Robert F. Ball

Merry Wives, the movie

2010-07-13T02:29:00.000-07:00

I've just made my first, very amateur, attempt at movie making. Click on the youtube link below to see a few shorts extracts from my production of THE MERRY WIVES OF WINDSOR.

http://www.youtube.com/watch?v=2hH46KUwdTs

Congrats to the newbies

2010-07-02T00:04:00.000-07:00

Last night saw the second and final performance by my dedicated team of adult beginner actors at Birmingham's Theatre School.

As a group, we've faced an up hill struggle this term as we lost several members over the past few weeks. However, everyone pulled together really well and produced a great performance.

Well done guys, and I look forward to following your progress as you move on to the next level.

Larger than life and twice as many laughs

2010-06-28T08:10:00.000-07:00

My production of SIR JOHN FALSTAFF AND THE MERRY WIVES OF WINDSOR opens tomorrow (Tuesday, 29 June) at Birmingham's Botanical Gardens. Right is a photo of just a few members of the excellent cast, taken at last night's dress rehearsal.

I wish them all the greatest luck for the run; they've worked so hard and are producing excellent performances. It's big, and bold, and great fun!

Merry old times

2010-06-10T14:55:00.000-07:00

With no less than four shows in my head at the moment these are busy times.

Well into rehearsal, and opening in a couple of weeks' time, is Shakespeare's THE MERRY WIVES OF WINDSOR. This is The Crescent's summer tour which plays out doors in venues across the region. All is progressing well, and the show will certainly be big and very very funny. Here's a pic of the cast in rehearsal and having almost as much fun as I have watching.

When shall we meet again?

2010-05-16T11:51:00.000-07:00

Yesterday (Saturday, 15 May) I spent the day with the Open University's Shakespeare Society in Stratford-upon-Avon.

I'd been invited to lead an afternoon workshop under the title "From page to stage". I started with a short talk on ideas for reading and interpreting a text for the stage, imparting (I hope) a little of the knowledge and experience I've gained over the past 16 years. The group then split into three teams who each discussed and devised their own interpretation of 1.3 of MACBETH.

To end the day, each team presented their ideas to everyone else and even acted out their scenes.

My tutor at the Shakespeare Institute, Dr Catherine Alexander, led the morning sessions with a lively presentation on gender representation in Shakespeare's last plays and in the tragedies.

I certainly enjoyed meeting and working with the group; I hope they had as much fun as I did!

Farewell CYT

2010-04-13T08:08:00.001-07:00

After more than a year of helping out with the Crescent's Youth Theatre (seniors and juniors at different times), it's time for me to retire and return to keeping a watchful eye on their progress from a safe distance.

It's been great fun going in on Saturdays to help out either generally or as director and designer for R&G Are Dead and I shall miss it. But it will be great to get my Saturdays back too!

A big thank you to all the members of both groups who made me feel very welcome and with whom I think we achieved some great work. Good luck for all you do in the future.

Taking to the stage for the first time

2010-03-22T14:08:00.000-07:00

I'm just in from the first performance (literally in some cases) by the group of adult 'beginner' actors I've been working with at the Birmingham Theatre School since January.

The group performed a selection of Harold Pinter's short sketches for an appreciative audience at the Custard Factory's theatre this evening ... and they'll be back there tomorrow.

Everyone performed brilliantly and my congratulations to them all.

R and G ready to go

2010-03-21T16:21:00.000-07:00

The final dress rehearsal was held today for the Crescent Youth Theatre’s production of ROSENCRANTZ AND GUILDENSTERN ARE DEAD by Tom Stoppard.

It’s been a pleasure to work with the young people as director and designer on this show, and I wish them all well for a successful run.

R&G are alive and well

2010-03-15T06:57:00.000-07:00

After months of Saturday morning rehearsals, the cast and crew of the Crescent's Youth Theatre production of ROSENCRANTZ AND GUILDENSTERN ARE DEAD finally moved into the Ron Barber Studio this weekend.

We now have 10 days of frantic preparation ahead before the big opening night next week.

Good luck everyone!

New photo time

2010-03-02T03:01:00.000-08:00

After many delays, I've finally managed to find time for a new head shot. The photo was taken during a fun and - almost - relaxing photo shoot with Graeme Braidwood here in Birmingham.

Graeme is a great theatre photographer (as well as pretty good director), and I'm very grateful to him for making me look so good. See more of his work here: www.graemebraidwood.com

Happy Sad Single People Day!

2010-02-14T10:44:00.000-08:00

Dear all - this made me laugh (and cry) so much I wanted to share it with you.

Happy New Year!

2010-01-15T01:57:00.001-08:00

Happy New year! I hope 2010 brings everyone great joy and success.

NQG comes to life

2009-11-17T02:52:00.000-08:00

I attended the first day of rehearsals yesterday for NOT QUITE GOSPEL and took great pleasure from introducing the cast and crew to my set model. Although there are some tweaks still to complete, the general concept has been agreed.

The model will now be turned into a full sized set over the coming weeks.

It's not quite gospel

2009-11-04T23:25:00.001-08:00

I'm very excited to be working as designer with director Steven Luckie on a new show called NOT QUITE GOSPEL for Nu Century Arts.

A play with songs, NOT QUITE GOSPEL delves deeply into the challenges facing Black institutions and their relationship with their community. Robert Johnson is the newly ordained Pastor of Friary Road Church a shaky bastion of order and tradition in a community marked by crime and rapid social change.

Unlike his predecessors, Pastor Johnson understands the streets and knows that in order for his church to be relevant and for his community to be saved, he must reach out to support and protect the outsiders. But his big plans for change threaten his family, his church and the future of those he would most like to help.

The play, though, raises further questions about theatre and social responsibility, about the Black church and its relevance to its community and to artists whose stories are we telling and where is our audience?

NOT QUITE GOSPEL will be performed at The Mixing Bowl Theatre, The Custard Factory, Gibb Street, Birmingham B94AA: From the 14th - 21st December: Ticket prices are £8.00 and £6.00 concessions. For further information and tickets 0121 224 7545 or on line@ info@rogueplay.co.uk; www.rogueplay.co.uk

New star on the block

2009-10-27T23:23:00.001-07:00

Around a dozen members of The Crescent were present yesterday (27, October 2009) to witness Julie Walters receive her star on Birmingham’s Walk of Stars.

Julie, a local girl, chatted with an audience of several hundred people and answered questions at The Birmingham Rep Theatre after the official presentation by the Lord Mayor. It was a lovely event and our thanks go to all involved in organising it, as well – of course – to Julie!

Opening night

2009-10-07T13:45:00.000-07:00

Friction Theatre's production of MOTHER COURAGE AND HER CHILDREN opened tonight and The Old Rep Theatre and, I'm certain, will have been a great success.

I attended last night's dress rehearsal and managed to take a few photos whilst watching some excellent performances. The efforts of all the team's members have come together to make an extremely watchable show.

I'm looking forward to seeing it all over again on Saturday.

Mother Courage designs come to life

2009-09-26T15:33:00.000-07:00

Two long and tiring days of work on the set for MOTHER COURAGE have born fruit as the set is starting to come together. Here is a little preview of what's been achieved so far. Still lots to do!

A sense of history

2009-09-11T04:54:00.000-07:00

It’s really thrilling to be working on a production that will grace the stage of Birmingham’s Old Rep theatre next month.

The Old Rep has almost a century of history behind it – not always an easy history, but often extremely important nonetheless. The Birmingham Stage Company’s web site has an excellent summary of the building’s past and it’s well worth reading: http://www.birminghamstage.net/history

The pictures here were taken on a site visit earlier this week along with Kerry Murdock of Friction Theatre for whom I designing a simple set (see below).

A bit of Brecht

2009-09-09T09:05:00.000-07:00

Friction Theatre's Kerry Murdock has asked me to design the company's forthcoming production of Bertolt Brecht's MOTHER COURAGE AND HER CHILDREN which is playing at The Old Rep in Birmingham next month and then touring to schools.

The ubiquitous cart is already sorted, as are props and costume, which leaves me the task of devising a way of demonstrating the dozen different scenes of the play in a simple and Brechtian fashion. Time for some serious thinking!

Here's a link to Friction's web site: http://frictiontheatre.com/

and The Old Rep: http://www.oldreptheatre.org.uk/

The Vortex opens

2009-09-07T11:37:00.000-07:00

Saturday saw the opening night of THE VORTEX and I'm now taking a mini-break after a couple of frantic weeks getting everything ready.

Back soon!

Behind the scenes ... literally

2009-08-22T00:41:00.001-07:00

After months of planning, drawing, discussing, measuring, cutting and hammering, the big day has arrived when the set for The Crescent’s production of The Vortex starts to take shape on stage.

Pictured are Keith Harris and Judy O’Dowd who – along with a team of helpers – have put in many hours of work to get us to this stage smoothly and with the minimum of hassle. They’re seen here erecting the central wall of the set which will fly in and out to help create three different settings for each of the play’s three acts.

If you want to see the full effect you’ll have to come see the play which opens on Saturday, 5 September!

Spreading the News

2009-08-18T05:16:00.000-07:00

The very first play produced by The Municipal Players in 1924 was ‘Spreading the News’ by Lady Gregory. At The Crescent, we’re marking the group’s 85th anniversary (they later renamed as The Crescent Theatre) by producing the 1924 play The Vortex and today (Tuesday, 18 August) we continued spreading the news of our production by erecting a large advertising banner on the outside of the theatre.

There are some other events to mark the anniversary too (including productions of The Proposal and Juno and the Paycock) – see the main website for full details.

Oh no, not the comfy chair!

2009-08-16T10:06:00.000-07:00

Today was soft furnishings day on the build for The Vortex. Ably assisted by Jan Cunningham, who is playing Preston, we made the cushions required for the various pieces of furniture used in the show.

Meanwhile, much painting was being undertaken around us by a team of dedicated volunteers.

A big thank you to everyone who is helping - there's still plenty to be done.

Vortex notes for students and teachers

2009-08-15T14:14:00.000-07:00

Students and teachers who may be thinking of coming to see my production of Noel Coward’s The Vortex can find a really useful information sheet on Manchester’s Royal Exchange Theatre’s web site: http://www.royalexchangetheatre.org.uk/downloads/education

You may also like to know that following the Friday evening performance there will be an after dark discussion with members of the cast and crew. If, however, you’d like to meet members of the team on another evening this can be arranged; please contact the Crescent's box office on 0121 643 5858 with your request.

Summer projects up and running

2009-08-14T15:09:00.001-07:00

Just in from week one of my new youth summer projects at The Crescent Theatre here in Birmingham - and what a great week it's been.

Under the expert leadership of Rachael, Naomi and Nicol a group of 14 children put together a great 45 minute play based on the experiences of children evacuated in World War II and characters from the game Cluedo.

Here's just one photo of their great end of week performance.

There are two more weeks of the summer projects to come and I'm really looking forward to them even if they are rather tiring!

The Vortex in rehearsal

2009-08-12T12:13:00.000-07:00

Tuesday's rehearsal for The Vortex was 'challenging'. After so many weeks of great progress we had the not unexpected dip in standards that I've often experienced before; this is largely caused by actors going 'books down', i.e. trying to act out scenes without their scripts in their hands for the first time.

However, Graeme Braidwood was on hand to capture some great shots of my cast who will, by opening night, master their lines and be truly superb. You can see more of Graeme's photos at: http://www.graemebraidwood.com/

Vortex build gets underway

2009-08-10T15:38:00.001-07:00

The build of the set for The Vortex is now well and truly underway at The Crescent Theatre.

A band of willing helpers got stuck in for another session this evening (Monday, 10 August) and good progress was made. There’s still a very long way to go, and much help is needed over the coming evenings and weekends. However, by opening night we’re on track to have a stunning set.

The Vortex and the 'G' word

2009-08-07T03:27:00.000-07:00

In Act II of The Vortex, Nicky tells Helen: “I’m gay and witty and handsome.” Of course, gay here is used in its original sense meaning carefree or merry, the sense in which gay means homosexual is much more modern. However, along with the cast, I’ve had to ask the question is Nicky gay in the modern meaning of the word? Is this a very subtle sub text in the play, is this something that Mr Coward could hint at but dared not make too obvious in the prevailing 1924 climate of hostility and illegality? The evidence seems to suggest it is; the author was, after all, gay and authors tend to write about their own experiences or issues that concern them directly.

There is more evidence of Nicky’s homosexuality in the text. In Act III Nicky says, “I’ve grown up all wrong.” And in Act II Bunty, Nicky’s fiancé, tells him, “You’re not in love with me, really – you couldn’t be.” All very subtle and open to interpretation. But then, in Act III, when Nicky confronts his mother we learn that he feels she has subjugated his father and we have the classic, if now largely discredited, equation of dominant mother + weak father = gay son.

Nicky’s sexual orientation has recently been explored on the professional stage in the Manchester Royal Exchange’s production starring Will Young. Of this production, Nicholas de Jongh of The Evening Standard writes: “It has taken more than 80 years and the performance of Will Young, the gay pop idol who has never acted on stage before, to bring out the full truth about Nicky Lancaster, Noël Coward's angry young man in The Vortex ... The actors who have played Nicky, from Noël Coward himself in 1924 to Dirk Bogarde and Rupert Everett, have disguised or glossed over this crucial gayness. Not so Will Young.”

And what’s the relevance of this today? Well, as I sat down to write these words news was breaking of an attack on a centre for young gay people in Tel Aviv. This is a centre that offers help and advice to young people coming to terms with their sexuality in a safe environment, free of judgement. Well that’s the idea, clearly it is no longer the case. A desperately sad act of terrorism that only serves to remind us that there are thousands of Nicky’s all over the world in 2009 still struggling with their identity in hostile circumstances.

Guilty of sensationalism?

2009-07-29T01:36:00.000-07:00

I was asked recently if using “The Shopping and F***ing of the jazz age” as the strap line for The Vortex is just a piece of sensationalism, this is Noel Coward after all! Well, I don’t believe it is at all an unjustified quote and, if you’d like to read it in context, here’s Charles Spencer’s full article from the Daily Telegraph: http://www.telegraph.co.uk/culture/theatre/drama/3671468/The-Vortex-Noel-Cowards-hothouse-drama.html

As Mr Spencer explains in his review of last year’s West End revival, Mr Coward could be “daringly experimental” and this is something that I am enjoying exploring together with the cast of The Crescent’s forthcoming production.

Almost every line has several levels of meaning and there is much that is unsaid between the characters as they swirl downwards in their vortex of beastliness. Of course, the trademark frothy comedy is there (in bucket loads), but this really is a beautifully crafted play that keeps on throwing up surprises.

Looking back from our own, very different age where in-yer-face theatre is almost commonplace, it’s hard to imagine how a play could be considered for banning by the Lord Chamberlain. The one thing that still rings true to our own age, though, is the nature of the conflict – the lack of understanding, the addictions, the obsession with youth – and it is this that makes this a play for today just as much as it was a play for the generation seeking to come to terms with life in the years following the Great War.

Straight lines and blocks of colour

2009-07-28T08:06:00.000-07:00

The inspiration for the set design for The Vortex is the work of Piet Mondrian (1872-1944). Even if you don’t know the name, his works may well be familiar to you – just think vertical and horizontal black lines with the occasional block of primary colour (red, yellow or blue). This movement in the art world became known as neo-plasticism and Mondrian was its chief exponent. In his work he sought to reveal the timeless, spiritual order underlying the endlessly changing appearance of the world.

This, it seems to me, is an ideal setting for the world of Noel Coward’s play: the central characters (Nicky and Florence) have become obsessed with the fashions of the ever changing world and its new thrills, while losing sight of the things that matter. It’s only when they reconnect to each other and throw out the distractions of sex and drugs that they can hope to have a constructive relationship and lead meaningful lives. Home is where the heart is, and this is what Florence and Nicky have lost sight of.

Mondrian, it can be argued, was at his prime in the 1920s and his work was influencing designers and architects (especially those associated with Bauhaus) at this time. It is entirely possible, therefore, that rooms such as I’ve designed for the play might have existed. However, I’ve been more concerned to create an un-naturalistic canvas upon which the action of the play can unfold. As ever, I’m concerned that the audience should focus on the actors and what they have to communicate through words, actions and reactions.

Getting The Vortex up and dancing

2009-07-26T11:59:00.001-07:00

Rehearsals are well under way for September’s season launching production of Noel Coward’s The Vortex (http://www.crescent-theatre.co.uk/Y2009/vortex.html).

For the last couple of rehearsals the cast has been getting to grips with fox trots, quick steps, tangos and even the odd Charlston step as they learn to move themselves about the stage in a truly authentic 1924 fashion. Under the expert eye of Michael Barry, the cast has learnt to swish and swoosh to some wonderful period music.

Today (Sunday, 26 July) we looked at the opening of Act II which Mr Coward describes as: “...exceedingly difficult to produce, but absolutely indispensable.” Well, the good news is that by the end of the rehearsal Michael’s excellent tutelage and the cast’s hard work came together to make it all appear almost effortless.

Hitting the road

2009-07-13T04:25:00.000-07:00

I've just had a busy weekend with The Crescent's youth theatre! The senior group presented a cut-down version of Jim Cartwright's ROAD for friends and family yesterday evening and I've been helping Rachael Veezey (the youth theatre leader) to get the show on the road.

It was enormous fun, and everyone played their parts brilliantly (and even helped clear up after!). Well done to all.

Entering The Vortex

2009-07-11T00:50:00.000-07:00

I'm very excited to be directing The Vortex for Birmingham's Crescent Theatre.

Described as “The Shopping and F***ing of the jazz age” by The Daily Telegraph, we are presenting Noel Coward’s 1924 play to mark the 85th anniversary of the theatre's origins. Described as his darkest play, Coward himself took the role of Nicky in the original production and firmly established his credentials as both actor and dramatist. The play starts as frothy comedy, but gradually becomes darker as the vortex of beastliness is revealed and the cracks in the family open wide.

I'm also the designer for the show, and the photo shows the initial design model for Act I.

I'm back

2009-07-09T00:43:00.000-07:00

Dear reader, after a busy few weeks I'm back online and promise to bring you lots of news on a more frequent basis.

Some thoughts on casting

2009-05-01T03:41:00.000-07:00

“Casting is sometimes talked of as being 75 per cent of the director’s job,” writes Stephen Unwin, “and certainly if you don’t understand how important casting is, your work is bound to fail.”

As Arts Manager at The Crescent Theatre I have to sign-off casts lists for each production. As I only feel comfortable doing this having seen who has auditioned, I sit in on as many auditions as possible. There purely to observe – not to interfere – I find more often than not that directors use me as a sounding board as well as a source of information on how committed actors have been to previous productions and so on.

As an observer it has been interesting to see just how seriously directors take casting and how often they agonize, literally, over the process. Decisions can often be especially painful when they involve close friends or even relations. I am happy to say, however, that I’ve not met any nepotism as yet and all decisions have been based on what’s right for the production; if they weren’t I would intervene.

So what do directors consider at casting? Well, I guess the list is a long one, but includes looks (does X look like the character I have in mind, and will X look right against the other actors?), sound (will the voice fit the character?), temperament (is X a team player or a prima dona?), movement (can X purvey the feeling of the period through movement?). The list goes on and on, and certainly makes casting a very important, if not the most important, task a director undertakes.

On reflection, I’m not sure it’s 75 per cent of the work, but it’s certainly a good 50 per cent and not a task to be envied. To all of you who have ever auditioned and been turned down, spare a thought for the director. He or she does not make decisions lightly or without regard for how those decisions will be perceived, they do, though, have to make decisions with the very best intentions and for the good of the production. So this time you didn’t quite fit (and you may violently disagree with a decision), but don’t let it worry you and keep auditioning!

Launching a book club

2009-04-29T06:52:00.000-07:00

After canvassing interest amongst members at The Crescent, I'm launching a book club that will focus on plays.

The all new Crescent Book Club will meet once a month as part of the re-launched club nights. Each month we’ll discuss a different book—all of which will be plays of course.

We’ll meet on the second Monday of each month, and you’re welcome to come to every session or just dip in occasionally when the mood takes you. Each session will start at 9pm (when the bar opens) and last for an hour, so there’s still time to get in early and help with tasks around the theatre.

We’ll advertise the play to be discussed well in advance of the meeting, and copies will be available at the theatre.

The first meeting will be on Monday, 8 June when we’ll discuss Eugene Ionesco’s MACBETT.

A cast iron cast

2009-04-27T04:34:00.000-07:00

As Arts Manager at The Crescent I try to attend auditions whenever possible, to observe and lend moral support to our directors.

Yesterday I had the great privilege to watch the auditions for IRON by Rona Munro (http://www.royalcourttheatre.com/reviews/iron.html). I didn’t envy Thom Sellwood, director, as he had to choose between so many very talented actors; he could have cast the play several times over. However, he made his choices and I believe they are good ones. This is set to be a great production. Full details are available on the theatre’s web site at www.crescent-theatre.co.uk

Once more...

2009-04-26T01:58:00.000-07:00

Four hardy thespians (including myself) took to the stage yesterday at Brindleyplace to mark Saint George’s Day, and Shakespeare’s birthday, with a selection of readings from the works of the immortal bard.

We all read a selection on sonnets, then Dave Hill and I read speeches from HENRY V, Jo Mason read from ANTONY AND CLEOPATRA and Judy O’Dowd read from RICHARD II.

OK, so we didn’t attract a huge crowd of Saturday shoppers, but we did our bit to raise the profile of The Crescent and spread a little cultural light on an otherwise fairly grey April afternoon.

Hot, sweaty, crowded, great fun

2009-04-24T00:19:00.000-07:00

Last night I attended the great Basement Jaxx gig at Birmingham's O2 Academy.

It was crowded, hot, sweaty, noisy, but great fun - and good to spend some time with friends.

Happy birthday Will

2009-04-23T00:01:00.000-07:00

Today is not only Saint George’s Day but also the birthday of William Shakespeare. And, to celebrate, a ‘new’ portrait of England’s greatest writer has been unveiled. You can read more about this here: http://news.bbc.co.uk/1/hi/england/coventry_warwickshire/8012079.stm.

Sometime ago I wrote a short essay on images of Shakespeare, which you might like to read, inspired by a visit to Kronborg Castle, Elsinore in Denmark. If you'd like a copy please e-mail me. The photo here is the plaque that is displayed at the castle which is the setting for HAMLET.

In the meantime, have a very good Saint George's Day and say happy birthday to Will!

Cry God for England, Harry and Saint George!

2009-04-21T05:06:00.000-07:00

The Crescent Theatre has been invited to present a selection of readings from Shakespeare for St George's Day. Although Thursday (23 April) is England's patron saint's day, the performance will take place on Saturday, 25 April at 1400 BST at Brindleyplace.

Having recruited some of the theatre's finest actors to assist with the readings, I'm now occupied selecting sonnets and speeches for the big day.

Calling all directors and designers

2009-04-20T00:28:00.000-07:00

A busy few weeks ahead at The Crescent Theatre now that the exciting revised 2009-10 season has been launched and it’s time for directors to put forward proposals. This will mean lots of telephone calls and meetings and chats as the first stage in appointing directors for the following productions:

THE VORTEX, Coward, September 2009
ROARING TRADE, Thompson, September 2009
JUNO AND THE PAYCOCK, O’Cassey, October 2009
THE DIARY OF ANNE FRANK, Goodrich and Hackett, November 2009
SEASON’S GREETINGS, Ayckbourn, December 2009
WASSAIL, devised, December 2009
GOD IN RUINS, Neilson, December 2009
THE WIND IN THE WILLOWS, Bennett, January 2010
A VIEW FROM THE BRIDGE, Miller, January 2010

It's sometimes a difficult job explaining to potential directors that we can't necessarily fulfil their life's ambition to produce THE WIND IN THE WILLOWS on ice, or in a roller disco setting. Part of the role of arts manager is to consider how each production will sit in the overall programme for the theatre and how it will meet the needs and expectations of our audience. And, of course, there are always the commercial considerations!

Good luck to all potential directors and designers!

A tempest of activity

2009-04-04T12:16:00.001-07:00

The Crescent’s Youth Theatre Juniors were joined today by members of the senior group (and me!) for a frantic session of puppet making ahead of their production of The Tempest in June.

Some of the play’s characters are to be presented as puppets in what’s set to be an excellent production - full of great team effort. Be sure to catch it! Details here: http://www.crescent-theatre.co.uk/Y2009/tempest-cyt.html

The journey continues

2009-03-16T08:38:00.000-07:00

I was away from my computer last week getting ready for the opening of the play I've been directing and designing.

After an exhausting technical week during which my hand was rarely free of a paintbrush and the cast and crew worked tirelessly through several rehearsals, THE BUS finally opened on Saturday and we got to see what the audience would make of it.

It’s fair to say that the play itself has divided opinion, although everyone appeared stimulated by it, intrigued, and the discussion about it continued well into the early hours of Sunday. Exactly what I hoped for!

Here are a few snippets of feedback received:

“There are some really good performances ... notably from Paula Wall and Ben Rigby in the central roles of Erika and Hermann. The staging ... is also well attuned to the play’s abstraction.”

“I enjoyed THE BUS on lots of levels ... I thought the case was amazing, some really fantastic performances.”

“Well done, I thought you made the massive ideas really accessible ... particularly enjoyed the ‘trees’ design wise too ... good going designer!”

“Thank you for a thought provoking evening last night. Can't pretend to say I truly understood it but was dead impressed at some of the performances ... loved the setting, so great to see the stage opened up like that ... bravo for being different.”

Hmmm ... and the scores are?

2009-03-05T12:33:00.000-08:00

Slightly confused after today's round of Workplace Challenge. I'm still in the lead, but not sure by how many points. Anyhow, tomorrow is the final round so don't forget to listen in.

Radio quiz lead extended

2009-03-04T07:52:00.000-08:00

Thanks to a lucky guess (I mean, how would I know how many number one hits Britney Spears has had!?!?), I'm now three points in the lead on BBC Radio WM's Workplace Challenge. But, with two days still to go, that could all change.

Early lead established!

2009-03-03T07:37:00.000-08:00

On today's round of Workplace Challenge on BBC Radio WM's Les Ross Show I managed to establish a one point lead over my opponent. Bring on the tomorrow's round!

Don't forget you can listen live at 1445 and 1515 GMT.

www.keepcalm.me

2009-03-03T05:27:00.000-08:00

There's a new web site featuring three plays coming up at The Crescent Theatre, including The Bus. Check it out at: http://www.keepcalm.me/

The next big radio star?

2009-03-03T00:09:00.000-08:00

Following several 'phone calls yesterday (Monday) morning, I found myself appearing live on the BBC Radio WM afternoon show as a contestant in Les Ross' 'workforce challenge' representing The Crescent Theatre. Both I and the contestant from Big Cat Group answered all five of our questions correctly so we're both back on the show today at 1445 and 1515.

If you're near a radio at that time, please listen in and lend me your support!

Or listen live on the net: http://www.bbc.co.uk/birmingham/local_radio/

A musical bus tour

2009-03-02T02:04:00.000-08:00

The music department at Birmingham’s Crescent Theatre is coming up trumps for our forthcoming production of THE BUS. Based on the motif of violin music mentioned in the play, a selection of songs have been recorded that will be played throughout each performance; what they are and how they fit with the action of the play you’ll have to find out for yourself by coming along between 14 and 21 March.

Then, next weekend, under the musical direction of Gary Spruce, a choir will be recording a piece of music for use in the final scene of the play. The choir has been rehearsing hard ahead of the recording and the music they produce will be truly wonderful. Below is a shot of the choir in action last night (Sunday, 1 March).

Full details of the production are available at: http://www.crescent-theatre.co.uk/

THE BUS trundles on

2009-03-02T01:53:00.000-08:00

I'm currently directing at The Crescent Theatre in Birmingham what will be the UK premiere of Lukas Barfuss' THE BUS and I'm glad to report that progress is good.

We’ve been running the play for the past week or so and really getting a feel of how the story twists and turns more than the postal bus between Lugano and Tirano (a journey I made 10 years ago and which still lives on in my nightmares to this day!).

There’s one more week in the rehearsal room before we hit the main stage at The Crescent for our tech week and dress rehearsals. Then the big opening night on Saturday, 14th March.

I’m happy to report that the production is shaping up just as I hoped it would: it’s a great play, full of surprises. I hope you’ll see it and agree.