Anchors In Time

Dominic Campbell has been working with The Performance Ensemble, in the role of  dramaturg for the last few months, on their latest production ‘Anniversary’.

The Performance Ensemble is an ensemble theatre company of performers aged 60 years and older.

They work with performers from various cultural backgrounds; creating contemporary theatre for audiences of all ages, working in the space between professional, community and amateur arts.

The Ensemble blurs the divide between community and professional arts.

‘We aspire to create world class theatre performance that emerges from the heart of communities’

Here are Dominic’s reflections from the rehearsal room.

Reflections 

The lives of the fastest growing populations in the UK are a bit of a mystery.

 “Since mid-2005, the UK population aged 65 and over has increased by 21%, and the population aged 85 and over has increased by 31%. The number of males aged 85 and over has increased by 54% since mid-2005, compared to a 21% increase for females.” 

The Office for National Statistics.

“There is a dearth of research into the lived experience of older people” 

The National Institute For Health and Care Excellence

Projections suggest 500,000 Centenarians will be living in the UK by 2050, 1 million by this centuries end. 250,000 more people than live in Leeds. Over the next 50 years the percentage of working people to retired will shift from 6:1 to 2:1. The extraordinary change in public health enabling UK populations to live longer is having miraculous affect. Our world is changing each day we age within it. The landscape of this change is our lives.  This is about us.

Except its not. Its about us a little bit after tomorrow.

Because one of the great mysteries of ageing is no-one ever arrives at being old. Currently it’s not something people easily accept.  When asked what old is five year olds say six,  twenty year olds say forty, fifty years olds seventy and ninety-five year olds point across the room at ninety-eight year olds and shrug.  Old seems always just out of reach of experience.

Except its not.

Old is not running up the stairs. Not being able to eat food you like or drink all night. It’s not being able to touch your toes. It’s living with news of an ever increasing number of friends becoming ill and frail. It’s living on after the death of loved ones. It’s giving up driving. Giving up on wanting to go to China, wondering whether you might go to Edinburgh again, or Wakefield, or can ever again be bothered to shop in central Leeds.

Old is richness born from living with loss. Experience tempered by resilience. Elusive it lies on the edge of our experience. A state we’re constantly moving into.

Tamara McLorg Choreographer & Performer Photo Thomas Hirst

Tamara McLorg Choreographer & Performer Photo Thomas Hirst

So how to put ageing on stage? And why?

To start with the obvious: artist’s are people too. They’re living longer healthier. They continue creating. There’s no retirement age for artists. There is need to adapt. Which is as true if they’re stiffening dancers, arthritic violin players, Leonard Cohen, Mick Jagger or Kate Bush. Or if they’re someone who at 70 brings a lifetime of experience to their emergent artistic practice. Or if living with dementia in a care home they are most engaged when listening to music or explaining what they see in paintings.

 

Theatre director Alan Lyddiard’s approach is to form a new company as he approaches 70. Then with his company, The Performance Ensemble, to explore ageing through the processes of performance making.

The Performance Ensembles’ “Anniversary” project connects people with a lifetime of diverse experience, including some whose lifetime’s experience includes performing professionally.  Through play, improvisation and experimentation they are making theatre from the raw material of lived experience. Every word in “Anniversary” is from the cast. The task they’ve set themselves to carrying the story of contemporary ageing.

Anniversary

Hum Crawshaw Performer Photo Thomas Hirst

Gradually with each show this loose group of associates is developing  deeper understanding and articulacy. 60, 70 and 80 year olds wrestling to find appropriate theatre language to carry  the story of their own experience of ageing is truly radical. Which stories to tell? Which keep and why? How do they honour themselves and their own sensations?

More complex than simply telling the story of a body changing its behaviours they are finding expression for mature emotion. Seeking to share the sensation of feeling 13 years old in a 73 year old body. Articulating the bitter-sweetness of new relationships after breakdowns or deaths of life-long loves. Being surprised by rich joys when doing something simple and long promised. Reconnecting or renewing a sense of who one is and is still becoming. Remaining in public, visible, struggling with memory and sequencing.

Equally they questioning the expectation they reduce their potential by acting familiar. People don’t only age with time, they age with an aggregation of experiences. “Anniversary” wonders why limit oneself by acting  “old”.

'Anniversary'

Barbara Newsome Performer Photo Thomas Hirst

I turn to see Barbara (87) bending to put on her socks and worried she’ll fall offer her my chair. “No. Fek off” she says, firmly but considerately.

“Sometimes they make us go to the theatre. Why? Its depressing. I can stay at home watch the telly  and do that” Attendee at a day care session in an arts centre”

If  theatre is only made by 20 – 30 year olds you may find yourself well versed in the challenges of first relationships and the vexed questions of family and career.

If you watch only Shakespeare you may be able to arrange and inspire long bow men should you ever find yourself at the battle of Agincourt, or become eloquent in the language of summer sprites.

You’ll have an oddly balanced view of the world.

Anniversary Company Work in Progress photo Thomas Hirst

Anniversary Company Work in Progress photo Thomas Hirst

If you watch theatre made of the substance of lives growing old what might you discover to help you with your own?

But why should an audience gift time from their lives for an hours entertainment or engagement with physical failure?.  What’s entertaining about aches and pains, creaking bones and failing eyesight?

In an ageing population the odds are you will live to slow down. You won’t always be successful. The things you build from hard endeavour may crumble despite your best intentions. You may find yourself old with new uncertainties. Most will move with inevitably from the so called 3rd Age to the 4th Age. With intelligence and wit intact transfer from being independent, to needing help. From continent to incontinent while fully aware. From self reliant to reliant increasingly. You are going to need tolerance and resilience. You’ll need all the humour you can find. You’re going to need the consolations of beauty.

As audiences we’re used to seeing the beauty of a 24 year old extend exquisite limbs and pirouette. We understand its beautiful. We’re accustomed to poetics from 17th century bards. We recognise it as eloquent and it goes in the “poetry” box in our brain. We’ve even adapted to the shock of artistic ambassadors who wrestle plays from troubling experience.

But performers with arthritis look stiff. Fifty year olds backs bend less. Where is the poetry in failing memories and the articulacy in increasing deafness?.

Artists working with ageing populations face the challenge of framing and revealing in a way that reveals bounty. Audiences are invited to see older performance not as falling short of achieving what a younger body can, but as offering something that only an older person could. Echoing art built on an understanding of the social model of disability or rejecting the notion of neuro-normalcy, this is a performance language with its own values, its own aesthetics, with clear intent and its own articulacy.

“To be kind is to be on the side of life. Fucking. Lovely. Wild. Life” Jay Griffiths

A Generous Theatre

The work in ‘Anniversary’ has an aesthetics built from kindness and tenderness, from sensitivity between people, from awareness of the needs of others and accommodation toward them. It’s visible in a hand reaching out, or a glance, and that raising of a voice without change in tone that makes it possible to hear. It’s in clarity of communication. An allergy to patronising. In patience with repetition. Its built from mature adult empathy with human fragility. From understanding that we are all like that, and recognition we may be like that soon. Audiences thus engaged hold both the story and the storyteller in their collective breath. This is a ‘Generous Theatre’.

It is useful, this performance, in nations divided by economic wealth and poverty, by sustained inequality and prejudice, by an individual’s instinct to extend a welcome or to build a wall. By fear and the fear of fear. Its valuable to know we all end up the same.  It’s invaluable to know that people look out for people. That it’s possible someone will be looking out for us when we are in need. That its ok to place ourselves in the vulnerability of compassion.

That caring is beautiful.

And it’s funny. We get kindness wrong. We use care as a weapon. We get irritated. We get frustrated with ourselves and others. And that’s part of ageing. It’s absurd, unavoidably hilarious, full of telling cliché as we recognise ourselves on the point where we’re becoming other.

We make up the world we’re living in. As our bodies age and our souls grow separate we must continue to do so. It’s vital. We have choices to make about our legacy.

Connie Hodgson & Namron in rehearsal

Connie Hodgson & Namron

If lived experience is more than the consumption of lifestyle choices. If society is a culture and not an economy. Then we need bravery in old age on stage. We need people on the stage before us with the courage to embody care and compassion. To show wear and tear: time’s tattooing of bodies, experience’s patina of the psyche. To demonstrate that life isn’t a linear race where all the jigsaw pieces fall easily into place and it all makes sense at the end. But that its complicated and hard, and filled with humour and gloriousness, and unpredictable, and dull, and frustrating and rich and messy and vibrant and there is never enough time and all of this we may experience all the way everyday, until we too pass, and the light goes out.

“I am so forgetful. Sometimes I forget to breathe” Connie Hodgson, Performer ‘Anniversary’

© Dominic Campbell

Projects, Performers, Performance

Mind the Gap

photo Denis Darzacq

Jack Riley and Liam Bairstow from Mind the Gap ©Denis Darzacq

Travel broadens the mind, so the cliché goes, so here I am sitting in a sunny top floor flat in Budapest thinking about the work that I am currently doing in Bradford for Mind the Gap.

I’ve gone a long way in my attempt to understand the nature of things. I am often confused and exasperated at my inability to explain what I am doing and why I am doing it. Sometimes a little clarity emerges and I can explain things a bit better. That normally happens when I am thousands of miles from the place that I am doing it. So coming to Budapest was important in doing my work in Bradford better.

©Denis Darzacq

Susan Middleton Mind the Gap Ambassador ©Denis Darzacq

I first worked with Mind the Gap in 2003, when I was at Northern Stage, and asked Tim Wheeler, then Artistic Director and one of the founders of the company, to collaborate with us on a touring production.  We decided to create a new version of ‘Don Quixote’ adapted by Mike Kenny, and it toured to 18 venues across UK, with a company of learning-disabled and non learning-disabled performers, from two ensemble theatre companies, to great critical acclaim. Tim and I became good friends and I have been loosely involved with the company, over the years, since that time.  Last year Tim resigned as Artistic Director of Mind the Gap and I was asked to join the company as a consultant and ‘critical friend’ to help them through a process of change.

©Denis Darzacq

Euan Evans Thirlwell Mind the Gap Academy Student ©Denis Darzacq

It has been a fantastic opportunity for me and I have learnt much more than I could ever have imagined through the process. I have of course my own methods and idiosyncratic ways, but the time spent with Mind the Gap has made me question some of those long held beliefs. What is emerging for me now is a new way of thinking about theatre and how to make it.

What I have learnt working with Mind the Gap.

I am currently in rehearsal for a new piece of theatre called Contained which opens at Mind the Gap Studios on 16th October 2015 at 7.30. Come and see it.

Listening to the Mind the Gap performers’ stories has been up-lifting and I have learnt so many things from them, including some pretty deep thoughts about what it is to be human.  Their stories have become the true centre of our work, reflecting their lives with honesty and finding new ways of presenting themselves through story telling, music, dance and just by being who they are. Sometimes the simplest of tasks takes on a sense of deep meaning, for example, watching them go about a series of jobs on stage, moving a speaker, plugging in an amp, testing a microphone become powerful moments of self expression.

©Denis Darzacq

Chloe Shaw-Champion and Israr Abbas Mind the Gap Ambassadors ©Denis Darzacq

One of the aims of the work has been to create the environment in which the performers have been able to say, in a sincere and complete manner, I am me, I am here and I am fine.  It takes a lot of guts to say that and mean it.  Many of us find it really difficult to do. It makes us vulnerable and unsure, yet if we can believe it, it can make us powerful and lovable. The Mind the Gap performers’ have become experts at presenting themselves. Nobody does it like they do it and it is wonderful to watch.

Which, of course, is true of anybody presenting themselves in front of you with complete sincerity.

One of my favourite stories, that I repeat a lot, was told me by the Russian director Yevgeny Arye, artistic director of Gesher Theatre Company in Tel Aviv.  He explained that he was watching rehearsals one day when a door opened in the wings and a cleaner just swept the back area of the stage without noticing anything else going on. Yevgeny explained that it was mesmerising and beautiful to watch, much more interesting than the ‘actors’ working hard in front of him. I hold that story close to my heart. Let’s bring the cleaners to the front of the stage.

©Denis Darzacq

Jez Colborne Mind the Gap Resident Artist photographed by Denis Darzacq

Collaborations

The Music of Jez Colborne

I got to know Jez Colborne when he was a performer in the Northern Stage/Mind the Gap co-production of Don Quixote back in 2003. Years later I went to see ‘Irresistible – Call of the Sirens’ written by Jez.  It was amazing.  Jez as a composer and performer was just brilliant and it was obvious that I wanted to collaborate with him on Contained. He started writing music for the piece and it suddenly occurred to me that a great narrative for our show would be the making of a music video. The performers would create a band to play Jez’s music. They would seem to learn it and rehearse it during the show and finally they would perform a finished version at the end of the show.  ‘Im Me’ music composed and with lyrics by Jez is produced by long-term Mind the Gap Associate Artist Si McGrath.  It will be accompanied by the music video directed by French photographer Denis Darzacq.

©Denis Darzacq

Khadijah Afza Mind the Gap Academy Student photographed by Denis Darzacq

 The photography of Denis Darzacq

I was introduced to the work of Denis Darzacq by Mind the Gap when I saw photographs from his exhibition ACT some years ago. He had captured powerful moments that touched me deeply. When I started working on ideas for Contained I immediately thought of him as a collaborator. I believed that the authentic moments I was looking for, from the stories of the performers, could be achieved more effectively through the photography of Denis. It would give me a start. I would get to know the performers better by looking at them first in photography by Denis.

©Denis Darzacq

Jack Riley Mind the Gap Academy Student photographed by Denis Darzacq

Contained

In creating Contained we started by filming every performer from Mind the Gap’s Academy and Resident Artists to learn their story. One minute on camera each. Then Denis took a series of portraits and ‘sofa’ shots. We were compiling material. Stories and images were quickly accumulated. We filmed with Denis in locations around Bradford for a week for our final music video of Jez’s song. This was the source material that we would use for the creation of our piece of theatre.

©Denis Darzacq

Alison Short Mind the Gap Resident Artist photographed by Denis Darzacq

Once all the stories were collected we started to devise a project that could accommodate that material.

So ……

Contained (The Project) is a ‘circle of projects’, that surrounds a piece of high quality theatre, that feed off each other artistically and build long-lasting relationships with people locally, nationally and internationally.

The ‘circle of projects’ are developed from a relationship with a new performance piece, Contained (The Performance),  which at its centre, is a collection of personal stories told by an ensemble of performers, with a range of learning disabilities, whilst they create a music video.

The activities include a series of one-minute films, a two day filmmaking residency, an Academy showcase, a music video, a documentary about learning disability, an exhibition and much more.

Ideas travel between each mini-project – informing, exciting and generating enthusiasm for the whole range of ideas and activities, developing an holistic/integrated approach to the project as a whole.

Contained (The Project) will grow experientially over time, changing and developing and deepening the experience for ourselves and the people we create the projects for and with.

The theatre piece is moving  towards its final stage. Rehearsals for the final production starts at the beginning of September. I will be back on familiar ground in a rehearsal room with a team of performers and theatre practitioners.

The place I love to be. It’s going to be beautiful.

©Denis Darzacq

Denis Darzacq and Euan Evans-Thirlwell ©Denis Darzacq

 

 

 

 

 

 

 

 

 

 

 

‘Anniversary’ Work in Progress

IMG_0996

The Anniversary Company of Performers

‘Anniversary’ is a new multi-media dance and theatre performance created by older artists, including performers from a ‘various and wide’ life experience. It involves true stories, original live music, dance and video imagery to be performed at the West Yorkshire Playhouse (Leeds, United Kingdom) next year produced by The Performance Ensemble in co-production with West Yorkshire Playhouse.

On July 4th 2015 the company performed the first ‘Work in Progress’ of the piece to an appreciate audience of a few hundred people – part of the process of developing new work and funded by The Baring Foundation’s LateStyle Project. The Baring Foundation has pioneered support for a wide range of programmes supporting older people to enjoy and take part in the arts  This latest programme,  funded professional artists (all of whom are over 70) to bring their original and exceptional artistic craft and insights to the theme of “Age”.  We choose the choreographer Royston Maldoom to take on this role.

IMG_1233

Royston Maldoom

Review of ANNIVERSARY Work in Progress

THE OPENING SET for ‘Anniversary’ is curiously unpromising: a broken-down sofa, with its back drawn defiantly to the audience; old crates scattered randomly across the floor; tatty clothes abandoned on a metal rack… Already the metaphor is in place – something, or someone, has been chucked on society’s rubbish heap. For what we see is not a place of prestige. An air of abandonment prevails. Then, out they come crawling, from behind the detritus, like alley cats, into the open space. Dancers. Stealthy, defiant. Vibrant. Full of mischief. And the mayhem begins.

This is a company of ten performers. Five long-term professionals, five total newcomers with zero experience or training – except the two-week intensive rehearsals they have been through with director Alan Lyddiard and choreographer Royston Maldoom. The one thing everyone has in common here is their age. For this is a piece about being older – in your sixties, seventies, eighties. In other words, on the human scrapheap, right? Wrong. So very, very wrong.

From their first audacious appearance amongs the rags and tatters in the studio corner, to their final triumphant flop, in a heap of tangled bodies, onto the old sofa, which has now been turned to face and embrace us, centre stage, these performers hold us in a spell of virtuosity and celebration. They mesmerise, with their rich presence, their wisdom, their humour, their LIVES.

‘Anniversary’ is not so much a story, more a series of loosely interconnected scenes, in movement, original music (by Chris Benstead), and words, all evoking the complex, multi-layered experience of getting older. It would have been so easy to go for the sympathy vote. To have the audience say, ‘Bless them for having the nerve.’ Not for one second does that happen in this piece. This is a piece of art, powerful in its own right.

IMG_0744

It’s sometimes rueful – a group of women mournfully examine their bingo wings, their spreading girths, their wrinkles and eyebags, in front of an imaginary mirror. Sometimes there is defiance – a man walks slowly, with his walking stick, to centre front, looking vulnerable, alone, only to be joined from behind by a chorus of stick-thumping, loud-chanting dancers, turning loneliness into sudden, anarchic, joyful solidarity. Elsewhere, tenderness surfaces – two people sit close, gazing into each other’s eyes, a hand placed to their partner’s face in exquisite understatement. And often, it is thrillingly dynamic, beautifully strong – the whole company moving in ensemble dances that are brimful of energy, chutzpah and hope.

The choreographer, director and composer have done a fine job here of melding their considerable respective talents to create a jewel of physical theatre. But more than that: they have fostered a palpable sense of connection, of integration – between professional and non-professional dancers; between the performers and the audience. This is something increasingly rare in a contemporary culture that is often elitist, youth- and celebrity-obsessed, a culture somehow disconnected from our everyday lives – our memories and our dreams.

IMG_0548

‘Anniversary’ is aspirational in the best sense of the word. It certainly tells some sanguine truths about the world it depicts – that of the elder, the “senior citizen” (how hateful is that term!) – but it also shows the sheer glory of the human spirit: raging, raging and DANCING against the dying of the light.

Written by BARNEY BARDSLEY

(Barney Bardsley is a freelance writer and dancer)

barefootbarney.wordpress.com

From Others That Saw It

A profound, inspiring, integrated and very humorous piece!! Very well done all.

Enjoyable performance, good to have the post performance talk. Well done everybody!!

 Not too sure when I was given a ticket but found the whole thing amazing. Well done to everyone.

IMG_1418

 Thank you – you brought a tear to my eye and you saw it as well. Beautiful music and choreography, lovely vocals and competition. I loved it all. Can’t wait to see more next year. Tell ACE to come and see it tonight!!

 Totally riveting – such variety, smoothness, exploration of themes – music, movement, character, humour – great! Onwards to the next venture!

It was just wonderful. Gives me hope for the future!

IMG_1160

 From the outset it was a captivating and very moving piece of theatre. I was entranced and unaware of the fact that the performers were in the older age group. I appreciated the variety of the movements as the more voting sections were interspersed with humour. The music brought it all together into a whole performance that was inspirational. I came to see a friend – one of the ‘community’ dancers and left feeling that I had seen a quality work.

 A fantastic, emotional and inspirational performance.

IMG_1220

Tamara Mclorg

 I came to the performance because I have a friend performing, but I have thoroughly enjoyed it. I found it very expressive and moving. I was mesmerised and felt the performance really flowed. I liked the variety – the mix of sadness at times and optimism. As a person coming up to retirement age myself I find it optimistic to know that these projects exist for older people so that we can enjoy a fulfilling and creative retirement. It is never too late to learn, start something new and be creative and active.

IMG_1162

 A truly moving and thought-provoking performance! Beautifully presented with some personal touches. There’s so much stigma around community art, but this piece proves how valuable it can be. My only reservation is that you have to Abe older to get involved – I’d love to, but am 30 years too young!

IMG_1235

Alex Elliott, Villmore James & Namron

 It was brilliant to see artistic expression at this level and it is always ageless and universal.

What a fantastic performance. I could have watched it all afternoon. A brilliant example of the importance of art in the community. Life-affirming and inspiring. Looking forward to seeing how it develops. So many possibilities!

 A feasts of talent. Makes me proud to be ‘old’. Well done all. Good luck with the funding.

IMG_1265

Christopher Bensted

 Loved your comments about ‘not just being a memory bank’, ‘the potential within’, ‘looking forward to developing…’ Was inspired by the movement, energy and being in the moment, avoiding the cue from the armchair to just sit. Broom and radio in the kitchen here I come!

 This has inspired me to explore what I can do in the future to keep feeding my soul (I sing with a choir and am on my way to listen to our sister choir ECHO at Leeds College of Music. I want to stretch my boundaries and really come out of my comfort zone. Too long being timid! Thank you!! For a bright future!

IMG_1059

Royston Maldoom, Sally Owen & Alex Elliott

 It was very inspiring and heart warming. Thank you! Congratulations on combining dance and age! Hum’s appearance on stage was very touching and made me cry! You were ALL fabulous! I truly hope you will carry on to inspire future audiences. Thank you! Thank you! Thank you!

IMG_1151

 Wonderful, inspiring performance. Very moving! Brought more than one tear to my eye!

 You guys have made me rethink ageing and how I look at ‘older’ people. You were all graceful and inspiring, thank you so much for a wonderful show.

IMG_1132

 Congratulations. I’ve been working with the Calder valley performance ensemble on what turned out to be a beautiful nostalgic piece – however, what I’ll take – mainly- from your powerful work is to focus on the ‘now and next’ and start the art from there. ‘Two roots of the same tree’.

IMG_0592

 Inspirational. I came to see Namron perform as he taught my children’s father, Brian Claxton-Payne. I love to dance and still perform when I can and was blown away by the depth of the piece, the humour and technique. The professionals definitely still have it and the community performers definitely brought it. Keep dancing all of you. PS – jazz saxophone, lovely touch.

Namron and Pat White Heydays Members

 It was inspiring to see everyone dance together. I like the way fun was integrated into loss in all it’s many ways. I loved the salsa bit. Thanks for a great evening and I hope to see more!

 Fantastic show, we need you to show us younger people what ‘true community’ is about. Very poignant moments but so much energy. Doesn’t matter how old you get, life is always in a state of constant flux. Blessings.

IMG_0566

Royston Maldoom

 A fabulous experience, want to see how it grows and realises it’s potential. Thank you.

 I thought that the performance was inspiring – the woman on her own when the couples dance…breaking out themes… Look forward to watching older people dance without having to think about being old.

 Lovely, would have liked to see a bit more.

IMG_0791

Royston Maldoom & Villmore James

 Well done. Keep it up!

 Congratulations on a beautiful and moving performance. Please keep me in touch with future activities. If you are thinking of touring this, please come to Corby.

 I work as an older person’s physio in Dewsbury and meet people in hospital with a passion for dancing. Do you know if there are any similar groups in Dewsbury?

 Love the performance, full of heart. Please keep in touch -the family Halifax.

IMG_1058

Sally Owen & Alex Elliott

 

Screen Shot 2015-06-12 at 10.59.40

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Anniversary

West Yorkshire Playhouse rehearsals for production of ANNIVERSARY directed by Alan Lyddiard

West Yorkshire Playhouse rehearsals for production of
ANNIVERSARY
directed by Alan Lyddiard

 

I am 66 years old. I’ve got my state pension and my free bus pass and I am counting it as income towards my new company, The Performance Ensemble. I feel like I am an emerging artist again, working on a limited income, starting on a new enterprise that will keep me going until I can work no more.

I am developing an Ensemble Company – working together over a long period of time, creating work and improving it over years. I made a version of “Animal Farm” that stayed in the Northern Stage repertoire for 12 years. My adaptation of “1984” is still being produced across the world. That’s the way I like to work, with people I admire over long periods of time, growing the work together. We create work that never stays still, always looking for more depth, more nuance, more clarity.

We start by working within a community setting, creating work, then develop that work with the introduction of professional performers and other artists. The community participants teach the professionals and, in turn, the professionals teach and help develop the skills of the community/amateur participants. The important thing is that we learn from each other.

One of my main inspirations for the setting up of The Performance Ensemble is world famous, 72 year old Japanese theatre director, Yukio Ninagawa. We presented Ninagawa’s work at Northern Stage and I had the opportunity to meet him and discuss his work. I met him again recently when I travelled to Japan to see the work of his company.

West Yorkshire Playhouse rehearsals for production of ANNIVERSARY directed by Alan Lyddiard

West Yorkshire Playhouse rehearsals for production of
ANNIVERSARY
directed by Alan Lyddiard

Over the last year I have established a very strong relationship with West Yorkshire Playhouse (WYP) that has allowed me to develop The Performance Ensemble to a place where it is now capable of creating a higher quality of performance with older people. I work closely with the arts development programme and the producing, technical and marketing teams at WYP in the creation of the work and its relationship with audiences. This is invaluable, and will allow me to expand my capacity to produce theatre with one of England’s leading regional theatres. It is a professional partnership founded on open, respectful communication working to the shared aims of valuing and empowering older people through performance. There is great value in working together, pooling our expertise gained over many years of practice at the highest level of integrity and professional achievement. One of the key relationships is with Heydays, WYP’s flagship creative programme for people over 55.

West Yorkshire Playhouse rehearsals for production of ANNIVERSARY directed by Alan Lyddiard

West Yorkshire Playhouse rehearsals for production of
ANNIVERSARY
directed by Alan Lyddiard

‘Anniversary’ is a new multi-media dance and theatre performance created by older artists, including both professional and community performers. It will involve true stories, original live music, dance and video imagery to be performed at WYP next year.

The first stage, a work in progress will commence shortly.

The final piece will be created in 2016. It will be directed by me, choreography by Royston Maldoom, with a new musical composition by Christopher Bensted and will include a combination of five older professional performers including Namron (dancer with London Contemporary Dance Theatre) Tamara McLorg (Choreographer/dancer) Sally Owen (dancer with Ballet Rambert), Vilmore James (Founder member of Phoenix Dance) Alex Elliott (Founder member of Northern Stage Ensemble) together with five performers from WYP’s older person project, Heydays’ drama/dance group.

West Yorkshire Playhouse rehearsals for production of ANNIVERSARY directed by Alan Lyddiard

West Yorkshire Playhouse rehearsals for production of
ANNIVERSARY
directed by Alan Lyddiard

 

In the first stage these performers will work with Royston for two weeks to create a piece of dance. This two week development process will be filmed and will include documentary footage of all the performers’ lives outside the rehearsal room. We will capture their home life, travelling to work, the rehearsal process and their social lives and outside of these two weeks we will capture the birthday celebrations of the choreographer and some of the company.

This material will be used as part of the final performance. We will create a film and sound/music score as the piece is created. We will project/display images of the lives and careers of the performers over a period of 25 years, creating a kaleidoscope of images and text that crosses many different styles of presentation. This would include storytelling, conversation, dance, music, film design and other visual theatre techniques. The piece will reflect the lives of a unique group of older people and their relationship with creating the performance and how it affects their daily lives.

West Yorkshire Playhouse rehearsals for production of ANNIVERSARY directed by Alan Lyddiard

West Yorkshire Playhouse rehearsals for production of
ANNIVERSARY
directed by Alan Lyddiard

The first sharing of the piece with the public will be in July 2015, when the piece of dance will launch at WYP’s Open Season 2015.

In 2016 the dance piece will be developed into a theatre piece to be performed on the Courtyard stage at WYP. After these performances the piece will be developed further in Scotland for performances for the Luminate Festival 2016. The Performance Ensemble have a long association with Luminate, having performed in the last two festivals. ‘Anniversary’ has also been invited to Sadler’s Wells Theatre, London for The Elixir Festival 2016

 

 

8. Royston Maldoom, Berlin, Germany

Royston Maldoom has been the initiator and leader of numerous dance projects all around the globe for the past 30 years. His work was especially honoured by the movie “Rhythm is it”! which received the German Lola Movie Award for best documentary film in 2005 and reached large audiences world-wide.

I can’t remember the first time I met Royston but I think it was in the late 1970’s at the long disbanded EMMA Dance Company headquarters  in Loughborough.  Our paths have crossed  on many occasions since. He played the title role in “Dracula” at Dundee Rep in a production I directed. We worked together in the early days of setting up Dundee Rep Dance Company and he became a friend, a mentor and an inspiration to me.

The influences on one’s lives are many,  but some stand above the rest, and watching Royston work with the communities of Fife and Tayside for the first time was one of those transforming and memorable moments. Every community project I have done since owes something to that moment. Insignificant in some ways – turning up to a village hall in Fife and watching a dance class – but the beginnings of a movement, a philosophy, a methodology that I have developed ever since.

He has worked in an amazing range of community environments around the world, alway striving to create a great artistic event and always believing in the abilities and talent of the young people he worked with to achieve this. Some have ended up in major companies all over the world and some feel that their time with Royston gave them hope, self esteem and confidence to follow the lives they wanted to lead.

Rhythm Is It’ – Film with 250 kids Sir Simon Rattle and Royston                        Watch presentation by Royston

His perception of community dance is “to dance with anyone, anywhere, at any time” regardless of their experience, age, gender or social or ethnic background. He particularly enjoys working with groups that are intercultural, differently abled, and inter-generational.

When he was twenty years old, studying agriculture, he saw a movie of the Royal Ballet. His passion for dance was awakened and he immediately joined a local Cambridge dance school.

From 1980 to 1983, he was Dance-Artist-in-Residence for Fife/Scotland. During that time he organised numerous workshops, summer schools and dance festivals, founded community dance groups for teenager and adults and began to develop his philosophy of Community Dance.

He directed dance projects in Lithuania in 1991 during the independence movement, in Croatia and Bosnia during the Balkan War, in South Africa during Mandela`s election, as well as other projects in Zimbabwe, Georgia and Oregon/USA and others throughout the United Kingdom and abroad.

His international engagement led him to Ethiopia in 1996 where he organized a dance project with 100 street kids. Following the success of this project, they established the Adugna Dance Company, giving young people the opportunity to be educated in dance, choreography, and teaching. On graduation the students were given accreditation by the University of Middlesex, London and many have gone on to work internationally  as choreographers, dancers and teachers.

After many visits through the 70´s, 80´s and 90´s in 2000 Royston Maldoom initiated a project with dancers fo the Ballet of the University of San Marcos, Lima , helping them to set up und deliver community projects with and for socially handicapped children in Peru.  He worked also with catholic and protestant children in Northern Ireland, male and female prisoners, children and adults with learning difficulties, young adults and children in exile, as well as in numerous primary and secondary schools and dance academies.

In the 1990s, Royston began to work  in Germany. From 1989 to 1997 he was the choreographer and artistic director for the German-British Youth Dance Exchange Program in Berlin. From 1990 to 1997 he was choreographer of the European Youth Dance Festival in Duisburg.  During this time he also worked with young adults with physical and learning disabilty from the Caritas Workshop, Moers. He has been guest-choreographer at The Academy for Performing Arts at Frankfurt University. In the last few years he has worked extensively with Philharmonic Orchestras and cultural institutions in Germany.

The dance project “Le Sacre du Printemps” with the Berlin Philharmonic Orchestra under Sir Simon Rattle, in which 250 kids participated, gained popular attention through the movie Rhythm is it! This documentary was awarded the Lola Film Prize in 2005.

Next to other international awards, in 2005 Maldoom received the German Honors Prize in Dance (Deutscher Ehren-Tanzpreis) in Essen for his continuous and groundbreaking engagement for dance throughout the years. For his work with Le Sacre du Printemps with the Berlin Philharmonic Orchestra he, the orchestra, and Sir Simon Rattle received the Special Schiller Award of the City of Mannheim.

In 2006 The Queen presented Royston Maldoom with the Order of The British Empire (O.B.E.) from the British Government for Services To Dance. In 2007 he received the German-British Forum Award for his engagement for the british-german relations in London and the prize of the “Club der Optimisten” in Hamburg.60

2. Semana Santa, Seville and Jerez de la Frontera

This slideshow requires JavaScript.

Seville

The first time I experienced Semana Santa (Easter Week) was in Seville in 1995. I had given myself a sabbatical of a few months from Northern Stage to write an artistic plan about setting up an Ensemble Company. I wanted to be away from the company, I wanted a different experience, so I could write without thinking of budgets or the politics of  the North East of England’s Arts Community.  We were also planning to celebrate the anniversary of Federico Lorca’s birth and create a fiesta in his name so I travelled between Seville and Granada searching for the true voice and spirit of the poet.

In Seville I discovered authentic flamenco for the first time, I learnt about Duende,  I met and saw performances from the extraordinary El Farruco Family, I drank in Triana and listened to the rhythms in the streets – and then Easter time arrived.

In the months before I had seen the rehearsal in every corner of the city. Burly men practising carrying the makeshift paso, with a ghetto blaster on top blearing out the music. There were brass bands and drummers finding corners to rehearse. It was everywhere. Ordinary Sevillanos rehearsing obsessively, working to make extraordinary theatre happen in the streets.

Then the first day of Holy Week came and the streets are thronged with thousands and thousand of people – the first paso leaves the chapel for the four hour walk slowly through the city to the cathedral – the show has began. Large Scale Community Theatre – like I had never seen before.

Jerez

This year I was in Jerez de la Frontera – smaller city but even more obsessed with the spectacle. The streets are still full but I am aware of friends and neighbours in the crowds watching the pageant, the ritual, next to me. This is the community I have chosen to be with and today I feel closer. I am not religious, I don’t go to church, I am not a Catholic but something is making me feel closer to these people – something is holding us together. Is it in being part of something bigger than ourselves?  Is it being part of a history, a culture where the passion for life spills onto the street at fiesta time? Is it the cante jondo?  Is it the heat of the sun? Is it people coming together to celebrate in an expansive , open hearted way with no considerations for the reality of life in this moment? Is it about love and pleasure and excess and devotion and completeness? Yes it is. It is all this and more. It is art.