Stockholm Resource Pack - Frantic Assembly

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Day one How do you make a start on a production like this There are a few formalities to get through on day one. This is the only day the whole production team, the admin staff, the co-producers and the directors will be together in the same room for the whole process. We start by introducing everyone to each other. Before we commence with a read through with the two performers we show the model box of the set design. This allows everyone to see the complete design and couple that with the words they are about to hear. Although the set is in the room it is spread out around the place because there is not enough height to put it all together. Then it is the read through. This is a bit nerve-wracking for all. Bryony has not heard <strong>Stockholm</strong> read before. Sam and George (the performers) have not met until this point. Everyone is looking to see whether there is chemistry and whether the torturous casting process has been worth it! After the read through we have a quick chat and the room empties out. From then on it is just the production team and it is time to get on with it. Even then we decide to have a bit of play time. After a warm up we look at some contact devising techniques. As the two performers have never worked together and one has vastly more physical experience it seemed like the right thing to do to let them play for a while. It also allowed us to see how they worked together and to gauge how we should progress. We used a technique we call 'Round - By - Through.' Here the performers are given the task of making a short string of material that is inspired by the title words of the exercise. They can move round, by or through their partner. They might take turns to do a couple of moves and set these. They should have around 12 moves. Once they had this and could repeat it smoothly we then set them various new tasks to adapt these moves. They were to squeeze the space out of the moves so that there was much more contact between them. We also looked at techniques that will allow you to lift your partner safely in a way that does not rely on strength. We went through exercises that helped identify when a lift was possible and how to safely integrate such moments into the string of material already set. None of this would go into the show. It was merely training and an attempt to get the performers to get to know each other and develop the trust they will need to work together and attempt much harder things. The point is that we did not rush into the creation of the production. We knew we had to all get to know each other and explore potential in a fun way rather than meet what could be an immovable object full on. Steven Hoggett and Scott Graham Photo David Sibley 12
Kali and Todd - what's in a name Type Kali into a search engine and you will find the reason behind Bryony's thinking. Kali is a Hindu Goddess of destruction and annihilation. Not that this has any real bearing on the production. It is merely Bryony's play with words. Similarly Tod (minus the extra 'd') is German for death. If there is any significance here it is in the coming together of these two names, Death and Destruction. The idea being that there is a combination of personalities that may inspire this kind of situation. This may not be psychologically correct but it is an interesting thought that as soon as Todd (Death) introduces himself to Kali (Destruction) in the restaurant, their future is set. Georgina Lamb Photo Scott Graham 13
Page 1 and 2: A Frantic Assembly and Drum Theatre
Page 3 and 4: Why write this This is our fifth re
Page 5 and 6: A love story Samuel James and Georg
Page 7 and 8: The stages of development Georgina
Page 9 and 10: We had found a very complex and dis
Page 11: Development of 'Us' We were interes
Page 15 and 16: Tasks: The post it notes The perfor
Page 17 and 18: Sketching the show This was about g
Page 19 and 20: The stairs Samuel James and Georgin
Page 21 and 22: 'Us' The biggest theatrical task se
Page 23 and 24: Scenes: Samuel James and Georgina L
Page 25 and 26: 3 The fight A well known theatre cr
Page 27 and 28: Their dance We wanted something tha
Page 29 and 30: The bed Samuel James and Georgina L
Page 31 and 32: Soundtrack of their lives - the use
Page 33 and 34: Directors note Steven Hoggett and S
Page 35 and 36: Suggested Essays 1 Kali puts two bo

Stockholm Resource Pack - Frantic Assembly

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