Throughout the writing of this blog I have been so fortunate that my colleagues in the team have added their own contributions. This has made it a real group effort in the spirit of A Midsummer Night’s Dream: A Play For The Nation. Thus they have written whole articles, contributed reports of trips to other groups, supplied photographs and oral reminiscences and generally offered their support to what has turned out to be quite a mammoth undertaking – as well, of course, as lending their huge talents to appearing in the production. My thanks then go to Maria, Adam, Al, David, Tom and Peta for their invaluable contributions and their companionship on this theatrical adventure.
As one last piece of collaboration I asked the others to nominate for me their best time, experience or moment in working on the Dream2016. There was an element of the “reality show” format to the beginning of this project so it only seems fitting that before the credits role we focus on the participant’s “best bits”. I am sure they found making a single selection as much of a challenge as I did simply because there were so many bits of magic to choose from. However, here, in their own words, are their choices and, indeed, mine.
For me one of the most defining and best moments was very early on when the six of us London amateurs read through the Mechanicals’ scenes in the script, with the professionals, for the first time. We were all sat around the rehearsal room in Clapham and we’d only just met the professionals a few minutes earlier. We felt a pressure, applied by ourselves, to make sure we did ourselves justice. We gave it some energy and performance and the professionals, cast and crew alike, laughed and congratulated us heartily for our efforts. For me it was the first time we knew this whole project would work and we would be able to work well with these excellent actors. It really gave us a great springboard into the rehearsal process.
Writing from Italy where I happen to be at the moment, I have been thinking about Shakespeare’s imaginative world in this country and how the Dream does not form part of it! The Taming of the Shrew, Much Ado, Romeo and Juliet and so many other plays have such a strong sense of being set here, but the Dream feels like England, and Warwickshire in particular. The references to Athens have always felt nominal to me, and the Mechanicals are a unique group of ordinary people who get drawn into those other worlds of illusion and Realpolitik in the play. With regard to Dream 2016, one of the many things I shall not forget is recording the speeches we did for preliminary Task 1. I had been allocated Claudio from Measure For Measure but because I was recovering from pneumonia when I recorded it I was late sending it in! I was relieved when David said he liked it and that it would do. We talked about why we had been given the particular speeches we each had, which led to some interesting speculation. I seem to recall that Erica talked about this at some point, and she may have referred to what I feel myself, namely that it is good for someone playing a grounded character like Snout to explore the terrors of the imagination and this mortal coil, and that brings us neatly back to the world of the Dream!
David (Amateur Group Director)
The first read through was special. We had a head start of course having prepared two of the scenes and run through the others several times, but I felt proud of the Tower team at that point. Then we got the first run through in Clapham. We were lucky being the London team and therefore able to step into the Mechanicals shoes, but again it showed that the work we had done for ourselves and with the RSC production team had “the play fitted”. But most of all I think it is an overall impression and remembrance that at every stage, from whoever it was, there was a friendly atmosphere and we were welcome and included. Without exception, during rehearsal in Clapham, at the Barbican and in Stratford we were never made to feel less than full partners in an amazing adventure.
My Dream 16 experience was wonderful. The reason I wanted to be involved was chiefly for the opportunity to work with a production team at the very highest level, from directors to vocal and movement coaches to an award winning stage management team, to a wonderful professional cast and I just loved it. If there is one thing I am personally most proud of, it is being able to say that I nailed that first Quince monologue “If we offend…”. That monologue haunted and terrified me for a whole year! I tried it every way I could think of and it just didn’t work to my satisfaction. Trying to demonstrate a piece of Shakespeare which is punctuated in such a way that it becomes a nonsense is really hard! We got to the last few days before the performance at the Barbican and I still hadn’t got there. However, with the brilliant direction of AD Kimberley Sykes, it all suddenly clicked and for the first time I properly got it! On our opening night at the Barbican, where an enormous surge of adrenaline was palpably pulsing throughout the entire cast, I flew onto that stage and delivered the speech to the audience with a clarity I had never felt before and in return, the audience applauded. I’m told for that speech, that is a pretty good result!!
For me a magical moment while at Stratford was the final workshop with Michael Corbidge (Senior Voice and Text Coach) and Polly Bennett (Deputy Movement Director), which suddenly seemed to “unlock” the RST space for me. Such as having the courage to do things in a thrust space that would seem completely counter-intuitive on a proscenium stage; for example, turning outwards instead of inwards and learning to communicate with EVERY seat in the audience. It energised me and made the Stratford performances even more memorable than the London ones.
To paraphrase Shakespeare – “we were such stuff as dreams are made on; and our little life is rounded with a sleep.” And the dreams will remain. It is the small things I remember most fondly. The friendliness of rehearsals and the drink and talk afterwards – especially at David’s; our first meeting with the professional cast and their continuing warmth, encouragement and cheerfulness; the delight the schoolchildren seemed to have absorbed and then radiated in their performances; the woman in Stratford who approached me to ask if I was the Man in the Moon; meeting the casts from the other companies and being introduced by Erica to Greg Doran at the splendid farewell party. We have been involved with the Dream for over a year and no other play remains with me as this one will. I can retire from the stage happy.
I had a real breakthrough moment when I finally mastered the Bergomask dance at the end of the play. Dancing on stage (or at least as I have tended to think of it “co-ordinated” movement) has always been my bête noire and over the years I’ve talked myself into a position where I think it’s going to be a disaster before I’ve even started. Even David’s patience and Adam’s cheerful optimism wasn’t keeping my efforts afloat (I always found it distinctly ironic that my character was all for the dance and Adam’s wasn’t when in reality it was completely the reverse). It was when I visited one of the school rehearsals with Miles, a brilliant RSC Education consultant, and saw how joyous and free the children were with it that made me determined to conquer it; if they could do it, then so could I. I repeatedly ran the training video supplied by the RSC and found that I knew it backwards at home. But as soon as I got it into the rehearsal room the cracks reappeared. Then once in a session with assistant movement director Polly Bennett we were encouraged to go for it and enjoy it even if we went wrong. That’s when I realised that to an audience it’s not so much about hands and feet as what’s going on above the neckline. After that my demons quickly dropped away and by the end of the run I was positively looking forward to that climactic joyous moment. Whoo!
There are so many other outstanding moments and wonderful memories that we will treasure from being involved in Dream2016. We have met the most incredibly kind, talented and generous people, from the cast, creatives and crew and the other amateur groups. We have made friendships which we plan to continue far beyond this project and we have learned what it is to be directed by a wonderful group of women at the very top of their game and who have helped us to recognise our potential as performers. We can’t thank Erica Wyman and everyone at the RSC enough for giving the Tower Theatre Dreamteam the opportunity to be involved in the most thrilling theatrical experience of our lives. We will never forget a single one of you and we love you all to bits!!!!
So, just one more blog post (probably) left to round out this extraordinary undertaking. Join me soon.
The Dream is now over. To find out more about the 14 amateur companies which took part, click on the side bar to access the page on each location.