After the Inquiry

It occurs to me I haven't told you about The Juliet Inquiry last month.  People really liked it - so much so, we may do it again later in the year.  It's been recorded and if I like said recording will be released online for download anon.
It was a very holistic process, working with the cast individually, none of them getting to see the script or performance of the other witnesses.  I'd added a final character to the show on the last day, bringing in the talented Pamela Flanagan with a few days notice.  So on the day of performance I rehearsed and to some degree wrote the opening of the show.  That said, we were hardly busy with it at first, having lunch on Friars Meadow in Sudbury before the read through of her script.  Then it was all hands to the pumps and I didn't really stop until the show was all over.
The Inquiry was held at the beautiful Lavenham Guildhall, where we set up all the equipment and Peter Morris miked us up for the recording.  Then, after a few photos, we were open for business.  Doors opened and the witnesses (most of them) and the audience mingled - the audience were all given visitor passes on lanyards (which I wish I'd had more time to do some design work on) and then, with an 'All rise' from the usher and a minutes silence for the victims of the play, we were off.
Now, what I hadn't told the cast was that some witnesses would interrupt their testimony - so when Benvolio libelled Rosaline she shouted out at the back of the court.  This was nothing to the scream of 'murderer' from Lady Montague to Capulet at the end of the show.
And, apart from some of the slides with evidence going a little bit wrong, it was an electrifying evening.  Not bad for Shakespeare's birthday, I thought.
In fact, The Juliet Inquiry is just the first of a trilogy of Shakespeare themed works - the next being The Shakespeare Delusion which performs later in the month and will be live streamed, and which is about all the bollocks people say about the non-existent Shakespeare Authorship Question (there isn't any question at all) and ending with Historic Crimes which partly follows on from Delusion as it in part addresses Bardolotry and what do you do about someone whose work is part of public consciousness, if they turn out to be a wrong un.
And on top of that, with my Radio show (starting Friday) I'll be performing regular bursts of Shakespearean poetry - so he's got a bit under my skin this year.

Anyway - I'll leave you with some of the comments the audience left us after the inquiry...

Malcolm (via Facebook):  An excellent event, true drama, I was so mesmerised... Congratulations on some really moving performances and fine writing.

Julie (via Facebook):  "Hear hear! So glad I was able to see it. 450 years and we have our very own 21st century Shakespeare amongst us!"

Anon:  “It was brilliant, well done to all and thank you.”

Anon:  “Lovely – super cast – super venue – more please!”

Sara:  “Well done, an illuminating perspective, I’ll look forward to the report.”

Gemma:  “What a fantastic adaptation of a story we all know so well.  Congratulations to you all.  A very fitting tribute to the Bard on his birthday!”

Penny:  “Totally fab!  Really powerful stuff and totally transfixing.  So relevant and very well done.  I loved it!”

The Juliet Inquiry Programme

Milk Bottle Productions...

Project Four: The Juliet Inquiry

Written by Robert Crighton, with additional material by the company

Performing at the Lavenham Guildhall, Wednesday 23^rd April

Based on the story of Romeo & Juliet by William Shakespeare

Specially commissioned to celebrate Shakespeare's 450th Birthday

CAST (in order of appearance)

CLERK OF THE COURT             –                      David Jenkins

PRESIDING QC                         –                      Robert Crighton

ROSALINE                                –                      Pamela Flanagan

LAURENCE                               –                      Michael Harding

ESCALUS                                 –                      Mark Holtom

BENVOLIO                                –                      Nick Elliott

LADY MONTAGUE                    –                      Annie Eddington

CAPULET                                 –                      Cecil Qadir

Audio Recording by Peter Morris

Website tended by Keith Atkinson

Rosaline

Following on from the last post, I've been deeply ensconced for the last 24 hours or so with writing the part of Rosaline for The Juliet Inquiry.  It's interesting to see what happens to a character as you start writing the words.  I don't think any writer really knows how they do it.  We all have different ideas about process, about structure and ideas, but we don't know how see sit down and produce a stream of words.  The process of creation has to be a kind of magic.  If you consciously think about it, the words start to fall apart in your mind, it becomes forced.  You may have very fixed ideas about how you intend to write or about how you will re-write (which is not the same thing) but the moment of creation is best left alone.  You don't want to kill it.
So, I had a very clear idea of what I wanted Rosaline to sound like, I had written notes and guidelines.  She was what I thought she would be.  Until I started writing and a different character emerged.  Stronger, perhaps; different, certainly.  And I don't know how it happened.  In the course of half an hours tinkering I had to stop, have a little look at what went before and take stock.  After a little thought, on I went, thinking my through the part to some degree, just letting it flow for the rest.
To be fair, there isn't room for a vast amount of character in the context of the inquiry.  The situation shuts down on certain behaviours, exaggerates others.  Rosaline would not be as open as she might be in another context.  Nerves and how they betray us are the most interesting mine to seam.  But, unlike other witnesses, she seems to be clear in her thinking.  A sympathetic witness even.  Though, that doesn't mean she's telling the truth - or even the half of it.
But that's for the audience to decide.
Right - back to the grindstone.

The Juliet Process

I've written a little about the process of The Juliet Inquiry in an earlier blog post, but here's a little update.  I've been rehearsing/writing with my cast for the last few weeks now and we're reaching endgame.  Three more major rehearsals with witnesses and various smaller meetings.  It is a deceptively simple play to produce.  The witnesses are guided by the senior QC (in this case me) and, because there are no scenes with more than a couple of protagonists, you rehearse quickly.  I've been working, to different degrees, with the cast to mould how each character speaks.  I presented each actor with a basic synopsis, then we read the rough 'script' a few times, looking for new questions.  Then I'd ask those questions and see what the actor would improvise.  We'd then move to a big screen television and link it to my laptop and rewrite as we went along.  Each witness has around ten minutes of evidence to give, so we can run the new script several times.  I then sent them away for a week or so and reworked their testimony based on what the others were saying.  And the process began again.
Then, last week, I realised I really needed a new character.  There were several reasons.  The story was becoming one sided, I needed someone to balance the bias.  Also, the story, being based on Shakespeare, was a bit too male (both dead and alive) and (partly because I have a policy of positive discrimination for women) I needed at least one more female voice.  I also really liked the idea of giving a voice to the unseen character Rosaline from the original play.  Just who is it that Romeo first thought he was in love with?
But this is with a week to go and though I knew exactly what I wanted to do, I did need to find someone to play the part.  Which I finally secured yesterday - so now I'm off to write Rosaline.  It'll be interesting to get to know her.
Only three days before the show goes up.  Is that cutting things a bit fine?

Inquiring After Juliet

Cecil Qadir as Capulet - looking very cross...

Rehearsals have begun for The Juliet Inquiry, my next short form drama for Project 10/52 (Project 4 no less) and it's a slightly different process.  Instead of presenting my cast (or witnesses rather) with a finished script I'm present them with the scenario (not quite the same as Shakespeare's Romeo and Juliet) and a rough script, which we read through several times, looking for ways into the character.  Then, with a live monitor connected to my computer, I'm rewriting the show as we go along.  I'm the chief QC running the inquiry, so I present them with questions and together we create answers.  It's not quite as collaborative as it sounds, as I'm doing most of the physical rewriting, but it is nice to do a show where my vision is less prescriptive, where I haven't made all the decisions in advance.  And with such a fabulous cast - see angry Cecil photo as evidence - it is a joy to do.
The final show will be recorded (touch wood) and will be available to buy later in the year.  Those who wish to see the show, email me now, as there are very few seats available (about 23 at the last count) and it will sell out.

Milk Bottle Productions Presents...
THE JULIET INQUIRY
A World Premiere Written by Robert Crighton
Artist in Residence at the Quay Theatre
Based on the story of Romeo & Juliet by William Shakespeare
Specially commissioned to celebrate Shakespeare's 450th Birthday

A complete re-imagining of the play where the story of Romeo and Juliet is told as a modern day public inquiry.  In this version the Montagues and the Capulets were once close families - until their children fell in love. This is the story of how love can tear apart, as well as heal, and how that love can seem when put under the public gaze.

Wednesday 23rd April at 7.30pm
Tickets: Pay What You Want
Performing at The Lavenham Guildhall - doors open from 7.00pm
Tickets can be reserved by phone on 07704 704 469 or via email at contact@milkbottleproductions.co.uk or from the Lavenham Guildhall during opening hours

Enquiring after Juliet

To enquire or inquire - that is the question.  I think the difference between the two words is that to enquire is
a more day to day activity, I enquire after your health - whereas to inquire is more formal.  I'm not saying that this is a dictionary definition - I'm fairly certain they are just alternate spellings of the same word and have the same meaning, that's just a personal touch of spin.
The reason I waffle on about this word is to introduce you to the difficulties I had titling Project Four of next years Project 10/52.  I say next year, technically it will start in December, but let's no quibble over a couple of weeks.  It's a 2014 thing.  Anyway, Project Four is call The Juliet Inquiry only after I faffed around looking at the different spellings of the word e/inquire.  In the end inquire won because it was the spelling used in various high profile public inquiries over the last decade or so, and a public inquiry is what it is all about.
Basically, and not very originally I will add, The Juliet Inquiry is my version of Romeo and Juliet presented as a public inquiry.  I say not very originally as I'm sure someone has done it before.  However, I have a few spins going on which should make it different.  Firstly, though it will include bits of Shakespeare, it is a modern play and won't follow the original very much at all.  Secondly, I've turned the story upside down a bit, by having the families being the best of friends until the couple get together, rather than bitter enemies.  The love of Romeo and Juliet is destructive, not healing.  It will also question their relationship by having Romeo older than the teenage Juliet, echoing various scandals that have hit the headlines in the last few years.
So, beyond hints to the original, it is quite different.
It is, also, one of two works this year that will touch on Shakespeare - beyond my recordings of his poetry which will go out online - as the June project will also feature the bard - though more literally.  Well, it is his birthday.  Though he might not like the presents he'll get from me!
The Juliet Inquiry will also be the first project to not appear at the Quay Theatre - being part of my Out and About programme.  It's performing at the Guildhall in Lavenham on Shakespeare's birth/death day - Wednesday 23rd April - as it's the kind of public space that an inquiry might turn up at.  Tickets aren't available yet, but you can email me to be put on the reservation list - first come, first serve. Email: contact@milkbottleproductions.co.uk