Archive for September, 2011

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Voicereels for actors at low cost

Friday, 30 September, 2011

The Wireless Theatre Company is offering to produce voicereels for actors at low cost. This is what they have to say:-

We have been producing award winning audio theatre since 2007 and have extensive knowledge of the voice. We listen to hundreds of voicereels every month and know exactly what employers want when they listen, and more importantly – what they don’t want!

Your voice reel is a crucial part of the image you show industry decision makers, so it is important you are captured correctly, interestingly and professionally. We have a large, experienced team of editors, technicians and directors – and all our recording is done in a state of the art London studios, with top of the range microphones and highly experienced technicians.

Our passion for radio drama and audio production puts us in a perfect position to understand your reel. Under the guidance of The Wireless Theatre Company’s experienced team, we will produce the perfect voice reel for you with a fast turnaround time and at a fraction of the price.

Prices

You do not need to spend 8 hours in a recording studio and be charged a fortune to create effective results. We strongly believe that with the right direction and production team, and enough preparation, a perfect recording can be created in one or two hours.

Our Packages

Basic package: £120

Includes: 3 x Adverts (with basic music) 2 x Longer Pieces. 1Hr recording at professional London recording studio, with professional director and engineer. 1Hr Edit

Extras

– Extra rehearsal with director £30 an hour
– Extra editing time by WTC editor – £30 an hour
– Help choosing your performance material – £30

Contact

If you are interested in booking a voice-reel, or you would like some more information – please contact us directly at:

T: 07931 168 911 or email: info@wirelesstheatrecompany.co.uk

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Bloomsbury Festival Weekend. 150 free events.

Thursday, 29 September, 2011

A weekend of over 150 free arts and cultural events. Friday 21 – Sunday 23 October, 2011

Five years after the first ever Bloomsbury Festival, this annual celebration of one of London’s most culturally rich neighbourhoods returns with an eclectic programme of over 150 events, including live music, theatre, dance, walks, talks and food, all of which will be free to attend. Bringing together locally based organisations such as the British Museum, Wellcome Collection, The Place, The Foundling Museum and Faber & Faber with community groups and businesses, the Bloomsbury Festival transforms the streets and parks of the area, inviting visitors to enjoy all that makes Bloomsbury unique.

Highlights include the return of SOAS’s hugely popular world music stage, bringing rhythms from across the globe to the crowds in Russell Square, guerilla dancers from the Place popping up throughout the area, and parks transformed with new artistic works from local architecture and sculpture students. There will be a local food market to explore, secret gigs in unusual locations, poetry performances, a magical children’s lantern procession, street parties and light and ceramic installations suspended in the area’s beautiful and historic trees.

Because all events and activities are free to attend, visitors are encouraged to take a risk on new creative experiences: perhaps delving into the darkness of St Pancras Crypt Gallery for Kalliopi Lemos’ eerie art installation, Navigating in the Dark, joining in a riotous night of literary cabaret at the iconic St Pancras Hotel, join a tea party as part of an unusual living art work by Central St Martin’s students or participating in a guided exploration of the Garden Squares of Bloomsbury. Other events include the sharing of a new work by Darshan Singh called Caravaggio: Exile and Death, and an immersive theatre performance by students of RADA, inspired by the Bloomsbury Set.

http://www.bloomsburyfestival.org.uk/

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UK Premiere at the White Bear

Thursday, 29 September, 2011

One of Ken Tynan’s essential dramas – Count Oederland by Max Frisch

In the centenary year of Max Frisch’s birth Cerberus presents the UK Premiere of Count Oederland.  First produced 50 years ago in Zurich, Kenneth Tynan placed it on his now famous list of plays for the National Theatre.  Never before seen in this country Count Oederland has been described as American Psycho meets The Third Man.

A Public Prosecutor, in the course of investigating the apparently motiveless murder of a bank employee, suffers an aberration of the mind.  Lost in thoughts of escape from duty and responsibility the Prosecutor loses his identity; finding it in the legend of Count Oederland. The Count, whose name translates literally as ‘Count Barren Land’ is a fairy tale character who chops down all those who stand in his way with an axe.

The Public Prosecutor’s private act of revolt becomes an infectious underground movement. As more and more people join him and ‘take to the axe’, he becomes the leader of a movement for freedom – responsible for the whole nation – but is this the freedom he dreamt of?

Max Frisch is Switzerland’s best-known and most controversial author and dramatist, most famous for plays such as The Fire Raisers and Andorra; his works deal with the resonant issues of human identity, responsibility and morality and political commitment.  Frisch considered Count Oederland his most mysterious and most vital play.

“There are all sorts of ways of murdering a person or at least his soul, and that’s something no police in the world can spot” – Max Frisch

Count Oederland runs 1st – 19th November at the White Bear Theatre. www.cerberustheatre.org.uk

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New Writing/New Musical reading Season at The Shaw Theatre

Wednesday, 28 September, 2011
Artistic Director JJ Almond is eager to increase the artistic use of the Shaw Theatre and to support new musicals and new plays.
So the Shaw Theatre are looking for submissions of new plays/musicals (initially a 1 page synopsis and writer’s cv) and applications from producers and directors.
JJ will review the submissions and pair a producer with a play, the producer is then set the challenge of championing a reading of that play. JJ and the producer will work together to select an appropriate director and the Shaw Theatre will initially provide the mezzanine are of the theatre for rehearsals and to present the reading.
This model may also then spread to another theatre that JJ has responsibility for in Milton Keynes.
All submissions should be sent, with a covering letter to h5309-th@accor.com
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Raindance Film Festival. 28 Sept – 9 Oct 2011

Tuesday, 27 September, 2011

Through a different lens

Now in its 19th year, Raindance Film Festival is Europe’s leading Independent Film Festival showcasing feature films, shorts and docs from around the world and specialising in independent films and directorial debuts. The festival has a strong legacy of showing alternative, edgy films.  Since 1993 Raindance Film Festival has uncovered the hottest new filmmakers to hit the cinematic scene.  Raindance-premiered hits include Pulp Fiction, Memento, the Blair Witch Project, Ghost World and Love Exposure.

The full line-up of feature films boasts over 90 UK premieres from 36 countries, including more than 30 international premieres, and a further 137 shorts, cementing Raindance’s position as Europe’s leading independent film festival specialising in edgy and alternative films by first-time filmmakers.

The festival will open with the UK premiere of Another Earth – the critically-acclaimed breakout hit at this year’s Sundance.  Directed by Mike Cahill, the haunting indie sci-fi drama, released by Fox Searchlight, was co-written and stars one-to-watch newcomer Brit Marling alongside William Mapother (Lost).

www.raindance.co.uk

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Chasing Shadows

Tuesday, 27 September, 2011

Accomplished and intelligent

The stage is empty, except for three chairs, and is lit with dark blue lighting.  There are four people with their backs facing out reading papers.  They are all wearing black t-shirts and leggings (ladies) or trousers (men) and are barefooted.  A man comes in playing the mouth organ.  The background music is expressive and throbbing like it is alive.  Those reading the papers open and close them in succession to the music.  It is a powerful and beautiful start to an intriguing story.

The following narrative unfolds telling the story of a man, Edward Allen, and his dad.  Edward Allen and Tourettte’s Syndrome.  Edward Allen and the shadows he chases, shadows of the past present and which will determine if there will be any similar shadows in the future.

This performance is stunning and intelligent.  It looks at the relationship of a man and how he deals with normal life and all it brings with the addition of having Tourette’s Syndrome and how he deals with this also.  Edward Allen goes about his life on London transport, talking to women and dealing with his own mind and various thoughts and fears he has.  He talks to the people he meets then cuts away as the scene freezes and vocalises his thoughts to himself or to the world outside.

Kadeem Dunning is masterful as Edward Allen.  He plays the main character well, confident, eloquent, passionate, vulnerable and humorous.  The emotions are wide and varied.  He commands the stage and does it so naturally.  He uses the mouth organ expertly to show the ‘ticks’ of the Tourette’s Syndrome.  His facial expressions and movement of his body have been considered well.  The attention follows him.  The heart yearns for his character to do well out of all of this, to be ok and stay strong.  His projection is impressive.  His power is impressive.  His whole performance is.

Darren Privett is great as the dad.  He shows the terror and the anger well and is believable in his portrayal of a man with problems that he allows to manifest physically and verbally.  David Privett is also the choreographer.  A standing ovation is deserved for the choreography.  It is truly beautiful.  It takes the performance to a high level of skill and makes it unique and commanding.  The dance and movement lead the story and the actors to each new scene fluidly.  There is a part where Edward Allen is manipulated like a puppet that is fascinating.  There is another where they all surround Edward Allen and are the voices in his head.  They are animalistic and behave like mad beasts.  The music follows this.  They try to eat Edward, they beat their chests and move in a way that is completely different to anything previously in the performance.  It is a great contrast.

Jade Naime, Rachel Packford and Beth Rudkin play the mum, teacher and Emma respectively.  They are together when playing as a group in the background enriching the action at the time with movement and sounds.  Then they break out into their various roles and are individual and admirable as their characters and play them well.  It would have been nice if they were utilised more throughout the performance however.

The director Nyasha Chinyoka has produced an accomplished piece here.  There are humorous observations made on public transport that many would relate to such as oyster card time wasting.  Using the mouth organ to show the ‘ticks’ of the Tourette’s Syndrome is ingenious.  Seeing the physicality of it and hearing the sound of it makes one think of how this may impact upon the person and how loud and obtrusive it may seem to others and to the person themselves.  The whole performance is remarkable and must have been hard work to devise.  It has been brought to fruition beautifully.

Kat Gagen’s lighting design complements everything.  Using spotlights for certain moments captivate the performance and focuses the attention is just the right way.  The different lights set the mood and tone.  They are subtle at times and this is perfect.

The music throughout tells the story too.  Sometimes it is mystical, sometimes it dances like the wind, it chimes and it chills.  It is sweet yet damaged, like the relationship between Edward Allen and his dad.  The actors move so well throughout.  It makes one want to dance and join them and learn from them.  It is an excellent use of dance to convey the emotions and various struggles in the story.  There is a nice juxtaposition of the scared Edward Allen versus an angry animal that he has to keep tame inside.  He has so many sides to him.  Edward Allen and his dad are like two positive energies being drawn together and forced apart constantly.  The attraction and repulsion is ongoing.  There is so much tension.  There is even a love story.  Everyone loves a love story and it is a nice one too.

Chasing Shadows deserves to have a long run somewhere where more people can and will enjoy it again and again.  Standing ovation and much applause.

Cast Credits:  Kadeem Dunning – Edward Allen.  Jade Naime – Mum.  Rachel Packford – Teacher.  Darren Privett – Dad.  Beth Rudkin – Emma.

Company Credits:  Director – Nyasha Chinyoka.  Choreographer – Darren Privette.  Stage Manager/Lighting Design – Kat Gagen.

© Chantal Pierre-Packer 2011

Reviewed Friday 26th August 2011 / Camden People’s Theatre

 

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Wangari Maathai dies in Kenya

Tuesday, 27 September, 2011

Nobel Peace Prize winner Wangari Maathai dies of cancer. See how she made a contribution to a better world here:

http://www.economist.com/blogs/baobab/2011/09/wangari-maathai?fsrc=scn/tw/te/bl/thelossofbaobab