Daniel Winder

Ears bleeding. Its a good pain. Its a good pain.

[From last.fm]

You always remember your first time. Not the first time you did it, necessarily, but the first time it really mattered. For Ali Love this came relatively late: he was 23. He’d flirted before of course, with drum’n’bass nights in his mid-teens. But the first club he really loved was Secret Sundaze, a summer party that ran from noon to midnight in various venues in London’s East End.

“We’d been up for a few days, and we just stumbled into this club. It’s been the closest, in recent years, to the real true acid house experience. Eclectic music, people from all over the world just having a great time under a massive disco ball. I started going all the time. And I got into house music. Deeply into it.”

He pays tribute to the club with the track ‘Secret Sunday Lover’, but the whole of his debut album ‘Love Music’ is a homage to hedonism, to the tingle of anticipation when you’re dressing up for a big night out, stepping out into streets heavy with weekend expectation, finding or losing love on the dancefloor – and of course flying to outer space and back, which may be a metaphor for the club experience or just a sign that Ali’s other big influence growing up was Star Wars. (He still owns five light sabres, which seems to be rather more than is strictly necessary.)

Ali also provided the vocals for the first single, “Do It Again”, released from The Chemical Brothers 2007 album “We Are The Night”

Love Music will be released early 2008. Look out for his next single, ‘Late Night Session’, which will be released as a download on September 29th and on physical formats October 8th. 

[From Last.fm listing]

Ou Est Le Swimming Pool were an electro pop band based in Camden, London, England. They are most known for their track ‘Dance the Way I Feel’ and the Armand van Helden remix included on several mixes over the summer of 2009.

The band first formed as a three piece in 2008 when late founding member Charles Haddon met up with other members Joe Hutchinson and Caan Capan. Anders Kallmark joined the band soon afterwards. 

After a concert at Pukkelpop festival (Kiewit, Belgium), on Friday August 20th, 2010, the band’s frontman, Charles Haddon, committed suicide. Haddon was reportedly “deeply upset” that he’d landed on a female fan during the band’s show after he dived off the stage. His manager, Sam Farr, stated the fan’s father had suggested he might take legal action after claiming that his daughter had suffered three damaged vertebrae due to his crowd surfing.

The singer had spoken to her father on the phone after the show, and then drank beer and vodka before hanging himself with a belt in a car park backstage. He was found to have 197mg of alcohol in his blood, which is more than twice the legal drink-drive limit.

The London three-piece were in Europe playing a number of festivals and were due to perform as part of Australia’s touring Parklife festival next month. They were also set to embark on a headline tour of the UK in October.

Fame at last !

Right now in New York ‘Occupy Wall Street’ protesters are camped out in Zuccotti Park in the heart of NYC financial district. Their protest has grown over the last six weeks to become a small but significant nationwide movement with copycat ‘Occupations’ across more than 160 American towns and cities. Their simple message is that for too long the lives of the 99% majority have been ruled, controlled and oppressed by the influence and power of the 1% super rich. It is a message which resonates across the whole of our capital dominated world.

Though protesters may well be forced out of Zuccotti Park by the end of the week, it is likely their movement will continue to grow; particularly as it is now receiving the oxygen of mainstream media publicity. 

The ‘Occupy’ movement appears to be just the latest in an increasing tide of citizen-organised political actions worldwide. Standing outside conventional political structures these movements, started on twitter/facebook, and then eventually re-broadcast on the mainstream media, are setting an agenda that leaves political parties and pundits far behind. Their actions, often quirky and theatrical in nature, are reinventing protest for a new generation of the previously politically un-engaged. Though organised, sustained and promoted through online networks they are resulting in physical acts of communion; people coming together to bare witness and speak as one. 

In the blogs there is talk of 1968; of a new civil rights movement; of a world citizenship finding its voice. Much of this is usual hubris of the old voices of the Left but there is also something young and new moving in the body politic. Something different. Though protest in itself never created a job, or lifted someone out of poverty, it can influence the public conversation of a country. Change the conversation enough and you can effect the culture, alter the culture and you start to change lives.

I run a small theatre company. We have little money and no great resources, but we have been around for four years and are still here so, to a certain extent, I have a small platform.

What is my responsibly? Is the political space one in which it is wise or appropriate for me to comment? I’ll give you and example; when the row broke over the Liberal Democrats student tuition fees betrayal I used Iris Theatre’s Facebook and twitter feeds to send out links to blogs and petitions like 38degrees. I was surprised to get some people respond to this by asking why we were getting involved; why was a theatre company tweeting about politics? Why indeed? We don’t do overtly political work (A Midsummer Nights Dream is hardly agitprop).

I suppose I just felt a strong sense of personal connection with the issue and so used every channel I had to add my voice to the public conversation. But should I have used Iris to do that? Should I do more of this? or less? Should Iris Theatre do more? Or should a theatre company ‘just stay out of it’?

If theatre is there to hold  ’a mirror up to nature’ should it hold a mirror up to society too?

The problem of bringing politics to theatre is not just that you can alienate certain members of your audience, but also, of course, that political theatre too often equals bad theatre. It’s earnest, dull, overly worthy, and there’s not a decent song in there.  

If we want to make new political theatre is it possible it can also:

a) entertain?

b) not just preach to the choir?

c) be complex and three dimensional rather than cartoonish, with ‘demon bankers’ and ‘oppressed workers’?

d) be a conversation rather than state any one solution?

e) above all else, be truly dramatic?

With a new model of political engagement evolving and emerging from the seedbed of social media what is the new model for a political theatre to grow alongside it? What would fathers Brecht, Miller or Boal do with this new landscape? How can we use the momentum and passion of a new generation awakening to their political voice to create a new radical political theatre? A theatre that is funny, hip and engaged;entertaining as well as uplifting?

We as theatre makers of whatever background; fringe, commercial or subsidised, are also citizens. As citizens, just like everyone else, we have a right, and a duty, to engage in this once in a lifetime worldwide debate.  

No show ever started a revolution. Theatre doesn’t change the world. But then no one citizen changes the world either. Change only comes from collective action, from the bringing together of people in service of a common goal. Can UK theatre help to catalyse that communion? What can we do to encourage our own citizen-based reOccupation of our political space? 

One of greatest all time music videos. 

Staggering.

For Georg.

Sexy. 

Electric.

Brutal.

Finally, the pieces of the puzzle are coming together..

Had a great meeting this week to discuss our forthcoming Opera Project (http://www.iristheatre.com/Contents/IrisShows/NewStylePage/OperaTwelve/OperaTwelve.html)

It’s brilliant when there’s people sitting in a room, all creative and all specialists in their field. We talked about everything from the unique nature of the piece (and the way it’s going to fuse together lovers of opera and theatre), to the physical constraints and opportunities of performing in a church space, to the potential it will have to create a life beyond St Paul’s..

As an Artistic Director of a large London theatre company said to me recently, the key to great and successful theatre is collaboration.

And it’s all about the team, and building relationships - especially outside of your little bubble.. 

Us Producers have to get out there, get involved and involve people and organisations near and far. One word. Synergy.

Focus Hard, Twist this way, Turn that way and suddenly the colours start to match up.

Nick

A Great piece of news this week, we have received our first ever Arts Council funding for our ‘Circuit’ project. From the 27th May we are undertaking a week of Research and Development at Circus Space in London exploring a new interdisciplinary, dance, circus and theatre project called Circuit. We will be working with contemporary ballet company A.D. Dances, Circus Space graduates and ACDC members.

Although it builds on work Iris had already begun exploring it’s a great opportunity for me to get cracking on the production side of things from the foundations upwards.

This is what creating exciting new theatre is about, focusing our core goals of supporting emerging new talent and making something fresh, new and innovative. 

I’m so excited I could don a pair of spandex tights and a dance belt, shimmy up the ladder and launch myself on the treacherous trapeze! Mind you, it’s sounds a bit chafing, and to be fair I go dizzy climbing the stairs..

Better stick to metaphorically heady heights of producing… now.. where DID I save that spreadsheet…

Nick 

Just a quick note to say I’m delighted to have been offered a sought after place on StageOne’s Workshop for New Producers at the end of April… http://www.stageone.uk.com/courses/

The Workshop for new producers is an intensive course specifically designed for those who have not previously produced commercial plays, or have only limited experience, but have a firm commitment to a career in theatre production.  The course takes place twice a year in Spring and Autumn.

The three-day Workshop provides detailed information on how to set up, produce and promote commercial productions in the West End. Sessions include

• commissioning, optioning and acquiring the rights for a play
• overall financial view of productions
• detailed budgeting sessions
• trade associations
• talent union agreements
• co-producing with a regional theatre
• booking a tour
• finding and contracting West End theatres
• marketing, publicity and press.

Sessions are conducted by leading industry practitioners, and full papers are provided.

Supported by the Leopold de Rothschild Charitable Trust.

Nick :-)

Sci-Fi Inspired Graphic Artist , Iris Theatre

Iris Theatre is a dynamic young company resident at the world famous Actors Church in Covent Garden. “Fresh & immediate” - Sally Stott - The Guardian

After a very successful spring and summer 2011 season Iris is putting together its projects for 2012. 

In May 2011 we launched our cross-disciplinary dance, physical theatre and circus project Circuit. The world of this project is inspired by images of future dystopic worlds like Ridley Scott’s Blade Runner, H. R. Giger and the darker reaches of Japanese Anime and garphic novels. 

Taking the project forward in 2012 we are looking for a graphic artist with a particular interest and knowledge of science fiction graphic novels to collaborate in the design and character development of the project.

Check out our website for more information on current, past and future projects and if you are interested drop us a line at production@iristheatre.com.

Best wishes

Dan Winder

Artistic Director

Iris Theatre

How did Iris Theatre come about? 

Iris Theatre was created initially just as a vehicle to do one play, T.S. Eliot’s Murder in the Cathedral. Having just graduated from the Acting course of Drama Centre London in 2006 I was looking for a project to keep me going creatively beyond the standard search for jobs. My strange personal fixation on Eliot’s 20^thcentury verse masterpiece seemed a good place to start. 

As someone who has a passion for site specific theatre I spent 6 months in 2006-2007 looking for a church space in London to perform Eliot’s play; which is centered around a cathedral. Finally I arrived at St Paul’s in Covent Garden (affectionately known as the ‘Actors Church’) and in March 2007 produced a production which ran for just 2 weeks and luckily made some good money. 

Having had a success with my first play at St Paul’s I returned 6 months later with Tony Harrison’s Mysteries cycle. 

Since those first two productions in 2007 the company has grown organically. We set up an official board and gained charity status in 2009 and over the following two years have continued growing, adding in our large outdoor summer show, and becoming the healthy permanent organization we are today. 

Who are your collaborators? 

The main organization we collaborate with are:

·                     St Paul’s Church, Covent Garden – the venue for all but one of our productions so far and also where Iris Theatre has its offices.

·                     The Orchestra of St Paul’s – the resident orchestra at St Paul’s with whom we have collaborated on 3 operas.

·                     Antique Dances – a dance company which uses St Paul’s regularly and with whom we have collaborated with to a greater or lesser extent on three shows.

Other organisations that support our work in some way are:

·                     The Thanet Youth Club – a rehearsal space in North London.

·                     The Royal National Theatre – they lend us lights and set.

·                     The Royal Opera House – they also lend us lights. 

·                     Thelma Holt Ltd – who provides mentoring & fundraising support.

The main individuals who are contributors to Iris’ work are known as our Artistic Associates. These include:

·                     Ben Polya – a freelance lighting designer who has designed all 10 of Iris large scale shows.

·                     Laura Wickham – an actress in 5 Iris shows and also one of the co-producers of Working Process, our new writing strand.

·                     Elissavet Aravidou – a movement director and performer on several Iris Theatre shows.

·                     Matthew Mellalieu – our longest standing actor having been in shows with us since 2007.

·                     Candida Calidcot – a composer and musical director who has arranged and composed music for several of Iris Theatre shows.

How important is St. Paul Church in Convent Garden to you? 

From an organizational point of view St Paul’s is essential to our existence as a theatre company. They provide office space and logistical support throughout the year and also subsidized performance space for many of our productions. 

Moving into 2012/13 we hope to take our work beyond St Paul’s but it will remain at the heart of our organization.

How important is sense of Community in your work? 

Community is central to our ethos as a company. Iris exists to serve several overlapping and complimentary communities. 

Firstly we provide the local residential community of Westminster and Camden with affordable theatre and performance in an otherwise wildly expensive West End theatre environment. 

Secondly we act as a meeting point for London’s wider theatrical and performance community, offering performance opportunities, networking and mentoring to young actors, dancers, singers, writers, composers, directors and producers who otherwise would not have a platform for their work. 

Thirdly we are a highly visible part of London’s tourist trail in summer and therefore also serve the international community, many of whom make up the 21 million annual visitors who cross Covent Garden piazza, past our front door, every year.   Every time we are casting a play we try to create a sense of community and camaraderie between the people who are coming together to create theatre. This sense of community will then hopefully be translated to the audience and the wider London performance network that is connected to our work.  

How important is text in your work? 

Text has been central to a lot of our work so far as a company. We have produced several great classical verse plays. From Romeo & Juliet to Dido & Aeneas, to Alcestis or A Midsummer Night’s Dream we have already been lucky enough to tackle some great ‘text’ pieces. We try not to impose too much high concept on these text-centered works but instead take our starting point from the plays themselves, line by line and word by word, and let any concepts emerge organically out of the words of the writer. 

However, text is not the sole heart of our work here at Iris. Our stated artistic mission is to ‘create site specific work which uses epic spaces to house total theatre; encompassing music, movement and text.’ All of our work uses strong elements of music and movement. With projects likeCircuit we are moving away for text centered work entirely and working more with soundscapes and movement. 

In the future we will continue to balance our more text-centered classical plays with more abstract movement-centered work. This duel track approach means that the two perspectives will continue to inform each other, making sure our text plays are full of music and movement, and that our movement pieces have a strong textual and mythological underpinning.

Why have you decided to work with young professionals? 

The honest answer is that, as with the shape of the company in general, our focus on young professionals and emerging artists arose organically out of the work we were doing. Our initial repertoire, the pieces I was interested in as a director, the performers we were working with, they all tended to be centered on young performers emerging into the business. 

When we were formalizing the company structures in 2009 we had to choose where to place ourselves in terms of our charitable objectives and it seemed a natural continuation of our work to date to become an organization formally tasked with supporting emerging artists.  

Personally I also enjoy the challenge of working with actors and performers just emerging into the industry and value the chance to support young artists as they begin to find their feet and their own voices within this crowded industry.

What do you feel is missing in the theatre community in the UK?

Generally the theatre in the UK is in a reasonable financial and artistic state. However, I am concerned about the increasing barriers to entry into the business placed in the way of the less privileged. Our industry is becoming more monochrome in terms of the financial backgrounds of participants.  

With acting tuition fees about to triple the acting profession is about to become a middle/upper-class only zone. This is going to lead to casting problems further down the line with fewer and fewer actors having an organic understanding of the way the vast majority of people in this country live their lives. In the area of directing and producing the industry in London seems to becoming increasingly dominated by Oxford/Cambridge graduates, not less so. People cannot really afford to do the years of unpaid grafting on the fringe circuit (off-Broadway) without an independent income of their own; and so the ‘old-boys’ network, which for years seemed in retreat, is once again in the ascendency in UK theatre.

What is your approach when dealing with actors? 

As a trained actor myself (of low to medium talent) I start from the basic position that I admire and love actors. I understand and appreciate their craft and I know what it takes to do what they do. This is a seemingly simple statement but one I sense a lot of directors don’t really agree with. If you start from a position of mutual respect then hopefully you avoid falling into many of the ‘man traps’. I try to avoid line readings, avoid giving explicit instructions. I try to use guidance and metaphor rather than being too explicit, and to use more questions than statements. 

Above all else the director has to inspire his actors with his vision of the piece and that vision has to arise from an organic understanding of what the writer’s vision is. If you can inspire the actors, if you give of your passion and of your heart, if you are precise without being prescriptive, then generally a cast will follow your lead anywhere. 

Do you feel classical plays are important in today’s society? 

Classical plays are just plays, like any other. However, they tend to be plays that have lasted the test of time and hence of a particularly exceptional standard. Plays which last have a universal application; they express something fundamental and unchangeable about the nature of the human soul. This universality means, if you can bring yourself as a performer to the play, and then bring that play into the space between you and an audience, then they will always feel startlingly modern, no matter how old. 

The great poets and playwrights all use language as transformative magic. A great performance of a classical text is a collective community experience for cast and audience alike and leaves everyone who participates subtly affected. If only for a moment, people see with fresh eyes the world in which we all have to live. Our actions are not necessarily changed by this collective experience but the truth of what humanity is capable of, both glorious and profane, is illuminated for everyone to see.

How is your theatre company different from others in the UK? 

Iris is not unique in what it does but a few things we do helps us to stand out from the crowd.

·                     Ours shows tend to be immersive. This goes beyond audience participation and moves the audience physically into the world of the play.

·                     Our shows are community events. Due the unique mix of our performance style and our venue our productions are particularly focused on creating a collective experience; audience and performers coming together as one.

·                     Ours shows blend high levels of physical, musical and textual storytelling; with each technique informing and supporting the other.