Just a little mutual love and back scratch to artist “Darcy Isla” for her lovely feedback on her recent blog about a piece of work I made in 2008 … almost made me think of bringing it back to life.
A girl I met at university, while we were there, created this piece of theatre, centering around the making and drinking of tea in.Britain. It was fantastic. Themes I took from it were: therapy, catharsis, feminism, housewives, facade, honesty, comfort and vulnerability. It made me laugh, cry and ponder. All that from a little cup of tea. But the thing is, that little cup of tea (because she made one for each attendee, which was lots, and laid them all out on the ground) was made just how we wanted it, with such delicacy and careful detail that it became a fascinating and rewarding experience that each of us invested in. Aside from developing a probably lifelong envy for her creative genius, (Why couldn’t I have thought of that?) I took from it a newfound interest in tea – the drink, the social aspect, the history, the geography. I suppose, “How do you take it?” is only as open a question as tea drinking deserves.
You can read the full post and her blog here: http://darcyeleanorfox.wordpress.com/2012/10/10/how-do-you-take-it/
“Days Like These” was written for anyone who was ever 17.
“You see the play is about this woman, this woman looking for a girl… and we’re running out of time….this play it’s not going anywhere, we’re not going anywhere….these characters aren’t going to change, its like they are stuck to the page”
Drawing on the autobiographical memory of performing ‘Susan’ from David Hare’s play Plenty when she was 17, this performance plays out seemingly forever, repeating and reliving the memory of that certain time in everyone’s life, which can be so hard to let go of, over and over again.
This play is about what happens if we can’t let go of the past, eachrepetition of memory becoming an echo of the previous one, each time failing to adequate
ly re-capture that feeling of being 17.
The performance skilfully plays between performative register’s opening with and slipping back into naturalism whilst dipping into and between more contemporary (direct address, performance art, stand up) performance styles. This play is as much about questioning and revealing the modes and registers of theatre as it is about history, memory, loss and grief.
“It left us far less certain but far wiser than when we entered… there were moments of transcendence where we were all lost
in the moment” – audience feedback Jan 2012.
“Days Like These” – Artist’s Documentation
A short clip-show taken from a filmed dress rehearsal of “Days Like These”. from Gemma Alldred on Vimeo