Spotlight On...Dominic J Allen and The Boy James

You’re back in the directing chair at Southwark Playhouse after Lorca is Dead in November. What’s different about The Boy James?

The Boy James has been a much more intimate directing experience, partly because the cast is so much smaller (three actors instead of eight) and also the tone and texture of the piece is sort of the opposite end of the spectrum. Something the two plays have in common for me as a director is that they both require the audience to be given a helping hand on the journey. In Lorca, for instance, there was a lot of assumed knowledge about surrealism and history that it was important we made sure everyone in the audience was able to be filled in on things they missed. The Boy James doesn't necessarily assume any prior knowledge about anything but the subject matter can be somewhat oblique. This is the great joy of the piece; it's mysterious, intriguing, sinister – so it's important to make sure the audience are with us all the way so they get the full experience by the end.

Is it hard to switch between the two styles, the madcap nature of Lorca and the intimate tragedy of The Boy James?

One of the good things about having done Lorca immediately before Boy James is that I feel I've got a bit of practice in when it comes to pulling at the heart strings. Although Lorca had its topsy-turvy moments, it also had an emotional centre. The Boy James is very similar in this respect except the melancholy is more profound and perhaps more immediately visible. So, in a way, I guess it's not as hard as it may first appear. It's been an interesting learning curve though, taking the plunge into these darker areas.

Belt Up’s shows are typically interactive and involve the audience in the story. What is the audiences place in The Boy James?

It suits the piece that it's never made explicitly clear who the audience is or what they represent. The cast and I have got our own ideas about that, of course. The important thing about the audience's place in the play is their journey with the boy. They enter as old friends – perhaps even imaginary friends, or memories – and some audience members can expect to be cast in certain roles but their involvement will shift as much as the boy's experiences shift. You'll have to come and see for yourself where the audience end up.

Belt Up works at break neck speed, coming straight to Southwark after a rural tour of Octavia. How do you find the time to get a show back up and running?

It wasn't half as bad as I was expecting, actually. We had to rehearse in a new actress (Lucy Farrett, taking over from Veronica Hare) but it was easy for us all to slip back into it. It was also very useful returning to a play that's already had a good month long run in Edinburgh because there were things we knew we wanted to change and try out. As we all got back into it so quickly, it gave us some time to put a few new ideas to the test.

You were here in November, what makes The Boy James worth the return visit for the audience?

Because it's not what you'll be expecting. Lorca, Atrium and Quasimodo, even though they weren't directly related, fitted together in a way that's hard to describe. The Boy James on the other hand has something completely different to offer so its worth just coming for a look. It's neither mad nor scary. It's something else...

Spotlight on... Jethro Compton and The Boy James

Tell us about The Boy James – how did it go in Edinburgh?
I think we’d all agree that the show was a success at the Fringe. We were lucky enough to play to full houses for every performance and received some really positive reviews (as well as a couple of comically awful ones). It was the first time ‘The Boy James’ had been seen by anyone; we didn’t do previews prior to Edinburgh so we literally had no idea what to expect. For us the play was about so many things; we spent a lot of time in rehearsals trying to work out all its meaning and what lay beneath the surface. I think one of the most important things we missed was the emotional potential that the play holds. In our first public dress in Edinburgh we were shocked and delighted when half the audience left completely broken by the story. We hadn’t anticipated such a reaction. I’m glad to say that it was a reaction that continued throughout the month.


You played the Boy in Edinburgh. How does it feel coming back to a role after almost five months off?

I’ve loved every second of it. To be able to come back to the show after such a long time has given me the chance to look at it in a completely different way. I can’t just remember how I did it before; I’ve got to rediscover it. A lot of what existed in the Edinburgh production has returned but a lot more has been added. We’ve had the time to take what we already know and find more to build on top of what we have. The cast has changed slightly as well, so we’ve not simply been rerehearsing it. For Lucy as the Girl it’s been a case of starting afresh and I think that’s definitely challenged the rest of us to push ourselves even further.

You don’t sell yourself as an actor, rather a producer. Why do you want to take on and continue this role?

I’ve taken a break since the Fringe to give me more time to focus on producing but I always said that if the opportunity came up again I’d definitely want the chance to play the Boy again. I think part of the reason is that I felt in Edinburgh I didn’t get the chance to put everything into the character; as well as performing in two other shows, writing two shows and directing two, I also produced The House Above and the eight shows that were part of it. The amount of time available to me was so limited that I never even once had a chance to look at a script outside of rehearsals; working fifteen to twenty hour days for three weeks straight meant free time was such a rarity that I felt it should be used for sleep rather than anything else. Now there’s a chance to go back to the play and to the character with the time they deserve I couldn’t really say no.

It’s a very intimate piece. Is it difficult to create a relationship with the audience that is so seriously jeopardised, or changed, by the end of the play?

The first time an audience filed in for the show I was absolutely petrified. One of the real difficulties with any of our shows is that you can’t really rehearse until that moment. It says in the script to ‘play with the audience’, and until you have that audience you can only imagine what that moment’s go to be like. I was so relieved to discover that the audience seemed more than happy to oblige, they laughed and played along and offered everything they could. I think creating a relationship with any audience is hard, however, it’s the focus of such a large part of ‘The Boy James’ so I think it comes quite naturally. Once it’s there, jeopardising it or changing it is outside of the Boy’s control. For me as an actor I don’t feel it’s a difficult change, but maybe one that does leave me feeling a little guilty.

Is it worth watching, especially as you were only here two months ago?

Absolutely. ‘The Boy James’ is so different from the shows that featured in the Belt up Season in November. That’s why it sits alone. I think it’s a show that will appeal to all. There is something in ‘The Boy James’ that clearly has a truly emotional impact on its audience. I can’t say what it is, not because I’m not allowed but because I’m not able. There is something here that can only be felt when you make the journey and go along with the Boy’s adventure. I can’t encourage you enough.

What The Audience Think...

Thoughts from Val Burgess on her first Belt Up experience...

'I thought about doing a write up of the shows that I've seen over the past few months, but instead I'm sending you what I wrote shortly after seeing The Tartuffe, my first Belt Up show, when I knew nothing about the company other than you'd started at York Uni and were now in residence at YTR.

I knew I was going to enjoy Belt Up Theatre’s The Tartuffe when we were standing in the theatre bar, and members of the cast were mingling amongst us. We chatted with clowns, ladies in corsets, mimes, and the great actor Orgon Poquelin (who was a little put out that we didn’t realise that he was the star of the show), and a chap who asked our names, which we obligingly told him.

As we went to take our seats in the second row of the stalls, the same chap was learning over the edge of the circle, and announced to all the audience ‘here ladies and gentlemen, we have Val and Julie, who have just entered’, of course, we took a bow, and took our seats.

What I hadn’t realised was that we were attending the very final performance of The Tartuffe, and over the last couple of years, and performances in York, Edinburgh, and London, this show has gained it’s own cult following. Belt Up’s style is Immersive Theatre, and for this last show, there were a lot of people who had seen it before, and were happy to get involved. Most people on the front row were dragged up on stage in some way. I was, of course, kicking myself that we were on the second row.

It was, quite simply, the best production I’ve seen for some time, funny, clever, very irreverent, with enough theatre ‘in-jokes’ to make a theatre snob happy, and then some.

By the end, the whole of the audience were on their feet, as Orgon died, and was lifted aloft like a dead Christ. The cheering went on for some time. This time, I didn’t begrudge the standing ovation, they deserved it. They’re in residence at York Theatre Royal, and I’ll definitely be seeking out what they do next. Also, they have a blog. Seek them out people, you won’t regret it.

Since then, I've seen Midsummer Night's Dream, Lorca (which I recommended to a friend in London, who also loved it, and who also recommended it to friends), Antigone, Macbeth, Elsewhere, and Octavia. I've seen you perform in attics, open spaces, a library and a pub restaurant. You've made me laugh, cry uncontrollably and celebrate the sheer joy of live theatre. I'm looking forward to what 2011 brings.'

Thanks Val!

Keep them coming...

info@beltuptheatre.com

What The Audience Think...

We asked you for your thoughts on Belt Up and your experiences over the last few years.

Here’s the first in from Andrew Skipper.

‘During this years Edinburgh fringe I was dragged, somewhat hung over and unwilling, to see a production I'd never heard of called Lorca is Dead, I had no idea who you were and had never seen any productions before, the only prior knowledge I had was of reading Lorca's Blood Wedding which i didn't even like

Needless to say I left the venue that night amazed, I loved your production and was astounded by the style in which you performed it. I was so blown away I found a similarly unwilling university friend of mine and bought her to your final night at the Southwark playhouse. This time I knew what to expect so I made sure to sit right in the action on the floor and because of this I; had my face stroked by Dali, performed the elephant, had Dali and Gala lying on top of me and my friend was brought up to read some of the lines behind Breton's desk.

She was just as amazed as I was the first night I saw it, in fact this was better than Edinburgh for a few reasons but mainly because of the lack of clapping at the end, in Edinburgh someone started a round of applause which I found didn't feel right but this performance went perfectly and we left the theatre that suitably distraught and in awe.

One moment that has stuck out in my mind is the ending image of Breton behind his desk, distraught and broken, in both performances this was a brilliant piece of acting which I couldn't look away from, so much so that I remember seeing the actor playing Breton out and about in Edinburgh the next day and feeling very odd in need because as a company you created a level of character realism which I haven't seen matched to date and seeing caught me off guard!

Unfortunately being students we couldn't afford to stay for Atrium afterwards at Southwark but have just bought tickets to the final show of The Boy James on the 28th, which we are highly looking forward to.

So many thanks Belt up, for a wonderful performance and giving us a kick of inspiration which is helping with our own work at university!’

If you want to send us your thoughts then drop us an email on info@beltuptheatre.com.

Ta.

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...