Tag Archives: Paul Vates

Words for the Wounded Host Their Annual LitFest Literary Festival

Posted on by

Words for the Wounded Host Their Annual LitFest Literary Festivallogo

Great excitement – Words for the Wounded which raises funds for wounded troops and veterans by creating  opportunities for aspiring writers and readers is holding its annual LitFest again on April 16th.

The WforW LitFest Day will be held as always at the lovely Downley Community Centre, School Close, Downley, High Wycombe HP13 5TR
10.00am to 5.00pm.

As everyone knows by now, the three grannies, Margaret Graham,  Jan Speedie (both Frost Magazine writers) and Penny Deacon absorb all the costs of the charity and therefore 100% of everything they raise goes to where it should.

Words for the Wounded Host Their Annual LitFest Literary Festival

The speakers this year are:  Sunday Times No 1 bestselling author and a patron of WforW –  Elizabeth Buchan talking about her work.

Words for the Wounded Host Their Annual LitFest Literary Festivalelizabeth buchanan

Jemima Hunt, editor and literary agent, and director of The Writers’ Practice with advice on editing your work and attracting an agent.
Tracy Baines, successful women’s magazine  short story writer with tips about getting published.

Catherine_Balavage_023
Further excitement as Catherine Balavage, blogger and editor of Frost Magazine will be joining the day to talk about blogging, running a magazine, and her various successful books.

Paul Vates, the brilliant actor, and friend of Words for the Wounded, will be reading from the work of our speakers.

Sharon Bennett will be displaying her art.

Cost £35 (which includes lunch with wine, morning coffee and afternoon tea)

For Tickets, send a cheque or postal order to: (cheques payable to Words for the Wounded)
Words for the Wounded
12 Woodcote Green, Downley, High Wycombe, HP13 5UN
Please include a SAE

Trains from London are frequent, and there are taxis for the 10 minute journey.

www.wordsforthewounded.co.uk

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

Posted on by

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

Posted on by

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

Posted on by

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

Posted on by

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

Posted on by

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

 

 

 

A Day In The Life of Paul Vates

Posted on by

I am an actor and writer.
No two days are the same.
That’s part of the lifestyle I accept and face-up to.

paulvates

Most people, I am sure, abhor routine, but I strive to find little routines amidst the randomness.
Take yesterday, for example. I was up with the lark – well, the chattering gang of long-tailed tits that seemed to have included my garden in their morning constitutional route. Ablutions completed, healthy fruity breakfast absorbed, I sorted through a few emails, scanned Facebook, chased a few unpaid invoices and was then ready for a good long sit-down in front of mindless television.

But, no! I slipped into my jogging attire and hit the streets – well, gracefully ran the fifteen minutes to my Pilates session. An hour later, after much groaning and fake-smiling, I jogged far less like an athlete back home.

All this because I am in training to complete a charity run – five miles in mud, with various obstacles to surpass, for a local hospice. Seemed like a good idea at the time…

paulleaping

Shower and shave. Quick light lunch, then to the tube for a casting in London. I spent the journey reading Stella Gibbons’ Cold Comfort Farm – have never read it and am now intrigued by its style.

Then into the West End. Not many people realise it is littered with tiny rooms and spaces that producers and casting directors hire for the day to cast their latest projects. I had been instructed by my agent to attend the RADA Studios, near Goodge Street station. Once inside, name checked, smiles all round, I sat and waited.

Jim, a grinning, bespectacled director, greeted me and I followed him downstairs into a basement room that had the distinctive aroma of old sweat. We chatted, then I auditioned for him. ‘Very funny’, he said. (It was supposed to be, but I don’t know if he meant it…) The footage will be handed to the producers who will decide whether I am suitable to play a maniac in a Business To Business instructional internet video.

Oh, the glamour.

I headed to the tube and back home. Different reading material this time. Henrik Ibsen’s classic play A Doll’s House which a colleague is aiming to direct late next year. He has told me to look carefully at a certain part and to let him know if I’d like to play it.

Home in time to eat before visiting my local cinema/theatre, which was showing Nebraska. Such a beautiful film.

That was yesterday. Today I am writing – editing the fifth draft of my play Voltemand And Cornelius Are Joyfully Returned.

paulwithscript

Tomorrow I work – that miracle: paid work. I am going to West Middlesex Hospital to assist CASC (no, I don’t know what it stands for, either) in their exam training for forensic psychiatrists. I play a variety of characters – some with health issues, some relatives of patients – all of which test the candidates.

It never stops. Thank goodness.

hopenadanchor

*Paul’s blog regarding the performance of Voltemand And Cornelius Are Joyfully Returned at the Hope Theatre, Islington, can be read in April’s www.wordsforthewounded.blogspot.co.uk

 

 

Sarah Ball: Damaged Humans By Margaret Graham

Posted on by

Sarah Ball, Welsh Artist of the Year in 2013, and an encouraged artist at the Royal Academy’s Summer Show, has her first solo show in London at the Coningsby Gallery, which is just round the corner from Goodge Street tube station. And what an exhibition!

 

Small is definitely beautiful. Sarah’s portraits measure no more that 18 x 24cm, the tone of each is muted, the pose motionless and the eyes so compelling that each portrait seems to speak of their past, to our present.

 
I remember talking to Paul Vates, the actor, who was explaining the difference between stage and television. Television is all in the face and eyes. So too are Sarah’s portraits, painted with a flawless technique, and the universal blank stare of those locked in a place of suspended life and time.

 
We look at them and remember when, perhaps to a different degree, we were lost. I founded and run Words for the Wounded and have seen this look in the eyes of the wounded many many times.

 
Sarah uses mainly oil on board for her signature portraiture. She moves from prostitutes to soldiers with an artist’s objective eye, but with intimacy and empathy, revealing her emotional depth, a depth that connects with us.

 
The artist sourced these disadvantaged characters from photographs, many held in the Stanley Burns archive in the US, Denmark’s state archives, and from civil war photographs from the Library of Congress in DC, their personal histories unknown.
Her work provokes questions. What crimes, what woes, what damage was wrought on each individual? She acknowledges that all humankind experiences damage of some kind and it is for this reason that there is an implicit understanding between the subject and the observer. We say, ‘Ah yes, I remember…’
This is a glimpse into the subjects’ reality and at last they receive a sense of compassion, from Sarah and from us.

 

It will be interesting to see where Sarah Ball, represented by www.bo-lee.co.uk (bo.lee Gallery),  goes from here. Don’t miss this exhibition which closes on 7th June. It’s at Coningsby Gallery, 30 Tottenham St. London W1T 4RJ