The Last Three Years

We now have a full show archive of all our professional work to date: www.beltuptheatre.com/archive

2011 fast approaches and in January Belt Up will be three years old.

In real terms 3 years isn’t that long a time, but thinking back to those early days it seems like decades. So, because it’s a festive time we thought we’d reflect. Or rather, we thought we’d ask you to reflect.

Here are all the shows we’ve ever done, and we want to know your thoughts. I guess anyone who reads this must have seen or heard of our work in one way or another and we want to know your best bits, your worst bits, your weirdest bits, your funniest bits, your most entertaining bits and your most exciting bits. Send them through to us we’ll put them up here. Our email is info@beltuptheatre.com

We have had a very good three years, and another very busy year coming up. And then…who knows…watch this space!

This is the story so far...

(from now, Dec 2010, back to Jan 2008)


Octavia
by Jethro Compton
DECEMBER 2010 – Yorkshire and Cornish Tour
Performed in Sutton on the Forest, Great Broughton, Kettlewell, Coxwold, Newlyn, Saltash, Bude, Mevagissey, Lelant

DIRECTOR: JAMES WILKES
PRODUCER: ALEXANDER WRIGHT & JETHRO COMPTON
COMPOSER: DAN WOOD AND ALEXANDER WRIGHT
TRUCKING: DOMINIC J ALLEN and ALEXANDER WRIGHT

Mrs. Heinzel/Queen/Mariana – Serena Manteghi
Mr. Heinzel – Dominic J Allen
Octavia (puppeteer) – Jethro Compton
Spriggan/Prince (puppeteer) – Joe Hufton
Musician – Alexander Wright

Lorca is Dead: or a brief history of surrealism
By Dominic J Allen
As part of ‘THE BELT UP SEASON’ November 2010 at Southwark Playhouse London

DIRECTOR: DOMINIC J ALLEN
PRODUCER: JETHRO COMPTON
MUSIC BY: ALEXANDER WRIGHT
LIGHTING DESIGNER: JETHRO COMPTON
CHOEROGRAPHER: CHI-SAN HOWARD
STAGE MANAGER and TECHNICIAN: NICK COUPE

Breton – Marcus Emerton
Gala – Lucy Farrett
Aragon – Patrick Fysh
Bunuel – Joe Hufton
Magritte – Serena Manteghi
Dali – James Wilkes
Eluard – Dominic J Allen
Artaud – Alexander Wright



Atrium
By James Wilkes
As part of ‘THE BELT UP SEASON’ November 2010 at Southwark Playhouse London
DIRECTOR: JETHRO COMPTON
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER and TECHNICIAN: NICK COUPE

Malcolm – Marcus Emerton
Paul – Alexander Wright
Pennie – James Wilkes
Butter – Lucy Farrett

Quasimodo
By Jethro Compton after Victor Hugo
As part of ‘THE BELT UP SEASON’ November 2010 at Southwark Playhouse London

DIRECTOR: JETHRO COMPTON
PRODUCER: JETHRO COMPTON
COMPOSER: GAVIN WHITWORTH
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER and TECHNICIAN: NICK COUPE

Quasimodo – Joe Hufton
Esmerelda – Serna Manteghi
Frollo – Dominic J Allen
Captain – Patrick Fysh

Elsewhere
October 2010
With Young Actors Company for York Theatre Royal Takover Festival
Directed by Alexander Wright & Julian Ollive
Devised by The Company

Dominic J Allen
Rebecca Beattie
Carl Bowstead
Bryony Byrne
Daisy Douglas
Luke James
Steve Johnson
Joshua Mason Wood
Rebecca Storey
Cat Tottie
Abigail White
James Wilkes



Macbeth
By William Shakespeare
October 2010 York Theatre Royal Main House

DIRECTOR: ALEXANDER WRIGHT
PRODUCER: JETHRO COMPTON
COMPOSER: JONNY SIMMS
LIGHTING DESIGNER: JETHRO COMPTON
SOUND DESIGNER: JONNY RATHBONE
SOUND TECHNICIAN: GARETH PRESCOTT

Macbeth – Dominic J Allen
Witch: Captain/Lady Macbeth/Lady Macduff – James Wilkes
Witch: Banquo/Malcom/Young Macduff/Seward – Joe Hufton
Witch: Duncan/Macduff/Fleance/Doctor – Marcus Emerton

Dracula

by James Wilkes after Bram Stoker

August 2010 - Behind the Scenes at Edinburgh International Festival

CONCEPT: DOMINIC ALLEN, JETHRO COMPTON, JAMES WILKES, ALEXANDER WRIGHT

DIRECTOR: ALEXANDER WRIGHT

Hypnotist - Dominic J Allen

Renfield - James Wilkes

Seward - Marcus Emerton

Quincey - Jethro Compton


THE HOUSE PARTIES
as part of ‘The House Above’ August 2010 Edinburgh Fringe Festival
Prohibition Night
Surrealist Ball
Totalitarian Night
Proud Proud People
Edward and the Itch


Octavia
by Jethro Compton
as part of ‘The House Above’ August 2010 Edinburgh Fringe Festival

DIRECTOR: JAMES WILKES
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER and TECHNICIAN: LUCY HOWE

Mrs. Heinzel – Sarah Gordon
Mr. Heinzel – Dan Wood
Octavia – Veronica Hare
Grotesque – Mia de Graaf
Grotesque – Chi-San Howard
Grotesque – Janey Stephenson


Odyssey
By Dominic J Allen after Homer
As part of ‘The House Above’ August 2010 Edinburgh Fringe Festival

DIRECTOR: ALEXANDER WRIGHT
PRODUCER: JETHRO COMPTON
MUSIC AND SOUND DESIGN: GARETH PRESCOTT
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER and TECHNICIAN: LUCY HOWE

Ted Stirling - Dan Wood
Woman – Janey Stephenson
Man – Chris White

The Boy James
by Alexander Wright
As part of ‘The House Above’ August 2010 Edinburgh Fringe Festival

DIRECTOR: DOMINIC J ALLEN
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER and TECHNICIAN: LUCY HOWE

Boy – Jethro Compton
Girl – Veronica Hare
James – James Wilkes



Metamorphosis
By James Wilkes after Franz Kafka
As part of ‘The House Above’ August 2010 Edinburgh Fringe Festival

DIRECTOR: ALEXANDER WRIGHT
PRODUCER: JETHRO COMPTON
MUSIC BY: MICHAEL SLATER
LIGHTING DESIGNER: JETHRO COMPTON
SOUND DESIGNER: GARETH PRESCOTT
STAGE MANAGER and TECHNICIAN: OLIVER JULIAN
Gregor – James Wilkes
Greta – Veronica Hare
Mr. Samsa – Dominic J Allen
Mrs. Samsa – Lucy Farrett
Grotesque/Chief Clerk – Marcus Emerton
Grotesque/Boss – Serena Manteghi
Grotesque/Cleaner – Francesca Murray-Fuentes
Grotesque/Tenant – Jethro Compton
Grotesque/Tenant – Patrick Fysh
Grotesque/Tenant – Joe Hufton


Lorca is Dead: or a brief history of surrealism
By Dominic J Allen
As part of ‘The House Above’ August 2010 Edinburgh Fringe Festival

DIRECTOR: DOMINIC J ALLEN
PRODUCER: JETHRO COMPTON
MUSIC BY: ALEXANDER WRIGHT
LIGHTING DESIGNER: JETHRO COMPTON
CHOEROGRAPHER: CHI-SAN HOWARD
STAGE MANAGER and TECHNICIAN: OLIVER JULIAN

Breton – Marcus Emerton
Gala – Lucy Farrett
Aragon – Patrick Fysh
Bunuel – Joe Hufton
Magritte – Chris White
Dali – James Wilkes
Eluard – Dan Wood
Artaud – Alexander Wright

Antigone
by Alexander Wright after Sophocles
As part of ‘The House Above’ August 2010 Edinburgh Fringe Festival

DIRECTOR: JAMES WILKES
PRODUCER: JETHRO COMPTON
MUSIC BY: ALEXANDER WRIGHT
LIGHTING DESIGNER: JETHRO COMPTON
CHOEROGRAPHER: CHI-SAN HOWARD
STAGE MANAGER and TECHNICIAN: GARETH PRESCOTT

Antigone – Francesca Murray-Fuentes
Haemon – Jethro Compton
Ismene – Serena Manteghi
Creon – Dominic J Allen
Eteocles – Chris White
Polynices – Alexander Wright



Quasimodo
By Jethro Compton after Victor Hugo
As part of ‘The House Above’ August 2010 Edinburgh Fringe Festival

DIRECTOR: JETHRO COMPTON
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON
COMPOSER and PIANIST: GAVIN WHITWORTH
STAGE MANAGER and TECHNICIAN: GARETH PRESCOTT


Quasimodo – Joe Hufton
Esmerelda – Francesca Murray-Fuentes
Frollo – Dominic J Allen
Captain – Patrick Fysh

Atrium
By James Wilkes
As part of ‘The House Above’ August 2010 Edinburgh Fringe Festival

DIRECTOR: JETHRO COMPTON
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER and TECHNICIAN: GARETH PRESCOTT


Malcolm – Marcus Emerton
Paul – Alexander Wright
Pennie – Serena Manteghi
Butter – Lucy Farrett

A Midsummer Night’s Dream
By William Shakespeare
June 2010 – York Rowntree Park

DIRECTOR: MARCUS EMERTON
PRODUCER: ALEXANDER WRIGHT
MUSIC: JAMIE OLIVER
CHOREOGRAPHY: CHI-SAN HOWARD

Oberon - Dom Allen
Titania - Lucy Farrett
Demetrius - James Wilkes
Helena - Janey Stephenson
Lysander- Alexander Wright
Hermia - Serena Manteghi
Puck - Chris White
Starveling - Tom Vickers
Bottom - Marcus Emerton
Quince - Joe Hufton
Flute - Freddie Hall
Snout - Max Tyler
Snug - James Oliver
Theseus - Dominic Allen
Hippolyta - Lucy Farrett
Philostrate - Chris White
Chorus:
Lucy Hammond
Bryony Byrne
Julia Clague
Mia De Graaf
Chi San Howard
Ellie Taylor
Amy Powell Yates

The Tartuffe (farewell performance)
By James Wilkes after Moliere
May 2010 York Theatre Royal Main House

DIRECTOR: JAMES WILKES
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER: OLIVER JULIAN
DEPUTY STAGE MANAGER: JETHRO COMPTON
TECHNICAL ASSISTANTS: GARETH PRESCOTT and NICK COUPE

Orgon Poquelin – Dominic J Allen
Renard Le Clown/Damis – Jethro Compton
Jacques/Cleante – James Wilkes
Amorette /Marianne – Serena Manteghi
Racine/Dorine – Rachel Finnegan
Ethelle/Elmire – Lucy Farrett
Patrice/Tartuffe – Marcus Emerton

Margaret - Danie Linsell
Jean Clo – Alexander Wright
Le Bass – Patrick Fysh
Gaston Ledoux – Dan Wood
Timote le Roadie – Joe Hufton
Les Triplettes:
Sarah Gordon
Veronica Hare
Chi San Howard

Lorca is Dead: or a brief history of surrealism
By Dominic J Allen
May 2010 York Theatre Royal Studio

DIRECTOR: DOMINIC J ALLEN
PRODUCER: JETHRO COMPTON
COMPOSER: ALEXANDER WRIGHT
LIGHTING DESIGNER: JETHRO COMPTON
CHOREOGRAPHER: CHI-SAN HOWARD
STAGE MANAGERS: LUCY HOWE AND GARETH PRESCOTT
TECHNICAL ASSISTANT: OLIVER JULIAN

CAST:
Aragon: Patrck Fysh
Artaud: Alexander Wright
Breton: Marcus Emerton
Bunuel: Joe Hufton
Dali: James Wilkes
Eluard: Dan Wood
Gala: Lucy Farrett
Magritte: Chris White



The Order of Atlantis
March/April 2010
As Visiting Artists at the National Student Drama Festival with Punchdrunk Enrichment

Concept by Dominic J Allen, Jethro Compton, James Wilkes and Alexander Wright
Devised and performed by:
Dominic Allen

Jethro Compton

Lucy Farrett

Rachel Finnegan

Paddy Fysh

Veronica Hare

Joe Hufton

Serena Manteghi

Francesca Murray-Fuentes

Niamh Walsh

James Wilkes

Dan Wood

Alexander Wright

Stage Manager: Polly Ingham

The Tartuffe
BY JAMES WILKES
March 2010
Great Whyrly Performing Arts High School (South Staffs) and The Parkhouse Centre (Bude)

DIRECTOR: JAMES WILKES
LIGHTING DESIGNER: JETHRO COMPTON

Orgon Poquelin – Dominic J Allen
Renard Le Clown/Damis – Jethro Compton
Jacques/Cleante – James Wilkes
Jean Clo /Marianne – Alexander Wright
Racine/Dorine – Rachel Finnegan (GWPAHS) and Nic Lamont (PARKHOUSE)
Ethelle/Elmire – Lucy Farrett
Patrice/Tartuffe – Marcus Emerton


A Ghost Walk
February/March 2010 – York Theatre Royal
Devised and Performed by Dominic J Allen, Jethro Compton, James Wilkes and Alexander Wright

The Tartuffe
BY JAMES WILKES
November 2009 – Southwark Playhouse London

DIRECTOR: JAMES WILKES
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON

Orgon Poquelin – Dominic J Allen
Renard Le Clown/Damis – Jethro Compton
Jacques/Cleante – James Wilkes
Jean Clo /Marianne – Alexander Wright
Racine/Dorine – Rachel Finnegan
Ethelle/Elmire – Lucy Farrett
Patrice/Tartuffe – Marcus Emerton

The Trial
BY DOMINIC J ALLEN AFTER FRANZ KAFKA
November 2009 – Southwark Playhouse London

DIRECTOR: ALEXANDER WRIGHT
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON
SOUND DESIGNER: MICHEAL SLATER
COMPOSER: GAVIN WHITWORTH

Joseph K – Dominic J Allen
Chorus :
Jethro Compton
Marcus Emerton
Lucy Farrett
Rachel Finnegan
James Wilkes
Alexander Wright

The Tartuffe
BY JAMES WILKES after Moliere
October 2009 - Part of York Theatre Royal’s Takeover Festival

DIRECTOR: JAMES WILKES
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON
DEPUTY STAGE MANAGER: ALEXANDER WRIGHT and JETHRO COMPTON

Orgon Poquelin – Dominic J Allen
Renard Le Clown/Damis – Jethro Compton
Jacques/Cleante – James Wilkes
Amorette /Marianne – Serena Manteghi
Racine/Dorine – Rachel Finnegan
Ethelle/Elmire – Lucy Farrett
Patrice/Tartuffe – Marcus Emerton

Margaret - Danie Linsell
Jean Clo – Alexander Wright
Le Bass – Patrick Fysh
Les Triplettes:
Sarah Gordon
Veronica Hare
Chi San Howard



The Trial
BY DOMINIC J ALLEN AFTER FRANZ KAFKA
October 2009 - Part of York Theatre Royal’s Takeover Festival

DIRECTOR: ALEXANDER WRIGHT
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON
SOUND DESIGNER: MICHEAL SLATER
COMPOSER: GAVIN WHITWORTH

Joseph K – Dominic J Allen
Chorus :
Jethro Compton
Marcus Emerton
Lucy Farrett
Rachel Finnegan
Patrick Fysh
Sarah Gordon
Veronica Hare
Chi San Howard

Danie Linsell
Serena Manteghi
Francesca Murray-Fuentes
James Wilkes
Alexander Wright

The Tartuffe
BY JAMES WILKES after Moliere
Part of ‘The Squat’ August 2009 Edinburgh Festival Fringe

DIRECTOR: JAMES WILKES
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON

Orgon Poquelin – Dominic J Allen
Renard Le Clown/Damis – Jethro Compton
Jacques/Cleante – James Wilkes
Mimi/Marianne – Niamh Walsh
Amorette/Dorine – Serena Manteghi
Ethelle/Elmire – Lucy Farrett
Patrice/Tartuffe – Marcus Emerton
Jean Clo – Alexander Wright
Benoit – Niall Walsh


The Trial
BY DOMINIC J ALLEN AFTER FRANZ KAFKA
Part of ‘The Squat’ August 2009 Edinburgh Festival Fringe

DIRECTOR: ALEXANDER WRIGHT
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON
SOUND DESIGNER: MICHEAL SLATER
COMPOSER: GAVIN WHITWORTH
TECHNICAL ASSISTANT: ZOE HUGHES

Joseph K – Dominic J Allen
Chorus :
Jethro Compton
Marcus Emerton
Sarah Gordon
Zoe Hughes
Vicky Lloyd
Serena Manteghi
Francesca Murray-Fuentes
Niall Walsh
James Wilkes
Michael Wilkins
Alexander Wright

Squat Nights
Part of ‘The Squat’ August 2009 Edinburgh Festival Fringe
UnBirthday Party
Love Story
The Fastest Train To Anywhere
Surrealist Piece, by Paddy Fysh
Tartuffe Cabaret




Leasspell

August 2009 - Behind the Scenes at Edinburgh International Festival

PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON
TECHNICAL ASSISTANT: LAURA MURPHY

CAST:
Dominic J Allen
Marcus Emerton
Lucy Farrett
Sarah Gordon
Virginia Hartman
Joe Hufton
Victoria Lloyd
Serena Mantegi
Layla Merrick-Wolf
Francesca Murray-Fuentes
Niall Walsh
Niamh Walsh
James Wilkes
Alexander Wright

Persephone
August 2009 at the Forest Fringe, Edinburgh
CAST:
Dominic J Allen
Marcus Emerton
Lucy Farrett
Sarah Gordon
Virginia Hartman
Joe Hufton
Victoria Lloyd
Serena Mantegi
Layla Merrick-Wolf
Francesca Murray-Fuentes
Niall Walsh
Niamh Walsh
James Wilkes
Alexander Wright


The Tempest
BY WILLIAM SHAKESPEARE
July 2009 – The RSC Dell Stratford

DIRECTOR: ALEXANDER WRIGHT

CAST:
Prospero – James Wilkes
Miranda – Lucy Farrett
Caliban – Dominic J Allen
Ariel – Niamh Walsh
Ferdinand – Jethro Compton
Stephano – Nic Lamont
Trinculo – Paddy Fysh
Sebastian – Marcus Emerton
Anthonio – Joe Hufton
Alonso – Dan Wood
Gonzalo – Layla Merrick-Woolf
Adrian/Fransico – Michael Wilkins
Boatswain – Niall Walsh

Chorus –
Sarah Gordon
Veronica Hare
Virginia Hartman
Chi-San Howard
Tom Jones
Serena Manteghi
Francesca Murray-Fuentes




The Oresteia
BY DOMINIC J ALLEN AND JAMES WILKES AFTER AESCHYLUS
February 2009 York Theatre Royal Studio

DIRECTOR: DOMINIC J ALLEN AND JAMES WILKES
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON
TECHNICAL ASSISTANT: ALEXANDER WRIGHT

CAST:
Clytemnestra – Rachel Finnegan
Agamemnon – Marcus Emerton
Aegisthus – Tom Ellis
Orestes – Tom Powis
Old Woman/Athena – Danie Linsell
Apollo – Niall Walsh
Electra/Iphigenia – Lucy Farrett
Fury – Layla Merrick-Wolf
Fury – Francesca Murray-Fuentes
Fury – Niamh Walsh

Instinct
BY JAMES WILKES
December 2008 – The University of York

DIRECTOR: JAMES WILKES
PRODUCER: LUCY HOWE, TOM POWIS & NIC LAMONT
ASSISTANT DIRECTOR: TOM POWIS
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER: NIC LAMONT
TECHNICAL ASSISTANT: REBECCA HARRIS

CAST:
Dominic J Allen
Jethro Compton
Marcus Emerton
Rachel Finnegan
Joe Hufton
Alex Lawless
Danie Linsell
Victoria Lloyd
Serena Manteghi
Francessca Murray-Fuentes
Tom Powis
Niall Walsh
Niamh Walsh
Alexander Wright

The Seven Seas
By James Wilkes
December 2008
University of York
Created by Jethro Compton & James Wilkes



The Pitchfork Disney
BY PHILLIP RIDLEY
November 2008 – The University of York

DIRECTOR: DOMINIC J ALLEN
PRODUCER: TOM POWIS
LIGHTING DESIGNER: JETHRO COMPTON
TECHNICAL ASSISTANT: JAMES WILKES

CAST:
Presley Stray - Marcus Emerton
Hayley Stray - Lucy Farrett
Cosmo Disney - Spencer Elliot
Pitchfork Cavalier - Tom Ellis


William and Octavia
BY ALEXANDER WRIGHT AND JETHRO COMPTON
October 2008 – The University of York

DIRECTOR: ALEXANDER WRIGHT
PRODUCER: JETHRO COMPTON
LIGHTING DESIGNER: JETHRO COMPTON

CAST:
Dominic J Allen
Lucy Farrett
Rachel Finnegan
Serena Manteghi
Tom Powis
Niamh Walsh
James Wilkes

The Fastest Train To Anywhere
By Alexander Wright
October 2008
University of York
Created by James Wilkes & Dominic Allen


The Pervert Circus
Part of ‘The Red Room’ August 2008 Edinburgh Fringe Festival
Devised by the Company

Love Part 1
and
Love Part 2
By ALEXANDER WRIGHT
Part of ‘The Red Room’ August 2008 Edinburgh Fringe Festival

Cast:
Rachel Finnegan
Geoff Gedroyc



Romeo and Juliet
BY WILLIAM SHAKESPEARE
Part of ‘The Red Room’ August 2008 Edinburgh Fringe Festival

DIRECTOR: ALEXANDER WRIGHT
PRODUCER: DOMINIC J ALLEN, JETHRO COMPTON, JAMES WILKES, ALEXANDER WRIGHT
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER: LUCY HOWE & JETHRO COMPTON
TECHNICAL ASSISTANT: JUTSUS VON VERSCHUER & REBECCA HARRIS

CAST:
Romeo – Tom Powis
Juliet – Sarah Barker
Capulet – Matthew Lacey
Lady Capulet – Niamh Walsh
Nurse – Lucy Farrett
Mercutio – Matt Springett
Tybalt – Alex Forsyth
Prince – Dominic J Allen
Friar Lawrence – James Wilkes
Montague – David Jarman
Lady Montague – Danie Linsell
Paris – Ed Duncan-Smith
Benvolio – Joe Hufton
Balthasar – Jethro Compton
Sampson – Jethro Compton
Gregory – Nikolaus Morris
Abram – Ollie Tilney
Apothecary – Alex Lawless
Peter – Nic Carter

Macbeth
BY WILLIAM SHAKESPEARE
Part of ‘The Red Room’ August 2008 Edinburgh Fringe Festival

DIRECTOR: ALEXANDER WRIGHT
PRODUCER: DOMINIC J ALLEN, JETHRO COMPTON, JAMES WILKES, ALEXANDER WRIGHT
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER: LUCY HOWE & JETHRO COMPTON
TECHNICAL ASSISTANT: JUTSUS VON VERSCHUER & REBECCA HARRIS

CAST:
Macbeth – Dominic J. Allen
Lady Macbeth – Lucy Farrett
Witches/Murderers – Sarah Barker, Matt Springett, Niamh Walsh
Banquo – Alex Forsyth
Duncan – Matthew Lacey
Macduff – Ollie Tilney
Lady Macduff – Danie Linsell
Young Macduff – Alex Lawless
Malcolm – Ed Duncan-Smith
Donaldbain – David Jarman
Hecate – Rachel Finnegan
Fleance – Jethro Compton
Lennox – Alan Stewart/Thomas Ellis
Ross – Joe Hufton
Porter – James Wilkes
Old Man – Matthew Lacey
Seyton – Alex Lawless



Women of Troy
BY JAMES WILKES AFTER EURIPIDIES
Part of ‘The Red Room’ August 2008 Edinburgh Fringe Festival

DIRECTOR: ALEXANDER WRIGHT
PRODUCER: DOMINIC J ALLEN, JETHRO COMPTON, JAMES WILKES, ALEXANDER WRIGHT

MUSIC BY: NICK ASHBY

SOUND DESIGN BY: ED DOWIE
STAGE MANAGER: LUCY HOWE

CAST:
Hecuba – Anna Rhode
Cassandra – Sarah Barker
Andromache – Danie Linsell
Helen – Lida Mirzaii
Guard – Joe Hufton
Talthybius – Ed Duncan-Smith
Menelaus – Ollie Tilney
Chorus – Alice Boagey, Sarah Waite

Volpone
BY DOMINIC J ALLEN AFTER BEN JONSON
Part of ‘The Red Room’ August 2008 Edinburgh Fringe Festival

DIRECTOR: DOMINIC J ALLEN
PRODUCER: DOMINIC J ALLEN, JETHRO COMPTON, JAMES WILKES, ALEXANDER WRIGHT
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER: LUCY HOWE
TECHNICAL ASSISTANT: JUTSUS VON VERSCHUER & REBECCA HARRIS

CAST:
Volpone – Joe Hufton
Mosca – James Wilkes
Nano – Lida Merzaii
Androgyno – Olly Tilney
Castrogne – Alexander Wright
Voltore – Matthew Lacey
Corbaccio – Alexander Lawless
Corvino – Nikolaus Morris
Lady Politic Would-Be – Danie Linsell
Mrs Corvino - Rachel Finnegan
Bonario - Tom Ellis
Clerk – Dominic J. Allen

The Park Keeper
BY NIKOLAUS MORRIS
Part of ‘The Red Room’ August 2008 Edinburgh Fringe Festival

DIRECTOR: NIKOLAUS MORRIS
PRODUCER: DOMINIC J ALLEN, JETHRO COMPTON, JAMES WILKES, ALEXANDER WRIGHT
LIGHTING DESIGNER: JETHRO COMPTON
COMPOSER: NIKOLAUS MORRIS
STAGE MANAGER: LUCY HOWE
TECHNICAL ASSISTANT: JUTSUS VON VERSCHUER & REBECCA HARRIS

CAST:
Talbot/Aaron – Matt Springett
Rebecca – Niamh Walsh
Finn – Dominic J Allen
Gabbitas – James Wilkes
Catrina – Nic Carter
Thring – Alex Lawless
Phanotourist – Alexander Wright
Phanotourist – Rachel Finnegan
Phanotourist – Sarah Barker
Phanotourist – Sarah Waite
Phanotourist – Alice Boagey

The Tartuffe
BY JAMES WILKES
Part of ‘The Red Room’ August 2008 Edinburgh Fringe Festival

DIRECTOR: JAMES WILKES
PRODUCER: DOMINIC J ALLEN, JETHRO COMPTON, JAMES WILKES, ALEXANDER WRIGHT
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER: LUCY HOWE
TECHNICAL ASSISTANT: JUTSUS VON VERSCHUER & REBECCA HARRIS

CAST:
Orgon Poquelin – Dominic J Allen
Renard Le Clown/Damis – Jethro Compton
Guillaume/Cleante – Matt Springet
Mimi/Marianne – Niamh Walsh
Genevieve/Dorine – Nicola Carter
Francine/Elmire – Anna Rohde
Sylvestre/Tartuffe – Nikolaus Morris

A Clockwork Orange
BY ANTHONY BURGES
June 2008
York Theatre Royal Studio

DIRECTOR: ALEXANDER WRIGHT
PRODUCER: NIC LEMONT
LIGHTING DESIGNER: JETHRO COMPTON
SOUND DESIGNER: ED DOWIE
COMPOSER/VIDEO DIRECTOR: NIKOLAUS MORRIS
STAGE MANAGER: RACHEL LERMAN
TECHNICAL ASSISTANT: FRAN OLLEY

CAST:
Alex – Alex Forsyth
Chorus:
Sarah Barker
Lucy Farrett
Geoff Gedroyc
Joe Hufton
Danie Linsell
Mark McDaid
Lida Mirzaii
William Poskitt
Ollie Tilney

The Grotesque Tea Party
June 2008
The Shunt Vaults London

LEADER: ALEXANDER WRIGHT
DESIGNER: JETHRO COMPTON & JAMES WILKES
STAGE MANAGER: LUCY HOWE

CAST:
Sarah Barker
Nicola Carter
Jethro Compton
Alex Forsyth
Danie Linsell
Tom Powis
Niamh Walsh
James Wilkes




Morbid Curiosity
BY DOMINIC J ALLEN
May 2008
University of York

DIRECTOR: DOMINIC J ALLEN
PRODUCER: NIC LAMONT
LIGHTING DESIGNER: JETHRO COMPTON
STAGE MANAGER: RACHEL LERMAN
TECHNICAL ASSISTANT: JUSTUS VON VERSCHUER

CAST:
Dr Hart - Matt Springett
Eugene Flint – Jethro Compton
Mr Leach – Simon Maeder
Mr Morgan – James Wilkes
Ms Lambert – Lucy Farrett
The Man – Matthew Lacey



Metamorphosis
BY STEVEN BERKOFF AFTER FRANZ KAFKA
DIRECTOR: ALEXANDER WRIGHT
PRODUCER: NICOLA CARTER
LIGHTING DESIGNER: JETHRO COMPTON
SOUND DESIGNER: MICHAEL SLATER
STAGE MANAGER: RACHEL LERMAN
TECHNICAL ASSISTANT: FRAN OLLEY

April 2008 - NATIONAL STUDENT DRAMA FESTIVAL 2008 CAST:
Gregor Samsa - James Wilkes
Mr Samsa – Dominic J Allen
Mrs Samsa – Danie Linsell
Greta Samsa – Sarah Barker
Lodgers/Chief Clerk - Matt Springett
Grotesque Chorus:
Jethro Compton
Lucy Farrett
Nikolaus Morris
Tom Powis
Matt Springett
Niamh Walsh

January 2008 - UNIVERSITY OF YORK CAST:
Gregor Samsa - James Wilkes
Mr Samsa – Dominic J Allen
Mrs Samsa – Danie Linsell
Greta Samsa – Sarah Barker
Lodgers/Chief Clerk - Matt Springett
Grotesque Chorus:
Lucy Farrett
Alex Forsyth
Tom Powis
Matt Springett
Niamh Walsh

Dreamscape
January 2008
University of York
Devised by The Company

Rural Touring...

A few months ago we had some work fall through that had been planned across December and January. It was too late to try and get in to any theatre’s programme and we couldn’t just leave two empty months standing by. So, to fill the gap, we thought we’d try and take Octavia, our family show, around some rural venues.

I can clearly recount the day I spent sitting ringing over 100 village halls in Yorkshire and Cornwall to try and make it happen: speaking to innumerate people, explaining the shows, leaving messages, posting information out, emailing dates and times and costs. It was a surprisingly large amount of work.

We have never done any rural touring before. The closest we’ve got is taking shows back to our home towns for one night only, but this is different and quite easy, because our home towns are our home towns. I got some help and information off Rural Arts in Yorkshire and Carn to Cove in Cornwall, both rural touring organisations, and they were wonderfully helpful. I have to say I take my hat off to them.

There are things we are used to that come with the venues we normally work in, however these rules don’t apply out in the countryside. The venues we’re going to are run by people who give up their own time, for free, to organise events for their community and they do it all for nothing. And, most importantly, they aren’t theatres and they don’t spend their time programming theatre.

We have found this rather liberating. We turn up somewhere with our van full of stuff and see what we can do, nothing is guaranteed. Sometimes there are lights and sometimes there aren’t, sometimes the halls are huge and sometimes they are tiny, sometimes there’s tea and coffee and raffles and sometimes there’s not. It’s fun. It’s not stressful because there is nothing being asked of you, you set up your show, get on with it and hope that people turn up.

Over the last few weeks we have played to 65 people squished in the restaurant of a pub, and to 12 people rattling in around in a big old sports hall. Every show has been different and unpredictable.

We were performing in the restaurant of the pub in Coxwold, the village I grew up in about 30 miles north of York. It was packed, there was hardly space to perform. It was amazing that so many people had turned out on a cold Winter night. Some people with kids and others without. Of course, I knew some people there but not that many. A lot of people had come because it was an event in the village. They wanted to support the pub but also they wanted to come. We were speaking to the landlord afterwards and he was saying that every event they do there goes down really well because people want entertainment. The nearest place people around my area can go is York, which is the best part of an hours drive away. So when stuff is brought to them they flock to it, wanting to see it.

And this is one of the most wonderful things that we have noticed: that the audience arrive already on your side, wanting to have fun and to be entertained. They don’t need convincing because they have come for a good night out.

It’s funny to think how much you can spend on a show; how much money, time, sweat, stress, tech etc in a big theatre to make it as wonderful as possible. We’ve done that plenty of times in Edinburgh and in London, and some audiences come in needing to be impressed, needing to be convinced because they have had to make the effort to get there and watch it, they have done you a favour by coming to you. But if you come to them it’s a different story: we can roll out some turf and turn on some fairy lights in a village hall and the atmosphere is there, with no cost, time, stress or tech because people want you to be there.

It’s still something we are very new at, but rural touring is something we are very much enjoying and I think it is a lot more important than we gave it credit for. Theatre shouldn’t and doesn’t just exist in theatres: it’s in fringes, schools, halls, pubs, communities, parks. And each place it exists in, it exists a little differently. It has it’s own nuances and idiosyncrasies, it’s own personality and way of working and none of these ways are better than the other, there is a lot to be said for all of them. But for us, we have genuinely begun to appreciate the simple enjoyment of a good night out.

We are looking forward to the next few dates in Cornwall and what they next few shows might throw up. And we hope they are as enjoyable as the rest have been. We only have 4 more to go, but I very much hope we’ll be back.

(NB - please excuse the wonderfully cheesy photo. It was taken in Tintagel in Cornwall. We are deliberately posing. I struggled to find a related picture)

Alexander Wright

Introducing...Dan Wood

My first experience with Belt Up, the company as opposed to the four boys individually, came at the end of my first year at York. I auditioned, successfully as it happened, for The Tempest which was due to be performed in Stratford. I was intimidated, to say the least! Here was a clearly exceptional company with an existing ensemble of obviously fantastic actors and here was I, a slightly nervous nineteen year old who had managed to grab a decent part in what sounded like a pretty damned exciting production of The Tempest! Then, a couple of weeks later, I saw The Tartuffe’s Edinburgh preview in the Drama Barn. My intimidation turned in one swift second to sheer unadulterated excitement and glee at the prospect of performing with these people. Everything about that night made me think that I wanted to be a part of this group. Goodness knows that in my wildest dreams, I could not have conceived of what was to follow...

Now here I sit, eighteen months later reflecting on my time with company. Among the Belt Up ensemble as I saw it at the end of my first year, that group of mighty practitioners who so graciously and warmly accepted me into their friendship group, I now count some of my dearest friends. James, Dominic, Jethro, Alex who were so lovely but also so intimidating at that first audition have become people whom I hope to be able to call my friends for a very long time. In Serena, Joe and Marcus, I now have three of my closest companions and in Lucy, a beloved girlfriend (if you need to edit out that flagrant public display of affection for the wellbeing of the readers then I understand!) On top of these wonderful people, working with the company has allowed me to grow closer to a number of others who have themselves become more involved with Belt Up in the last year and a half. Paddy (my unabashed man-crush), Chris (with whom I have now been in roughly four hundred and three shows), Sarah (the best fairy wife in history), Veronica (perhaps my oldest friend of anyone mentioned here)...The list goes on. It really does. I can’t possibly name everyone here. But I will be texting them individually to let them know just how grateful I am to be able to call them friends. In particular, the twenty people who made up the Edinburgh 2010 ensemble will remain very dear to me for a long time indeed.

Apologies for coming over all sentimental but that is the truth of the matter. My time with Belt Up has given me some fantastic friends made in a variety of different shows, playing a variety of different characters. From The Tempest, I went on to be in Atlantis (at NSDF) followed by Lorca is Dead in the York Theatre Royal and then Lorca, Odyssey and Octavia in The House Above at the Edinburgh Fringe 2010. I shan’t dwell on the shows as I will just get sentimental again (!) but rest assured those memories are very special to me and will endure for a very long time. I am incredibly grateful to the boys for having trusted me with some fantastic parts. Harry (a nutter), Paul Eluard (a surrealist nutter), Mr. Heinzel (a fairytale nutter) and Ted Sterling. A poet. And a bit of a nutter. Special mention among these must go to Paul Eluard, a character who I would gladly play again and again.... My next role with the company is on the production side of things in March, where I will be co-writing the music for and musically directing The Beggar’s Opera; another opportunity for which I am more grateful than I can possibly say.

The upshot of this, then, is that working with Belt Up Theatre has given me so very much. I have had lovely parts in fantastic plays and great opportunities. I have made brilliant friends and we have done brilliant things together! I will forever be indebted to the boys and everyone that I have worked with through them for giving me some of the happiest times of my life. Whether in a professional capacity, as an audience member or as a friend, I hope stay involved with Belt Up as long as I possibly can. After all, it is thanks to Belt Up that I have been able to make theatre I truly believe in with people I love. Who could ask possibly ask for more than that?

Until the next mountain chaps...

Introducing...Veronica Mary Hare

'Back in May 2009 I joined Belt Up as an ensemble member for their production of The Tempest to be performed in Stratford-Upon-Avon that July. At the time I had little idea what sort of work Belt Up produced, having never seen any of their shows. As a first year at York University I was already involved in the University Drama Society and had recently signed myself into two shows heading to the Edinburgh Festival Fringe that summer. I had heard mixed things on the grapevine about Belt Up's work from fellow students, and if I'm honest had previously been somewhat put off finding out any more for myself.

However, about a month or so before they opened auditions for The Tempest I'd learned who each of the directors of the company were. I hadn't realised it, but I had met James in my first week of university when he had led an acting workshop for the freshers wanting to get involved with the Drama Society. He'd been very friendly and encouraging and I'd not thought twice about auditioning for the society afterward. Dom was the current chair of the Drama Society and I'd auditioned in my first term of university to be in a play he was directing (I was not aware that the play had any links with the infamous Belt Up at that point) and although I had been unsuccessful I saw him around quite a few times and we’d chatted occasionally. I have a distinct memory of being on a bus going back to campus after I'd finished a shift at work and I’d insisted on giving Dom and Marcus Emerton some chocolate I didn't want that I'd got at work... Toward the end of my second term I was rehearsing the musical I Love You, You're Perfect, Now Change with the Drama Society when I met Jethro who was doing our lighting design. At the time he was going through some “emotional torment”, and I found his decision to go from veganism to all-out-carnivore in the space of 2 weeks rather amusing. However, he filled me in on more of the ins and outs of Belt Up, and that was when I learned their success stories (so far) and their intention to be innovative and challenge the way that theatre works. Finally I met Alexander who was coming in to help out the company of ILY,YP,NC in an improv workshop because for whatever mad reason we had decided to perform An Improvised Musical as promotion for the show later the following week. Alex ended up being in the Improvised Musical with us, and thus No Shoes Theatre began, but that is another story.... By this point I knew all of the co-directors of Belt Up, but still had absolutely no idea about what their work was really like. The interesting thing at this point was that they were just fellow students, not that dissimilar to anyone else I'd met, but what I did know was that they were doing something different, and that it was exciting.

When the boys opened up their auditions after the Easter break I became perhaps a little too willing to throw myself blindly into it and come to my own conclusions about the company's work. I was aware that the boys were in their last year at university, and that this may have been my only chance to work with them before they got into the big wide world. To be frank I wanted to take what others may have called ‘a risk’.

Over the following couple of months we had various workshops on the different skills and methods that Belt Up use. This was a wonderful chance to get to know all the cast and company members as well as the way they worked. All of this was in preparation for specific production rehearsals later. When it came to putting the Tempest together, we had little more than a week to actually block through the show - an intense period where concentration and trust were key. We were told what we needed to do, and it was up to us to get it right.

What I learnt early on with Belt Up is that a huge amount of their work relies on trust within the company. It is vital that you learn to work well and work quickly with other people and that in the end the only mistakes that can happen are your own. The company was of course interested in talent, but they looked for the individual's ability to work well within a group, and whether the person is confident enough in themselves to realise their own potential and be open to new experiences. Friendship was important in an often close environment, but you have to maintain your professionalism if ever personal problems arise. The nature of Belt Up's work often involves an ensemble, and allowing personal issues into the work can make it an unpleasant experience for the cast and more importantly the audience!

Over the year and a half since I first joined Belt Up, I have worked on a number of projects with them. At the Edinburgh Fringe 2009 I was involved in a number of Squat Nights as well as the "secret" show Persephone. Following the Fringe I was in The Trial and Tartuffe in the Take Over Festival at York Theatre Royal from September-October 2009, and in May 2010 was invited back for the final Tartuffe in York Theatre Royal's main house. In April I spent a week as a mournful, lonely girl desperately hoping to find her family all day every day while we worked on 'The Atlantis Project' as visiting artists at NSDF 2010.

For Edinburgh Festival Fringe 2010 I was invited to perform in The House Above season in three shows. This was by far to be the biggest project I couldn't have anticipated being involved in. The House Above saw 9 shows go through it (7 daily) as well as various bar nights featuring various events. The House was built from scratch by the ensemble, following a 3 week rehearsal period. Time was limited, and much of the work was rushed or squeezed in wherever possible. The fringe itself was incredibly tiring, and perhaps for the majority of the month my body worked on adrenaline alone. But it was the most incredible experience! Spending 2 months surrounded by people I would trust with my life (quite literally considering some stunts involved in certain shows) and some of my nearest and dearest friends made it simply wonderful.

Since working with Belt Up I’ve worked with some brilliant people. I’ve made friends that I hope to keep for a lifetime. I’ve had my view on theatre challenged and influenced in ways I’m not sure I could put into words. I’ve been pushed to my limits and laughed until I’ve cried. I’ve been tired, I’ve been encouraged, I’ve been confused, I’ve been helped, I’ve wanted to go home, and I’ve not wanted to be anywhere else in the world. I’ve had so much to be thankful for.

Now, my next project with Belt Up is as an ensemble member for The Beggar’s Opera and quite frankly I cannot wait!'

Introducing...Chris White

The other day Joe wrote a blog introducing himself as the assistant director for Beggar's Opera.

We realised that there are loads of people who work with us to make Belt Up what it is, and thought you might like to meet some of them.

So you’ve had Joe…here’s Chris White…

‘I think it is safe to say, being a part of Belt Up has been one of the best experiences of my life. I remember getting the phone call from Dom to say I'd been successful with my audition, and despite having glandular fever and being emotionally drained from "another" production, I turned into a five year old boy down the phone. Dom will testify I was very excited, I then remember seeing Jethro straight after in a restaurant with Serena, and tried to maintain a coolness, I failed, I was bloody chuffed to bits!

My first show was Lorca is Dead in the Theatre Royal, the first day will always stick out in my mind...An excruciatingly early train from Suffolk in the morning, arrive in York in the rain. But it was all OK because I was going to be working for a professional theatre company, all very exciting... EXCEPT! Nobody had bloody turned up! Some stupid volcano had kept everyone abroad, just my luck! Nevertheless, even though half the cast was missing, it was still brilliant fun "rehearsing". I don't think I've ever laughed as much as that first rehearsal.

Edinburgh, that was unreal. Whenever I talk to anyone involved in theatre about what we did in Edinburgh, they look at me as if I just told them I killed their cat. "Nine shows? Nine shows? You performed in three shows a day?!" Well three shows one day, two the other...and flyering, and sometimes we'd work on the bar... "What!?" On paper it's hard work, but my god, it was just 24 hour fun everyday. Sure it gets tiring but once your on stage

in a Belt Up show you forget that pretty quickly.

My mental health was slightly tinkered with in Edinburgh after playing easily over a dozen characters, plus my freak Royal Mile creation Giraffe, the northern child who was painted as a dalmatian. I do worry I may have personality issues, especially after performing in Odyssey, the Greek tragedy that offended more Scotsman readers than I care to mention. It was dark it was disturbing, it was the show that I wouldn't let my Mum and Dad see. It did show me another side of people, seeing both eight year olds and OAP's alike take great glee in declaring "I've got balls!" then absolutely battering Dan Wood with a selection of ball pool balls. Odyssey also broadened my sexual horizons, but that's for another blog...

Whether it was Jethro drinking what he thought was apple juice, Marcus making a cameo as Oedipus, Joe continually getting his bloody slides the wrong way round or whenever Dali did anything... it was always impossible not to corpse, and if that isn't the sign of a group of really close friends having a lot of fun on stage I don't know what is. I have made some of my best friends during the last year, and have easily had the most fun ever in my life ever. The scary thing is, I don't know if I'll ever be part of something this amazing again...bugger.’

Chris was part of the ensemble in The House Above playing Magritte in Lorca is Dead, Eteocles in Antigone and Male Puppeteer in Odyssey, he also played Puck in our A Midsummer Nights Dream in York in June.

'My Belt Up Journey Thus Far' by Joe Hufton

In March Belt Up begins 'The Beggar's Opera' at the York Theatre Royal, a project that promises to not only to produce a different kind of work but also challenge the way that Belt Up works. Not only do we have to get to grips with working in a much larger space than usual, the main house at the York Theatre Royal, but also working with perhaps the largest cast to date. As such the production team for The Beggar's Opera is much bigger than usual for a Belt Up show, and this is where I come in. I am Assistant Director during The Beggar's Opera and will be keeping you updated with blogs, videos and tweets throughout what promises to be an interesting rehearsal period. I thought I might use my first blog to tell you a little about myself and my Belt Up 'journey' thus far.

My Belt Up story is perhaps one of the oldest of any of the current members of the extended Belt Up family, I have been involved now for nearly three years. Like most of us I first got involved when I was at York University. I had done lots of acting before going away to study English at University but for whatever reason it would be Easter of my first year before I finally made the decision to audition for something. I had no idea what to expect when I went to auditions for the Drama Society that term, I had no idea how they worked and no idea what shows the society was doing, so I picked the first door I came to, it was 'A Clockwork Orange' by Anthony Burgess. It seems funny to me now how uninformed this decision was, a quick look in the campus magazine or on the Drama Society website would have told me that 'A Clockwork Orange' was the latest show by 'Belt Up Theatre' and that it was in the studio of the York Theatre Royal, and that this 'Belt Up Theatre' had just been selected for NSDF '08 with 'Metamorphosis'. However I was blissfully unaware of what I was getting myself into!

So I found myself in the coolest show the society produced that summer and the coolest thing at the Edinburgh Fringe that August. I managed to land some brilliant roles in 'The Red Room' that year and made some great friends over what was perhaps one of the most hectic months ever! There was a definate excitement about that first Edinburgh, we didn't really know what we we were doing but we knew that what we were doing was different and that it mattered. Looking back it makes me laugh thinking of the effort and stress that it took to get 'The Red Room' on its feet that summer, especially if you compare it to the size and scale of the projects we now take on. The House Above for example had four spaces each more elaborate and bigger than The Red Room and took half the time to build!

Needless to say I am still here three years later and am now living with James, Dominic, Alex and Jethro and enjoying working for them and with them. Over the last few years I have; played a lecherous old fox, run through the streets of Edinburgh in the pouring rain performing a 20 minute fight sequence, nearly capsized a boat dressed as a public school boy, sacrificed myself to save my clown daughter, lived for a week as a delusional Victorian Explorer, thrown plastic balls at blindfolded members of the public whilst dressed as Luis Bunuel, got completely naked for a 'Surrealist Experiment,' spent 3 weeks underneath a railway bridge in London and climbed Arthur's Seat at night, with a large group of people whilst under the influence no fewer than 3 times. And thats only the start of it.

And now for the next part of my Belt Up Journey, being part of the Creative Team for Beggar's Opera. I am sure that like any Belt Up project there will be many more stories to come, and I will enjoy keeping you up to date over the next few months.

Thoughts on The Boy James

I arrived at my girlfriend’s house the other night and she was sat watching Finding Neverland, one of my all time favourite films. For me it has something truly magical about it, something fanciful which is all too often impossible to capture, but it somehow wonderfully substantial in the film. I’ve no idea how or why, but I find it captivating and heartbreaking.

A friend who was watching too ended up in floods of tears by the end and apologised, almost as if it had taken her by surprise. I remember a few years ago, myself and the rest of the boys went back to my parent’s house for some beer and curry and afterwards watched Finding Neverland. By the end of the film we were all sat nursing our beers in quiet and unexpected tears.

I can’t really remember when or why I wrote The Boy James, but everything to do with Peter Pan seems to be important to me and I’m not really sure why. It’s one of things which seems to resonate with me, not as a play or a story but just as a notion.

A while ago we were doing an interview with someone about our work and what our political views were. I had never really thought about that before, well not explicitly. I think people can only write about what they know, about what they love or have experienced. I could never write something that is beyond my own experience or imagination. I know that seems like an obvious thing to say, but looking back I think this is, perhaps, why Peter Pan feels so important to me.

I’m very lucky and have a wonderful family who I am still very close to. Indeed my older sister works at the Theatre Royal where we are resident. And with my wonderful family I had a wonderful childhood. My sister and I would spend hours lost in play and magical worlds. She would make things up and I would simply believe her because there was no reason not to. This lead to some wonderful times and some heartbreaking ones. There are many photos of me dressed up as whatever she wanted me to be in her stories or plays. I remember that there was a fairy-land that she was allowed to go to but I wasn’t, despite the fact I was dying to. She had a fairy and so did I, mine was called Zack.

The memories I have of my childhood are very fond ones and very happy ones.

In Finding Neverland there is a line which I had forgotten about until recently. Barrie is describing to Sylvia how, when he was a child, he dressed up as his recently deceased brother to try and make his mother happy. He says that that was the first time his mother truly ever looked at him ‘and that was the end of the boy James.’

It’s strange that I had forgotten this line in the film for a few reasons, the most obvious being because it must be where the title of the play comes from. But more than that, it pinpoints the entire feeling behind the play – the whole notion in half a line. If only my writing was that succinct!

Of course, as we all know, Peter Pan is about growing up and not growing up, about the fear of moving out of childhood and in to adulthood. In Finding Neverland, that transformation occurs instantly, without struggle: ‘and that was the end of the boy James.’

I am now, somehow, twenty-two. Somehow twenty-two years have passed and I haven’t really noticed. Without really thinking about it I have gone through nursery, primary school, secondary school, sixth form, university, learning to drive, being allowed to drink, moving out, getting a job, earning a living. I’m years away from the fairytale lands that I used to play with my sister when I was four or five, but I haven’t noticed the change. For me there has been no defining moment for the end of the boy Alexander. Indeed I couldn’t say whether the boy Alexander isn’t the same person who is now twenty-two because I don’t think I feel much different. But at some point I said goodbye to dressing up as part of my sisters games, of playing Power Rangers, of making cardboard boxes in to machines with my dad, of building secret dens under my bed; but I couldn’t tell you when that happened.

I find Peter Pan fascinating because I love fairytales, the simple belief in the beautiful. And I think this might be the same as my retrospective thoughts on childhood, that ability to accept and believe that things are beautiful and fascinating purely because, to you, they are. I think this is something I never want to lose or let go.

What happens in The Boy James is the equivalent of that line from Finding Neverland and is something that has never happened to me and I hope never will; I have no desire to draw a line under my childhood, having to do so would be heartbreaking. I am not willing to bid farewell to my childhood self, as if he is a different boy to the twenty two year old sat writing this, because I don’t think it is.

Peter Pan poses the question of growing up, but this is a notion we have imposed upon ourselves. Of course we cannot play around in cardboard boxes all day every day forever, but who says we have to throw them out?

Alexander Wright - Co-Artistic Director and author of 'The Boy James'

'The Boy James' at Southwark Playhouse London, Jan 2011

The Business of Show Business

Whilst some argue that a business approach to theatre can detract from the artistic outcome, without it the industry could not survive. Without it the great work that is produced would be a hopeless pipe-dream. The implications of finance and business affect every aspect of a theatrical production, and as our company moves further into a professional environment this becomes increasingly important. As students we ignored this; we regarded the term ‘commercial’ as a negative one. It’s far more romantic to see oneself as a struggling artist, working for nothing, making theatre because you have something to say, something that has to be said at any cost. The reality is something different. When you rely on the commercial success of your project to fund your next meal suddenly everything becomes different.

Over the last year, I have heard a number of people argue the case that ‘no-one is making any money here’. This statement is made referring to a theatrical enterprise, a theatre or company that holds the potential to be something great, something financially viable, something that in the right hands could become a sustainable commercial venture. But this statement, ‘no one is making any money’, is made and it is spoken with a sense of pride. The tone of voice offers the sense that the individual feels they are truly an artist; that the lack of income for their project somehow represents a sense of honesty and morality that cannot be found in the commercial theatre. Perhaps even the idea that commercial theatre is something to be frowned upon, that the practical business logistics that keep the industry running are somehow a negative force. It seems as if some have forgotten the aspect of business in show-business. I feel small companies should be making money, or at least covering their costs. It is rare that the justification for losing money on a project is viable. Occasionally someone will talk of a project that can never be financially viable, where the nature of the project, where its artistic principles are so strong that it cannot fit into a commercially compatible format. These projects will no doubt rely on subsidy, on support from funding; they are unable to exist commercially. In my opinion, this is totally acceptable but rare. From where I sit, too often work is produced that exists through funding, from the support of an external body that, if successful, could exist without it. If the project has the potential to be viable, it should be. The idea that without the support of external bodies, projects cannot exist is applied too widely across the industry. If the show has the capacity to exist but does not succeed through a lack of commercial success, then the project has failed. As companies should we expect for someone else to be subsidising our trade? To play devil’s advocate, should the tax payers be paying for something that they don’t want to see?

Having produced dozens of shows for Belt Up Theatre, a company that relies on a sense of intimacy between the audience and the show, people often question how we can achieve this artistically without sacrificing the financial side. The answer is, with great difficulty. However, all these difficulties aside, we have succeeded in avoiding the dilution of our artistic principles with business practicality. The difficulties we have faced over the last year and a half have challenged the very existence of the company. Now, just into our second year as a professional company, we face the most difficult challenge of all and it has nothing to do with sustaining artistic morals, but facing what all commercial entities must face.

This run in London has confronted us with the reality of the risk that we take in producing commercial theatre. And the risk, unfortunately, is a financial one. When a production relies entirely on sales, the capital raised for the project hangs by a thread and, at the end of the day, it is the public that makes the call. If the show is a success, the money is returned safely, if not, then you are left facing the deficit. The reality of the financial risk you take when producing a show is distant and unrealistic at best, the figures exist in a spreadsheet fiction where the implications of loss cannot be factored. To consider the outcome of such a loss isn’t constructive and, at worst, is potentially destructive. When this risk exists only in figures placed in a spreadsheet in formulas that treat it no differently to any mathematical equation it is something intangible, something that bears no resemblance to reality. And the reality only forms when the figures on the spreadsheet no longer represent a hypothetical profit or loss but represent a genuine, actual loss.

For a company that relies entirely on the financial and commercial success of every single project, the reality of actual loss holds potentially devastating consequences. The position of the producer within this enterprise is to closely observe and monitor the finance of such a project. The reality of the deficit that can grow is one that can appear long before the run closes. As daily sales reports demand higher rates of sales in the oncoming performances, the spreadsheet’s required capacity percentages begin to soar steadily. First through the feasible, then into the unrealistic and eventually the impossible. The public, the taxpayers, have spoken. Finally the theoretical is made real and for a young company, and its young producer, this loss is difficult both financially and emotionally. It makes you question the cost of what you’re doing. It brings the true risk into perspective. And it makes you think, ‘wouldn’t it be great to be subsidised.’

Jethro Compton - Co-Artisitc Director and Producer

Belt Up in The Stage

Earlier this week Dominic and Jethro were featured in the Dear John advice column in The Stage.

Asked for advice on how to adapt an epic story onto the small stage:


DOMINIC J ALLEN
You can't underestimate an audience's ability to suspend their disbelief. It's the theatre-makers most useful tool in reducing the scale of a play; you can have a multi-million pound set and a cast of hundreds but if you don't have a compelling drama that encompasses those epic themes, then you haven't got a play anyway. Once you've satisfied the play's basic requirements, anything extra is probably superfluous. Even when you can't do that there are still ways around it.

In Lorca is Dead, for instance, there are many plays within plays and because the audience are willing to suspend their disbelief, you can get around the vast number of characters through meta-theatricality and getting the audience to play parts. One could argue it undermines the themes and storyline; in fact I would say that it merely changes the way the audience connect with them. Once an audience becomes involved that directly with a storyline, they may miss the occasional subtle bit of plot but they will then have a vested interest in the outcomes for the characters on stage.

Establishing 'the rules' early on in the play helps in getting the audience to come along on the journey. In Lorca is Dead, anybody can play Lorca – but he needed to be clearly identified. A complete costume change was out of the question, so we boiled it down to a simple red scarf. The scarf is set up as a symbol for Lorca as soon as he gets mentioned, and that's all that's required. If the principles are established early on, the audience's collective imagination will do the rest of the work as you go along.

Ultimately, reducing the scale of a show but keeping its power comes down to making logical choices. The simplest solution is often the best. When you can't do something the way you'd like, find a way you can and make it work to the same effect. In Lorca is Dead we wanted Lorca to be everyone's main connection to the play without casting someone as Lorca; the most logical, simplest solution was to get everyone to play him. The result is that when he finally dies, the tragedy hits home especially hard for the audience members who are sitting saying to their friend: “That's me up there...”

JETHRO COMPTON

Epic stories are something that link all of our shows; we’re a company with storytelling right at our heart. I’d always loved the imagery of the Hunchback swinging from the towers of Notre Dame. Obviously that’s something that’s not going to transfer to a small stage very easily. For me ‘Quasimodo’ is more about the story surrounding the four characters, and it’s simple enough.

Rather than tackling the politics and Parisian architecture that are so important in Hugo’s novel, I’ve concentrated on the characters right at the centre of it. I’ve told only a small part of the story, the part that I found most interesting. To try and present every inch of the novel onstage or even just to try and cover all the themes would be disastrous. The themes that ‘Quasimodo’ takes from the novel are ones that relate and transfer most easily to a modern audience. The show is what’s left once the epic story of the novel has been and stripped back to its core. ‘Quasimodo’ presents the themes of ‘Notre Dame de Paris’, it presents its essence and hopefully captures the power of Hugo’s story. It’s the story of a boy in love with a girl, and the girl doesn’t love him back. I think that’s something everyone can relate to.

So if you’re working from a source text, something epic, I guess it’s important to find something at its heart that is more practical, more accessible and use that as your starting point. Don’t get weighed down by the size of the whole thing, just start with something small and manageable, the epic story will always be there in essence.