Tag Archives: Paul O’Mahony

Inside the King’s Kitchen | Final Rehearsals for Richard III

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We spent our last week in London reworking the play in finer detail, sometimes as a group, breaking the script down into sections and marking where we feel there are a strong gear shifts. While working on the second wooing scene with Queen Elizabeth bereft then of her husband and sons — which is a rather horrible and much tougher mirror of the first wooing scene where Richard actually manages to put a ring on the finger of the young widow whose husband he’s helped to kill along with her father-in-law whom he has killed — Evvy [Evelyn Miller] suggested clapping some of the beats to remind us where they were while we were actually playing the scene. It was really helpful and that and playing on the diagonals in the space helped us move forward.

WooedWhile finessing the first wooing scene, it was really interesting that suddenly the only chap in our cast, Paul O’Mahony, seemed to have the most excellent understanding. He told me to be very confident since Richard has definitely decided to marry this woman. Of course Paul would understand; he’s a man. I haven’t done huge amounts of wooing in my life! It’s written like a piece of music with Lady Anne and Richard finishing each other’s sentences or batting back the same rhythm. Similarly, in the scene where Queen Elizabeth, who is played by Paul, comes on having lost her little sons, all us women suddenly had a lot to say.

Usually, whoever is not in the scene or has very little in it gets to sit “out front” and see if we’re making sense and honoring the text. Shakespeare and Richard pull off the absolute impossible at the end of the first wooing scene with Lady Anne melting fatally and momentarily — as she says later – “I grew grossly captive to his honey’d words.” Richard, who says he’s marrying her “not all so much for love” BEFORE the scene, finds himself believing all he says and falling for her. I don’t think he’s had much love in his life at all (though he clearly WORSHIPPED his father). So, when he totally liberates himself by determining to “prove a villain” at the top of the play, he suddenly finds it possible to win a beautiful young woman’s attention. He is so gobsmacked when she leaves that I think he is physically and mentally reeling and even has a strange stab of feeling for her dead husband (Queen Margaret’s son ) Edward. Richard calls him “young ,valiant, wise, and no doubt right royal” and wonders if Anne is fickle for having submitted to him. Of course the wonder of Shakespeare is the multiplicity of choice one has: he could be cynical, sneering, tearful. But you KNOW that he has somehow, with Lady Anne, felt a feeling unknown to himself before that scene. Alice is a heartbreaking Lady Anne.

Later in the week, we found an intriguing way of staging Queen Margaret’s famous curse scene that predicts the demise of practically everyone on stage. She is such a fantastical chorus like creature, this Lancastrian Queen who has been banished on pain of death. AFTLS - Richard III 039_webHannah is using a brass singing bowl which when circled makes an eerie sound that is loud but seems to appear from nowhere. She taps it on each of her curses and we all make these involuntary movements as if being physically compelled towards her. At the beginning Margaret has asides where she is supposed to be unseen. Usually the actress would be high above or below and we played with the idea of her coming through the audience but, on Alice’s suggestion, decided to physically freeze on her asides as if Margaret has such power that she can suspend Time itself. Hannah experimented with long bits of string and silky material that she knotted as she spoke each curse but she has found something wonderfully unnerving crouching on a chair with this brass bowl as a sort of comforter.

The Royal Arms of King Richard lll

The Royal Arms of King Richard lll

She’s very powerful and Shakespeare’s gives her such frightening words. For instance, she addresses Richard as an “elvish mark’d abortive rooting hog.” In Shakespeare’s time, anyone with a physical disability was considered literally marked by elves and God’s revenge for bad deeds. The rooting hog relates to the white boar that was part of Richard’s royal arms (at right). Hannah is also our divine dance captain and chief songstress along with Evvy (our quietly fabulous Buckingham) who has given us some great dynamics for our last ‘Te Deum’ and we’ve managed some rather gorgeous harmonies that the brilliant Conrad Nelson has given us.

This week, we had the very lovely Richard Neale “on the book” for us (i.e. giving lines and prompting). Normally there would be a deputy stage manager from day one, so it was a bit of a shock to realize that some bits had just bedded in WRONG. Usually you bat off people who ask “How do you learn your lines?” but, as we each share a fifth of a two hour fifteen minute Shakespeare play, it has been seriously challenging. The process has been vocally tiring as well — many tired vocal chords and much steaming. We’ve gradually, as we are responsible for ALL our choices, rushed out before rehearsals or in the lunch hour and found our COSTUMES. Paul has some dazzling shoes with an electric blue sole, a rather lovely black fur scarf of my Mum’s for his proud and fiercely intelligent Queen Elizabeth, and a handkerchief for his hilarious sweating and constantly unpunctual Lord Hastings. I’ve gone for culottes and a long waistcoat in pinstripes and a crown made out of garden and picture wire (that needed some serious attention as it kept getting stuck in our hair). Alice has gone for a top hat as Lord Rivers and geeky glasses for the Lord Mayor with a black veil for lady Anne. Hannah has a bright red beret as a female Catesby and fine pieces of cloth for Clarence, King Edward, and Queen Margaret. Evvy uses a flat cap for Lord Derby and a silk cravat for Buckingham. Everything needs to be simple and read INSTANTLY. It also needs to weigh under 23 kilos. We did a run through for ourselves and then the hair-raising Thursday run in front of our Associate Directors but it was actually great to have an audience. Richard needs to have someone with whom to share all his devilish plots. They enjoyed the performance and you will too. America, here we come.

– Liz Crowther

[The tour is currently in residence at the University of Texas at Austin and next week travels 90 minutes south to the University of Texas at San Antonio.]

Making the Cut | AFTLS “Streamlines” Richard III

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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.

Folio title page“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.

King_Richard_IIIThe 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.

Caroline DevlinThe 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.

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

London Calling | Richard in Rehearsal

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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.

Props

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

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!

CombatThe 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?)

GroupWe’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

Much Ado Actor Blog: Utah Saints

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On a sweltering Tuesday morning, myself and Jack Whitam trundled up to the campus at Brigham Young University to tech into the outdoor space. The first thing we had to do was get them to move all the seats about four foot closer to the stage, as they were laid out as if we were there to play a pop concert. That done, I wandered off into the campus to get myself a coffee. Two hours later, shaking with deprivation, it finally occurred to me that the Mormons don’t touch caffeine and this being a Mormon campus there was no coffee to be had. A campus without coffee. Hard to imagine, but there it is.

Our first night was sold out and we played in the calm warm evening to a lovely generous crowd. The second night they had brought in loads more chairs, and without any warning we found ourselves playing more or less completely in the round. Lovely to feel sought after like that. And fascinating to be forced to take in such a wide audience having built the show with an end on crowd in mind. The clouds were louring upon us though, and sure enough as the first half drew to a close the opening drops of a full on downpour were just beginning to pitterpatter onto our noses. The floodlights they had rented for us were the kind that explode when wet, so it made sense to move indoors. We were thrown into the second half end on in an unfamiliar theatre, contemplating a completely full house and a different acoustic. Of course we smashed it, and for the first time in America they forced us back on for an extra bow. All this enthusiasm is too much for our English brains to compute. But it’s certainly delightful. And by the time we had finished the last matinee on Saturday, sold out again, we were all a little bit in love with the Mormons.

Owing to the magic of social media, a man who I occasionally geek out about Homer with on twitter invited me to speak to his class about Shakespeare. So I found myself at Karl G Maeser prep school, talking to a class full of smart and enthusiastic kids. At the end one of the teachers said “Show us some of your quality.” A little confrontational, I thought, but ok. Fine. Being a geek and fond of adrenaline I said “Which play do you want me to do a bit from then?” DangerAl. He could’ve stitched me up by saying Timon of Athens. But he said Merchant of Venice. SCORE. I could then cheekily ask, “Do you want a prose speech or a verse speech?” He said prose. I did about half of the old Shylock “if you prick us”, although I forgot a chunk. Then full of adrenaline I said “I’ll do a verse one too from the same play, and then smashed Shylock’s long response to Antonio on the Rialto. Being a geek is handy sometimes. Here we all are after the lesson. I disguised myself as an academic.

Karl G Maeser

The teacher that put me on the spot is so fond of Shakespeare he had a Shakespeare tie, a Shakespeare shirt, and an array of Shakespeare badges. Another academic I met later at Brigham Young said “I like to call him Bill.” I almost responded with ” I think the evidence points to him preferring to be called Will, actually, hem hem”. I managed to stop myself by the skin of my teeth, so am saying it here instead. But generally, they love Shakespeare in Utah. There’s a Shakespeare festival, a replica Elizabethan theatre down south, and someone even thrusting some copies of their play “Much Ado About Love” into my hands after a show. It calls itself “A romantic comedy in Shakespeare’s verse.” A Frankenspeare’s monster of a play. We are going to read it later. Actually it seems rather lovely. (Edit: Having read it now, it is an extraordinary labour of love.)

I did the bulk of my teaching on the final day, running some voice classes with the acting students, and trying to give them a simple basis of connection with the breath through text use. They were smart and responsive, and brave. This is the first time AFTLS has been to Brigham Young, but if this visit is anything to go by, it won’t be the last. And it’s been the perfect friendly start to our touring section. Next week, University of Texas, San Antonio, October the 1st, 3rd and 4th at 7.30 in the Recital Hall.

(And because I grew up in the nineties, I give you the hilarious mawkish dance track that has been on my mind the whole week, by Utah Saints. Who are from Harrogate, Yorkshire: http://youtu.be/XF4EJvfNQcs )

Much Ado Actor Blog: Run at Notre Dame

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Paul and the ghost light.

Our opening nights at Notre Dame take place in Washington Hall. The Hall is an old building, with bats in the rafters, but it was modernised in the 1950s. The stage is more recent than that I think and the lighting rig is good. The interior of the theatre itself is a little sparse. When I comment on that, Kathleen, who works front of house, tells me that there used to be some lovely murals of George Washington, Shakespeare, Molière, Mozart, Beethoven etc. Semi randomised great artists and the president. They were whitewashed in the 50’s, when everyone was so zealous about being austere. I ask out of curiosity if perhaps they were grotesquely badly painted. “Perhaps it’s a mercy that we are spared them”. Kathleen insists that they were quite lovely. In which case, what a shame.

And our run begins in earnest. Three nights only, and a packed house on the third, with good audiences on the first two. The show is still breathing, moments are changing, landing differently. We are surprising each other. It feels right. Specific where it needs to be and free where it needs to be. The Notre Dame audiences are reactive and vocal, and despite being a little further away from them we still feel able to include them in our world, and play to, for and with them. On the first night a small child is laughing throughout the show. On every night, the upper and lower floors stand at the end. American audiences are generous like that. Scott encourages us to hold our hands out wide to, essentially, imitate Fonzy as we take the bow. “You’re all so humble and … English.” We attempt to allow ourselves such indulgence.

On the final night, a bat comes out in the interval, and panics at all the people panicking at it. As it circles the hall, we are drawn to the monitor just in time to see it fly right onto the stage accompanied by an audible gasp, and shoot up into the rafters above the playing space. It remains there for the rest of the show, and I find myself wondering how / if we might have been able to incorporate it had it done that while we had been on stage. And also whether or not it is going to bring guano into Messina, and make Messina that little bit messier. Thankfully that’s he last we see of it.

Since we have arrived in America, we have cut over 200 lines of dialogue. It feels leaner for it, and we wonder why we ever tried to do it complete. As a group we are coming together more and more, learning to trust each other and play off each other. It’s only going to tighten and deepen over time. Notre Dame has been a delightful place to start our run. A family. A home. As we all head to Chicago in a taxi full of bags, we realise that now the tour begins in earnest. Our friends in the room, in the lighting box, in O’Rourkes afterwards, on and around the campus, they all stay there. Hereafter it’s just the five of us and the friends we make on the way. Next stop Utah. But first, a weekend in CHICAGO!

(By Al Barclay)