Fun Facts About BRIAN BLESSED, The Narrator in PETER AND THE WOLF

English stage and screen actor Brian Blessed answers a few questions for us:

Where did you grow up?
I grew up in Bolton-On-Dearne, South Yorkshire – near Barnsley [England].

Most memorable theatrical experience as a spectator?
When I went to see Jack & The Beanstalk with my friend Patrick Stewart, we loved the giant so much we decided to become actors!

Most memorable theatrical experience as a performer?
Playing Henry ll in The Lion In Winter at the Haymarket Theatre in Basingstoke, Hampshire [England].

Favorite local food?
Meat & Potato pie at a family friend's for dinner.

When you travel, what do you miss most about home?
My jack russell terrier – Misty, and my wife Hildegard, of course!

Favorite saying or slang term?
"The Greatest danger In Life Is Not To Take The Adventure" - George Leigh Mallory

Favorite family activity?
Walking our dogs on Sunningdale Golf Course.

If you weren't a performer, what would you want to do with your life?
A full time explorer.

If you were a woodland creature, what animal would you be?
A badger!

Hear more from Brian Blessed in person at Barnes & Noble Lincoln Triangle on Tuesday, Nov. 17 at 6pm! For store address and directions:
http://store-locator.barnesandnoble.com/store/2628

New Victory Scottish Festival: HANSEL & GRETEL

A Conversation with Gill Robertson, Artistic Director of Catherine Wheels Theatre Company

Why did you choose the story of Hansel and Gretel to re-imagine? I was asked by the National Theatre of Scotland in 2006 to be one of the directors to create their ten inaugural shows that would be performed in different locations throughout Scotland each inspired by the word “home.” At the beginning I had no idea of what to do so I gathered four female neighbors and we discussed what home meant to them. Family, security, a place to relax and truly be yourself, and a place of love and refuge were discussed. We also talked about the importance of mealtimes and the daily routine of providing food to feed your family. I left that first discussion inspired and knowing one thing for sure - a huge table had to be at the heart of the piece. However, one idea does not make a show so I began to consider the classic fairytales as many have family and family relationships at their heart. It was then that the idea of Hansel and Gretel came into my head and it seemed perfect. Here was a family but completely dysfunctional, home was at the heart of the story but it was a home which was the opposite of the warm loving refuge my neighbors and I had discussed.

What inspired you to stage the piece as a "promenade" production? I wanted the audience to be fully engaged in the story of Hansel and Gretel and this meant that they needed to be in the heart of the action. For me the audience are Hansel and Gretel, and I wanted them to experience everything that the unlucky brother and sister feel. The first production of Hansel and Gretel (called HOME East Lothian) was set in an old mining museum. We had been looking at different locations we knew that this environment would be perfect especially as it had a woodland area where the audience could follow Hansel and Gretel and get lost in the forest just as they do.

What are some of the challenges of staging site-specific theater and, more specifically, this piece? Site specific theatre is more challenging but can also be much more satisfying than creating a show for stage. The environment becomes a main character in the production and helps shape the way the show is created. It also makes you consider the audience more than in stage shows as you are constantly sensitive to where the audience will be and what they will be viewing.

The New Victory run is the first time we are transforming a traditional theatre into the world of Hansel and Gretel and using every part of it. It gives the creative team a chance to look at the show afresh and make it even better! But, a lot of work has to happen in a short time! Because we do not have unlimited time to turn the New Victory into a 70’s living room, a spooky forest and a Sweetie House that transforms into a witch's den, we need to work hard and fast. But we have got a great team of people who are passionate about the show and are keen to make it the best experience ever for an American audience. I think performing in the New Victory will make the best version of the show ever!

New Victory Scottish Festival: MY HOUSE and Andy Manley

What is the history and creative process behind this production? I created MY HOUSE in February 2007 when I was working as Drama Artist for the pilot of the “Starcatchers” program in Edinburgh. During the residency I had created another show for [kids age] zero to three but felt that I wanted to test out some new ideas. How much could you perform as a character for this age range? And also how important was narrative for so young an audience? I had been fascinated by the cardboard sculptures of Rosie Gibson, a Visual Artist creating work for [the very young] in Scotland, and also the premise that children find cardboard boxes endlessly fascinating. I decided to use cardboard as the basis for the set and played about with the ideas of schematic development that very young children go through as part of their learning. The show premiered at an international Symposium - not necessarily the best way to show your work for the first time; [it's] quite a nerve wracking mix of professionals, experts as well as some critical two year-olds. However the show was very well received and has been since. Consequently, I was invited to perform at the Imaginate Children's Festival in Edinburgh and have subsequently toured throughout the UK as well as festivals in Bologna, Madrid and Salzburg.

Why did you choose to create work for such a young audience? And what in particular, makes MY HOUSE so ideal for kids between 18 months and three years old? When I took up the residency at Starcatchers, I had been working in children and young people's theatre for sixteen years. However I had never created a show specifically for children under three. I thought it would be a challenge to see what I might come up with. I was initially unsure as to the impact of the work but worked on a 'how low can you go' principle. Over the years I had successfully created theatre for three year-olds and their younger siblings had been present and appeared to enjoy the shows. If you could definitely perform for a two year-old, what about 18 month-old? What about 14 months?

When I was in Salzburg recently, one of the Nursery teachers said rather beautifully that she regarded her [teaching] practice as simply working with human beings at this particular stage in their lives. Hopefully, this is what I do in MY HOUSE. I do not have something to show them as a teacher would - an adult to a child. I try instead to have the same curiosity, wonder and delight that very young children exhibit when going about their daily investigations and I think they respond to me as a fellow investigator rather than [as] an adult. MY HOUSE has a very simple story. It tries to meet the children at the stage they are in their development.

Do you find that performing a one-man show for this age range is dramatically different than performing for older kids or adults? How so? I have to be extremely calm which is not always very easy for me so that involves a lot of acting. I also have to perform three shows a day which can be very demanding. Though the show itself is only 25 minutes, it is very concentrated work. I try and make eye contact with every child in the audience and make them feel that I am involving them personally. The experience usually lasts a further 15 minutes as I like the children to be able to physically remember and experience the things that they have seen. Though I am not performing, I am still interested and animated about what they are finding.

Have you had any unusual or funny experiences performing this piece or are there any other fun facts about the show or your work that you would like to share with our audiences? During the show I draw on the floor and the set and I often do this to a chorus of "oh naughty mummy" or "he's a naughty man". I'm not sure if the children feel real outrage at my naughtiness or are just repeating what they think they should say.

The show can get a very different reaction depending on where I am performing. I only say two words in the show – “my” and “house.” This silent performance style can seem alien depending on the culture that surrounds the children. When I performed the show in Bologna the children gave the show their own soundtrack whereas in Spain I had to say hello and interact with the children in order to get their trust otherwise they would just cry en masse. It's fascinating that cultural differences are there from such an early age.

Photo by Paul Watt.

New Victory Scottish Festival: Puppet State Theatre Company and THE MAN WHO PLANTED TREES

An interview with members of The Puppet State Theatre Company

What about the story of The Man Who Planted Trees inspires you? The fact that quiet determination can have an affect on the world and in turn help one’s life have worth.

Why did you choose to make the [character of] Dog so important in your version of THE MAN WHO PLANTED TREES? Rick and Richard (the actors and puppeteers of THE MAN WHO PLANTED TREES) had success in a show for the Scottish Forestry Commission; Gerald the Forestry Commissioner and a puppet Squirrel were precursors to [the characters] Jean and Dog.

A dog also serves to cut the show off at the knees whenever it drifts into over-worthy territory.

We have some bios for the cast members, but not for Dog. Can you tell us a little bit more about him? What is Dog’s favorite food? Does he have any formal actor training? Dog grew up in Stone Mountain, Georgia - much like the guy behind him. He was once given a pack of Dentix Dog Chews from a school group, and he is very keen on those, as well as Thai food.
Although he has been in a few plays, he does not have much proper training. He attended the Gielgud Canine School of Acting briefly in the mid to late 80’s, but was spotted and chased out of the building.

How many places has the show traveled to (and which one was Dog’s favorite)? THE MAN WHO PLANTED TREES has been performed nearly 800 times now. We’ve performed in our fourth Edinburgh Festival (in 2009), and have been to almost every town, village and hamlet of England, Scotland, Wales and Ireland. Abroad we have been to Malaysia, Bermuda, and the Channel Islands. We have an extensive tour of the U.S. and Canada early in 2010 and then move on to Holland and Portugal. A tour of Australia and New Zealand is in the planning stages.
Dog has enjoyed himself everywhere, especially on the beach after shows in Penang.

Do the sets or puppets ever break or need repair while you're traveling? Is there an understudy if Dog is injured? The set has held up incredibly well considering the stresses it has been through. (The word "cast" may be substituted for the word "set" in that last sentence.)
If Dog can not make a show, the chicken takes his place.

Are there any other fun facts or anecdotes about the show or the company that you would like to share with our audiences? Not so much fun, as heroic. We were on a flight out of New York recently when our plane struck a flock of geese. Unfortunately, the pilot had just spilled coffee on his lap and had rushed to the bathroom. To cut a long story short, Dog had to race to the cockpit and, against all odds, landed the plane safely in the Hudson River. No one was hurt.

Photo by Brian Fishbacher.

New Victory Scottish Festival: Shona Reppe & CINDERELLA

An Interview with CINDERELLA creator and puppeteer Shona Reppe

What inspired you to adapt the story of CINDERELLA? Cinderella is the most well known story in the world. It was an exciting challenge to retell the story in my own style. Assuming the audience is familiar with the story meant I could be more abstract with the way I told it.

What makes your version unique?
It’s based on the Grimm’s version of Cinderella and is darker and stranger than the one Disney tells!

Where did the idea for the unique tabletop puppet stage come from?
I love the possibilities for the solo puppeteer using a tabletop set. It means I can switch from puppeteer to character very easily. There is a tradition of tabletop puppetry in Eastern Europe and table top puppets have always fascinated me.

How many places has the show traveled to?
As well as touring all over the UK, CINDERELLA has been performed in France, Belgium, The Netherlands, Japan, Canada and the US.

What has been your favorite so far?
Without sounding boring they have all been great in different ways - performing in Japanese was a challenge!

As the only performer in the show, playing so many roles, how do make each character distinct as you switch from one role to the next?
They are all versions of myself and I've done the show so many times now they are firmly fixed in my head. I love doing the Ugly sisters. I think they are based on people I know....

How long did it take you to develop and rehearse the show and these characters?
Not long - about 3 weeks. I rehearsed in quite a short space of time and have fine-tuned the show as I have gone along. I love performing CINDERELLA.

Are there any other fun facts or anecdotes about the show or your career that you would like to share with our audiences?
Cinderella’s legs falling off once, was quite memorable and the lights and sound blew during a show recently. Oh yes, and I've done a show in a greenhouse on a hot day and my audience started to slowly leave as the heat became unbearable and I was left with one very red-faced girl determined to see it to the end (as was I!).

Photo by Douglas McBride.

Bill Irwin: On Family Workshops, Taking Chances and Waiting for Godot (part 3 of 3)

New 42 Board Member and Tony Award winner Bill Irwin speaks on the art of listening and our responsibility to young audiences at a meeting of the New Vic Council. Members of the New Vic Council are ambassadors for The New Victory Theater, working to broaden the public’s awareness of the importance of arts education and championing the New Victory Theater Education Program and the New Vic/New 42 Youth Corps.

On Family Workshops, Taking Chances and Waiting for Godot (part 3 of 3)

On any day you can take a camera, go down to the New Vicctory, take some footage and splice it together – glorious stuff.. You’ll see kids thrilled, kids having a good time, kids laughing, kids cheering, kids going to a workshop where they learn to juggle a little bit, and stand on a wire for a second. Cut it together, and it will be a tremendously feel–good experience -- a great fund-raising tool – in no time.

It will be all those things, and yet. I see as I get older that the real story is the chance for a kid to stand on the wire, focus on the other end – parents, workshop leaders all go away – and see what happens: I’m here to tell you from experience that you fall off 90 times out of 93. The chanting of enthusiastic parents, and I’ve always been among the loudest–“Good job! You’re doing great! Keep up the self esteem!”–is always going to be there (very important part of our job) but in the end it’s background noise to be filtered out -- the gift is allowing a kid to stand there and see how much work there is to do and how much there is to tune out in order to look at the other end of the wire and balance for even a moment. That listening, not one’s tight-rope skill, is the gift of the workshop.

(Oh, speaking of tight wire imagery, I encourage you to see a film called Man on Wire, a very moving, an incredible film, especially if you knew those characters at that time -- and since. It’s moving, like all great pieces of work, in unexpected ways. There’s a moment when Philippe Petite is talking about his historic walk, now, 35 years later, and they show some incredible footage of his foot on the wire…and he says in his Gallic way, “And I look, I look and it’s time… it is time for me to put the other foot…out.” And, you know I’ve never walked a wire farther than eight feet, but I know what he’s talking about: time to take your foot off there and put it …there. It is such a perfect metaphor for all endeavors in life that one feels corny remarking on it. But – in the ideal, anyway -- that’s the experience that a kid gets at The New Victory in a Circus Skills workshop. It’s not always a ‘feel good experience.’ The threshold is a tricky one–and it gets trickier.)

We were talking in a meeting the other day about the very exciting idea of giving kids flip cameras so they could all document each other in these gatherings. And I found myself thinking – as an elder –first, what a terrific and exciting idea, one beyond my generation’s ability, fantastic! But also, second, this thought: Sometimes a video monitor as part of a piece of theater is the perfect element –does just what needs doing in a scene. And sometimes it gets in the way of our watching a fellow human being stand before us – befuddles and clouds the basic act of theatre. This flip camera idea might be an expensive, and not great idea. Which voice is an elder to listen to? Yes, that’s why it’s a tough gig………

I’m about to start rehearsal on a play, a huge play (Waiting For Godot). It’s a joyous responsibility, but it’s a big one – sometimes a scary one in the middle of the night.
But every night I will get to say these words…“Was I sleeping while the others suffered. Am I sleeping now? Tomorrow, when I wake, or think I do, what shall I say of today?”

That’s the theater in a nutshell – you could call that a mission statement. “What shall I say of today? If indeed I am awake, what shall I say of this day” The New Victory puts on eight to eleven shows a week for young audiences–and that’s operating every moment, that question.

No question, no choice, now – we have to face these questions as elders – and, of course, figure out what that means.

Bill Irwin: On Protecting and Cultivating Young Minds (part 2 of 3)

New 42 Board Member and Tony Award winner Bill Irwin speaks on the art of listening and our responsibility to young audiences at a meeting of the New Vic Council. Members of the New Vic Council are ambassadors for The New Victory Theater, working to broaden the public’s awareness of the importance of arts education and championing the New Victory Theater Education Program and the New Vic/New 42 Youth Corps.

On Protecting and Cultivating Young Minds (part 2 of 3)

So there I am at Dan Zanes’ show at The New Victory and the kids are dancing in the aisles, and many thoughts in my mind. This audience at The New Victory Theater will evolve. They will grow. They don’t need to be led by the nose – and they wouldn’t go for it if you tried – but they will need to be offered guidance, shown possibilities, because eventually there are offerings like Toni Morrison’s piece The Bluest Eye for them to see (done as part of the New Victory series at The Duke on 42nd Street). The Bluest Eye is a strong piece -- it asks a lot of audiences, of any age. How do we intimate to these kids a path -- from the exhilaration of dancing in the aisle to a place where–at this theater and elsewhere in life–they will hear the stories of loss, of implacable hatred, of unresolve-able differences, stories which the theatre also has to offer? How to hear those stories, tell those stories, and still be able to dance in the aisles?

I make some of my living in the university scene, doing master classes in acting and theater. The professors in these programs are charged with the most complicated responsibility of teaching these kids–all of whom have come to them out of the exhilaration of being in the theater in high school. You ask an incoming freshman why he or she wants to be in the theater, “Because I dunno…it’s just all that feeling…and then there’s the closing night party…” You remember that youth -- it’s poignant -- and you realize there’s a needle here to thread…to say ‘KEEP that exhilaration – keep it -- AND embark now on a kind of work in which, as you’ll eventually see, your job is–to a very great extent–to tell the story of human loss.’

I talked to a woman who teaches basic acting and theater movement -- she’s also a resident at a dorm, a resident advisor at the dorm–which means she has to stand by when kids are struggling with being away from home the first time – contradictory job, sometimes, I thought – investigating loss on one hand and comforting and shielding from loss on the other. And with audiences, a similar double responsibility: How do you bring kids into the world of theater – dancing in the aisles -- and also gradually take them through to the story of loss? -- So that when they stop coming to The New Victory (should they ever stop) they graduate out into the world as audiences who are savvy and seasoned and ready to see a ‘mirror held up to nature.’

I think one great and essential service we owe the young is to say: “Listening… it’s everything – it’s the most important part of the acting profession, it’s the most important part of being part of an audience, of being a citizen….. listening.” And to say it whether they want to hear it or not. And then of course to try to practice what we preach…….