I've just come off the back of working as Assistant Director with the Lyceum Theatre thanks to support from a Federation of Scottish Theatre bursary and the openness of David Greig to let me hitch my wagon.
I met with David after his prompt in his inaugural season announcement that as a community we need to "encounter each other off social media". Social media has been my main source of income over the past six years, creating opportunities for me to work with theatres in an area I had been passionate about. But I've been progressively getting more and more disillusioned by social media. This little nugget to get offline and go outside felt like asking for a coffee chat with David was a fine thing to do. I'm generally awful at asking to meet people as I assume I'm hassling people. Which I KNOW is counterproductive because how are people going to know what you want/need if you don't tell them. And if I find a path to stability in theatre, I would want to pass the ladder down. So ask. LET PEOPLE HELP YOU, EVE. Sake.
Anyways. I was really keen to connect with a company at an exciting stage in its history. I'm coming more and more to terms that what does it for me in theatre is stuff which is often dismissed as being traditional - characters, narrative, dialogue . It doesn't feel cool and often isn't the work which gets me most excited (hello guitars and glitter and noise and declamatory text!). But when you hit the sweet spot (as the Lyceum has consistently been doing in David's first season) you can stage big works in a proscenium arch and for it be hugely modern, smart, generous and connected to the world outside its walls. So, yeah. This felt like a really good place for me to be. And it was. A ball.
It's the largest scale piece of work that I've been involved with. I adored learning so much more not only about the process of working with a playwright and directing a brand new piece of writing but also about the relationship with the creative, technical and administrative teams who all contribute to a production. There was loads to do and I loved doing it. Yeah. This.
We were invited to share Heroes' table top production of Sea Wall as part of INCOMING Festival, a co-production between A Younger Theatre and New Diorama Theatre, London.
It was an opportunity to test my if theory that this show could go to any pub proved true. The fact that the entire show can fit in a box the side of my head is pretty exciting and pro-touring. Let's go!
The venue was ace - props to the INCOMING team for setting us up in a great bar. We didn't have any technical specifications but I gave them some vague guidelines for the kind of vibe we found worked well - the kind of place you'd go to the pub quiz with your pals on Wednesday and get lunch with your parents on a Sunday.
Once Alan and I arrived In the basement venue, we dragged chairs around, fiddled with the dimmer switches, lit some candles - set the mood, baby. I kept finding lots of little secret stories in the decor around the space which supported the production. I like that as humans we look for connections and patterns in things. Always looking for the story in things.
Alan performed three shows back to back. We were delighted to have a large ex-Glasgow contingency show up to support us away from home which was ace. But it was also great to try out our ideas for the production on more people who don't have a personal connection to us or Heroes.
A great little jaunt with a great script and performer.