image: dean chalkley inua ellams barber shop chronicles …€¦ · barber shop chronicles perth...

of 5/5
INUA ELLAMS perthfestival.com.au Octagon Theatre 9 - 18 FEB UNITED KINGDOM AUSTRALIAN PREMIERE SEASON BARBER SHOP CHRONICLES A Fuel, National Theatre and West Yorkshire Playhouse co-production MEDICI DONORS International Excellence Partner Image: Dean Chalkley

Post on 08-May-2018

214 views

Category:

Documents

1 download

Embed Size (px)

TRANSCRIPT

  • INUA ELLAMS

    perthfestival.com.au

    Octagon Theatre9 - 18 FEB

    UNITED KINGDOM

    AUSTRALIAN PREMIERE SEASON

    BARBER SHOP CHRONICLES

    A Fuel, National Theatre and West Yorkshire Playhouse co-production

    MEDICI DONORS

    InternationalExcellence Partner

    Image: Dean Chalkley

  • BARBER SHOP CHRONICLES

    Perth Festival acknowledges that our events take place on the lands of the Noongar people.

    Writer Inua EllamsDirector Bijan SheibaniDesigner Rae SmithLighting Designer Jack KnowlesMovement Director Aline DavidSound Designer Gareth FryMusic Michael HenryFight Director Kev McCurdyStaff Director Stella OdunlamiBarber Consultant Peter AtakpoCompany Voice Work Charmian HoareDialect Coach Hazel HolderTour Casting Director Amy Ball

    CastTanaka/Fiifi David Ajao Kwabena/Brian/Fabrice/Olawale Peter BankolWallace/Timothy/Mohammed/Tinashe Tuwaine Barrett Musa/Andile/Mensah Maynard EziashiSamuel Bayo Gbadamosi Winston/Shoni Martins Imhangbe Tokunbo/Paul/Simphiwe Patrice NaiambanaEmmanuel Cyril NriEthan Kwami OdoomElnathan/Benjamin/Dwain Sule RimiKwame/Simon/Wole Abdul SalisAbram/Ohene/Sizwe David Webber

    OCTAGON THEATRE | 9 18 FEB | 1HR 45MINS NO INTERVALPOST SHOW CONVERSATION SUN 11 FEB, 6.45PM & SAT 17 FEB, 3.45PM

    BIOGRAPHIES

    RAE SMITHDESIGNER

    Rae Smiths recent designs include Saint George and the Dragon at the National, The Lion, the Witch and the Wardrobe at West Yorkshire Playhouse and Stella at Brighton Festival, Hoxton Hall and Holland Festival. Other designs include the Tony and Olivier Award-winning War Horse at the National Theatre, as well as work for opera at the Met New York and Opra national du Rhin and dance productions at Birmingham Royal Ballet and for Fabulous Beast. Her other work includes live drawing for War Horse in Concert with the Royal Philharmonic Concert Orchestra at the Royal Albert Hall.

    BIJAN SHEIBANIDIRECTOR

    Bijan Sheibani is a theatre and opera director whose work includes numerous productions at the National, the Almeida, Battersea Arts Centre and Soho Theatre, amongst others. His production of Gone Too Far! won an Olivier Award for outstanding achievement in an affiliate theatre. His work in opera includes Nothing at Glyndebourne and Danish National Opera and The Virtues of Things at the Royal Opera House and his short films Groove is in the Heart and Samiras Party were both selected for the BFI London Film Festival. Artistic director of ATC 2007 10 and an Associate Director of the National Theatre 2010 15, in 2018 Sheibani will remount his production of The Brothers Size for the Young Vic and direct a new opera for Streetwise Opera at the Sage Gateshead.

    INUA ELLAMSWRITER

    Born in Nigeria, Inua Ellams is a cross-art-form practitioner, a poet, playwright, performer, graphic artist, designer and founder of The Midnight Run a nocturnal urban excursion. He is a Complete Works poet alumni and a designer at White Space Creative Agency. His previous theatre plays include Fringe First Award-winning The 14th Tale, Black T-Shirt Collection, The Long Song Goodbye and An Evening with an Immigrant, which was awarded the Liberty Human Rights Award in 2017. He has published three pamphlets of poetry and his new book #Afterhours is published by Nine Arches Press. inuaellams.com

    Design Associate Catherine MorganLighting Associate Laura Howells Sound Associate Amir Sherhan Costume Supervisor Lydia Crimp Wardrobe Supervisor Louise Marchand-Paris Production Manager Richard Eustace Company Stage Manager Joni Carter Deputy Stage Manager Fiona Bardsley Assistant Stage Manager Naomi Brooks

    A Fuel, National Theatre and West Yorkshire Playhouse co-productionCo-commissioned by Fuel and the National Theatre.

    Development funded by Arts Council England with the support of Fuel, National Theatre, West Yorkshire Playhouse, The Binks Trust, British Council ZA, ran Mr and A Play, a Pie and a Pint.

    SETTINGBarber shops in Lagos, Nigeria; Peckham, London; Accra, Ghana; Kampala, Uganda; Johannesburg, South Africa and Harare, Zimbabwe.

    WARNING: This production contains coarse language and loud sounds.

    FANFAREYou were called to your seat tonight by a fanfare composed by 21-year-old WAAPA student Olivia Guelfi. Perth Festivals Education Program, in partnership with ECU WAAPA, provided four emerging young composers a mentorship with Rebecca Erin Smith to develop fanfares for the Festival. These were recorded by professional musicians and replace traditional theatre bells at Festival venues. Visit perthfestival.com.au for more information on the Fanfare project and this composition.

  • Q&A WITH INUA ELLAMS

    What inspired you to write this show?

    Back in 2010 someone gave me a flyer which was about a pilot project to teach barbers the very basics in counselling. I was surprised that conversations in barber shops were so intimate, that someone thought that barbers should be trained in counselling and also that they actually wanted the counselling project sessions to happen in the barber shop. This meant that on some level the person who was organising this thought there was something sacred about barber shops. Initially I wanted to create a sort of poetry and graphic art project where I would create illustrations or portraits of the men whilst they were getting their haircuts and write poems based on the conversations Id overhear. I failed to get that project off the ground, but the idea just stayed with me for a couple of years, until I got talking to Kate McGrath from Fuel who liked the idea. Together we approached the National Theatre. Thats where the show came from and how it was inspired.

    You describe your plays as failed poems why was this idea better suited to a play?

    The voices in my head just began to grow bigger, louder and in numbers. When this happens, the poems become multi-voiced and turn into dialogue. Eventually this dialogue breaks away from the poetic form altogether. The idea of Barber Shop Chronicles was suited to a play because there were several voices feeding into the conversations within the sacred spaces that barber shops seemed to be as I began to research.

    What was the process for creating the show?

    I began with a month residency at the National Theatre in London, then a week-long residency in Leeds at the West Yorkshire Playhouse. I then had six weeks of research travelling through the African continent. I was in South Africa, Kenya, Uganda, Nigeria and Ghana. I returned with about 60 hours of recordings, which I whittled down to a four hour play, which was then eventually whittled down to an hour and 45 minute show. I got rid of lots of things that I intend to use at some point. There were 14 different drafts of the play written in that time, with lots of research and development processes.

    How different is it to write for other people to perform rather than a show you perform?

    Its not that different. I guess I just know from the get-go that Im not going to be the performer of the text. So it isnt different as such, the difference is when it comes to the rehearsal period. Up until then when Im writing its just various shades of my voice speaking to each other in my head, or various shades of me coming out in various voices in my head. Then when I get in to the rehearsal space and I see other actors take on the lines it becomes something else. But initially there is just a story that Im trying to find the best voices to articulate. That process isnt too different from creating work that I will perform myself. Also, I guess whenever I write poetry I dont always imagine Im the one performing it because I imagine most people will first interrogate the poems with a two-dimensional surface; by that I mean in book form. Therefore, they will read it with their own voices in their head. So, even when I write poetry I dont imagine that Im the first performer of the text.

    How does it feel to write the play and hand it over to others to bring to life?

    Its all about trust and that is mediated by the director. It can be very nerve-racking. It can also be very exposing for other people to take your words and do what they will with them. They can find that moments in the play are not as subtle as you imagined they were and critique and ask questions. But this is all conducive to creating better art. This has definitely been a positive experience with this play.

    Image: Marc Brenner

  • Half Page Advert | 210mm (w) x 148mm (h) Deadline: 18 December Image: Barber Shop Chronicles

    we believe innovation starts with inspirationThat is why Chevron Australia is

    proud to be the 2018 Perth Festival International excellence partner.

    Image: Barber Shop Chronicles, Perth Festival Dean Chalkley CHEVRON, the CHEVRON Hallmark and HUMAN ENERGY are registered trademarks of Chevron Intellectual Property LLC. 2018 Chevron Australia Pty Ltd. All rights reserved.

    IL NEST PAS ENCORE MINUIT ...

    COMPAGNIE XY

    THRILLING ACROBATIC FEATSThe Guardian (UK)

    perthfestival.com.au

    Supported by

    InternationalExcellence Partner

    Regal Theatre8 - 17 FEB

    $25 - $69

    SELL

    ING FA

    ST

    perthfestival.com.au

    Daily Telegraph (UK)

    A NASSIM SOLEIMANPOUR & BUSH THEATRE PRODUCTION

    ENTERTAINING, INGENIOUSLY THOUGHT-PROVOKING AND FULLY HEART-WARMING.

    NASSIMStudio Underground

    20 25 FEB

    DONATE NOW TO SUPPORT YOUR FESTIVAL

    Your Perth Festival has been creating extraordinary arts experiences for 65 years. This legacy has only been possible thanks to the generosity and advocacy of our valued Donors. The Festival fosters the talents of our local young artists, provides a forum for creative learning for students, commissions work with Western Australian artists and provides employment for our local arts industry.

    Your gift to Perth Festival will help continue the magic for another 65 years and beyond. To donate go to perthfestival.com.au/giving or contact Jennifer Turner, Development Manager on 08 6488 8603.

    PERTH FESTIVAL08 6488 2000 | perthfestival.com.au

    Artistic Director Wendy Martin

    Executive Director Nathan Bennett

    Perth Festival Board Chair John Barrington

    Image: Marc Brenner

  • WE COULDNT DO IT WITHOUT...

    LEADERSHIP PARTNERS

    PRODUCTION PARTNER

    MAJOR DONORS

    CIVIC PARTNER

    PUBLIC FUNDING PARTNERS

    FOUNDER PRINCIPAL PARTNER INTERNATIONAL EXCELLENCE PARTNER

    MAJOR PARTNERS

    PREMIER PARTNERS

    ADRIAN AND MICHELA FINI

    BRITISH COUNCIL CANADIAN CONSULATE JAPANESE FOUNDATION

    THE ALEXANDRA AND LLOYD MARTIN

    FAMILY FOUNDATION THE MCCLEMENTS

    FOUNDATION

    HOTEL PARTNERS

    INTERNATIONAL GOVERNMENT

    SUPPORTING PARTNERSAdvance PressCampariCommunity Newspaper GroupFor the PeopleKinoki ProductionRTRFM92.1The Backlot Perth

    DRINK. DINE. DREAM. PARTNERSAdelphi GrillAscuaBar LafayettePrince LaneHalford BarHeno & ReyLalla RookhLittle WayLong Chim PerthPetitionPostSaumaThe Lucky Shag Waterfront BarThe StandardWildflower

    FESTIVAL CIRCLE DONORS

    INSPIRER $20,000+Michael and Margrete ChaneyGina and Ben LisleThe McClements Foundation

    VISIONARY $10,000+Eureka Legacy

    INNOVATOR $5,000+The Clayton FamilyJoan Retallack and Peter MallaboneLinda Savage and Stephen DavisFiona StanleyMichael and Helen TuiteDavid Wallace and Jamelia GubgubAnonymous Donors

    CREATOR $2,500+Joanne CruickshankWarwick Hemsley and Melissa ParkeDelys and Alan NewmanPeter Smith and Alexandrea ThompsonGene Tilbrook

    DISCOVERER $1,000+Jo AgnewNathan and Elly BennettTania Chambers OAM and Eddy CannellaK ChisholmEmma FletcherLynn Murray

    Rosemary PrattGrant and Libby RobinsonKerry SandersonMargaret and Roger SearesBonney TullochDiana Warnock and the late Bill WarnockAnonymous Donors

    EXPLORER $500+Bernard and Jackie BarnwellSue BoydDeborah Brady and Stephen BoyleCoral Carter and Terence MoylanShane Colquhoun & Leigh CathcartPenny and Ron CrittallG & K DonohueAndrew DoyleGerie and Ole HansenJanet KingMary-Ellen King and Jackie DillonVincent and Fiona LauRosalind LilleyMegan LoweQuang LyGaye and John McMathSarah and Ben TanMargaret WhitterAnonymous Donors

    MEDICI DONORS

    $5,000+Adrian and Kath ArundellMichael and Liza BlakistonMegan Enders and Tony DaleJLThe McClements Foundation

    $2,500+John Barrington and Fiona HarrisMarco DOrsogna and Terry ScottGriffiths ArchitectsGillian and Stewart JohnsonVronique RamnAnonymous Donors

    $1,400+Neil Archibald and Alan Dodge AMZelinda BafileRobert Bayliss and Simon DufallJohn and Linda BondAnna CiffolilliMark Clapham and Dr Andrew MulcahyAdrian and Michela FiniPaul and Susanne FinnAndrew and Mandy FriarsDerek Gascoine and Dale HarperThe Goodlad FamilyJulanne and David GriffithsTerry Grose and Rosemary SayerMack and Evelyn HallSue and Peter HarleyDavid and Sandy Heldsinger

    Kathryn Hogan and Graham DroppertJanet Holmes Court ACJon and Tracey HortonJim and Freda IrenicJanet and Rob KirkbyGreg Lewis and Sue RobertsonLorton InvestmentsJohn and Elizabeth MairIan McCubbingIan and Jayne MiddlemasMorris-Johnson FamilyCraig Merrey and Michael MurphyDr Fred and Georgina NagleDr Walter Ong & Graeme MarshallZahra Peggs and Anthony MaguireMark and Ingrid PuzeyGary and Jacqueline SteinepreisTim and Chris UngarSharon and Chloe WarburtonJimmy and Karen WilsonMichael Wise and Kathryn TealeMelvin YeoAnonymous Donors

    LEGACY CIRCLE DONORSAnita ClaytonNigel and Dr Heather RogersAnonymous Donors

    PATRON ARTIST-IN-RESIDENCEAdrian and Michela Fini

    PATRON EDUCATIONFogarty Foundation

    PATRON NEW WORKSAnonymous

    PATRON WA ARTS SECTOR DEVELOPMENTUngar Family Foundation