Movement Direction on 'Tiger Under the Skin'

Tom Kelsey of New Public has created this one man show and together we've worked on Tiger for it.
See it in June at the Rada Festival.
With panic attacks and paws and other absorbing peculiarities you will not want your eyes or ears to stray from the action!

https://www.rada.ac.uk/whats-on/festival-19-tiger/?fbclid=IwAR2FEPCmjy4VAMAYrZl36BWSkc9RNnh3-HGKVNtHWFG_ueORQ2cDDq1lIsM

Where you can find me this summer - Workshops, Festivals and Summer Schools

Come and work with me:

In Vienna, Austria from 10th -12th May 2019

https://www.facebook.com/photo.php?fbid=10211755073831263&set=gm.281035566165080&type=3&theater

In Liverpool, UK, 11th June 2019

https://www.tmesistheatre.com/physical-fest/workshops/

In Kalamata, Greece from 19th August to 7th September 2019

https://kalamatadrama.com/

Shakespeare Within the Abbey

 A lovely review of this wonderful project I have been so lucky to be a part of.

https://www.theguardian.com/stage/2019/apr/28/shakespeares-globe-westminster-abbey-bard-birthday-mark-rylances

You will not feel naked...

In The Art Of Acting, Stella Adler talks about the 'armour' the actor has on stage if they commit to their imagination. [Stella Adler, p84]
Developing the muscles of an actor's imaginative faculties goes hand in hand with developing the physical clarity and dexterity of an actor's choices. Access to the imagination gives the actor anchored commitment to a physical desire which then illuminates them in that particular moment. It is this real connection gives the actor's choice vivacity and specificity.
The more the actor permits the imagination to exist with focus, the more something particular of the story and of her desire towards it can be revealed to the audience whilst, at the same time, being protected by the armour of her richly imagined circumstances.
This armour, her raiment, is quite simply that garment which she steps into lucidly when focused on the need to commit to that character in that particular situation . The images which fill her, giving purpose and flesh to the moment/ activity/ beat as it plays out, justify her actions and necessarily incorporate her within them. She becomes clothed in the images. This illuminates her within her journey. The more the actor invests in these images the more they will protect her. She will be using herself fully, being at the service of the images, and yet she will not be left naked but instead be most wonderfully clothed.https://www.youtube.com/watch?v=RmKTry9Zd9A

Hawk!

https://twitter.com/m_campbellphoto/status/1104762446626123776?s=21

Animals this month

The RADA term of Transformation and Imaginative Improvisation is fast moving towards its end, which is really just the beginning.



https://www.rada.ac.uk/about-us/acting-teaching-staff/gabrielle-moleta/

Lea Tirabasso's astonishing piece The Ephemeral Life of an Octopus has just completed its first tour and is a tour de force! I have been thrilled to have had some involvement in this electric piece of dance.
  https://writingaboutdance.com/tag/lea-tirabasso/

Tome Kelsey's Tiger Under the Skin will go back into rehearsal in April/May. More to come about this soon.

And fingers crossed for good news about my piece Hawk further development with composer Laura Bowler
https://www.theguardian.com/music/2019/feb/13/antarctica-laura-bowler-climate-change-music

Current projects

https://www.shakespearesglobe.com/whats-on-2018/shakespeare-within-the-abbey-2019



https://www.dancexchange.org.uk/events/the-ephemeral-life-of-an-octopus-falling-family/