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Christopher Hampson,
In New Zealand... | |||||||
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Here is a link to the previous column in the series.
Royal New Zealand Ballet So far I’ve chosen the designer (Tracy Grant) and begun work with Gary Harris/Fido (Director of RNZB) on the synopsis and technicalities of the production. All of this has been done via email and late night phone calls. One evening Fido and Tracy phoned me to say that the model of the set had been completed. I was sitting in the Box (bar, SevenDials, London) and they were sitting in her office (overlooking swimming pool, Auckland, New Zealand). I left the bar to take the phone call outside, and I could be seen on the pavement pacing 20 strides to the right, then 35 to left, standing still and facing towards where I had just come from. I then was instructed to hold my right arm in front of me at 56 Degrees to Stage Left. “That’s the start of the wall”, screamed Tracy, “Now imagine that it can pivot through to Stage Right and joins the Pros. Arch to make another…” and so it went on. I was out there for about 20 minutes looking like I was directing imaginary traffic. Once they’d got me to visualise the set they started on how it would work in different venues, what would need to be cut/added, how the pivotal point of the revolve would need to come downstage, would that leave me enough space…? A month later I was on a plane. London to Los Angeles is the Romeo and Juliet CD twice through, a short nap, a film and some reconstituted egg. Los Angeles to Auckland is the Dialogue des Carmélites CD, a Temazepam, another film, more egg, followed by another film. Auckland to Wellington is just a quick chat to the doctor that’s sat next to you whose wife won’t move to the South because it’s too cold. This is my second visit to RNZB, and arriving somewhere so beautiful after that 26 hour flight is the sort of relief that only comes from finally finding the toilet in a Department Store. I stayed for just over three weeks and travelled all over the North Island; some business and some pleasure. We drove to Auckland via http://www.orakeikorako.co.nz/ and arrived at Tracy’s house ready for action. The three of us worked consistently for three days. Tracy’s model was exquisite and she had foreseen almost every eventuality. She knew the score as well as I did which made referencing much quicker than normal. I realised just what an essential visit this was after seeing the designs and talking with Tracy. I was so revved up that I began choreographing in her studio and wanted to start on the production right there and then. We left Tracy to get on with the costumes and agreed that on way back to the UK I’d stop off for another meeting. Back in Wellington I taught the company class for the final week. A good opportunity to reacquaint myself with the dancers I’d used in Saltarello and work with some of the newer members to the company. I got to see them on stage in Michael Pink’s Hunchback of Notre Dame and therefore I also saw some of the venues that Romeo and Juliet would be going to. After talking with their Technical Director about R&J I then asked to him to become a messenger. I had taken the Nutcracker designs to NZ because our lighting designer (John Rayment) is based in Australia, but currently in Singapore, and would be in NZ in May/June. Gerald had put together a storyboard for him so that when he arrives in the UK it won’t be such a shock. John is also doing my R&J so it will be left to Fido and Tracy to bring him up to date on our meetings. On my return to the UK I kept my promise and saw Tracy back in Auckland. We were on our own this time and our enthusiasm grew even more. It never quite sits right that the designer is nearing the end of his/her work and I haven’t physically started yet.
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I had only been back in the country for two days and had to see Gerald. I felt like I’d abandoned the production. It was like moonlighting going to New Zealand and I felt guilty. What my trip had allowed for was some time for Gerald on his own to think through ideas. He never has just one idea, they are volcanic. When I went to his studio his wall was covered with more drawings than I could have imagined. It’s taken me three or four visits just to take it all in...