Richard III, King of the Car Park | AFTLS Tour Blog III

Posted on September 16, 2016 by Shakespeare

You may not know this (forgive me if you do) but the real King Richard III who ruled England from 1483-1485 was the last English king to die on the battlefield: at Bosworth Field near Leicester.

He is also one of England’s greatest “villains,” mostly because he was deemed responsible for the disappearance of his two young nephews, Edward, Prince of Wales and Richard, Duke of York who went into the Tower of London in the summer of 1483 and were never seen again. They had been proved illegitimate and, though young Edward was due to be crowned, it was his uncle, Richard, Duke of Gloucester, who became king.

Richard III by Andrew Jamieson (courtesy of the Richard III Society)

I put “villain” in inverted commas because many people feel even now that he was maligned especially by Shakespeare who concentrated on the wicked and comedic aspects of the man. Indeed, Shakespeare has Richard tell us in his very first speech that he is “determined to prove a villain.” Of course, dramatically, it makes Richard III an even more powerful and classy psychological thriller. It is argued that it was mostly the Tudors that wished to dishonour him.

In 1924, a group of very vehement supporters of Richard III formed a society in his name to uphold and defend him as an excellent king who passed many good laws (true: a fairer criminal justice system and granting of bail was due to him) and they have members all over the world. The Richard III Society think that Shakespeare vilely slandered Richard, that he had nothing to do with the young princes’ disappearance, and that he certainly did NOT have a curvature of the spine and physical challenges.

In Shakespeare’s play Richard is called “a bunchback’d toad” amongst other horrible names. [Click HERE for a list of the insults hurled in Richard III]

In 2012, Phillipa Langley, a member of the still flourishing Richard III Society, after much research and poring over ancient maps, managed with an historian, John Ashdown-Hill, to persuade Leicester University’s archeological department and Leicester City Council to dig up the council’s car park (parking lot in your parlance) as they both had strong evidence that Greyfriars Monastery was beneath it and that Richard could possibly be buried there. Richard’s body, history told us previously, was taken from the battlefield, stripped naked, thrown and tied over the back of a horse, and ridden around the city of Leicester to prove he was dead. Philippa believed otherwise.

There was money enough to dig two trenches and a film crew shot a documentary about this adventure. One of the first shots is of the rather beautiful and slightly nervy and terribly British Phillipa standing on a seemingly randomly painted letter ‘R’ (some old designated spacing I imagine) saying tremulously: “I don’t know why but I have the most extraordinary feeling that he’s right under here”…and HE WAS! In the very first hours of the very first day of the dig, they found first some legs and then a skull which they assumed (because of its awkward position) was another body on top ,only to discover that it was someone with a severely curved spine. It is worth watching The King in the Car Park solely for Philippa’s reaction as she looks down to the skeleton. You can watch she and the Society’s belief in Richard’s normal physicality shatter on screen. Matt, the lead archeologist of the dig, said that if they had chosen to dig 50 centimetres to the right, they would never have discovered his skeleton. The Home Office had to be called as human bones had been found, but the dig continued. It was later discovered that a descendant of Richard III’s sister, a Canadian cabinet maker living in London called Michael Ibsen, had exactly the same DNA as the skeleton. They truly had found a “King in a car park,” 527 years after his death.

Phillipa is a fantastic woman who doggedly pursued her instincts and who honoured this man, whatever his misdemeanours. She keeps saying all the way through, often weeping, “I just keep thinking about the man, the human being he was.” Two and a half years later he was interred at Leicester cathedral in an absolutely beautiful coffin made by his descendant, Michael Ibsen. Gosh, it’s nearly as thrilling as our play.

One more wonderful thing, bearing in mind our gender blind casting and me — a woman — playing Richard, is that when the osteologist was first examining the bones she (for a goodly while) thought it was the skeleton of a woman because the hip bones were slightly larger than a male and the forearms very delicate and “gracile”…just like mine. Hurrah!

— Liz Crowther

BREAKING NEWS — Another King found in a car park just this week! The UK’s Telegraph newspaper has the whole story: Another car park, another King: ‘Henry I’s remains’ found beneath tarmac at Reading Gaol

Making the Cut | AFTLS “Streamlines” Richard III

Posted on September 8, 2016 by Shakespeare

In just three days, our five actors bring their new adaptation of Richard III to the United States. AFTLS Associate Director, Caroline Devlin, has edited one of Shakespeare’s longest plays into a fast, fierce 2:15 production. Read how she “made the cut” in today’s tour blog.

“Richard III is one of Shakespeare’s longest plays. It’s length is justified as it serves not only as a narrative of this famous King, but also as a conclusion to the series of plays we know as Shakespeare’s “History” plays. It can also compete for being one of his most complex plays – in almost every scene we meet a new character! That is a very intricate web of names and faces to confront the audience with. Bear in mind, these names and faces would have been very familiar to Elizabethan audiences, as these plays dealt with their not too distant history, but for contemporary audiences, just keeping up with who’s who is a challenge, let alone investing in the plot and character journeys.

The main objective has been therefore, not to “cut” the play, so much as “streamline” it to the story surrounding the Duke of Gloucester, his bloody rise to power and his ultimate defeat at Bosworth. Uncut, it is epic with a vast cast of about 45 which I’ve cut down to 27 (excluding messengers and citizens) so quite a few characters have gone. Almost exclusively, any character going has been directly relatable to their importance to the Richard story. Jane Shore is a lovely character, but the mention of her in the play, although deliciously political in nature, doesn’t help the audience unless they are fully versed in her role as court courtesan, therefore, she was a clear contender for being cut.

This is the case with almost all other characters that have been cut. In some places a character has been merged, for example, I’ve merged Ratcliffe into Catesby – simply to avoid meeting another minor character who doesn’t have a story that particularly develops. Also, at this late stage of the play we are already meeting new characters in the shape of Richmond and his followers, so I wanted to keep any new faces and names to an absolute necessity.

In a few places a character has been added, Marquis of Dorset arrives in a scene to replace a messenger. This aids to keep his character alive for the audience, he is a minor character but his relationship to Queen Elizabeth and his timely escape from London to join Richmond is important storytelling, so I wanted to keep this character clear to the audience.

I felt sadly bound to diminish the role of various Priests and Archbishops in the storytelling. In some places these lines have been included but given to other characters. I felt that unless someone was familiar with the role of the Church in State matters in the 1480’s, it could be confusing as to why a member of the clergy may be so essential to State decisions. But ultimately, it again came down to the clarity of storytelling.

The rehearsal script has had numerous readings with Associate Directors and the AFTLS office contributing feedback, and the version has had a successful professional run (albeit with a full cast, not five actors) and was praised for its clarity and pace. I mention this only to re-assure that the cut works!” — Caroline Devlin, AFTLS Associate Director and three-time tour veteran

Richard III will be performing across the United States this fall. To learn about Actors From The London Stage, explore how 27 roles are shared between five actors, and see if AFTLS will be at a university near you, visit our WEBPAGE for more details and a full tour schedule.

The Richard III cast (pictured L-R): Hannah Barrie, Evelyn Miller, Liz Crowther, Paul O’Mahony, & Alice Haig.

London Calling | Richard in Rehearsal

Posted on August 26, 2016 by Shakespeare

We’ve just had an absolutely cracking first week’s rehearsal of Richard III. There are five of us: Hannah Barrie, Evelyn Miller, Alice Haig, Paul O’Mahony, and me (Liz Crowther) playing 24 different characters and telling our thrilling story in Shakespeare’s words while persuading our audience than 10 chairs and a bare stage are a palace, a battlefield, a bedroom, and a prison to name but a few of our locations.

The 'Richard III' cast gathers for the first time.

The AFTLS cast of Richard III gathers for the first time. (Pictured L-R: Evelyn Miller, Paul O’Mahony, Alice Haig, Liz Crowther, and Hannah Barrie)

We met briefly three weeks ago for a sit down “read through“ of the play, to make an initial connection, and, I think, to make us realize the fabulous challenge ahead. We have many, many lines to learn between us and are required to be “off book” (i.e. know it all) two weeks into rehearsal.

As there is no director, the five actors determine what props are needed for the production.

Day One: Eunice and Richard, our experienced AFTLS leaders, came to welcome us to prep us for our US Embassy visit and to bring us THE SUITCASE. This is our equivalent of a touring theatre’s pantechnicon (a large van for transporting furniture) full of costumes, props, scenery, and wigs (30 tons in Evelyn’s last production King and Country that toured to China…and that was just the props). Our production’s single case will contain all we need for our show and must not exceed 23 kilos (50 pounds).

During this first rehearsal, Eunice gave us a fantastic tip: “Make sure each character you play has a different silhouette.” This is valuable advice as the speed which we change roles leaves no time for anything other than something brief and instantly readable. For example, a crown is a great help for King Edward. Hannah Barrie who plays King Edward also plays both the Duke of Clarence who is in prison AND his gaoler (jailer) Brackenbury. More of this later. Evelyn had prepared a wonderful Family Tree of the actual House of Plantagenet to help us all be on the same page with who is who. Richard III is based on true English history with Shakespeare’s own slant and time compression. Our play has two Richards, three Edwards, and some characters, like the aforementioned Duke of Clarence, who is sometimes called by his first name George and sometimes Clarence. With this in mind, another of our tasks ahead is to fashion an introduction to the play at the very beginning to help our audience out. It is also one of the absolute joys for the audience of an AFTLS production — seeing actors switch from role to role.

A cajon drum box

We discussed various aspects of the play briefly, uncertain how to start. Two of us have done the play before and know it well: Hannah (at the RSC as part of their 2008 Histories Season) and Paul. They talked about the general arc of the play, about it being a play of factions. We talked about when to set it and we all agreed on doing it now. The very first word spoken in the play is “Now.“ Hannah discussed possible music and soundscapes and we all thought, since drums are mentioned, they would be a good way forward and could be used in an amazing variety of ways. Eva said she’d bring in a cajon (pictured right). We’re allowed two experts to support us (i.e. a choreographer and a fight director) and she agreed to contact a musician chum about coming in to help. We discussed disability at the time the play was written and now and the practical challenges of playing a man with curvature of the spine, a damaged arm and legs of unequal length. Actors have to be incredibly careful of hurting themselves when rehearsing and performing for months on end. We talked about whether to have real letters, swords, or mimed props. Alice talked about the importance of the visual dynamics when staging it, standing on chairs, lying on the floor and then suggested (since we were all slightly floundering wondering how to properly BEGIN) something the director Michael Longhurst had done at the Sam Wanamaker Playhouse when she worked with him which was to just all stand up and do the WHOLE play all the way through from beginning to end. It was brilliant as we all dived in together, all felt vulnerable together, all heard those incredible words again — but standing up! — so could actually do so much more vocally and physically than seated. It also united us in our terror!

The rest of the week we’ve ploughed on. We discussed our characters in depth. Is Buckingham a man of solid integrity or a dodgier character? How much pain does Richard feel? How liberating is it for him to decide to be a villain? How does Queen Margaret’s chilling curse manifest itself physically? We read/talk/do with each scene, sorting out knotty words, the focus and speedily getting something up on its feet. We decided to start each day with a thorough vocal and physical warm up. This is standard practice in a rehearsal room. You need immense stamina and vocal power for Shakespeare’s plays, and we have delighted in each actor’s contribution. Evelyn kicked us off with glorious stretches. Paul has given us some fiendishly difficult clapping sequences where we clap different rhythms against each other. I still haven’t cracked that one. Alice has taught us a one to ten singing sequence where you feel your lungs may burst by the end and Hannah revealed the most incredible Irish dancing talent with sounds that create an instant battlefield. I led the vocal warm up with the silliest sounds, blowing out like a horse and doing a very strange exercise sticking your tongue out, holding your chin down and flexing it making “yah, yah” sounds. (Tell the truth; you just tried it, didn’t you?)

We’ve solved some space changes…well for the moment, anyway. For example in the prison (the Tower of London) in Act One, scene four we created narrow, dark corridors just by the way we walk and then a wider space for Clarence. All my fellow actors have proved astonishing in switching characters. Evvy has a great challenge in having just a light start then an absolutely HEAVY Act Three when Buckingham comes on though she may also be the only one to play three people in the space of five lines in Act Two!

With multi roles, we’ve found it useful if one person is seated or lying down or in a very clearly defined space so that the other character that the actor is playing can have an eye-line to that chair or crouch over them on the floor, etc. We’ve discovered that slowing this down is much finer that rushing it. We’ve decided to use cloth of different sizes to delineate different characters (headscarves for example). Short bits of bamboo may possibly serve as daggers. None of this is concrete but a fluid process.

We managed to get to the end of Act Three by Friday. It’s all too easy to leave the last act or two in a play to late on in rehearsals if you don’t manage your time well. Friday was a lovely day. I had great help with some of my soliloquies at the start of the day. People interjecting randomly in speeches is a good way to help an actor who’s having difficulty. We explored just saying the end word of each line and that was extraordinarily insightful. We discussed the role of the audience and getting them onside in Richard’s case. I felt less like an old record when we’d finished. Everyone had useful input and I think we’re very accepting of each other’s contribution. We’ve also laughed a LOT.

— Liz Crowther

The End of the Road: Rice and John Carroll

Posted on March 22, 2016 by Shakespeare

Week Nine: Rice University

Houston, we have a problem…the Chattanooga choo choo did not take us home but in fact propelled us to the moon… Not really. But we did have time to visit NASA while we were in residency Rice University in Houston, our third visit to Texas on our Midsummer double-tour.

Christina Keefe met us at the airport and took us to the ominously addressed Hilton, Medical Plaza. As the address suggested, we were in the heart of Houston’s hospital district. This would’ve been an ideal week for any of us to get sick but, alas, none of us did. Typical. This was probably because we were welcomed with open arms by Christina and the professors at Rice. In particular, we had a rapturous welcome from Dennis Huston who is a living legend and, along with the late Alan Grob, was responsible for the long-standing relationship between AFTLS and Rice. We were lucky enough to experience Dennis’s hospitality before he retires this year. We also met Alan Grob’s wife Shirley Grob and two more generations of the Grob family, Julie and Ava, when they came to watch the show on the Saturday night. It was fantastic to meet and chat with these great patrons of the arts.

We had three performances in Hamman Hall to very warm audiences and a lovely reception after the final show. Thank you so much! Mark helped us with an extremely short and efficient tech (we always appreciate that) and promising students Rob and Catherine ran the show when we were up.

Chris Donnelly, Samuel Collings, and Claire Redcliffe catch some Texas sun in Galveston.

Houston was a great week. The staff and students were excellent, the audiences vocal and intelligent and the weather was warm! There were thundery storms at the beginning of the week but by Sunday we hit the beach at Galveston and took a dip in the gulf of Mexico.

Houston is a brilliant town so there was plenty to do in our down time- in fact there was too much to do so we had to regretfully miss a few things like the rodeo which happened to be in town. We didn’t miss NASA though, or the amazing art in the The Menil Collection, the Rothko Chapel and the MFAH. Christina also managed to get comp tickets to see ‘Around the World in 80 Days’ at the newly refurbished Alley Theatre in Downtown Houston. It was a fab show with excellent performances all round. My particular favourite was Jeff Bean, and, like true magpie-like Shakespeareans, moments from their production have made it into ours! One more week to go! Cleveland here we come!

Week Ten: John Carroll University

Administration Building (ca. 2003), John Carroll University

Administration Building, John Carroll University

‘Farewell, sweet play fellow.’ Our final week of this epic job was at John Carroll University in Cleveland, Ohio. Jean Feerick and Bill met us at the airport and took us straight to the University for the education meeting where we met the delightful faculty and staff that we were working with this week. We were invited to many interesting workshops in many different disciplines and we couldn’t have felt more welcome.

We had excellent hospitality this week from all members of staff. Jean took us out on Saturday with many faculty staff and we had a fantastic time, a few of us staying up all night to catch our early flights. Earlier in the week Bo Smith and Tom Roache took us out for a wonderful meal and we got to find out about their legendary lives. Bo had trained in London at LAMDA, the same drama school that Claire went to, and Tom’s life has taken him all over the world and could probably fill many riveting volumes. On the final performance we all had a hefty gift waiting at our places. It was a signed copy of Tom’s The Faerie Queen which had taken him 20 years to write. What a special momento to take away from this job! Thank you so much Bo and Tom!

Thursday was St. Patrick’s Day, and we made it downtown to the huge parade. Most of our spare time, though was preparing for the end. Patrick and Chris were going back to the UK, Claire went to LA, Sam to New Orleans, and myself to Hong Kong.

The final performance was emotional. This has been all consuming for the last six months and we have all learned, laughed, and longed at various moments along the way. It has been an absolute joy working with the amazing staff we have met week by week, everyone at Shakespeare at Notre Dame who has made this happen, and, of course, the four other extremely talented actors in the company. The individuals on a job like this are so very important and I am so grateful to these particular ones for producing a piece of work to be proud of and great company to explore America with.

The Actors From The London Stage cast of A Midsummer Night’s Dream (L-R): Samuel Collings, Patrick Moy, Claire Redcliffe, Chris Donnelly, and Ffion Jolly

(Blog posts by Ffion Jolly)

Woo-woo, Chattanooga, there you are!

Quote

Posted on March 8, 2016 by Shakespeare

“When you hear the whistles blowing eight to the bar,
Then you know that Tennessee is not very far;
Shovel all the coal in; I gotta keep a-rollin’,
Woo-woo, Chattanooga, there you are!” – Glenn Miller

Chattanooga’s picturesque riverfront on the beautiful Tennessee River

I always had a good feeling about last week’s residency at The University of Tennesee at Chattanooga. We got off the plane having come from the “Great White North” to a beautifully hot and sunny Tennessee. Things were getting off to a fantastic start. They then got better when we were met by our ray of sunshine, Steve Ray, a UTC theatre professor originally from Alabama who crossed the globe as an actor.

He took us to our accommodation, Mayor’s Mansion Inn, a bed and breakfast in the historic district of Fortwood. To say this is a place has character is an understatement. It has more character than us 5 actors in our production of Midsummer. It’s a bit like a trendy boutique hotel without the try-hard effort and with all the ease and hospitality of the American South. Cindy took care of us there. I was extremely happy already and then, during the course of the evening, I found out Chattanooga was the home of Bessie Smith (the Empress of the Blues), Samuel L. Jackson, and Usher! I may never leave Chattanooga!

During the week we worked with fantastic students from both University of Tennessee at Chattanooga and Chattanooga State and amazing professors from both. Bryan Hampton and Evans Jarnefeldt were key players in getting us there, and we worked closely with them. They made us feel extremely welcome and everything went off smoothly. The students were bright and enthusiastic, and many of them were theatre majors — which is always fun. Some of the students then worked at the Ward Theatre where we were performing and I do have to give a special shout out to our Stage Manager Joseph, our wardrobe mistress Samantha, and Sharkey (Leigh-Ana), who all looked after us so well in the UTC Fine Arts Center.

Clockwise from Left: Sam Collings, asst. professor Evans Jarnefeldt, Claire Redcliffe, Patrick Moy, and Chris Donnelly.

In addition to having a wonderful bowling alley, Chattanooga is a great city for outdoor activities

Moccasin Bend

During our spare time, we AFTLS-ers explored Moccasin Bend and Lookout Mountain where there are some trails and some very interesting history relating to the civil war.

Chattanooga was also the start of the Trail of Tears – an event in history when the Cherokee nation were forcibly removed from their lands to present day Oklahoma as part of President Andrew Jackson’s Indian removal policy.

There was talk of going to Nashville on Sunday but as Chattanooga had been so pleasant we resided there and chose a gentle night on the front porch. The end of the tour is in sight and so “Chattanooga Choo Choo, won’t you take me home?” No! not just yet…Houston (Rice University) and Cleveland (John Carroll University) yet to go…

(Blog post by Ffion Jolly)

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