a flayed Maze

19Nov10

Oh, mystery, where art thou? For those with delicate stomachs look away now. Apropos to my previous missive, here’s a picture of the aforementioned Harry Trow harvesting organs from the trusty old beast. This kind of ghoulish image should probably be reserved for some specialist publication and it might seem undignified of me to show The Black Maze thus eviscerated, but ever one to assist the documentation process …. here …. whatever …. (photo courtesy of Jack).


Today sees the end of an era, the passing of a great friend: But there’ll be no blaze of glory, no pomp nor fireworks.

The Black Maze will limp with wounded tail-lift to the Leyland DAF hospital on Neachells Lane and there, (no doubt with the very hammer and pliers that were used to fit her up) she will be unceremoniously ‘de-commissioned’. Stripped, gutted, de-mythologised. The Maze will return to its former guise – that of a postal service van. But oh, if those walls could speak…! The Black Country is famed for its scrap merchants, so it’s appropriate also that the Brothers Trow (Jack and Harry), natives of that territory, should execute the task.

I learned the craft of Mazemaster while attending to the earliest, fixed version in The Gas Hall, Birmingham back in 2000. Since then, The Maze has worked its magic and mystery over countless thousands of visitors. I saw grown men queue for 40 mins then crumple before entering, I watched the blind scoot through, dragging their terrified ‘helpers’ behind them. I welcomed obsessive youths drawn repeatedly by its Cultish allure. I flushed out lovers and rescued trapped minors. In one memorable (and beautiful) encounter I salvaged a tearful lady in her 60’s who had been revisited by repressed memories of a hideout during the Blitz. It could be therapeutic; many times I heard people emerging from the Moebius truck exclaiming “I’m claustrophobic!” – duh! Invariably, the cocksure would fail and the meek would triumph. A testament to the Maze’s power was that it didn’t discriminate on the basis of age, gender or disability**. Rather, it had the uncanny ability to converse with your headstate. The ‘Darkness’ was not so much inside the truck but in your mind. Hence control freaks need beware because yielding to the Maze was a key to its success. It worked as a beguiling physical journey, it worked as a haptic installation, but it could be visceral, emotional, even spiritual an experience. “It was like being born” or “It was how I imagine dying” were two regular responses.

James conjured the Maze up as one of his imagined ‘ideas from the bottom drawer’ back in 1995. I was quietly unsure of the idea at the time, but since its construction (by James, Craig and Mark Anderson), and in the the 11 years of it’s lifetime, it proved itself to be a hugely popular and an influence on successive generations of intimate/environmental performance. I know The Black Maze will be greatly missed and reminisced about ’til that time when we ourselves leak hydraulic fluid and our tail-lifts malfunction.

May the twinkly stars appear to guide her home. Bravo, Black Maze! Let’s raise a glass, my friends.

[** I should mention that The Maze was not wheelchair accessible, so perhaps this is a moot point]

link to Stan blog


PILOT20

12Nov10


gadgetshow

08Nov10

In my absence (I was on international duty with Stan’s Cafe), the Modified Toy Orchestra audition for a replacement 5th member. Here’s a clip of Jason from The Gadget Show trying his luck with the art of circuit bending. Will my position in the band still be safe, I wonder? I’m trying to interpret Brian’s eyebrow movements for a clue.…(link to Episode 15’s challenge)


apollo steps

08Nov10

It’s a lunar month since the Stan’s Cafe team returned from simultaneously delivering 3 works in the fantastic setting of the Domaine d’O, Montpellier – but here is a belated posting from an intense week in which I was personally battling fatigue and chronic toothache. Veteran Stanworks The Black Maze and It’s Your Film, (both pioneering examples of immersive micro-theatre events which cater for a single audience member at a time) were joined by Apollo Steps, installed by designer Simon Ford and team.

Apollo Steps is/was a trio of bespoke adventures in vinyl, laid out in the remarkable amphitheatre in the grounds of Domaine d’O. The auditorium and stage became a playground for the freeform re-enactment of ‘journeys to the stars’, these being an Apollo moon landing, a Classical dance performance and the mixed fortunes of a band on their rocky road through gig-dom. Images show the journeys played out by grade 8 students from a local High School (link to pics). The students were enthusiastic and a delight to talk to – which was heart-warming, partly because the Steps Series cannot really be explained, they have to be done, and partly because this particular school will be working with Stan’s Cafe through the process of realising The Cardinals – the forthcoming Stan’s Cafe piece which will premiere at Domaine d’O in early February.


TEDx

07Nov10

The Toy Orchestra on an awayday to Aldeburgh. ‘Midst considerable excitement, MTO travelled to yesterday’s TED conference on music technologies. Host Thomas Dolby introduced a series of 20-minute sessions from luminaries including Martyn Ware, David Toop and William Orbit, video contributions from the likes of Benjamin Zander and David Byrne, and demonstrations from Sarah Nicholls and Imogen Heap. TEDx events are organised independently of the global TED conferences (Technology, Entertainment, Design) and are inspirational pit-stops for enlightened thinking and the sharing of great ideas. Much of the content ends up online and consequently the TED website is a treasure trove of the best talks and presentations documented since 2007.


all hallows

01Nov10

Dark times… (largely thanks to a return to GMT this weekend)… and austerity. There are far fewer houses advertising their willingness this year, but a great plenty of ghouls out on the streets. In fact, Cotteridge is teeming with witches, ghosts and other indistinct creations. Entire zombie families are out there, pounding the streets in scenes reminiscent of a certain movie (see below).Nonetheless a monster haul of sweets, crisps and home-made cakes is still to be had out of an afearéd public…

…and later that night there will be a great aching of the belly.


Berk with Hair

29Oct10

Today sees the release of a movie with all the ingredients for greatness, with the cream of British film-acting talent pitched up alongside comedy gold-dust. Unfortunately, pre-release reviews of Burke & Hare have not been entirely complimentary, but how fine to see Serkis paired up with Pegg. And lest it be forgotten from whence they came, here are a couple of pics of them in days prior to A-list glory. In their earliest theatre assignments out of the Theatre Depts of Lancaster and Bristol Universities, Andy and Simon were directed by Simon Jones (still at Bristol and director of Bodies In Flight). Spot attendant berk with hair…

Class Enemy by Nigel Williams, Dukes Playhouse, Lancaster Literature Festival, May 1985. dir. Simon Jones.

Rough, devised by Bodies In Flight, Arnolfini, October 1992. dir. Simon Jones/Sara Giddens. photo: Ed Dimsdale

Teaching last week at Bristol, one student casually references Simon Pegg as the very reason he chose to come to the Dept. and it’s sobering to think that current 2nd years were born in the year that Simon was a 2nd year here.  He is but one of a glittering alumni, many of which have passed into today’s comedy mainstream. Student ambitions are understandably high… but in the meantime, er…let’s make some experimental theatre, shall we?


x-directory

27Oct10

My mobile phone has had a fortnight of mystery and adventure.

It started with a flurry of what I can only describe as abusive texts (some with violent and threatening language) and a series of silent calls. I started answering these calls, but there was never a response. I then tried to ignore the calls, though there were several per day. An e-mail arrived to this site, laden with bile. From the broken English and unfamiliar syntax I deduced that the ‘abuser’ was not a UK-native. The texts referred to a third party, known to me, but rarely seen in person. I was being used/encouraged to pass on the hatred to this third party, who themselves had blocked all channels of communication with the ‘abuser’. Somehow I had been identified as a link and the ‘abuser’ was berating me for the ‘stupidity’ of publishing my personal info on the net. This felt like a kind of terrorism. Try as I might to ignore or be unaffected by the ‘abuse’, it started to gnaw at me. Would this person do violence against me or to those close to me? This unknown threat was the worst. I knew that soon enough I would have to report it all to the police and block the ‘abuser’s’ number, maybe change all of my security settings, my passwords, etc. First, though, I would gather sufficient evidence to damn the ‘abuser’.

Then something odd happened. The ‘abuser’ left a garbled rant on my answerphone. The unknown ‘It’ was now a ‘She’. A young-sounding She. The terrorist had a profile that took me by surprise. What’s more, She sounded angry, troubled, damaged and …vulnerable.

The next evening my phone rang again. It was the ‘abuser’. Instead of switching the phone off I unwittingly answered… and into the silence I spluttered a plea – to end the torture that she was ultimately placing upon herself. Telling her how utterly pointless and vain her attempts had been – not just because I no longer have contact with the third party, but because whatever hurt she was feeling, however wronged by the third party she had been, her dark energy and hatred would only ever come back to haunt and harm her. I told her that She deserved better; that She needed to set herself free from her campaign of terror. I blabbered on for what seemed like an age, until, out of the silence I felt the shell crack and the sound of her crying overwhelmed my own voice.

We talked and talked, and then some. Two hours maybe. She explained herself, her hurt. She was honest, open and apologetic. It was a relief to find a warm human being behind the shield of anger. I don’t doubt that she herself has been wronged.  I want to make sure she’s ok – but I know, given what has passed, that we must draw a line on our communication. She told me expressly that she wouldn’t ‘bother’ me again. We left it at that.

My phone, however, wants a life of its own. It won’t behave itself. It deletes numbers from the front end of the alphabet, so my sister Al disappears on a regular basis and (annoyingly) my phone has twice this week called the person still listed in my phone as ‘abuser’, which can only be more confusing for her (I will get rid of the listing as it now seems inappropriate). I think She will read this blog entry, and I hope She will understand that I have her best interests at heart by writing this. I wish her well and I hope She is able to rid herself of the torment which has driven her to seek out the third party, because She deserves better than that.

A couple of days ago I received a text from another mysterious, unknown number;

A: Hi mate, hope all is ok, would b good to catch up soon

[There weren’t enough clues in the message. I had no idea who it was]

Me: Hi there, thanks for message. Unfortunately my phone must’ve deleted you by accident so I can’t tell who you are! reveal yourself, mystery pal!

A: Andy Lee 🙂

Now, Andy is my oldest friend and the closest I got to a having a brother whilst growing up. Hooray! I have his number back in my phone. We arrange a rendezvous – our first since his recent marriage. There’s much to catch up on.

This evening I return home from Bristol, expecting a call from Kindle’s Jess regarding PILOT. Soon enough, my phone receives a text, but it’s from yet another unknown number;

B: Guess who? X

Me: ? I know not! Put me out of my misery.

B: Jess:L!

Me: Aha! Time for a chat?

B: yuppp! (:, What you doing?

[I’m watching a documentary about the Falklands War, whilst e-mailing, whilst drinking cold tea. It’s too complicated to text such banale crap, so I call the number, which goes unanswered]

B: What u ring me for babe?, x

[That’s odd. Familiar though I am with Kindle Jess, “babe” is not what I expect from her]

Me: I think I called the wrong Jess. And that you texted the wrong me. Graeme

B: What  :s

Me: Who do you think I am, Jess?

B: What do u mean :s?

Me: What is my name? Seriously.

B: Alex ? :s

Me: No. You have the wrong number. I’m sorry. I’m Graeme 🙂

B: Not atal :L, cus uv jus gave me it stop pissint about :L! And when I txt you, ur fb pic comes up babe x

[I call the number again. She picks up and answers “Hey” in a warm tone.“Hello”, I say, “Do you recognise my voice?” – silence – “No, I thought not. My name’s Graeme, not Alex. I don’t know where you are, but I’m in Birmingham. He’s clearly given you a wrong number… Sorry.” There’s an empty, gawping vacuum over the line. The sound of deep mistrust….  After a few seconds the phone goes dead. Then another text…]

B: Quite obv you, I kno a opperated chat when I hear one 🙂

[I’m tempted to reply with a “what-eva” but I’m not going to take the bait. Does she think that this whole thing has been a ruse to trap her? It’s been surreal and confusing – :s – and I’m wondering what my phone will generate next? I was just trying to be helpful, to be friendly, but I’m left feeling a bit unclean – like I got sucked into an abusive txt relationship, given a false moniker (Alex) by my unruly phone.

It’s with a strange co-incidence that these events occur while I’ve been working on some audio pieces that address narratives through the medium of Voicemail. I’ve been guesting in workshops at Bournville School, where Head of Drama/Media Karen is developing an experimental sound tech performance with her students and I’m also teaching the current Performance 2 module at Bristol University, where we’re exploring audio-journeys and echo-location. Phones are featuring prominently: Conventionally banished from theatre projects, they may just get the upper hand in this one.


*PILOT is back! Following a 6-month sojourn, (during which unruly little sister PilotLight has been blazing a trail) submissions are now being taken for the next PILOT Night, to be co-piloted by Graeme Rose at MAC (Midlands Arts Centre), Birmingham, on Thursday 25th November 2010.

The deadline for submissions is 12pm Tuesday 2nd November.*

Graeme has been recklesslessly handed the controls in the PILOT cock-pit. He’s clocked up the airmiles but his license still looks home-made. The co-ordinates are all set for a Thanksgiving Day treat at MAC, but take note – this will be a turkey-free zone.

Are you making new theatre?
Do you need an audience?

PILOT is the renowned experimental playground where innovative theatre
makers can put work-in-progress to the test in front of a lively and
supportive crowd.  PILOT can provide a small bursary, expenses, some
rehearsal space, technical support, documentation of your performance, and
importantly the opportunity to get critically supportive feedback.

*If you have an idea in an early stage of development and would like the opportunity to present, go to www.pilotnights.co.uk for further info and online application.*

PILOT is run by Paul Warwick, China Plate Productions, Sam Fox and Jess Mackinnon, Kindle Theatre and supported by Arts Council England, MAC (Midlands Arts Centre), Warwick Arts Centre, The Arena – Wolverhampton.

PILOT
info@pilotnights.co.uk