Tag Archives: New Dreams Theatre

A Triumphant Production of Ibsen’s A Doll’s House

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Baron’s Court Theatre

3rd Nov – 22nd Nov, 2015

7:30pm  (Two and half hours)

A Triumphant production of Ibsen’s A Doll’s House groupA Doll’s House, written by Henrick Ibsen, was first performed in 1879, and today the same discussions are still whirling about: the right of individuals to discover themselves, presumably at whatever the cost to others, especially the children.

This complex and multi layered play, and its premise, has always vexed me. Would the New Dreams Theatre Company’s production stir my depths again?

Oh yes, indeed. Dick and I not only had the great pleasure of seeing this controversial but popular play passionately performed at Baron’s Court Theatre, but argued all the way home about just these ‘rights’.

Paul Vates (Torvald Helmer) has been writing in Frost Magazine over the last few months, highlighting the processes involved in putting on a stage play. It was good, therefore, to join the audience in the intimate theatre below The Curtains Up pub on 10th November. Good, but slightly nerve wracking – would it work, would it move me, make me laugh, make me cross, make me re-join the argument?

A Triumphant production of Ibsen’s A Doll’s House paul

Kevin Russell’s production of Bryony Lavery’s pared adaptation is confident and  modern, but nonetheless steeped in the essence of the period. Ibsen writes of lives lived behind closed doors, and I believe he hints at the accommodations needed in order to hold everything together, though others see only the ‘rights’ within the play.

A Doll’s House touches on many things, fraud, debt, loneliness, unrequited love, death, the roles people play, the responsibility borne by bread winners, the sense of patronising male ownership of wife and children, and ultimately, the choice made by Nora to pursue her happiness and personal development whatever the cost. This attitude has never sat well with me, and never will.

The pace was crisp, the set utilized, Nora (Alexa Matthews) is compelling, beautiful and frenetic, Torvald (Paul Vates) a cypher of the age, and is as emotionally repressed as Nora, conforming to the norms of society and business as he does.

A Triumphant production of Ibsen’s A Doll’s House noraJust as circumstances strip Nora of her ability to role-play as a doll within a doll’s house, so too, they strip Torvald of his role as perceived by society. Vates’ confusion and desperation reveals a humanity that moved me,  brought me to tears, in fact, and more than balanced Nora’s implacable decision to strive to find herself, to grasp her ‘rights’ heedless of the contextual responsibilities.

The whole production is thoughtful, subtle, and all the players more than fulfilled their roles: Julia Florimo as Mrs Linde is a good foil to Nora, as she exposes  her controlling personality to bring about all that she wants. Ramzi Dehani’s Krogstad is ready to wreak his revenge, and is taken by surprise at the happy harbour into which he is being led by Ms Linde, by the nose one thinks. Brian Merry’s Dr Rank is painful and lost in love for Nora, but determined to wrest control back and terminate his illness at a time of his choosing.

adollshouseI thought Nora’s interior monologue worked well, and the brief by-play with  the maid Helene, was supposed to reassure us that as she’d brought up Nora, she would bring up the three children and all would be well. Tosh.

I loved it. A bravura production. It is with me still. And let me tell you, Dick was engrossed throughout and he so often isn’t.

Don’t miss it, grab the chance while you can.

A Doll’s House (Bryony Lavery)

Baron’s Court Theatre, (below The Curtains Up pub)

3rd Nov – 22nd Nov, 2015

7:30pm

PRODUCTION TEAM

Set designer: Katie Unsworth Murrey. Lighting design: Harry Amatage, Sound Design: Ben Cowen.

New Dreams Theatre

 

 

It’s All Kicking Off by Paul Vates

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So, the saga continues. Trying to show how one ‘puts on a play’ creaks ever onwards. At a secret venue, which for the purposes of continuity, we shall call a pub, there was a production meeting where the remarkable Katie Unsworth-Murray produced her design for the set. It literally fits into a shoebox and she has made it all to scale.

pic 1 set design

(Shoebox design by Katie – including the chandelier)

She even produced a tiny chandelier, which allowed me to inform her that ‘electricity hasn’t been invented yet’. I promised that I wouldn’t mention that to anyone (oops!).

Once you’ve advertised for actors wishing to audition for a production of A Doll’s House, it is only polite to be there and welcome them in. ‘Once more unto the breach’ came to mind as we entrenched ourselves into The Barons Court Theatre. Director Kevin Russell, for New Dreams Theatre, sat me down and gave me a list of names. These people would, at thirty-minute intervals, arrive and audition for us.

If you read my last article about finding the lead actress for the part of Nora (and Alexa Matthews accepted our offer), then you’ll have some idea what Kevin had already had to do to get to this stage.

Even so, a collection of characters wandered in that would have made P T Barnum gasp in horror. Amidst the drunk Irishman, the bizarre Chuckle Brother impression and the born-again Christian seeking new converts, we did manage to find a wonderful bunch of actors, all worthy of the three parts up for grabs. So, the full cast is now complete:

dollshouse2

The cast:

Alexa Matthews (Nora Helmer), Paul Vates (Torvald Helmer), Julia Florimo (Kristine Linde)

Brian Merry (Dr Rank), Cathryn Brayshaw (Helene), Ramzi DeHani (Nils Krogstad)

Still at the end of the audition day, we returned above ground, into the light, for a drink in The Curtains Up pub that sits atop the theatre. As we discussed the colourful collection of actors on offer, like a couple of football pundits on a Saturday afternoon, taking into account the results, the teamwork aspects and the skill and style on show, the Irishman shadowed us in between his pints – he had decided to linger for a few when he discovered the bar…  For all I know, he may still be there.

As an aside, rehearsals have begun on a relaxed basis between Alexa and myself (I’m playing Torvald, her husband). Kevin has taken us through all the major scenes between us, allowing us to get a grasp of the whole thing before the whole company assembles.

pic 3 Paul Alexa Pre-rat

(Alexa as Nora – possibly before the unexpected visitor)

It has all gone quite smoothly, apart from when a rat scurried through the room – eye contact that afternoon was at a minimum as every shadow became our rodent critic.

pic 4 paul

(Alexa – having noticed the ratty critic?)

Now there is only one thing left to do – full company rehearsals!

We’ll soon meet and with a frisson akin to a school playground, we’ll begin assembling the play. Then – and only then – will Kevin utter his trademark phrase: It’s All Kicking Off!

A Doll’s House by Henrik Ibsen will be performed from November 3rd to 22nd at Barons Court Theatre, west London. Call the box office direct on 020 8932 4747 or email londontheatre@gmail.com to reserve seats.

www.newdreamstheatre.co.uk

Facebook: New Dreams Theatre

Twitter @KevinNewdreams

 

 

A Director In Search Of An Actress by Paul Vates

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Pity the poor director who raises his head above the parapet and publicly proclaims ‘Is there anyone interested in playing Nora?’

If you’ve read my previous articles about the process of staging A Doll’s House, you’ll know it’s audition time. The chosen poster used to represent the internal struggle within the protagonist’s mind …

A Director In Search Of An Actress by Paul Vates1

… but now represents the director’s (Kevin Russell’s) horror as the emails began to arrive. The number soon reached 200. How do you find the Special One amongst all those? Stories abound of some producers and directors abhorring hotmail email addresses, detesting specific drama schools or, even, flinching at the names of rivals on CVs. One famous director is known for whittling the list down by deleting every third email and removing every third application from his pile.

Ask any HR Manager attempting to fill a vacancy in a company – it’s a nightmare .So can it all be that random, relying so heavily on luck?

Ohhhh, yes.

Kevin told me that ‘it’s so silly what goes through my mind when looking at headshot after headshot. Whether they can act or not seems irrelevant. The first time acting gets involved is at the audition itself, but that seems so far away.’

He does, though, admit other skills are required. For him – and this is just Kevin, no one else (before someone complains that’s not how it’s done) – Kevin wants a clear CV, a photo that shows a certain attitude and a covering letter that indicates a little thought has gone into the application. The rest is gut instinct on his part.

Gradually, the audition list was reduced until sixteen actresses were invited to the venue, Barons Court Theatre. Then I joined him in the process, as a guide, a shoulder to cry on and the-fella-that-reads-along-with-the-auditionees.

The pressure is on them: 1 – to turn up on time; 2 – to resemble the person in the photograph (you’d be amazed how many don’t); 3 – to enjoy themselves. We assist with the last part, aiming to create a jovial and inspirational atmosphere.

So – the big news … Drum roll … An actress has been chosen and she did say ‘Yes.’ Her name is Alexa Matthews. When asked she said, ‘I have always wanted to play the role of Nora and as soon as I saw there was an opportunity to do so I applied immediately. She’s a complex character and makes such an interesting journey though the play and one that as an actor you can really challenge yourself with, this really excites me.

A Director In Search Of An Actress by Paul Vates3 Alexa Matthews – Photo by Michael Shelford

‘The audition was lots of fun and Kevin and Paul have a way of naturally making you feeling at ease. What I loved was that Kevin directed me in some of the chosen scenes with Paul and we got it up on its feet. Auditions can be a really surreal environment but instead of sitting behind a desk Kevin and Paul were much more involved.’

Where was she when she heard she had been offered the part? ‘I had just boarded the plane to France for a friend’s wedding with my boyfriend and received the email just before taking off. I was so excited to hear the news and couldn’t wait to get back to discuss the play further.’

The whole production rests on Alexa’s shoulders – so no pressure there. It’s such a famous role, it is natural to feel nervous about the months ahead. Alexa said, ‘I really hope that I do the play justice and that the audience come away feeling like they have seen a great version of the play. I hope that they are tickled with its lightness but also come away with an understanding of the fresh and relevant messages it has to convey.  Importantly I hope they have a great evening out and that as a company we also have lots of fun.’

What Alexa may not realise at the moment, though, is just how many macaroons she will have to consume during the run. I think I may keep count… but more on that later.

A Doll’s House by Henrik Ibsen will be performed from November 3rd to 22nd at Barons Court Theatre, west London. Tickets are selling fast, so if you fancy stopping by call the box office direct on 020 8932 4747 or email londontheatre@gmail.com to reserve seats.

www.newdreamstheatre.co.uk

Facebook: New Dreams Theatre

Twitter @KevinNewdreams

 

 

The Play What I Read By Paul Vates

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Frost Magazine was intrigued to know where Paul Vates was in his attempts to stage a production of A Doll’s House with New Dreams Theatre. So, over to Paul.

You may recall, from a previous article, how I read many different versions of Henrik Ibsen’s play A Doll’s House, all in order to stage just the right production in London at Barons Court Theatre later this year with New Dreams Theatre.

After numerous meetings, (in a variety of drinking establishments), the director, Kevin Russell, honed in on one particular version. He applied for the performing rights and to our surprise received a positive response – but with a request that we first supply a pack consisting of our CVs, reviews from previous shows and a reference from the manager of the Barons Court Theatre, W14 9HP, the venue we had pre-booked 3rd to 22nd November. There followed a dramatic pause of Pinteresque proportion before we secured the rights to perform Bryony Lavery’s version.

A bit of a coup for us, as this will be the London première of her script. She is a very popular and multi-award-winning playwright, with plays such as Frozen, Stockholm and last year’s National Theatre production of Treasure Island to her name.

The Play What I Read… By Paul Vates2

While twiddling our thumbs, we chose the cover image for the posters and flyers. When one is creating an image there are a few options available: design it yourself; get a designer to do it; choose an existing picture and pay for the rights; or, as we did, trawl through hundreds of pictures on photo library websites.

‘It has to reflect,’ Kevin said, sipping his lager, ‘what I want to bring to the production and be something that grabs the attention from across a crowded room.’

He tore open the sea salt and balsamic vinegar crisps and placed them in-between us as we agreed to focus on Nora’s dilemma.

‘As the protagonist of the story,’ he continued, ‘Nora is trapped both by her physical and psychological barriers. Her panic and self-doubt builds throughout the play.’

Could this be captured in one image?

‘She fears losing everything she knows and is trapped by a note lying in the locked letterbox by the door.’ He smiled and crunched another crisp.

We chose this dramatic picture – what do you think?

The Play What I Read… By Paul Vates3

The technical crew have also been assembled. Ben Cowan, whose credits include BBC TV Dramas, is composing the original music score – the production designer is one of Cameron Mackintosh’s newest: the superbly imaginative Katie Murray-Unsworth – and Roman Berry is choreographer.

Attention has since turned to the actors. Kevin posted up an advert on trade websites and arranged a free day with the theatre to hold auditions – firstly for the part of Nora.

‘The whole play rests on her shoulders, so it is important to get this casting right.’

I receive daily texts from him as he declares how many applications he has received; now he has the mind-boggling task of whittling the (at time of writing 180 actresses) down to a manageable dozen or so.

These ladies will be invited to audition for us at the end of August. I will write more about this process and the audition day itself in a few weeks.

See A Doll’s House at Barons Court Theatre, 28a Comeragh Rd, London W14 9HP  3rd – 22nd November Tickets are already selling, too. Reservations can be made by phone (020 8932 4747) or by email (londontheatre@gmail.com)

www.newdreamstheatre.co.uk

Facebook: New Dreams Theatre    /    Twitter @KevinNewdreams

 

 

A Doll’s House, Read Again And Again By Paul Vates

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A Doll’s House, read again and again By Paul Vates1

When a theatre invites you to produce a play of your choice because of the success of your previous production, you don’t take it lightly.

A Doll’s House, read again and again By Paul Vates2

So, after innumerable drinks in The Curtains Up pub (the one upstairs from the Barons Court Theatre), director and producer Kevin Russell announced he fancied doing a classic for a change. The discussions lasted weeks.

 

The process truly began when I received a text from Kevin. He had found the play and was extremely excited. It touches on feminism, equality, obsession and, even, violence in the home. Written in 1879, Henrik Ibsen’s A Doll’s House centres around something unthinkable in its day: a woman putting herself first – above family and faith.

 

The central issues of the story have long resonated with the public, and still do today. News from the theatre owner saying it had never been performed there meant it was suddenly all systems go – the first step was to decide upon which version to perform.

I have a copy which has been gathering dust since my student days. It was translated by Michael Meyer nearly fifty years ago. It was a perfect starting point. Meyer’s is a blank canvas upon which we can perhaps add our own touches, as we needed to adapt the play to work in the venue’s intimate space.

A quick scan of bookshelves both real and virtual immediately provided other translations. Copies were borrowed from friends and libraries, some purchased from bookshops or discovered in charity shops.

We devoured them all and it was no surprise to discover that each version had a visceral effect upon us both – the Marmite test so to speak. Did we like it or loath it?

This was the pattern by the end of last year; each translation was debated every time we met, for consistency, at The Curtains Up. Most were shelved leaving us with three versions for serious consideration: Simon Stephens’ from 2012, Bryony Lavery’s from 2004 and Nicholas Rudall’s from 1999.

A Doll’s House, read again and again By Paul Vates5

We applied for the performance rights for all three. Rudall’s came through first and, after demanding details about ourselves, (feeling like we’re auditioning for her) Bryony Lavery is now offering her version. Although more versions do keep grabbing our attention, this part of the process is coming to a close. The focus now is meeting designers and searching for the image for the poster…

Looking back over the last few months, though, I have found the experience exhilarating and educational. Who knew there were so many translations? I have critically appraised ten versions with ten different visions. The tables will be turned later this year when all eyes will be upon us.

A Doll’s House, read again and again By Paul Vates6

New Dreams Theatre’s production of A Doll’s House will be at The Barons Court Theatre in London from 3rd to 22nd November 2015. Further details can be found at https://www.facebook.com/newdreamstheatre – Twitter: @kevinnewdreams