Monday, 20 July 2009

Feedback from 24 June 2009

Hi Guys

Here is the feedback from our esteemed audience at our work in progress performance at ARC last month. Feedback has come from Chirstine Chambers, Literature Officer for Arts Council England, North East and Annabel Turpin, Chief Executive for ARC - who are, or course, our venue partner for this production.

Both gave their feedback completely independetly of each other and directly to me through chat.

Christine's feedback

Bascially loved the show - thought the hour flew past
Has loads of marketing and audience development potential
Loved all of the film and visual aspects to the show, worked really well alongside the live performance.
Adored the Grim Reaper!
Loved Autopsy
Loved the eulogoy strucutre as funeral for dead fictional characters, so felt that the Cathy piece did not fit as well as the other's and detracted a bit. Christine was also not so keen on the Darth Vader piece, as it's possibly a humour that's been a bit too 'done before'
Thought Death Never Fucking Stops was one verse too long, but thought it was great and would benefit from some dodgy church organ music in the background.
A great show that deserves to tour and be seen by many! Could really think about how to go to town in making it even more of a funeral and congregation.

Annabel's feedback:

Bascially loved the show - thought the hour flew past
On the whole thought the show was really well written, and a really eclectic mix of material
Adored the Grim Reaper piece, really strong performance and writing
Beware over-theatricality when working with spoken word. Felt that Scrooge McDuck was a strong enough poem in itself not to have one person start it and then be booted out by another - don't let theatricality over egg the pudding. Likewise with throwing the rose onto the coffin at the end of the Milk Tray piece - Annabel felt this was not needed
Enjoyed the Cathy piece, well performed and written
Could see that Darth Vader piece was a bit 'done before' but thinks it should stay in the show as it will inject a possible familiairity in its humour that could be useful for audiences it will be touring to
Loved the coffin being marked out on the stage
Death Never Fucking Stops great, but one verse too long
Really need to think about the marketing and branding of the show - it should be made more of a funeral from the start - infact, even before the audience file in. Think about lecturn, staging. Flowers? An order of service on all the seats would really benefit the show. Don't be afaid of death as a subject matter - one suggestion is for Ross and another member of the cast the shake hands with people as they come in with the words: "I'm sorry for your loss" This will, yes possibly get people to think about someone they've lost (or not), but it will alson help to establish the funeral journey from the start, which will make the humour all the more impactive later on. And of course the final poignant conclusion from Incredible Shrinking Man.
Annabel suggests we go and interview a funeral director, and find out what happens at funerals. It's a subject matter that can evoke a range of responses which could be incorporated / aired through audience development initiatives planned for discussion on 30 Sept.

That's all fo now.


The Fly 2

The Fly

“A contamination.”
No further explanation.
You grew twitchy, nails brittle,
Bristles on your back.
It wasn’t all bad.
You’d always been handsome,
Now you were ripped.
Grabbing me at the shoulders,
Hissing Let’s breed.
Then feeding on doughnuts,
Skittles, jelly beans, Sunny D.
Skin started to suffer,
Blistered, seeping puss.
Still you wouldn’t discuss it,
Or see a doctor,
Even when limbs dropped,
And you were pickling things in jars.
Then mood swings,
Trawling bars.
I left.
Took a test (though I knew)
It turned blue.
Friends said get rid, poor genes.
I made a discreet call.
No questions asked.
Just cash, gown, gas.
Then shattered glass,
Grasped in clammy hands.
Swept up like a damsel, you an ogre,
Scurrying over rooftops back to the lab.
Clutching a gun,
Spitting Our son! How could you?
You swore you weren’t trying to hurt us
You had a plan to return: a merge.
Three becoming one.
Christ you were strong.
Dragging me toward The Pods.
The final crusts of Seth Brundle falling away.
Jaw dropped like an apple core,
Dissolving into acid-bile.
Flaccid fingers giving way to feelers.
Vast microphone-like eyes.
Then in the gleam of the The Pods,
A glimpse of what you’d become.
You emitted, not a scream but a buzz,
Reared up, the vibrations shattered test tubes.
I felt a kick.
I heard a click.

Friends say I look better now I’m bigger.
Shame about your man. His job took him abroad.
I show them the scan.
And they grin Don’t they look weird.
All curled up.
Kind of looks like a big maggot

Sunday, 12 July 2009

Stan Ogden

Hey Guys

Local poet and writer Sean Kelly has been inspired by what we are doing so I thought I would post this up for our parousal!! Will be posting more Producer notes as we go. Soon. xx Here's Sean's ode to Stan and Hilda Ogden - Legends of Corrie....

The Dead That Never Lived - Stan Ogden

(tune: Jerusalem)

And did the Street in Hilda's time

Rule over England's TV screens?

And did those 20 million folk

Watch as the Rovers she did clean?

And did the Woodbine on her lip

Quiver so gently as she sang?

And was her love for her husband Stan

The greatest in all TV land?

(Although he was ignorant, and mildly abusive...)

She'd bring him plates of pie and chips

Bring him his Newton Ridleys mild

And while he drank free daily pints

She bore and rais-ed his four childs

(Tho two were taken into council care)

She ne’er did cease from cleaning work

With curlers always in her hair

'Til she did bury her dear Stan

In England's green and pleasant land