Student Tryout

On Friday I did wend my merry way to the University of Essex to perform The Summoning of Everyman for some first years.  This is the second time I've done this and was a great way for me to tryout the show before the tour starts in earnest.  Here is a video of my time there...


"Really interesting and clever take on this play, that I first had hated!" *

[*All quotes are feedback from the students after the performances.]
I performed the show twice and generally talked about the play between times, so it was a full on few hours.  It was useful in two ways.
1. I remembered how to work the show, because it's all about contact with the audience and that's really hard to rehearse in advance.
2. I could test out some of my newer ideas about staging.  Some of which worked, some didn't.

"Intense and insightful, a true reckoning."

A student audience isn't the same as a regular audience - they are there to learn, as part of their course, as the play is one they are studying.  They are not necessarily there to enjoy themselves and therefore my job as performer is harder.  I had to draw them into the play - when the absurdity of what I am trying to do is at its most apparent.  Here we are, in a relatively clinical performance space, with few props / lighting or setting to create mood.  I then start pretending to be, not just one person, but many - using different voices and actions.  It is less about the suspension of disbelief, more the suspension of the absurd.

"Really creative production that makes difficult language incredibly accessible."

Sometimes the show worked well, the connection with some of the audience was clear and strong - sometimes I felt a fool, as others looked away, or were generally not connecting at all.  By the second performance I was tired and made a few simple mistakes that were not coverable.  You expect to go wrong occasionally, but it's easy enough to save.  But I moved someone into the wrong place and started talking to the wrong person.  It is not a mistake I will make again.  But that's why we do tryouts.

"I loved the audience participation!"

There is another dynamic in play - these are drama students, so unlike the regular audience they will all (by and large) want to perform more than watch.  It is usually the opposite for civilians.  So there isn't the same focus born of fear, there isn't the same anticipation and worry about what happens next.  Also, those who weren't chosen to be actively involved seemed less attentive - perhaps disappointed not to be one of those getting up and about.  Again, I suspect with a regular audience this is not the case.  This also changed the dynamic of the room - because inattention is contagious.

"I understand it better."

I was testing out a new lighting arrangement - which palpably didn't work in that space.  That's going to change between now and the tour.  I also had a brainwave at the beginning of the piece that I might put in.  What did work very well was the enforced silence for the audience before the show began.  As people entered they were asked not to speak and follow certain tasks.  It was commented that I was like a priest with his congregation - which is has positive and negative sides.
I didn't use any music to open the show - though I plan there to be something for when I start the show on tour.  The event lives and dies on the atmosphere and the commitment of the audience.  What I do with them and the text then becomes greater than the sum of their parts.

"Perhaps a little more physicality would make it more visual."

I'm caught in a double bind regarding physicality with this show.  If I do too much then I'm spinning on a sixpence, jumping from one attitude to another like a nervous tick.  I didn't get the balance right for these performances, and that's where I'm focusing work over the next few days.  Not bigger, but clearer.  And I need to clearly plot my eye contact, I got a bit lazy in some places.

All in all, it was a good first stab at the show - on Thursday I'm doing a home performance of the play - and I'm looking forward to seeing what new things happen then.  Full details will follow.  But for now - here are all the Good and Bad Deeds I collected on Friday from the students.  Mostly they are generic things - I didn't make it clear that I wanted something specific from their lives - but some are telling.

Bad Deeds:  A preponderance of lying and cheating, plus laziness and a clear confession to the consumption of illegal substances confirms these are students.

Hurting others / Hurting or hunting (not quite clear)
Adultery / Committing Adultery
Cheating x3
Lying x3
Murder / Killing
Rape
Sexism
Stealing x2 / Theft
Vandalism
Drinking in excess
Laughing at others / Making others feel bad
Quarreling without purpose
Ignorance to those around you
I have consumed illegal substances (a student? really?)
Lazyiness (sic)
Frord (sic - presumably Fraud.  Bless.)

Good Deeds:  Always less amusing and more worthy, by the nature of things.  A lot of focus is on outward demonstrations - caring for people, giving money, as well as support.  A few are more internal, largely about combating selfishness - which is reassuring when so much of our culture is about self.

Caring for - someone who is unwell / others
Being kind to others
Being polite
Helping X2
Love thy neighbour / loving the people around you
Charity / Sharing what you have / Helping others in need / Helping others / Helping someone out financially / To help those less fortunate than yourself
Give money to a homeless man / Helping the homeless / Giving money to the homeless
Being there for someone
Thy to help others and focus less on your "self needs" / I have put others before myself  / Selflessness
Being honest
Listening
Embracing a persons imperfections
Making someone / making other people / making people - smile : ) / Cheering up a friend
Helping a person with the stairs

The Summoning Toureth

I'm not publishing any dates for this tour yet [actually I have now, they're here! - Ed. Future Robert], I'm still talking to people and I'll be adding dates as I go along - this is a general info burst to anyone out there who might be interested in seeing it.  I can and will perform this piece anywhere in the UK from March onwards, mostly in small spaces - village halls, churches, rooms, houses.  All I need to share this event is a small room and seven other people - as such it can even tour to private houses for anyone who wants an alternative evenings entertainment.  If you're interested in seeing this play, either for yourself or your community then don't hesitate to get in touch.  I usually work on a Pay-What-You-Want basis, so don't let budget put you off.  

Contact: Robert Crighton - 07946 652 196 contact@milkbottleproductions.co.uk

Milk Bottle Productions Presents...

The Summoning of Everyman

An Interactive Theatre Production –

Adapted and Performed by Robert Crighton

Everyman has been summoned by Death to meet his maker - and he doesn't want to go.  This interactive performance brings his struggle directly to the audience, asking them to become part of the story, to stand in the footsteps of Fellowship, Good Deeds and even Death himself.  Will you help Everyman make his peace? 

Previous audiences have and said:  “A one man tour de force... gripped from start to finish... a mix of pathos and humour all done with a light touch... a real privilege and honour being there... having volunteered, with no acting experience whatsoever, was guided expertly throughout by Robert... an hour very well spent...  I’ve come to see it again!  What more do I need to say?  In awe of the intensity!”

Everyman was originally written in the late 15^th Century as a morality play – it has been adapted by award-winning playwright and performer Robert Crighton as a piece of interactive theatre.  The audience is invited by Robert to help make the story happen – without them the story cannot be told.  This process turns a dry late medieval play into a piece of living theatre, one that can be shared in terms of the early 21^st Century. 

Touring in 2015 – any dates from March 2015 onwards.

Ideally Robert is looking for a small studio space / village or community hall / or even a small chapel space.  The playing area must be on a level with the front row of the audience so that audience members can be brought into the event.

Audience capacity – Robert can do the intimate version of the show, from around 20 people – up to a maximum of 100, depending on space. 

The show is available for box office splits or for a hire – depending on the venue.

Tech Spec – no special lighting, a general lighting state throughout – though ideally this needs to be warm and muted.  No sound equipment required.

Running time – orbits 1hr, though this will depend on audience size and the pre/post show may vary dependant on venue.

Contact Robert Crighton: 07946 652 196 / contact@milkbottleproductions.co.uk

Robert has been developing this production on and off since 2013 and this is the feedback from the audiences so far:

“We were so impressed... Robert Crighton is a one man tour de force he has you gripped from start to finish.” Fiona

“A rewarding experience both as an audience member and a participant!! A fascinating interpretation of this medieval morality tale and I recommend it highly - a mix of pathos and humour all done with a light touch that makes for a compelling one man show.” Nick

“Excellent show - really enjoyed it.”  Rachel

“It was a thoroughly enjoyable experience – it was a really great, amazing performance... it was a real privilege and honour being there... Touching and inspirational.”  Phil

“Robert Crighton is the master of the art of communication by one to many...”  David

“As a volunteer I so pleased to be part of this brilliant thought-provoking show. Having volunteered, with no acting experience whatsoever and being pretty reserved,  was relieved and very pleased to be part of the Show (not only did I not have to say anything was guided expertly throughout by Robert). It was a fantastic experience and I was so pleased to be part of this excellent performance.  I would certainly recommend Robert and this 5 star performance to Everyman and Woman!!   A truly sensational performance by Robert!”  Dan

“This was theatre played direct and simple - and all the more affecting for that.”  Annie

"A veritable tour de force... Thought provoking, challenging and amusing..."  Stephen

“Great acting and what a memory!”  Arthur

"Fantastic - very creepy, strangely chilling..." Matt

"Wonderful performance - thought provoking!" Sheila

"This was the second time I have seen Everyman. Every bit as thought provoking and profound as the first. An excellent evening's (contemplative) entertainment..." Michael

“Moving and very engaging – an hour very well spent.” Denis

“I’ve come to see it again! What more do I need to say?” Kevin

“A great performance – brilliantly executed.” Anthea

“In awe of the intensity!  The skill remembering the words – amazing.  An experience thoroughly enjoyed.” Belinda

“An amazing story told in an amazing way by an amazing storyteller.  Utterly brilliant, well worth watching.”  Adam

“Totally captivating.  Fantastic storytelling from an accomplished performer.” Annie

“Tremendous show.  A tour de force.”  John and Jenny

“The audience becomes part of the performance; you see individuals become immersed in their part. Wonderful stuff!”  Liz

Alternative Spaces - Part Two

I'm looking for a room.  I need a room - it needs to hold about twenty/thirty people, seated, with some space to perform but it must all be one level.  I don't want a theatre - I need a room.  But it needs to be accessible, easily accessible, to the general public.  And I'll be looking to hire the room March/April 2015.
What is the room for?  Well, I'll be announcing that very soon. But it's good.
The show would be Pay-What-You-Want and, but I'll happily hire the space, or I'd split the box office if there's interest.  It needs to ideally be in the East of England or London - but I'll be interested in moving out to different parts of the UK.
Suggestions or offers to me please - either email contact@milkbottleproductions.co.uk or Twitter me @RobertCrighton

Alternative Spaces - Part One

I'm looking for an office.  Somewhere public.  I've written a new one to one piece and I don't want to do it in a theatre - I need an office.  But it needs to be accessible, easily accessible, to the general public.  Ideally, I need a waiting area and then a small office space, a cupboard sized one that will fit two people.  The show is called Just Say Yes.  It's about job interviews.  Hence the need for an office, but one which people can find easily and which won't interfere with people around it.
That said, I'd happily bring the show to a business - the staff could all come in one at a time.  That would be interesting.
The show would be Pay-What-You-Want and I'd split the box office with whoever lends the space.  I couldn't hire the space outright.  It needs to ideally be in the East of England or London.
Suggestions or offers to me please - either email contact@milkbottleproductions.co.uk or Twitter me @RobertCrighton