The Necessity of Atheism ~ a play presented by Anglia Ruskin Creative

I love the Fringe up there in Edinburgh. I have done it twice, once as a techie and once as a performer in two new shows. Anyone who has performed there will tell you it is a fabulous place for an actor to cut their teeth. It's a vibrant and eclectic mix of all kinds of performance: from established theatre, comedy, immersive experiences and new takes on classic texts. It's a festival that never sleeps and there is always something to see at any point, anywhere.

That's why I'm very happy to promote these guys on here as, for me, such an undertaking will only lead to better actors, with a broader appreciation of the industry.

This show is no exception, so please read on and I hope to catch you at one of their Norfolk venues.

The Necessity of Atheism is presented by Anglia Ruskin Creative, an award winning company formed by Senior Lecturer in History at Anglia Ruskin University, Dr Sean Lang.

It is directed by Norfolk-based Sabrina Poole, whose productions have previously received awards at the Sawston and Cambridge Drama Festivals.

'I'm delighted to be bringing this amazing show with a wonderful cast up to the Edinburgh Fringe!' ~ Sabrina Poole, Director

                               Victoria Penn who plays Thomas Hogg and Alexander Banks who plays Percy Shelley. 

The Necessity of Atheism by Sean Lang is a boisterous comedy set in the golden age of England’s exuberant cartoonists and is seeking support to get up to Edinburgh Fringe Festival this summer.

Synopsis ~ University of Oxford, 1811. Fear of French invasion by Napoleon hangs heavy over Britain, but the young poet Percy Shelley is more concerned with his new pamphlet: The Necessity of Atheism. Asking for proof of God, the pamphlet finds its way around the university and, after an incident involving an apple, attracts the attention of the Lord High Chancellor of England. Lord Eldon is less than sympathetic and is determined to see Shelley punished, even if it means going against the very values he claims to be protecting.

The cast and crew are currently seeking public donations on the crowd funding website here to help with their costs for their run at the Edinburgh Fringe Festival in August. Donations can be from as little as £5 and there are exclusive handmade prizes available for each amount given from personalised thank you cards to handmade boxes of apple themed sweet treats.

The Necessity of Atheism will be performed 17^th July, 7:30pm, at the Maddermarket Theatre, £6 (£5 concessions).

Box Office: 01603 620917,www.maddermarket.co.uk,

and  24^th July at Salle Moore Farm, Reepham, Norfolk.

It will also run in Edinburgh at Surgeon’s Hall from 5^th – 20th August, 12:10, £8 (£6 concessions).

Box office: www.edfringe.com

Ten Questions with ~ Helen Fullerton

Helen has been a working professional actress for over 20 years.

She trained in musical theatre and has a very strong light classical voice but spends most of her working life in theatre, and comedy theatre at that.

She has recently moved down from Yorkshire to Cromer in Norfolk.

1. Hi Helen, what have you just done?

I am in the middle of a tour of “Kindly Leave the Stage” for Baroque Theatre. I play a St.John’s Ambulance Nurse. It’s a great fun farce and we have had some wonderful audiences and I am working in lots of venues I haven’t been to before (It’s amazing just how many venues there are in this country, getting theatre to all regions, and there is a real hunger for good, entertaining work). I’ll be doing this show until the end of June.

2. Why did you become an actor?

I was walking home from school, at 14, daydreaming about being discovered (as you do), when it came to me that this was actually a real option for work (even if not endless awards and money) you can make a living at it. From then on I just worked at it single mindedly, working with my school and local Amdram groups, then Drama school, Fringe, TIE and now I am one of the lucky ones who can say I DO make a living out of it.

3. What is the most important issue that you would like to see addressed in the arts?

Being a “Woman of a Certain age”, I am very aware of how disproportional the roles are for women, and then even worse for any woman over the age of 30. I believe this has begun to be addressed and certainly the industry does not appear to be as obsessed with sex appeal as it was when I left drama school, but there is still a long way to go. Women are no longer unrepresented in any area of business, life etc but the arts has not really caught up to represent all those real women.

4. There is a debate on pay/no pay: do you think artists should be paid for their work?

Yes, it’s my living, it’s your living, we need money to live, and our work is worth paying for. I rarely do unpaid/low paid work these days, but when I was looking to work in the film and TV market I took lots of unpaid gigs to give myself on the hoof training (I trained in Musical Theatre where recorded media was hardly touched upon), and to get together a show reel of material. Now I will occasionally do unpaid work for local friends for headshots etc.

5. Who is your favourite artist and why?

Being a character actress I have to say the wonderful characters actresses we have/have had in this country. Elizabeth Spriggs, Hattie Jaques, Joyce Grenfell, Margaret Rutherford, Victoria Wood, Celia Imrie, Julie Walters, Dawn French... so many... wonderful women with great comic timing with serious underlying truthfulness. 

6. What value does the theatre hold for children?

Not just Pantomime! Though Panto is still fun, so take 'em. Children get stories and that is what theatre is, dramatised stories, instantly accessible and live. When I was playing the Nurse in “Romeo and Juliet”, I had a seven year old come up to me when I went front of stage to clear the overly excited kids from the edge of the stage (there was a sword fight coming up and they were too close for safety). I had finished my acting and as a “Nanny” type was thought to be able to look after the kids. The last thing they had seen, was me crying my heart out as I though Juliet was dead, so this little girl comes up to me and gives me a hug saying “It’s alright, she’s not dead, she’s just taken a drink from the blue bottle. In a minute someone is going to come and go “Waaaa” and wake her up”. She got it. Strange old English and all, she got the story, and believed it. Don’t underestimate what children can understand. Theatre is a reflection of life, good, bad, funny and sad.

7. Where do you see yourself in two years time?

Well, now I am settled in my new home in Norfolk I’d really like to really absorb the local arts scene (all art reflects and informs the other arts). I love theatre and touring and really I am almost where I would be happy spending the rest of my days, taking good exciting theatre to people who really want to see theatre (not just those who want to tick it off their tourist list) in every corner of the country.

8. Do you have a favourite place in Norfolk?

I love woods, I live on the edge of a small wood and see deer and foxes and pheasants when I go for walks. I have a lot more of Norfolk to explore and I look forward to being shown and discovering more of it now I am here.

9. Dog or cat?

Cat. I love the company of an animal but I don’t want to be needed 24/7 as a dog needs attention. Sadly because I tour so much I can’t have a cat, even they need to be fed daily and watched over. So I’ll come around and pet other people’s pets.

10. And finally, what is next for you?

I will soon be starting work on the new Wuthering Heights film. I am very excited about the project as I am playing Nelly Dean who, in this adaptation, will be a dark and sinister constant presence, think a cross between “Hand that Rocked the Cradle” and “Misery”. They have already begun filming and the screen shots I have seen look wonderful. They are still raising money for the final touches and to increase the pay of the performers and crew so if anyone has a spare few pounds it would be gratefully received.

Donate Here:

Website here ~

Twitter : @HelenFullyActor 

Spotlight here ~

Ten Questions with...Cordelia Spence ~

Cordelia started Stuff of Dreams in 2012 after studying for her MA in Theatre Directing at UEA. 

Her previous work includes: for Stuff of Dreams: ‘Private Peaceful’, ‘Love Left Hanging’, ‘Rope’ , ‘The Bricks of Burston’ and ‘The Poisoners’ Pact’, ‘The Blacksmith Who Chased the Moon’ and ‘Forgotten’.

In addition she has directed ‘Darlings, Four Women, Four Years’ for UEA, an original play which commemorated the contribution of nurses in World War 1, and Sweeney Todd for WLOG.

She lives in Norfolk with her husband.

1. Hi Cordelia, what have you just done?

Hi Simon - I’ve just finished directing Stuff of Dreams current tour of ‘Forgotten’ a play that tells the story of Suffolk poet George Crabbe.

2: What was the reason behind creating 'Stuff of Dreams' Theatre Company?

After completing my Masters in Theatre Direction at UEA in 2012 I wanted to work but I didn’t want to move to London and sweep the floor of the Royal Court waiting to be discovered so I decided to make my own opportunities. I wanted to create a platform for emerging talent in the region and I wanted to tell stories about this wonderful area that I live in and love.

3: What are the most important attributes for someone working professionally in the arts?

Determination, creativity, a strong work ethic and the realisation that there is no ‘I’ in ‘team’.

4: Do you think that there are some instances where an artist should work for free?

In an ideal world no – but we don’t live in an ideal world. I also think that ‘free’ is a term that can be misinterpreted or even abused. Experience and networking are important and ‘in kind’ payment can be valuable to an emerging artist. Honesty and clear understanding between all parties is essential in any business and theatre is no different. But if you’re not being paid then it’s not professional. I object to people who just think they can be a ‘professional’ actor or director on a whim. As far as I am concerned members of our profession have made huge sacrifices, worked hard and trained to achieve ‘professional’ status and that should be recognised. 

5: What inspires you on a daily basis?

The unexpected. I’m very proud of how far Stuff of Dreams has come. I work with fantastic actors and our management team is very close. Ultimately I think it’s the utter buzz I get from being with actors in the rehearsal room. I’m also get very excited when I come across a new idea for a play for a company. 

6: What have you learnt from theatre thus far?

Theatre is, for me, the most exciting Art form in the universe. It explores the whole gamut of what it means to be human and provokes extraordinary responses. It has taught me to never stop learning as a director; every show demands something different, every actor teaches me something valuable and every audience member responds individually.

7: Who is your favourite artist?

Can I have two please? I adore Daniel Day Lewis and Viggo Mortensson. Both extraordinary actors. 

8: What has been the best piece of advice that you have received?

‘Choose the most difficult path, it will also be the most rewarding….’

9: How do you like to relax of an evening?

My other half, the sofa, the cats, chocolate and a good film.

10: And finally, what is happening next for you?

Tim Lane (my writing partner) and I are starting our next script, ‘Anglian Mist’. It is a cold war thriller set on Orford Ness and is a reimagining of some of the legends that abound about that haunting place. It’s going to be completely different to anything the company had done before and will be more immersive in style. It will premiere next summer (June 2017) on ‘The Ness’.

You can catch Stuff of Dreams latest play, 'Forgotten' on tour all through May into June, follow the link for details :

Stuff of Dreams Theatre Company

The Familiars ~ Acid Folk Artisans

I love the Familiars, they are a superb acid folk band from Norfolk, making their own music and transporting the listener into a world of dark romance, epic fantasy and moving poetry.

They started playing together at Jurnet's Bar in Norwich several years ago and have to date released two albums, bringing forgotten 1970s Arcadian acid-folk gems back to life for an audience pining for the lost magic of Mr Fox, Pentangle and the like. They have also penned an original collection of works in this vein, 'Martyred Hearts'

We caught them at the Roseberry pub in Norwich on the 10th April; a charming setting that was perfectly suited to the intimate approach of their set. An hour in length, the music was flawless, the performances likewise. A wonderful mix of drama, dark fable and pagan mysticism, I was enthralled, having only heard their albums. In the flesh they were accomplished and very much in control of their artistry.
 The Familiars are vocalist/lyricist Joanna Swan and composer/acoustic guitar virtuoso, Thomas Conway. Guest violinist Vincent Maltby makes up the trio.

Jo ~“I heard Tom play and his style reminded me of the late Bert Jansch,” she says. “I knew I wanted to work with him right away.  After a year or so of experimenting with covers and reworkings, and a debut album made up of these (called Cunningfolk) under our belt, we got to the point where we were able to say - why not challenge ourselves a bit more and write songs of our own? We wanted to capture the spirit of the 70s acid-folk era, but find our own voice within the genre. Martyred Hearts is the product. It flies in the face of music fashion, perhaps, but that’s what makes it special.”

I have known lead singer Joanna Swan for a number of years now, having worked with her on the stages of the UK on numerous shows (including for my own company SFT) ~ she is a passionate and delicate artist who employs her particular focus with staggering detail. Her lyrics are sweeping and pastoral, linking fable and history with legend and metaphor. Onstage, she moves like a young Stevie Nicks, conjuring feeling and moments from the very air.

Having only heard the work of guitarist Tom Conway, I was delighted to see him play. He truly is a master of the guitar, creating sounds and music that was a part of him: a stunning musician, moving with each fibre of his body to create breathtaking melodies and sequences.

Tom ~

“We've drawn on elements of local history in our songwriting,” he says. “The Shaming of Agnes Leman is a cautionary tale about a real woman who was ducked in the River Wensum at Fye Bridge in Norwich, for lewd behaviour on a Sunday. We are hugely thankful to Dave Tonge, known as the Yarnsmith of Norwich, for having researched Agnes' story and written about it so extensively; with the information he provided, it was really easy to write a ballad that did her story justice.”

'We will make of you example, pretty Agnes, pretty Agnes 
We will strip you bare and shave you of your yellow hair so bright 
And naked to the cuckingstool through Norwich market lead you
And none that see, shall save you from your well-deservéd  plight'                                                 

Tom Conway of course has been a bewitching part of the fabric of the Norwich music scene for many years, making his name locally as a solo performer and also as one quarter of Echoes in the Well, an outfit which in 2013 made the finals of Future Radio's “Next Big Thing” competition.

You can see them at Jurnet's Bar in Norwich on May 6th.

'We will appear on 6 May at Jurnet's Bar for the The Music House Acoustic-ish Session!'

Booking enquiries for the band can be made by writing directly to the band at joannayorke@hotmail.com

Links to their work: http://thefamiliars1.bandcamp.com/

Website:

http://thefamiliarsduo.wordpress.com/

Facebook:

https://www.facebook.com/TheFamiliarsNorwich/

I leave you with the lyrics of my favourite of their songs: it's a wonderful poem and even better when sung, so get yourselves down to Jurnet's Bar on the 6th May. You will not regret it.

Bridge of Birds

The Raven is the Prince
Of the birds of Prophecy;
A darkling hunch of Portent
Perched high and watching me 

The Falcon is the Prince 
Of the birds who maketh War;
A hookéd beak, a yellow stare 
He leaves a wake of Gore 

The Petrel is the Prince
Of the birds who bring the Storms;
His pinions stretching o’er the waves 
His cry of Torment warns 

But the Cuckoo is the Prince 
Of the birds that bring Sorrow to me; 
And since I took my Cuckoo in 
Nevermore Joy shall I see. 

The Lark he is the Prince
Of the Birds that hail the Dawn; 
A tongue as sweet as nectar sings 
The promise of the Morn 

The Owl he is the Prince 
Of the birds that bring Nightfall; 
And stealthy as the dark itself
Casts in his wake a Pall 


The Swan he is the Prince 
Of the Birds that dwell on Water; 
His mournful cry, by woman heard 
Of coming Doom doth augur 
But the Cuckoo is the Prince 
Of the birds that bring Sorrow to me; 
And since I took my Cuckoo in 
Nevermore Maid shall I be.

Ten Questions with...Dominic Sands

Dominic is an actor and theatre maker from Norfolk. He studied Drama and Performance Studies at Paston Sixth Form College. Recently, Dominic went on a gap year and traveled around Europe, seeing theatre in every country he went to.

He is the founder of Orbital Productions. They look at ways to create exciting theatre and film projects using new writing and lesser known plays in order to give upcoming practitioners an opportunity to be seen. Their goal is collaboration with like minded companies to make Norfolk a massive landmark for theatre and film.

I have met Dominic a number of times at Red Duck's popular new writing evenings at the Maddermarket Theatre. He's a lovely chap with a keen head for performance.

1. Hi Dominic, what have you just done?

I've just finished a run of Sunset Boulevard with the Norwich and Norfolk Operatic Society at the Theatre Royal!

2. You are an actor and you also run a theatre company: which one is more rewarding?

I'd say that they are both more rewarding in different ways. As an actor it's very self rewarding to do the thing that I love the most and to receive compliments about my work, and as a theatre company it's rewarding to contribute to this industry, to put on shows that move audiences and create exciting pieces of theatre that wouldn't of been able to happen without everyone working together to create something great.

3. There is a big debate about pay vs. no pay, passion vs. payment; what is your opinion on being paid for your art?

 I strongly believe that all people within the arts should be paid properly, we give a service like any other profession and the arts industry is a vital part of our culture. Therefore we should be paid for our services/vast amounts of work and time that we put into our industry.

4. What is the most important attribute for a theatre professional in the 21st Century?

Ambition. The ambition to keep you going and to strive for better and higher standards, and to keep pushing the bar higher for others to follow. If you haven't got the drive to keep going, even if you get knocked down time and time again, then you won't make it. Or at least be happy with where you are.

5: Who is your favourite artist and why?

Personally, Robin Williams is a great inspiration. Someone who cared so much for all people despite going through severe depression. Not only did he make people laugh and cry but he used his work to help other. For example,. In his rider for some of his films, he would make the company hire a certain amount of homeless/underprivileged  people as paid extra's whilst also sheltering them and feeding them during filming.

6: Where do you see yourself in five years time?

Hopefully being able to be self sufficient and have a sustainable income from acting/theatre related projects.

7: What is your favourite place in Norfolk?

The Garage across from the Theatre Royal, many years of happy memories and the main reason why I am so passionate about theatre. And the coach and horses pub behind it, cause.... you know.

8: How do you relax of an evening after a hard day?

Playing computer games and watching Anime.

9: Dog or cat?

Dog! (She's a puppy.... *Dies from cuteness*)

10: And finally, what is next for you?

Put on my first theatre production at the end of the year. Which will be...................(Drum roll)........................ Ordinary Days by Adam Gwon.

Review ~ Forgotten, The Cut, Halesworth, 1st April 2016

For me, a well made programme always gives me an idea, albeit it in a very small way, of the commitment and level of the production about to be seen. If Stuff of Dreams' programme for their opening night of 'Forgotten' was anything to go by, we were in for quite a piece of theatre; as detailed and lavish as the booklet that we purchased at the start.

I'm a big fan of Stuff of Dreams. Their previous two shows were terrific stories on stage, and tonight's production had been eagerly awaited by myself, having been able to read some of the script by Ray Rumsby, a local writer and academic.

'Forgotten' tells the story of East Anglian poet George Crabbe (Thomas Wingfield) much loved and appreciated by the region. Perhaps most famous for his poem 'Peter Grimes' (from 'The Borough' read it here: Peter Grimes) this work was made into a famous opera by Benjamin Britten. It is familiar to myself from playing 'Bob' in the 'Private Ear' which features a section from the opera. The poem is quite different however, painting Grimes as a ruthless child killer and quite mad. Crabbe here is seen as a humanitarian, a man concerned with poverty. Bells are rung with our current 21st situation under 'austerity'.  It wasn't all easy for Crabbe of course, having to beg and borrow in order to realise a life for him and his wife Sarah (Kiara Hawker). Personally, as a sometime writer myself, I related to his struggles, I found the need to create a theme that the production expressed well.

Through a meeting of theatrical conventions his life is laid out - it is as closely observed as his own poetry observed the myriad facets of Norfolk and Suffolk life. From the opening image of a modern university lecturer to the final powerful tableaux, the action is detailed and non stop, scene changes happening quickly even for shorter scenes with set being struck in situ, sometimes still in character. Actors play a number of roles from the man's life and are onstage throughout, Brechtian style, easily seen by the audience to don a hat and reenter as a comedy landlady or sincere maid. Props are used as well as mime. I enjoyed the mime of the dog and baby, both comic moments beautifully placed.

The language is grounded yet rings with it's own poetry and is very powerful in places, despite the accents sometimes too thick for this non native. One of Crabbe's poems is played out in a surreal narrative that is frankly a challenge to follow at times, but meeting theatrical conventions with aplomb is what I have come to expect from Stuff of Dreams.

Cordelia Spence's direction does new things, fully exploring her set, pulling us in as an audience to intimate moments, taking us into the very fabric of the poet Crabbe's mind, which clearly was a detailed and at at times lonely place. Lighting and sound aided this competently and again, the language seemed a character all of it's own, interspersed with Crabbe's own work.

The cast was strong, each manifestation by turns amusing or bittersweet, having definite particulars to the roles. Hayley Evenett shone as Phoebe and Lucy, whilst her landlady amused, as did Neve Doyle's numerous fishermen along with a very disagreeable Mrs. Crabbe.
Tom Wingfield had a pathos that was palpable and his ageing was deft and believable, whilst Kiara Hawker as Crabbe's wife, had beautiful singing solos.

Particular mention must be made of Nick Murray Brown, who blew me away as Peter Grimes. Nick Murray Brown's Grimes' shook the very foundations of the Cut last night, echoing a human agony that reached back through history itself. His commitment to the role was staggering and inspiring, a figure whose very appearance caused gasps. He pulled from himself a timeless portrayal, one for the ages and should indeed me commended.  For me, this was the highlight. I was moved to holding my breath, edge of my seat, grasping my partners hand as his wild eyes begged us all for forgiveness. A towering performance.

On the whole, it's a big show with a keen eye for the questions it wants to ask of Crabbe. If you are familiar with George Crabbe, you are in good company but if like me, you are a layman, it is an intellectual introduction to the life and work of an interesting man, realised with dedication and a firm hold of stagecraft.

'But here he ceased and gazed
And still he tried to speak, and looked in dread
Of frightened females gathering round his bed;
Then dropped exhausted and appeared at rest,
Till the strong foe the vital powers possessed:
Then with an inward, broken voice he cried, 
"Again they come," and muttered as he died.'

Full details of the tour dates as well as booking available here :Stuff of Dreams Theatre

Recycling ~

Daisy and I co-run Strange Fascination Theatre Company (as you might be aware by now) and are always looking for ways to not only save money in this very draconian society, but recycle for the sake of the environment.

The human race has caused untold damage to the planet with industrial activity and the future looks bleak: by 2050 there will be more plastic in the sea than fish and already we are seeing the extinction of many species of insect and animal caused by human industry.

With these overwhelming prospects we can all continue to conduct our daily lives in ways that help the world around us. At home we recycle everything we can. Daisy is very much of the 'make do and mend' philosophy, and our clothes come solely from charity shops. These establishments are thriving as more and more people are finding that they can clothe themselves fashionably and cheaply.

Daisy hand makes our show costumes too. The materials she uses range from curtains to appropriating already made costumes to suit her needs. On the rare occassion she cannot make something that we might need specifically, then we plan a jaunt to a charity shop. Props for shows are either mostly made too from discarded foam mats, thrown away materials and from items once used for something else entirely.

Of course, now spring is in full flow most of the regions fabulous car boot sales are happening again and we are definite rummage connoisseurs. Our blue mini is a familiar sight at the huge car boots that run at Alysham and on the coast and we have sourced a lot of props and other items from the rummage on offer: it's amazing the deals and the items you can find not only for a production but for your personal collection.

My study, affectionately known as 'The Cwtch' ( a welsh word pronounced 'Kutch' and meaning 'hug' or 'safe place') is a haven for the numerous things I collect; from first edition books, boxes, taxidermy, books, badges, toys, books, figurines, plants, books and books...all found at car boot sales and antique fairs.

In the wonderful rural area where we live, the many walks we go on yield a lot of results too. We are very enthusiastic 'skip divers' ~ there is a farm near to us where a builder deposits most of his unused materials from the various jobs he undertakes. We advise knocking on a door and asking if the items are indeed to be thrown away, as some people can become quite unnerved seeing two people digging through a skip, getting excited over unused boxes of nails and sections of wood... It saves money and is certainly helping by recycling things that otherwise would have ended in land fill.

A good skip dive can produce a lot of results and it is amazing what you will find: to date, skip diving has yielded:

~ a human skeleton (model!!)
~ a water butt for the garden.
~ a stereo
~ furniture
~ boxes and packing materials
~ resin, paints and plaster
~ screws, bolts, nails and stationery
~ costumes bits
~ a coffin
~ enough building materials to help build our last set!

so you see, it's always worth putting one's dignity to one side for half and hour and getting headfirst into a skip: you really don't know what you will find.

In this day and age,  in a disposable culture where even people are sometimes thrown away, it is our human duty to 'make do and mend', to take things that have been used before and use them again. The planet deserves it after all, an organism that protects and nurtures us, as do the future generations that hope to live on Earth. After all, when you mend something, you enrich the object. When you begin to see things in this manner, you appreciate the synergy we have with all living things and with our environment. That can only be a good thing and a healthy thing for all of us.