March 2018 – Page 2 – Sherbet Lemon Theatre

March 22, 2018Chloe Rose Denby No Comments

Performing Verbatim

Our show consists of a variety of real life experiences of sleep from people who were interviewed on behalf of our dramaturg and director. I believe it important to represent these individuals as precisely as possible, especially as we are being given the opportunity to portray their experiences to a theatre audience.

As a performer for The Truth About Bedtime… I am involved in a verbatim section with Emily, where we both explain our lucid dreaming experiences. Lucid dreaming is a “proven scientific ability to become ‘self aware’ in your dreams” (HowToLucid.com, undated). We dedicated rehearsals to our speech and language in order to match the people we were representing. I knew we had to be authentic or it would become unethical to the people involved. I found that researching lucid dreaming and hearing of these individual’s experiences of this practice was interesting, to say the least. It made me aware of the abilities these people possessed, which quite frankly inspired me to experiment with this practice, which at the moment I am unsuccessful at. Throughout discussions with our director Emelia we both agreed that lucid dreaming is one of the more brighter topics in our piece, therefore I researched up beat, positive music and I came across Lucid Dream by Owl City:

(Revoredo, 2018)

The song relates to the scene, as the song is indeed about lucid dreaming. However, I have chosen to use an instrumental version in order to have the audience’s full attention on the verbatim. In terms of lighting, I have decided I want to incorporate a colourful and ‘dreamy’ wash with the use of blue and pink. The reasoning behind this is because we are showcasing these lucid dreams from the verbatim, and “colour meanings in dreams can be very telling about what’s going on in the deepest waters that stir within us” (Venefica, 2018). Therefore, having this lighting state makes the audience aware they are in a dream state. Here is how the lighting was showcased in our performance:

1313 — Lighting state in the lucid dream scene

(Sired, 2018)

In terms of Arts Council funding using verbatim definitely allows engagement from everyone, especially as sleep is something which relates to every human. Arts Council England wants “to give more people the chance to take part in the arts, no matter where they live or their social, educational or financial circumstances” (Arts Council England, 2018). Using verbatim theatre allows our company to reach out to communities no matter what their background is. We allow anyone to get involved with the devising process while giving “a voice to the voiceless” (Burnside, 2003, 5), as we are wanting everyone to get involved in sharing their experiences on sleep which will be showcased in our performance. Furthermore, our set allows us as a company to easily transport our equipment to any location. We are therefore able to use community halls and other various venues to perform our show, which again allows anyone from any background to get involved with the Arts. In terms of sound I already have the program QLAB on my laptop with the show file, therefore all we need would be a speaker. The only lighting item we would have to purchase for non-theatre venues would be a UV Beam PAR for our Sandman and exercise scene. I have priced one of these lights up and it comes to a total of £33.00. This item can be found on this website: https://www.bax-shop.co.uk/black-lights/beamz-uv-beam-par-38?gclid=CjwKCAjwiPbWBRBtEiwAJakcpARQsVvl-htM5P-i1u6Mxlq7Sc8ShzRDGD4mACpBHcGNfbh1D3JcfBoClH0QAvD_BwE (Bax Music, 2018).

C.D.

Works Cited

Arts Council England (2018) Engaging people everywhere. Arts Council England. Available from https://www.artscouncil.org.uk/how-we-make-impact/engaging-audiences-everywhere [accessed 29 February 2018].

Bax Music. (2018) Beamz UV Beam PAR 38. Kent: Bax Music. Available from https://www.bax-shop.co.uk/black-lights/beamz-uv-beam-par-38?gclid=CjwKCAjwiPbWBRBtEiwAJakcpARQsVvl-htM5P-i1u6Mxlq7Sc8ShzRDGD4mACpBHcGNfbh1D3JcfBoClH0QAvD_BwE [accessed 1 March 2018].

HowToLucid.com (undated) What Is Lucid Dreaming? A Beginners Overview. HowToLucid.com. Available from http://howtolucid.com/lucid-dreaming-definition/ [accessed 15 March 2018].

Owl City (2018) Lucid Dream [download]. 4 mins. 21 secs. Cinematic. Universal Republic. Available from https://www.amazon.co.uk/Lucid-Dream/dp/B076H77B84/ref=sr_1_1?ie=UTF8&qid=1524182753&sr=8-1&keywords=lucid+dream+owl+city [accessed 1 March 2018].

Revoredo, W. (2018) Owl City- Lucid Dream (Welington Revoredo Instrumental Cover). Available from https://www.youtube.com/watch?v=AjxP7L8STzg [accessed 1 March 2018].

Sired, K. (2018) A brand new theatre company! This show was incredible and I am so grateful for being asked to take photos during their dress run. Good luck for the future guys, I’m excited to see what’s in store! Sherbet Lemon Theatre. Katie Sired. Available from https://www.facebook.com/KSIREDPHOTOGRAPHY/ [accessed 21 May 2018].

Venefica, A. (2018) Colour Meanings in Dreams. Available from https://www.whats-your-sign.com/color-meanings-in-dreams.html [accessed 25 February 2018].

March 21, 2018Amanda Josephine Mason No Comments

Let Us Make a Den: The Original Concept

One of the first things that came to my mind when we decided on the topic of sleep was dens. Sheets billowing down from the ceiling, fairy lights providing a light source and a way to hang sheets up, with pillows and blankets scattered everywhere… The perfect place for relaxation.

I am having discussions with Emelia (our Director), and we both came to the same conclusion that we want an intimate experience for our audience due to the immersive style of including verbatim from real people. For inspiration, I researched a performance called Partus by Third Angel (Third Angel, 2017), which was a good example of a friendly, intimate staging that made the audience comfortable. It was performed in a way to invite the audience to take part and feel connected to the verbatim stories about pregnancy. Their seating was arranged in the round, allowing the performers to sit and talk to the audience.

Inspired by Third Angel’s production, I decided that our show: The Truth About Bedtime…, is going to have staging on a flat surface with chairs set out in a horseshoe shape (thrust staging) to allow the actors to perform in front and very close to the audience. Pillows, cushions, and blankets are going to be placed around the performance space, giving the opportunity for audience members to be comfortable and cosy. Chairs will be available just behind the pillows and blankets to allow accessibility and provide comfort for people who cannot sit on the floor or who would prefer to sit on chairs. With the staging going to be flattened to allow this type of seating, it allows our production to accept audiences who are disabled or struggle to go up steps. Chairs will be reserved where appropriate and can be removed to allow space for wheelchairs. From the beginning of the process, I want the staging to allow accessibility for all as the theme of the show is to educate audiences about sleep, something we all do. The show has the opportunity to bring ‘us [performers and audiences] together and teaches us about ourselves and the world around us. In short, it makes life better.’ (Arts Council England, 2018). The choice of including verbatim within the show, and the seating providing accessibility, presents our company as inclusive of a wide demographic. Our show, I believe, meets the criteria to introduce and continue to offer the Arts to greater numbers of people, which is something Arts Council England are keen to support.

(Mason, 2018)

The original idea for the set contained white sheets on three of the sides of the auditorium to hang from the grid. An example of how they would look in the space is seen above in the video and the design below. This would enable the company to experiment with shadow puppetry while giving the space a comfortable feeling. Although this idea mimics a den and would be very homely, the desired feeling of intimacy would be a struggle to replicate in the auditorium of the Lincoln Performing Arts Centre due to its open space. It would remind an audience of the auditorium’s size, eliminating the relaxed atmosphere we are trying to create. Also, the sheets from the ceiling would be very restrictive because it would reduce our availability with lights, thus limiting the visual aesthetic of the show.

The company still wanted the possibility of having a sheet for comical effects, so I redesigned the set. The idea was to draw the eye to the sheet, to create the illusion of intimacy and closeness within the space while still keeping to the den theme.

The new idea is to have a sheet (only two metres tall) held up by poles inserted into water filled bases, with fairy lights connecting the sheet poles to two other poles closer to the audience. The poles will be extendable to allow enough space for the actors to go under the hanging fairy lights, and it will be easier for the company to travel with. The quick assembly of the set is important to me to allow the company to practice with the set in rehearsals, making sure that early on in the process that I can sort any issues if they arise. It also allows the set to be placed into a range of spaces, for example, community halls and studios. This gives our company the opportunity to tour our show to a range of venues and audiences who may not have the chance to see theatrical productions normally performed in theatres. This set includes the iconic items found in a bedroom (sheets, pillows, blankets, alarm clock, dreamcatchers and fairy lights) while also not distracting from the performance space. The items and staging promote a setting of a bedroom to the audience, which reminds them of a comfortable environment, intimate enough to explore the private and personal subject of sleep.

A.M

Works Cited:

alexander_kelly (2016) Setting up #Partus in the Crucible Studio. [image]. Available from https://www.instagram.com/p/BAacVBMmECo/ [accessed 21 March 2018].

Arts Council England (2018) About us. England: Arts Council England. Available from https://www.artscouncil.org.uk/about-us-0 [accessed 21 March 2018].

Mason, A. (2018) Sheets from the grid [ video].

Mason, A. (2018) Original Sketchup set design [image].

Mason, A (2018) Final Sketchup set design [image].

Third Angel (2017) Partus [live performance]. Performed by Third Angel. Lincoln: Lincoln Performing Arts Centre, 18 October.

March 19, 2018Lauren Jade Randles No Comments

My aims as choreographer for Sherbet Lemon Theatre

As choreographer for Sherbet Lemon Theatre, it is important to me that my choreography will be inclusive for all members of the company. When creating new choreography, it is important to me that I make it clear that anybody in the company can participate in my movement sessions, regardless of their experience with physical theatre or their physical ability. Having no choreographing experience prior to my role here at Sherbet Lemon Theatre, I aspire for my choreography to be collaborative when necessary, ensuring that the entire company feel part of the choreography we put on stage come the 21st of May.

Many of my choreography aims have been inspired by the artistic aims of Frantic Assembly, who strive to “create new work that places equal emphasis on movement, design music and text” (Graham and Hoggett, 2014, 6). Therefore, it is important to me that movement and dialogue will work in tandem, in other words, one will not replace the other. I hope to create choreography that is fun and enjoyable for, both, our future audiences and the entire company. Dealing with verbatim work, I want my choreography to take an authentic approach, and stay as true to the words of the participant as possible.

L.R.

Works Cited

Graham, S. and Hoggett, S. (2014) The Frantic Assembly book of devising theatre (Second Edition) New York: Routledge.

March 17, 2018Lauren Jade Randles No Comments

Lauren’s Bedtime Routine

I have never had a bedtime routine, and I probably never will. Maybe that’s why I have such difficulty sleeping at night! Up until university, I’ve never had my own bedroom, always sharing with my sister, so that causes some disruptions to my night routine. I welcomed sleep as a teenager, getting it whenever I could and sleeping most of the day too, but moving into adulthood its quickly became something I fear and dread as the day progresses. There is no set time that I will go to bed, but my routine almost always starts with a cuppa tea! I’ll stick something on the telly, usually something binge-worthy like Gavin and Stacey or RuPaul’s Drag Race. In the meanwhile, I will take my make-up off, moisturise my face and then cover my face in Sudacreme to attempt to get rid of my spots (haha). When I get bored of TV or realise its actually getting too late and its probably passed 2 AM and I have a 9 AM the following day, I will brush my teeth and lay in bed for probably a good few hours until I finally drift off…. And probably get sleep paralysis! Ha!

L.R.

March 17, 2018Chloe Rose Denby No Comments

My Inspiration on the Lighting Design.

In terms of the lighting design for the show, I want to create a calm environment for audience members. For this reason, I am determined to stay away from strobe lighting so it does not hinder any possible audience members from seeing our show. There are a few scenes which I am thinking of making the lighting more bright and colourful, however nothing drastic. The main colour of light I am wanting to use is blue as it “is associated with feelings of calm which, when picked up by your ganglion cells and relayed to your brain, helps reduce blood pressure and heart rate, all of which help you receive a solid night’s sleep” (Sleep.org, undated). The colour blue will sometimes be mixed with general washes too to add variations in the lighting throughout the show.

Sherbet Lemon Theatre was lucky enough to see the Wardrobe Ensemble’s education, education, education (2018) (EEE). The show sparked many ideas for the company, including a lot of lighting ideas for myself as the technical designer. In EEE the company used colourful and ‘funky’ lights which I thought was visually pleasing. Therefore, for our ‘fun’ and ‘quirky’ scenes, for example, our exercise scene, intro dance sequence and bows, I am thinking of using the mirror ball effect adding to the ‘sweet’ element of our show. Here is an example of the mirror ball in use from our tech day:

(Denby, 2018)

Additionally, UV was used effectively in the performance of EEE which can assist with the portrayal of certain images especially if UV paint is used. I know we want a nightmare image of the ‘Sandman’ in our Sandman scene, and that UV paint will be used to draw an image of the ‘Sandman’ onto a bed sheet. I therefore made the decision to use UV in order to represent the creature of the sandman visually, which is assisted by the UV cannon. Here is what the final form of the scene looked like on show day.

33312925_1817094661645082_8255829494066053120_o — Sandman image assisted by the UV cannon

(Sired, 2018)

Another scene which sparked an idea for sound from EEE was their ‘sex scene’ between two characters which similarly happens in our piece where the character Amanda goes on a slight tangent to Emma on a sex dream she had. We knew we wanted this scene to be humorous, likewise as it was for EEE. In terms of lighting I want to try a ‘passionate’ red lighting state which stereotypically connotes ‘lust’ in order to add to the sweet/humorous element of our show:

(Sired, 2018)

To benefit our company, I have created a Spotify playlist for our show in order for audience members to listen to some upcoming songs featured in the show (and to listen to it after the show too). I worked alongside our marketing manager Emily in order to advertise the playlist. I think this is a great way to connect with our potential audiences, as they are able to get a glimpse of our show before they actually experience it. Here is the link to our playlist: https://open.spotify.com/user/8h4xqpf8hiypvwvwlh4qx35lm/playlist/5IiXtYg2qnNfu2seFwxXyu?si=vq_lweBfSEyqoIgF1D2Jrw

Screen Shot 2018-05-24 at 12.02.12 — ‘The Truth About Bedtime…’ Spotify playlist

(Spotify Technology SA, 2018)

The Wardrobe Ensemble with their show EEE also created a Spotify playlist which inspired my decision to make one. For reference if you would like to listen to EEE’s playlist which was used in their show, here is the link to their Spotify playlist: https://open.spotify.com/user/newtynewts/playlist/2cssTlt5Da5n1bNTeXVjpd?si=_-Z4RgQ5T2Kyb-lNqT45fg

C.D.

Works Cited

Brennan, T., England, T., Greenslade, E., Jones, J., Lovell, K., Meadows, J., Middleton, H., Newton, J., Vardy, B. and Woolley, E. (2017) education, education, education [live performance]. Performed by The Wardrobe Ensemble. Lincoln: Lincoln Performing Arts Centre, 16 March.

Denby, C. (2018) Mirror ball effect [image].
National Sleep Foundation (undated) What Colours Are Soothing For Sleep. Sleep.org. Available from https://sleep.org/articles/best-colors-for-sleep/ [accessed 15 February 2018].

Spotify Technology SA (2018) Spotify [software]. Spotify Technology SA. Available from https://www.spotify.com/uk/ [accessed 17 March 2018].