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Double Diarists Demand Definition
by Kevin Richmond | |||||||
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So you get your timing right, this arrived in mid November and covered events up to that time.... Ed Those of you who, over the past year or so, have indulged in the diary section on this site, are no doubt aware of the trials and tribulations that have befallen our intrepid duo in the execution of there genius! Is it possible that during your “ information download” you happened to come across a name that somehow kept turning up? “Well, yes. But there were quite a few names”…I hear you say! That’s true! However, one name in particular may spring to mind if I mention English National Ballet, Swansong, Images of Dance ( London Studio Center ) and A Christmas Carol (Royal Festival Hall & now St David’s Hall Cardiff) I’ll just wait whilst you do an Archive search on the site... ...don’t rush. ( phone a friend) Found it?? Good…congratulations! Now we know who we are talking about, or rather who's talking to you. Yes, believe it or not it’s Dame Blandine! ( sorry I just couldn’t resist). Anyway, on to the point of my being here in the first place. It was almost a year ago that I was asked to assist Margaret Barbieri with her 3rd year students' Images of Dance. An experience I enjoyed immensely! Little did I know that the choreographers she had employed were none other than Christopher (Hampy) Hampson, Cathy (Cazza) Marston & Wayne Sleep. I had worked with Wayne on Savoy Suite, and Hampy on Christmas Carol, but had yet to see any of Cazza’s work ( sorry to say I missed Cohabitants). However, the whole experience was a journey that will stay with me for a long time and I thank the students ( who still keep in touch) the choreographers, and Margaret for providing me with the passport to travel further. I remember mentioning to Bruce that perhaps I could offer an alternative diary that would cover the creative process from my ( Ballet Master) perspective. Bruce was all for it. But sadly my commitment wasn’t at that time. But it is now, so here is whats happening Once again Hampy and Mupp have asked if I would be interested in re-staging their production of Christmas Carol ( rehearsals officially start 27th Nov). Performances start on the 20th Dec in Cardiff. And Cazza has asked if I would lend my experience to her interpretation of L.P. Hartley’s novel The Go Between ( rehearsals having started, but are quite sporadic due to dancers and choreographers commitments). So what follows is basically an insider’s view of what the two of them have been talking about for a long time. My intention is not to criticize or compare . The two styles are completely different. I hope that I shall be able to show you some blood, sweat and tears and hear your thoughts and views as the diary unfolds. The talent that these two diarists/choreographers hold in their grasp, is just beginning to be released, and if my contribution, as an artiste, assists in some way then so be it. If my ramblings encourage you (a future audience) to get involved, then even better. The place to start is with Cathy Marston and so far I've been involved in three of her rehearsals for The Go Between (working title). So I feel it’s fitting that I start there. Here are my thoughts, aches and pains, highs and lows and raw emotions on the struggle to get it right not just for them but for me! And of course ultimately for you. Enjoy!
3.30pm rehearsal Royal Opera House, Covent Garden. Sat opposite is someone I have never met before but know we shall spend the next 3 hours getting to know. Cathy introduces me to Gillie Revie ( not too tall, thank God, flashes through my head) who's going to be dancing the role of Marion. In the pre rehearsal stage I remember Cathy being not quite sure where to begin creating the steps for her piece. The availability of dancers is always going to be a major problem and therefore dictates the schedule to a certain degree. As Gillie and myself were available it seemed like the logical place to begin……..at the end! Cathy gives her preamble to the rehearsal, setting the pace for the next 3 hours. She explains about our roles and her ideas for what happens prior to the finale. Remember, this rehearsal is not only our first, but we shall also be starting at the end. Difficult ? I spend some time pacing and walking the studio whilst Gillie and Cathy try a few walking steps. I’m trying to warm up and at the same time keep an eye on the action. We start with a section, and then back-track. “Sorry can you just slow that down a little?” “Sure”. Comes the reply. We try again to execute the fast moving sequence. I keep having this vision of an octopus falling from a tumble dryer along with the washing. Arms, legs, feet , hands, head, hips, waist and elbows are all moving in a cacophony of choreography. “HEEEEELLLLLPPPPPP!!!!!!!!!……………….” We take time out and I disappear for a cigarette to the only place available, outside on the balcony. A few deep breaths later and we return from where we left off. By this time, as you can imagine , I’m having second thoughts, if not third. However, Gillie is warming to the situation and we are starting to enjoy ourselves and the occasional fall to the floor, by me trying to do the choreography, is helping to ease any tension that either of us may be feeling. An old familiar face appears at the studio door. It’s Philip Chambon. We first met when Christopher Bruce was creating Swansong and had commissioned Philip for the piece. An Introduction and a viewing of Rosemary for Remembrance, Cathy’s piece for Images of Dance, and Philip was on board. We sat for a few moments and discussed old friends. Good times. Before we know it, 2˝ hours have flown by and everyone is smiling. It’s apparent at this point that I have a knee that is in need of quick first aid and Gillie appears to have had an overload of the Marston movement. I agree with Gillie: Everything in moderation! Cathy asks if she can video the pas de deux ( sorry…duet ) as it will be unlikely that she or Gillie and myself will recall the day’s events. She does and we cock it up! That’s dancers for you. Where’s the choreologist when you need one? Keep it live I say! We leave that beautiful studio tired and exhausted. Bleeding from my knee and damp with sweat . As yet ……no tears!
Remember I said “ No tears?”. Well… they came on the Sunday morning when I tried to prize myself from the bed I was sleeping in. I called Cathy later that day and told her that she would be lucky if she got any movement out of me for the next week, let alone the following day! I had two classes to teach on this Monday at The London Studio Center (which is my proper job) and tried to use the class as a workout for myself. I recalled aching joints and muscles when I was dancing the Russian dance in the endless Nutcrackers for LFB & ENB, and found that the gently-gently approach worked wonders. It did, and I was able to rehearse with Gillie and Cathy that evening. I arrive at the Opera House at 18.30 and go through the same routine for access to the studio. Gillie has had a long day of rehearsals for Onegin and is also suffering physically, thank God, from the different movement that Cathy is introducing us to. We walk and talk and mark for memory. At this point we have been working without any accompaniment, just feeling a pulse or pace that seems to fit. We decide that it’s a good idea to work with a little background sound and Cathy is insistent that we don’t get used to the music. Difficult for dancers not to phrase the movement as they become more and more familiar with the pace and even the atmosphere that the sound creates. Again, Cathy videos the end of the day, both for her sake and ours. I won’t be seeing Gillie for a while after today as she is heavily involved with her performances for the Royal Ballet: Don Quixote and Onegin. We say our thanks to each other and depart with thoughts in our heads of how painful this movement is. There are a few weeks before I return to the Opera House and start on the painful sequence of movements that will become the opening section.
This year Hampy and Ian (Mup) Comer, have employed Gary Avis to take on the role of Bob Cratchit, Scrooge’s long suffering clerk. Hampy has been rehearing ENB for ‘Double Concerto’ and so at the end of the day we are able to use the studios for a few hours' work.
I have not had the pleasure of meeting Gary before today so this is a first for both of us. Gary is tall and lean and visually fits the role perfectly. As I’m on the short side, the balance is perfect. We are having this rehearsal early on in our schedule because in three days time Gary flies off to Japan to tour with Kumakawa/ K- Ballet, and is not able to rehearse with the rest of the Christmas Carol cast until a week or so before performances start. So its cutting things a little fine. No need to worry. Gary picks up Hampy’s steps in no time at all, and already we are starting to play with the humour and bounce off each others' timing - this should be fun. After two hours in the studio at the end of the day Hampy decides that Gary has enough information to call it a day. We sit for a while and discuss the action of the previous, and following scenes and decide that we can run through the same sections tomorrow. Go home, sleep on it.
And so that’s exactly what we do……………………………
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