Wednesday started with a story about a door in a mountain and a girl who picked the flowers when she was asked not to.

We all went through the tunnel and there were fairy people in the world on the other side. Everyone had a flower.

Party games were played and some of the finest free style dancing.  

Then it was time to make up stories and this is Ben’s  Ben the skeleton.  

Ben the skeleton was jumping high and hit the clouds.  All his bones were broken in two, so he had to 

go to A and E where they were fixed together again.  We made some wonderful sound effects while the story was 

acted out.  What a lovely time was had at Lighthouse Storytelling session.  Thank you to everyone for joining in so well.

Storytelling today was very busy.  Firstly the story of Bear was told and everyone sat perfectly around the magic carpet.  He climbed up the mountain and crossed the river, everyone joined in the sound of the rushing water, but then he got stuck.  The children all became Bears finding really good places to scratch, only someone knew that Bears eat people, so we had to find someone to eat, just in time the music came on and the Bears made a dance.

The children and grown-ups made up interesting stories which were acted out: Ben told the story of the Mummies in the Egyptian Pyramid, Cerys and Isabelle were the Mummies, they found treasure.

The story of the Dragon, The Bear and the Fishies.  Then we went with Timothy the Pirate onto the Pirate ship.  It was all rounded up with a version of Cinderella.  I am sure I lost my shoe somewhere.

Thank you to everyone who joined Meme and made the storytelling at Lighthouse such fun.

Gecko performer David Bartholomew writes about his first time working with the company and the process of creating MISSING, coming to Lighthouse on 19 & 20 April.

Once upon a time in a far away land called London…

The Beginning

Coming from the circus this project was a comeback to my physical background.  I have participated in contemporary circus and dance creations before, also working with physical theatre people such as Marcello Magni and Kathryn Hunter. Although the past few years I have dedicated myself to text-based theatre productions it had now been a while since I had wanted to come back to physical based performance. Working with Gecko was therefore a great opportunity.

Not having lived in London I hadn’t seen Gecko’s shows before but had heard a great deal of good about them from my fellow actors. But truly I did not know what to expect other than ‘Physical Theatre’.

As soon as the audition began I felt in the right place since we began with movement. Whilst in the audition room you could feel that Amit [Lahav, Gecko Artistic Director] was a good leader, had a solid creative background, preparation and an incredible team. A few of the team were present and that was a very comforting feeling.

I was surprised how intense the physical-emotional preparation was, the body being used as a tool for expression. Amit led us through different exercises exploring movement and how it can change into emotion.  We then improvised scenes, explored rhythm and choreography. I discovered that his energy, guidance and sensibility were unique and thought that I must work with this man and his team.

It just felt right. I also felt that the curiosity was reciprocal and I even got to play accordion for them.

Ipswich Beginnings

Upon arrival in Ipswich I was welcomed as part of the family on the first day! Ryan Perkins and I were the two new performers to join the company. We went straight to work on intense physical and emotional training. Almost from the start the work on choreography began. In the beginning an everyday routine was held.

Much still remained a mystery. How would we build the show? Put the pieces together? Above all, what was this show about? I believe that was the main question that was in everyone’s mind.

“A Woman who’s soul is decaying.” was basically what Amit told us. Maybe a little more. We wanted to know more. Did we have to at this point? I was curious to discover how we would create this dream that has been in Amit’s mind for years.

He had explained that they worked on the show before, and wanted to use ideas found and developed in the first draft, but the reason he did not want to give us too much information was that he wanted to leave things open for our creativity. He was going to lead us into it step by step, giving us more information as we went along.

This piece had been put together before and it would be rebuilt on an existing skeleton. You could feel it amongst other things in the complicity between Amit, Georgina, Chris, and Anna who had been there before.

It was very important to me that this piece was the result of a long creative process and I was very grateful to have been chosen to be part of the new team. I was impatient to find out how Amit worked so I could figure out how I could contribute to this creation with my experience.

On the first day a question was asked: “Why is your soul decaying?” It was answered by all of us in our closed seven-person circle. We first shared our thoughts with a partner and then this partner shared it with the rest of the group.  The question and the answers had a profound resonance in all of us and were essential to begin the work.

We trained physically. Played games. Did preparative exercises for body and emotion. We had to get to know each other first. Eventually these games were used to get closer to the characters or situations of Missing. The introduction was slow and then we attacked the play!

We began exploring scenes frequently, starting with a simple situation. Very often based on exploring movement within an everyday scene from life. For example having a doctor examining Lily, who is our main character. The scene begins in a normal way but we soon discover that the doctor has unusual ways of examining the patient and she has surprising symptoms. A wife and husband’s evening in front of a television becomes a choreography of the soul, revealing the truth about their feelings towards each other, etc.

The most extraordinary thing during this creation process is that everything is being approached through play and lightness. This is a fantastic way to work and Amit strongly encourages it.

With Gecko I am also working with puppets which I have not done a lot of in the past. This has been an amazing discovery. I am still curious how the puppetry will develop.

I love that in this form of theatre one must be part of everything: be a dancer, a puppeteer, an actor, a stagehand moving the props around and bringing them to life. I sometimes have the illusion that there are more than five performers on stage. I wonder if the audience will feel the same?

I can also clearly see that with Amit the creation will never end. Even now, after having spent one month in creation we constantly question and rebuild parts of the play. Amit clearly said that for him creating a play never ends. I personally think that this approach is essential to maintain a play alive through time. There is nothing more satisfying for a performer than to be constantly challenged. In my opinion this approach is a must for director, actor and spectator. A constant research is priceless.

Simple ideas are developed to their limits and even further. I think when you go beyond that something unique happens. When you have the feeling that there is no more to be found is precisely when you have to work the hardest. It’s an extraordinary process. Terribly challenging but even more gratifying in the end.

Ooh, that title “Lighthouse and the Ballet Boyz” sounds like a new fairy story! Maybe I’ll write one! But before that here is my inspiration for this week…

If you have seen any of my work from my life before Inspire 52, you will know that I am Artist in Residence at Lighthouse, Poole’s centre for the arts, and have been developing my art practice with inspiration from the performing arts. This ongoing relationship with Lighthouse has been invaluable for the development of my work and you can see through my exhibition work, live art and 2D work that performance art has a great influence on my style.

When I began my residency at the end of 2010, I started making simple observations of shows by attending a wide variety of rehearsals and performances. These sketches have transformed my style and approach to my 2D work and have greatly influenced my use of black ink, as this is all I use now when I go to see shows. I tried colour a few times, but when the lights are down or up in various different colours, it is difficult to distinguish which pencils are which; I once illustrated a pink violin when I wanted it to be orange! And thus so, one of the reasons why my affinity with monochrome became affirmed in my current work.

In 2011 I created a collection of over 20 finished illustrations in direct real-time response to performances at Lighthouse, many of these were of The Bournemouth Symphony Orchestra (BSO), and exhibited works at The Monochronium exhibition in October 2011. Since then I have been developing new collaborations with artists and working on my upcoming six week exhibition which will take place from May to July this year at Lighthouse, which also features as part of Dorset Art Weeks 2012 (DAW).

So where am I going with all of this? Well, what I want to get around to telling you is that this week, I have started back with my observations of performances, and what better way to start than by watching a company of very fit men dancing and flexing around the stage! Yes, Ballet Boyz, hurrah!! It was a stunning show and in a way I feel my illustration does not do it justice, but I have aimed to capture the essence of the show through movement, set and the connection between the dancers.

It is always quite tricky illustrating dance or theatre as so much of it requires actively watching the performance, whereas when watching the BSO or other musicians or concerts I can let my ears do the watching for me and translate the sounds into lines whilst keeping my eye on the pen and paper. So when I say saw The Ballet Boyz, I probably only really saw half of the show!

Having said that, the music and the set were very inspiring and you can see this resonating though the journey of this illustration, also with recognition of the urban feel of elements in the performance. I very much enjoyed their use of projected film and brick work walls and windows as their backdrop. The use of space definition though lighting I felt was also really strong and absolutely loved how this interacted with the dancers.

As I like to create a finished piece in the duration of the performance, it is often very challenging when the performances are short. However, I feel that creating the work in real-time to the performance gives it a real sense of authenticity when representing the show, the lines are the movements and sounds that have been regurgitated through my senses and nerves to guide my hand in marking the page. I really enjoy this process, it is really relaxing and very absorbing.

Sometimes this process has been very challenging when I can’t really see where my pen is moving because it is so dark in the auditorium, my favourite seating is therefore under the emergency lighting! I actually really enjoy sitting in ‘less popular’ seating areas because it gives me a completely different perspective, than when I go and see a show when I’m not illustrating it. I often like to be quite far from the stage, and in particular I love being up in the circle when illustrating the BSO because I feel like the music lifts up into the sky and that’s where I feel I am up in the circle. I also love being right at the back with all the audience in front of me. I think perhaps I feel like I can absorb the whole arena this way and it feels more spacious. This way I also have a wider vision of the performance which helps with capturing the shows ’essence’ in my work.

I have enjoyed this week, it has been good to start back at shows to continue the development and absorption of the influence of performance art on my work. Although the sketches I produce are in real-time, the lasting effects of the performances I watch are still cogitating inside me ready for other artistic expression. Some of these will be undoubtedly revealed in my upcoming exhibition from the 26th May to 7th July at Lighthouse Gallery.

Now for the story …

Once upon a time, in a land where the grass was as blue as the sea, there was a boy who lived in a lighthouse … 

Hello there, it’s me again.
I had a day off from blogging yesterday, I fancied getting some sand in my boots so I went for a long long walk along the beach, it blew a few cobwebs away but crikey were my knees complianing during the show.
That makes it sound like I’m 90 or something, I’m not, I just have a little bit of a tear in my left minuscus (knee-gristle-shock-absorbing-pad-thingy) which will be sliced off sometime soon, how very lovely.
Don’t worry, I had the right one done a couple of years back, it’s not as dramatic as it sounds.
Here are those pictures I promised you-

'Out damned spot' (try swarfega love!)

If only Lord & Lady MAc had taken the advice of the backstage poster. The wooden toad is called Paddock btw

Creepy props backstage

Look at all that acting going on behind me!

When shall we three meet again? Liverpool, tuesday, bring your broomstick

l to r- Murray 'Minty' Simon, Henry 'Boozy' Douthwaite and Ralf 'D'Arcy' Higgins

We had a great audience on Thursday evening, a bit more grown-up than the night before so there was less wandering about the auditorium and rustling of sweetie wrappers, which was nice, a bit less distracting when you’re trying to remember your Shakespeare words…
I saw a huge great picture of Tamsin and James as Lord and Lady Macbeth in the Echo, but I have to disagree with the article accompanying said picture. Niot all of us are ‘quivering luvvies’ too scared to say the name of our play, which is MACBETH. MACBETH is the title, we all get to say it during the show, it’s just a word, that’s all. To be in fear of the word MACBETH, well, you have to be superstitious, and in this day and age who is? Not me.
Hopefully I won’t die during the show tonight, but if the curse of Macbeth does claim me, I’d just like to say thank you to everyone at The Lighthouse for making us feel welcome, an extra thank you to the nice people in the admin office who have helped me out when the computer said ‘no’, and a special thank you to the people of Poole who have travelled out into the cold cold night to see our show. I don’t know when I’ll be back, I hope it’s soon. Henry and Lynne will be back in April, performing in ‘The Secret Garden’ presented by Angel Exit, live on the Lighthouse stage 11th to 14th April. It’s directed by Tamsin, our Lady Macbeth, and it’s been getting rave reviews already.
So until we meet again, hopefully not in thunder, lightening or in rain,
cheerio and thanks for reading,
Ralf xx

Afternoon, I hope this finds you well. I’m fine thank you for asking, I’m in that strange place after
a dress run, where you feel like you’ve done the job already but know you have to go through it all again later.
It’ll be nice to run the show in front of an audience after a couple of months away,
I’m hoping I’ll remember to get rid of the porter and give Lady Mac the right cue halfway through act 1,
my only excuse is that I had a new bit of business to think about in the scene aaaaaand ok,
that’s a really really lame excuse. Well, it’s what dress rehearsals are for, fingers crossed I’ll remember
the new stuff… especially the new moves in the sword fight, now that’s a scary thought!
The Angel Exit folk returned triumphant from Weymouth after another well received ‘Secret garden’ last night,
they’ll be back at The Lighthouse in April, do come along. That’s in April though, tonight until Friday you can enjoy
‘One of the clearest Macbeth’s in terms of story telling I have seen’ according to Michael Goron who is a drama lecturer
at Winchester University so he must know what he’s talking about.
The Stage said ‘Director Simon Plumridge uses minimal props and stark lighting to give precedence to the power of the text.
The famous speeches take centre stage, their language mesmerising’, which is nice.
I took a few photos during the dress run (hmmmm, perhaps that’s why my mind wandered) so I’ll pop a few on here
as soon as I work out how, until then, I know you’ll be thinking ‘toi toi toi and break a leg’ for tonight,
thank you muchly, I’ll do my best and let you know how it went tommorow,
cheers,
Ralf

Hello there! Platform 4 Theatre are back Back BACK in lovely old Poole, re-opening our tour of Mr Shakespeare’s ‘Macbeth’ at your very own Lighthouse Centre for the Arts.
We had a grand old time last year touring around the country, highlights include the very lovely Theatre Royal Margate, a very pretty chocolate box style venue,
two sell out shows in my home town of Brighton (and now my students think I’m an acting god, huzzah) and finding the best ever shop in Aldershot, selling a wide variety of
statues and icons in various flavours, I left that town with a beautiful if slightly too large Ganesha who travelled in the van with us for the rest of the tour.
Today is a bit of an odd day, we put the set up yesterday, our costumes are spinning in the laundry as I type and Cap’n Bob with his second in command Lil’ Bob
(also known as Bobberini) are aiming a huge amount of lanterns at the stage. I’m hoping to be lightly tanned by the interval, but mostly we’re kicking our heels,
going over all those lines, remembering the moves that seemed so easy all those months ago.
Three of our company have headed off to Weymouth today, for they are also members of Angel Exit Theatre who are touring a brand spanking new production of ‘The Secret Garden’ at the very same time as our ‘Macbeth’. Angel Exit be back at the Lighthouse later this year, keep an eye out for them.
I hope they remember which show they’re in tomorrow, it might be embarrassing if Lady Macduff
starts talking in red robin language, she’s very good at it though.
I’ll take a few sneaky photos during our tech/dress tomorrow, that’ll be something to look forward to,
meanwhile, I’d better get back and re-style my wig, three months in a box have made it really curly, and Macduff doesn’t suit curls….
Bye,
Ralf Higgins

We had a really imaginative time at Lighthouse on Wednesday Storytelling. The hats came alive with different characters and voices.

Then the stories came thick and fast: “Bob the Builder took the fairy from the elves…..Bash……I broke the door down ……..Bang……The door was red and pink and blue and purple and red and black and loads of red………and a bit more loads of red.

The lady police over there splashed in the water. Fairy SPLASH. Saved the Fairy. She fluttered.”

We acted out chasing and creeping and hiding. Mary Poppins joined us and we remembered Bert who made us all laugh so much.

Join us next time as we find out about the story of noise. Who began it? Where did sound start and noise take over? What made the first sound? Can you hear it? What shape is it?

Storytelling is a very active way of engaging under 5’s and their grown-ups with the world of the imagination. The session is designed to allow children to lead.

Hauled myself out of bed and cleaned and emptied my flat whilst wishing I’d gone to bed 3 hours earlier. Got to the junior dancers’ goodbye party in the Lighthouse Café with enough time to get lots of photos taken with them all.

There was a great deal of “last time we’ll do this bit” in the wings during the show, and it was funny coming off stage and having well loved props hurdled into a box or bin. Since it was the last show I tried to play a few pranks on some people. Gave Rosie, who plays Cinderella, a massive kiss in the bit where I normally air kiss her, and made rude hand gestures from the wings at Mostyn, who plays the Prince, during his soppy love song. But both of them were true professionals and soldiered on.

Thought I’d got away with my late night, but when I started singing my duet with Cinderella at the end of act one – disaster! My voice sounded like my vocal chords had been attacked with a cheese grater. Definitely the worst singing I’ve done for the whole run! But overall the show was a good one, and the finale was amazing. The junior dancers who weren’t on stage for the show made a banner with “Go Roger!” on it (he plays Dandini). Roger didn’t disappoint and did a very impressive back flip when it was his turn to sing.

When the curtain came down for the very last time there was lots of hugging and a few tears. Everyone has got on so well during this show, I haven’t heard a cross word said to anybody, so it was sad to see it all grind to a halt.

As I pulled good luck cards off my dressing room wall I kept thinking how 6 weeks ago I didn’t dare to hope it would all go this well. I’d always loved panto as a kid, and for as early as I can remember I’d wanted to be in one. This was a big test for me, and I was prepared to say “never again” if it didn’t live up to my hopes. But it exceeded them. And that’s all down to the brilliant people who put this show together – producers, cast, crew and the lovely staff at the Lighthouse. Everyone has been first class.

Goodbye Poole. I’m going to miss your fresh sea air, lovely pubs and appalling town planning. But most of all I’m going to miss all the friends I’ve made. Thanks for having me.

Oh, and by the way Cinderella, you’re an idiot. The Prince is clearly the wrong man for you. You hardly know him. You get on much better with Buttons and he clearly adores you. You’re a shallow, gold digging tease!

This day ended up being so much fun I’m surprised I didn’t get arrested by the Fun Police. There’s been a flurry of friends and family wanting to see the show before the end of the run on Sunday. I got to have a quick catch up with my aunt and cousin before the matinee, and managed to play a trick on my cousin in-law’s 3 year old daughter. When I was throwing sweets out at the start I said I’d see if I could throw some all the way to row S (where they were sitting). I chucked them and my cousin dropped a packet of chocolate buttons into her hands. She’s now convinced I have magic powers!

Two of my best friends from school came for the evening show, and what a show. It was non-stop raucous fun from beginning to end, and practically whole audience were on their feet in the finale dancing. I swear I saw some of them kick stepping up and down the stairs. When the curtain came down we were all whooping, cheering and shouting “Best show ever!”

Somehow found myself in Munchies kebab shop at 3.30am. Not sure if that bodes very well for the last show…