on a day to day basis.

a)     his music

b)     his son

c)     his hope of finding happiness, through fame to money, to some answers to what happened to F – today is gonna be the day.

C has no god in his live

C feels that the world owns him, he feels that he has been treated unfairly and that one day his luck will change dramatically, because he deserves it

His music: Blues – folk. His heroes, Bruce Springsteen, Arthur Lee, Cornelius Bondevik, Bubbi Morthens, Bon Jovi, John Lee Hooker.

He has a love hate relationship with his music, his songs are still mostly about F, his music represents his unsatisfied side, his unfullfilled dreams and the questions he will never get an answear to.

He has tried everything he can think of to start again, to forget about F, he is drawn to women that remind him of her but he has also tried to be with women that are the opposite, he has tried to find in them what he thinks he needs to be stable.

He has spent countless hours going over the last weeks before F left in his head, looking for some clues about why she left and where she went, and even more importantly for him, if it was his fault in any way. F & C were young when they had S and they had nasty fights every now and then etc, so he blames himself, althought he rather believes that F was forced to go away, that she was in some kind of trouble.

His songs

Your needed here

Never thought I’d end up alone

Want you to come back home

F

Bored

Me my son and I

Switching Lightbulbs

b)  L – his son.

He ran away with his son, when his parents in law started blaming him for F departure and started talking about the option of them taking over the custody of L.

He would do anything rather than leave L.

He loves L like a father loves a son, but … also he believes that F will come back, if not for him, than at least for L.

L reminds C of F, he sees her in him.

If F comes back, and for which ever reasons she left F doesn’t want her to come back just for L. He has something F want’s, L … she can not have one without the other.

Every now and then he blames L for the situation he is in because he reminds C of F and all his broken plans, hopes and dreams. He never says it to L’s face but he becomes mean and boring.

This happens when C is drunk or playing cards, when he has lost control once more.

C can be the most generous and loving person one day and a selfish bastard the next.

But he loves L – more than he loves himself.

That is how C lives his life even though he he doesn’t want to.

One day at the time.

He is always waiting for F – waiting for answears.

That is why he never settles down completely.

That is why he never loves another woman completely.

That is why he always looses control over his live every now and then, starts drinking badly again, gambling etc.

Its when he starts loosing the hope of F’s return. It’s like hanging from a cliff and let go – he just can’t.

He never went back to Iceland because he hates it there. It is to small. Everybody knows everything about everyone else. If you go to Iceland, you are just stuck there. It´s far away, expensive and isolated. C still believes that everything will chance soon, maybe tomorrow so he can’t be in Iceland when that happens.

Dec
27

My notes from the Thursday meeting.

There were two main reasons for having two brief group meetings in December, prior to our week long rehearsal in January.  The first was so that the group could start getting to know each other.  The second was so that they could start to bring in their own ideas and material to work with prior to Jan.  The ideas they come up with will go into some of the scene ‘packets.’  So I had to get them started with generating some source material.  The homework I set on Sunday’s meeting was designed to get them to generate material.  So the first order of business was to let the cast share what they brought in.

Richard took the first turn, and as he was sharing his thoughts, I realised that each of them would benefit from doing a practical devising task today.  That was because they hadn’t actually brought in lots of material as I had anticipated they would, but rather they had chosen one or two specific items to focus on.  So from what each person’s main points of query were about, I set up a quick exercise for them to do that explored their character’s relationship with another person in the play.

Then we set work for the next stage as well:

We’ve brought up a lot of thoughts about what the specifics are of characters, the time period, the logistical and realistic practicalities of things.  For the next exercise, I’d like you to think about the piece and your character’s role in it in a more poetical and abstract sense.  This should be timeless.

This is the task set for each performer to bring in on Monday the 4th of Jan.

Task: I’d like you to choose and use each in 3 contrasting ways.
an object,
a song,
a movement phrase/dance and
an image,

Make a 5-8 minute piece that reflects the essence of
your character
each relationship
and the world of the play

Incorporate as many of those elements we’ve set up thus far, as well as exploring: mystical relationship with the weather, the stars, the moon and the clouds.

You can use the other people in the cast if you like.

Plans for the workshop week Jan 4-Jan 9th

You’ll each have 15 minutes in the first session to work with/direct the others if need be before we show it.

On the fourth of Jan, we’ll explore the scenes that they’ve brought in, work on them and show them. Then, they’ll work all together to: tell the whole story, in an abstract way, using elements of everything they’ve brought in.

From this we’ll choose the 10 most powerful moments from it and make a sequence using the 10 most powerful moments in it to tell the whole story. We’ll discuss it, refine it, repeat it, bank it and keep those on hand to use.

Over the next seven sessions, from Tues-Fri am, we’ll go through the whole play, working on each of the scenes, with the packets we’ve made.  Work on each of the scenes with the storystation stories making scenes for each of these, roughly.

Each day at the close of the day, end with the abstract sequence of 10 moments.

On the fifth day, begin to edit the work we’ve come up with, incorporating the 10 moments into the play.

On the sixth day, refine the work and show it.

Dec
23

Right! I came into the meeting/rehearsal with thoughts about the relationship between L and his father C. I believe that this is the relationship that i need to clarify and cement in order to get into the piece.

General thoughts before entering rehearsal:

As mentioned in my previous notes, I have been reading The Road by Cormac McCarthy, as what i really like about their relationship is that it is incredibly strong, but always very distant. I see aspects of this in L and C’s realtionship. Therefore i think one of the main ingredients for their relationship is that forward movement with a sense of distance. The image attached below echoes this feeling:

 
I also had a thought about where L goes when he leaves these lovers fighting for each other, and i liked the idea of him going off to the military, possibly Navy. More abstractly though, in search of water after being involved with this hot, firey, parched environment. He goes looking for a sense of control, and from that, also a sense of freedom. Based on that i discovered the song attached below. I know it is a little epic and slightly contrived, but i like it for the character of L:

 

 

From rehearsals:
Firstly, a few things others mentioned that stuck out as helpful for me:

 

 

  • Durassie mentioned that S was attracted to F’s covers/masks. That started me thinking about L’s relationship with F when they meet in town. What does he interpret from her masks
  •  I can’t remember who it was, but someone referred to L as ‘The Boy’. I liked the informalilty and non-personalness (is that a word?) about that term for L. Possibly this is what he could be called in the play? Or not? We’ll see.
  •  I think L being 15/16 is a good age to have him during the play. Boy becoming and man scenario is always interesting to play with.
  • Gummi was questioning what has L seen C do on their travels? What has he experienced with him?

Exercise:

I was to come up with four captions/images/scenes/monolgues highlighting L’s relationship to C. The four elements were what L likes (openly and secretly) about C, and what he dislikes (openly and secretly) about him.

Likes openly: I did a very naturalistic show and tell as if in front of a class. My show and tell was my Dad. I talked about how ‘cool’ my Dad was. The intention was very simply that L thinks his Dad is cool. He’s a musician, and play amazing guitar, andpossibly teaches L to play. He does whatever he wants and says whatever he wants. To an impressionable son, that is appealing.

Like secretly: I did an image of L and C sitting on two desks opposite each other, leaning their heads on their hands and looking at each other. This was to show how L feels he is at a level plain with his Dad. They are co-dependant on each other and think in the same way.

Dislikes openly: For this I showed the ‘hit and stroke’ aspect of their relationship. Using the audience by complimenting them then suddenly abusing. The unexpected is what scares L.

Dislikes secretly: I repeated the image from ‘likes secretly’, but instead of C being at a level with L, his desk was broken and he was draped across it on the floor. This was to show how L fears of loosing C, and hates the idea of being alone.

More to come!

Dec
21

Thoughts prior to rehearsal:

Music: Assassin’s Tango from “Mr and Mrs Smith” –  http://www.youtube.com/watch?v=2KGvDnn8xwQ; “l’Amour est un Oiseau Rebelle” from Carmen – http://v.youku.com/v_show/id_XOTg3NzI2NzY=.html (possibly not the best version – sorry!); “I Loves You Porgy” from Porgy and Bess – http://www.youtube.com/watch?v=zvq9-sFC6a8… all as character/relationship inspiration, sense of passion and danger.

Elements: fire and air at the moment but music also suggests earth and I think there is a kind of earthiness to F’s passion…

Symbolic rituals: F & C possibly have similar rituals or F has a ritual which is linked to her relationship with C. OR, perhaps more interesting, if F and L have similar rituals, we could play with this in the scene where they meet for the first time in the play…?

Multiple standpoints: it would be great to play with these in the scene where S discovers the truth about F and C – don’t know how but something to to with re-focussing in a filmic sense might be interesting so we can really understand how each character is feeling at that moment or other significant moments throughout the play.

Real/magical: scene when C and F are reunited? object taking on extra significance – one simple object could be hugely significant throughout the play, possibly representing love, or trust?

Lots of question marks and all just hunches at the moment, to be developed…..

In rehearsal:

Everyone shared their pre-rehearsal thoughts, you’ve had mine so I’ll let the others blog about theirs! Lots of discussion re time-period, I like the idea of 70s/80 for the period of the play – action not overshadowed by current events in the world of the play; post-sexual revolution….

F: a piece inspired by “l’amour est un oiseau rebelle” which illustrates the moment F realises she needs to leave S.

I envisaged a sexy duet between S and F which F suddenly breaks out of. I used a chair as S and choreographed a kind of duet with the chair. I danced blindfolded to illustrate the blindness of F’s love/lust for S and at the moment of realisation I ripped the blindfold off and broke out of the dance. The rehearsal audince felt that the objectification of S was interesting eventhough I had only really used the chair out of necessity. It suggested that S is merely a play-thing to F. The blindfold also seemed to suggest a lack of connection between the lovers, a sense of indifference, a coldness whilst also suggesting “love is blind”. Following the piece, we were interested in investigating the differences between the moment she leaves C and the moment she leaves S, perhaps there would be a similar moment of revelation  but removing the blindfold would take a lot longer with C, perhaps F doesn’t realise the blindfold is there to begin with, then she slowly starts to try to remove it but she can’t. Eventually, after much battling she rips it off in a frenzied panic to suddenly feel free. Having done it before, it is much easier to do it again with S…

C&S: created a great musical piece with a blues song which C started and S joined in, trying to find his way. A clear illustration of what brings them together, what they have in common – music and the loss of their woman. Interesting idea that as C sings a song about F, S recognises the woman as F (though not literally) and feels a real affinity for C.

I loved the music and I think C’s musical talent is probably also what attracted F to C in the first place. Maybe C sang and F danced and they hoped they might be able to create something amazing and successful together???

L: 4 short scenes/still images illustrating what L likes about C, openly and secretly and what L dislikes about C, openly and secretly. The still images for secretly were really clear in contrast to each other and very powerful. The short scenes illustrating L’s open likes and dislikes were also very clear, using the audience as part of the illustration also made us feel more involved. Does F see anything other than what is open? What kind of affinity, if any, does she have with L?

More hunches, more questions, excited about more exploration in January.

Can we have a pole please Rachel?

Merry Christmas!!! xx

Dec
16

I realised that I haven’t logged on here, explicitly,  how I’m planning on using the stories from the storystation as a starting point.  As an introduction into this, I’ll put up the main activity I conducted for my first round of auditions.  The week’s workshops in January will follow a similar style of plan, although I’ll also, obviously, integrate particular elements of the storyline from Stella, into each of the devising tasks. As you will see, the performers have a lot of scope to create.

I gave them all this story that someone told on the storystation as a starting point:

Sample Story Transcript

I was doing a course, and there was a guy on this course. this guy, he just, set about seducing me…in a way I would have never encountered before. And I was seeing someone at the time—which was a bit of a whirlpool itself, nothing I planned on but you just something I slipped into, we slipped into…well you know how you just don’t mean to but you find you’ve just gotten caught up with someone sometime. well, I was really honest with this guy, and I said, I’m seeing someone. you’re going away, why don’t you go and we’ll see how things are when you get back from singapore. but he just kept and kept and finally said, either you come to Paris with me next weekend and you decide to be with me, or I want nothing to do with you. And I…And it was this big ultimatum, and I was going home, and I got back to the train station, I had to catch a train, because I met him in London, and he had thrown this big ultimatum out, about how he’d written poetry about you, and I’m not going to play second fiddle and you need to make up your mind and either you never have me in your life or you come to Paris with me this weekend. And I’m on the train and this is rushing through my head and I just began bawling my eyes out. Which took me completely by surprise. but I realised, that, I didn’t want to not have this person in my life. He meant something…I thought he was a tosser the first time I met him, but each time every single time I met him again, something else fell completely into place, which was so entirely different from what I presumed. he … caught me off guard…surprised me. So I slept on it, or panicked instead of sleeping, and I phoned him the following day and said fine. So the next day, I’m in–this is someone I’ve literally known for two weeks. I’m in Waterloo the next day, jumping on the eurostar with him. we were in this tiny little hotel room. they misbooked the room. and there are two twin beds, which was funny, and it was fun. That Saturday morning. Saturday morning I stood on the balcony and I suddenly knew in my gut, I knew that thought, I am falling for I have just fallen for this guy this is beyond the whirlwind, beyond… I have just been absolutely….phew. In a way that was completely. ugh. yeah. And it was worth it. it was an exciting journey.

Then I gave them a series of paintings that they were to use as inspiration for the location of the scene they were to devise.  Then I gave them the following instructions:

1. read the story from the story station

2. make a 3-5 min scene, responding to the idea of being swept off your feet, using the story as source material in any way you like, as inspiration for mood, interaction, text, emotion.

3. Use the following ingredients as well:

Fourth wall and direct address

Narrative voice over

you have control over what we as an audience sees, so place us where you like.

from the list of images i’ve given you–(I’ll attach those later), choose one as an inspiration for the location of your piece.

include a detailed gesture used in three different ways

30 sec silence 20 sec stillness a moment of high speed simultaneous talking

a sense of forward movement and distance

something sung

a sound other than vocal used in three ways

Each of these elements represent a structural, aesthetic, or content specific curiosity I have for the production.  The different groups of performers came up with radically different and very exciting responses to the source material, and inspired me to make many of the casting choices and narrative choices that I have already logged on this page.

Dec
16

Initial thoughts re location: 

PARIS: thoughts on trying to make it as a dancer in Paris.

-          Probably started at l’Ecole de l’Opera or the Conservatoire, possibly joined a dance troupe and tried to tour France but never making any money.

-          Returned to Paris when left family and ended up working as a burlesque dancer at the Moulin Rouge or smaller, seedier places in Pigalle.

-          Got by using the men I met along the way….

AMERICA: Immediate assumptions…

-          Easy to get lost / travel around without being tracked down.

-          Easy as a European to convince authorities that I am more qualified/sophisticated/educated than I actually am.

YORKSHIRE: Responding to Richard’s ideas… Could work as my place of upbringing and the place I return when pregnant with L.

-          Close community

-          Feeling suffocated

-          People would notice my/our absence

Initial thoughts re character/relationships:

Impulsive? Reckless? 

What is F’s relationship to C? – young love, adolescent, passionate, exciting, romantic, intense, immature.

What is their song? C wrote song for F – did F dance to it? Does she still hum it?

What is F’s relationship to S? – older woman, mentor, forbidden, mothering(?)/ chance to be young again(?)

How do F & S dance together? – argentine tango

Other stuff: 

Story told from L’s point of view – does this mean that characters are always seen through L’s eyes? i.e: adolescent viewpoint, melodramatic/exaggerated behaviour?

How do we show the difference between real behaviour and perceived behaviour? Do we? 

It would be nice to show some of the backstory, what device/style could we use to distinguish between past and present, reality and perception? I’m thinking about possibilities of making backstory more abstract/physical….

Dec
15

Hi Rach/Guys! Thonking about yesterdays meeting.

Location: I like the fact that we’ve thought of putting it in the states. In Chicago for the danceschool and somewhere further south as the setting for the beginning of the play. Just thinking of how the rest of the characters got there so it just dosen’t seem as we just “transported” ourselves there.

Me=Scholarship, sponsored by rich dad in Paris is logical enough. I’ve probably been there for some 2 years or so? what do you think?

C- Maybe has an older brother or realtive who lives somewhere around there and fell out with them because of his sloppy ways and had to move around in that country since he didn’t have anything to go back to in Europe.

F-Would she get involveed with an american guy whilst in Paris and then end it with him as they got to America? Would he be influential or some sort of skilled con artist?

I’m still thinking about what kind of music I’d be strongly influenced by. I think classical music in a definite base, due to my parents and I grew up listening to a lot of it and gained knowledge about it from them . And since My dad is a composer opera could fit in. But thinking of what I’d like listen to at the age I am in now. Jazz, Blues or rock. Still summing it up.

Dec
15

 

My main focus to start off with was the character of L, before i went into style/detail of the entire piece itself. These ideas were mainly in the form of questions, of which i can then explore in rehearsal:

-L could be a laborour, a working young man with a practical view on life?
-He’s not the niave, abiding son that might be expected of someone in his position.
-Born in London, Yorkshire (or possibly not after our talks on Sunday), therefore giving a sense of earthliness to him?
-Does he see his father as a hinderance? Has he thoughts of leaving him entirely before the play begins?
-How does he see this love triangle? Is it all quite pathetic to him as he has never experienced these type of feelings before?
-How much does he know of his mother? What is he lacking because of this?

I liked the idea of him seeking control and order. He could grow up to be a military man, maybe a Navy solider to build on that idea of him also needing water. The story has a sense of dryness and heat that means he leaves to be refreshed.

The story of L and his Dad also reminds me strongly on The Road by Cormac McCarthy. It follows a man and his son travelling through post-apocoliptic America to the coast in order to find some sort of retreat and escape. Although the book is a tragedy, the strong relationship and struggle of the son and father fits the two characters in Stella. I was also reminded of the book when Gud mentioned that it felt ‘easy to get lost’. Not sure what this all means yet, but hey.

I was thinking about music for L. I automatically thought of folk. More in particular acapella/unaccompanied songs of struggle. Maybe some war tunes/chants. Patriotic songs of back home. This is very vague, but give me time!

Ta!

Dec
14

Hi here are some of things I´m thinking of at the moment for my man.

I’m thinking about the platform for him, the man he becomes.

It’s long, but so am I ;-)

Luv G

Got lost on his road to fame

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To me it doesn’t make to much difference where C comes from so it’s fine to say that he comes from Iceland or any of the other Nordic countries. That would explain the accent ;-) If he goes away this young, I would think that it would be logical that he went away from home as an exchange student. Maybe his innermost dream and ambition was to become a successful musician/rock star but in order to chase that dream I think it is logical to say that he’s excuse from getting away from home was that he went away from home as an exchange student. I don’t think he would have been allowed to go otherwise. That also makes the way him and F meet very natural, they would meet at school or at a rock concert where C is playing with his band. As an Icelander who had the dream of becoming a rock star myself, I would have gone to London, Los Angeles, New York, Liverpool or Berlin.

C & F fall in love. Two young and ambitious artist aiming high in life, probably a romantic, wild, passionate relationship of two young spirits, two balloons flying up high in the sky with no one holding the lengths.

When C gets pregnant it’s a big blow for both of them, they move to her parents and have to put their own ambitions and egos aside. I don’t know if we need the shitty jobs … like they are completely down and out I think Its enough blow for two sixteen years old to have a child together, and have to live with their parents. Maybe they both struggle to be at school part-time, both have a part time job, C plays cover-songs at the local pubs and F is taking dancing lessons and being an assistant teacher at the dance school she was in as a child. But it is defiantly hard for them, because they are young.

So they struggle for what, 6 years?

So they are about 22 when F leaves?

How does she leave?

Does C just wake up one day and she is gone with out explanation?

For me this is a very vital point because it sets the character C becomes.

If F just leaves without explanation, I completely understand that he roams from town to town looking for her, or waiting for the moment that they meet again. Probably F’s parents and C had the police look into it and all that is known is that she bought a ticket to the States.

Maybe he thinks that she is in some kind of trouble he didn’t know about?

Maybe he believes she left him against her own will?

Does she leave a letter where she says that she is going away to pursuit a carrier, but she doesn’t say where?

Does she say that she is never coming back?

Does she tell C not to come looking for her?

Do her parents blame C for her departure?

Do they try to run him away from their home?

Do they maybe try to take the custody over L away from C?

That is a good reason to run away with your son.

Did C and F maybe have a fight just before F left?

Did F feel like their relationship was dragging her down and holding her back?

Maybe C and F had a fight where C told F that he was sick and tired of their life and it was holding him back and that he wanted to move somewhere where he could pursuit his carrier?

When people start seeing each other this young they often grow apart, or think that they are growing apart, or feel that they are loosing out on life not being able to live the sweet and single life as teenagers.

If they had a fight or C was in any way or another unfair to F just before she left he can be blaming himself for her departure all his life, which leaves him bitter.

Why doesn’t he go back home to Iceland?

He is to proud. He knows that it’s nothing for him there but the same old same old. No one makes a living as a musician there so he would have to either go back to school and become something or take shitty jobs.

I think there has to be some kind of an almost sick obsession to find F.

Maybe he has already some few songs, which he really believes in and is always trying to strike it lucky in order to record and publish them?

Maybe he believes that only if he gets famous he can get F attention and that she would come back to him?

Maybe he wrote a song for her when they were still together which was a hit in their community, in their high school? ( I can do that)

Maybe he has written dozen of songs about C after she left, an album dedicated to her, that no one wants to publish for him but he is certain that only of he got it published it would become a hit?

Dec
14

Click on the document below to see my notes and an outline from today’s meeting.  By the way, please look over spelling errors–we’re opening up our process and it won’t all be perfect!  Happy reading and ping us back with any questions!

My notes from the meeting on the 13th of December

Dec
07

WE  ARE DEDICATED TO OPENING UP OUR PROCESS TO WHOMEVER WANTS TO FOLLOW ALONG.

WE LOOK FORWARD TO RECEIVING YOUR THOUGHTS AND HAVING YOUR INSIGHT IMPACT OUR CREATIVE PROCESS.

TO GET INVOLVED, START BY POSTING COMMENTS HERE.


ALSO,  FEEL FREE TO EMAIL US ON

firehousecreativeproductions@gmail.com

Dec
06
here are first draft notes for our cast meeting on sunday the 13th of December. These are the notes I’ve prepared for the meeting, and that outline the basic movements of the plot of the script.  we are using this to get on the same page as one another.  Although everyone has been introduced to our working method, and we’ve met for a meal, we’ve not all been introduced to the plot of the play together yet.  so this is a really important first step to take.
just click the link to download.
Any visitors are free to have a look at what we’re doing, to comment on and to follow along with our process.

C and F met at 15 +6

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