C - A Musical: not a traditional musical

In this week's post, composer Gareth Farr talks to drama on the waterfront about the music in C and working with Jackie Clarke.

This is the fifth musical that Paul and I have written – and strangely enough it’s the one that is least like a traditional musical. It falls into a nameless genre of “play with songs and poems” – and without a doubt it’s my favourite stage project to date. Paul made it clear to me that this would be a very different type of work at the beginning of our creative process – and that I would be able to write music that is more akin to the music I write for classical ensembles, such as orchestra, string quartet – and most importantly operatic voice and solo piano.

The music is in the form of two simultaneous song cycles – the moody and dark journey to an imagined and metaphorical Venice, in which I am the most experimental with my musical language; and the ‘voice inside my head’ songs – where I am a little closer to the fun bouncy music Paul and I have reveled in in the past.

Working with a superstar like Jackie Clarke has been an utter privilege and joy – she is one of those incredible artists who can just do ANYTHING – and I have been so bowled over by her interpretation of my music, and her utter dedication to the project. Sue Alexander is the other musical genius on the project – her magic fingers are unstoppable, and I have written music that is about as difficult to play as a Rachmaninov Concerto.

– Gareth Farr

C – A Musical is well-paced, highly entertaining, deeply moving, honest, witty, informative, imaginative and, above all, very, very human. - Theatreview

"Every component of the show – the writing, the music, the professionalism of the performers – is well-honed and pitched just right in order to draw us in to the storyteller's world." - Theatreview

"As the narrator Me (Jenden) Danny Mulheron is excellent, totally engaging, warm and full of humanity towards his subject matter." - The Dominion Post

"Jackie Clarke is The Voice Inside My Head, who expresses all his feeling, both light and dark, through song. Not only is Clarke a great singer but she is also a consummate performer who is able to express both the joy and the pain of the experiences through the lyrics and music." - The Dominon Post

"At times it is very funny and uplifting. At times very sombre and sad. You ride a bit of an emotional roller-coaster, but well worth seeing." - Kiwiblog

Photos by Stephen A'Court.

C - A Musical runs until 10 August. To book, call the Circa Box Office on 801-7992 or visit www.circa.co.nz.

C - A Musical: A Great Journey

Writer/director/costume designer Paul Jenden talks to drama on the waterfront about the journey from page to stage for C - A Musical.

“Turn on the lights, rack up the sound and bring on the dancing girls. Let’s make this sucker into a musical.”

C - A Musical is heading into production week with the wind behind us and we're eager to get into Circa One. We've seriously outgrown the rehearsal studio. In the beginning we rehearsed Jackie Clarke’s songs with the grand piano in Northland and Louis Solino’s dancing was worked out when Danny Mulherron and Jane Waddell weren’t using the studio. When we first got together in the same room it was SO exciting, especially once we all stopped gossiping and actually rehearsed.

But since then the show has started spreading its wings we’ve been feeling a little cramped. So now that we’re getting into John Hodgkin’s wonderfully spacious set with the big Steinway grand piano we’re like children on Christmas morning. Add Ulli Briese’s phenomenal lights and Oceania’s sound and it feels like Westpac Stadium. All we need now is an audience that wants to have some laughs, to listen to some fabulous music and to have a secret snivel in the emotional bits.

Paul Jenden. Photo by Stephen A'Court.

It’s been a great journey getting C - A Musical onto the stage. When I was throwing up in a hospital bed I couldn’t have imagined that this group of amazing artists would join together to turn my illness into an inspiring show, let alone that Circa would get behind us and put it on stage. It’s a show for everyone, people with cancer, people who know people with cancer and especially those who just want a good night out.

Gareth Farr has excelled himself with the most divine music and the songs that are to die for. AND IT’S NOT DEPRESSING! Okay, a tear might be shed over the 90 minutes, but you won’t regret coming. The show inspires me and I was actually there! Bring a friend and abandon yourself to fun. As Jackie Clarke sings, “Say si si to C!”

- Paul Jenden

C - A Musical opens in Circa One on 6 July, and runs until 3 August. On 11 July, there is a fundraiser performance for the NZ Cancer Society - tickets are $60 ($30 goes directly to NZ Cancer society). To book for this or any night during the season, please call the Circa Box Office on 801-7992 or visit www.circa.co.nz. For a sneak preview, go here.

“Like Theatre Heaven”: Shipwrecked!

Acclaimed actor Nick Blake takes a break from amazing audiences as the fabulous fabulist Louis de Rougemont to tell drama on the waterfront all about what a “joyous experience” it is to work on Shipwrecked!.

DOTW: Please tell us about the story of Shipwrecked!

NB: Shipwrecked! is based on the story of Louis de Rougemont who became very famous worldwide when his life story was serialized in a magazine in 1898. His life was a breathtaking Boy’s Own adventure of shipwreck in the south seas, encounters with a giant octopus, deep sea turtles, courage in the face of adversity, marriage with an aboriginal princess, and rather too may acts of heroic bravery. Eventually his story wilted under scrutiny of experts and he was written off as a fraud. He was a resourceful man who made numerous failed attempts to restore his good name. He died penniless in the 1920s. To this day the truth or otherwise of his exploits is still debated.

DOTW: What are your thoughts on your character, Louis de Rougemont?

NB: I am very fond of this man! If, as is believed, his story is only partly true, then he is right up there as one of the great storytellers. He had a great zest for life, self belief and, despite being a real Victorian imperialist in his views, had genuine respect for the abilities of the Aborigines to survive in what seemed to him an unremittingly hostile environment. In the play he is recreated as a showman in the vaudevillian mould, a show off and charmer who underlines the truth of his narrative at every opportunity. I relish every moment I spend in his skin. I love how he uses gymnastics to impress people- I do the same.

Nick Blake

DOTW: The part of Louis is a huge role in this play – how did you prepare?

NB: First I made sure I was fit as a fiddle as I figured stamina would be needed. I do yoga on an almost daily basis and mix in a bit of pilates and swiss ball to keep myself in condition. Also this role features some acrobatics. Back in the day I was an acrobat, having trained at the National Circus School of France, so I was able to dust off a few of the less life-threatening moves for Louis to do. I had fears my brain would blow a gasket learning all the lines so I launched into that task weeks before the rehearsals and did so well I rehearsed without the book in hand which freed me up to interact with the other actors and work on the rapport with the audience (a row of empty chairs most of the time!).

DOTW: What was the rehearsal process like? How was it to work with director Peter Hambleton?

NB: Without trying to sound ingratiating it was a fabulous process. Peter was very rigorous about what was part of the world of the play and what was not. We settled on the idea that Louis has just bowled into town that afternoon, found a couple of people interested in performing at  Work and Income, may or may not have gained permission to use the stage at all and is whipping through the performance at speed so he can take the money and run. So there are no stage lights, no fancy sound systems, and a few random props that have to serve everything in the story. I believe the more restrictions you place on an idea the more imaginative the solutions are likely to be- so this approach is like theatre heaven to me.

DOTW: What can you tell us about your fellow cast members, Jackson Coe and Darlene Mohekey?

NB: These two are jaw-droppingly talented. Right from the auditions with them I knew they would be great playmates in this world. They bring effortless skill to the multiple roles they play. Shipwrecked! would be unbearable if people only had me to listen to all night. Darlene has vocal abilities like no-one I have ever met- and what she does in Shipwrecked! only scratches the surface. Jackson brings such soul to my dog Bruno that I am gutted when he dies each night.

 

Blake with co-stars Darlene Mohekey and Jackson Coe

DOTW: I understand that Gareth Farr composed the music for Shipwrecked! What do you think the music adds to the production?

NB: Gareth has enriched the style of the production very subtly by using the abilities that we each have on a range of instruments to create a range of atmospheres and haunting melodies. He taught Jackson and Darlene to play Balinese Gamelan and that is used to magical effect. He encourages creative exploration then shapes it very precisely. Though the style of the production is apparently simple, Gareth has woven musical motifs through it with great skill.

DOTW: Finally, what else should audiences know about Shipwrecked!?

NB: An audience member said it was a joyous experience and I can’t think of anything better than that.

Shipwrecked! is on at Circa until 25 September. To book tickets, call the Circa Box Office at 801-7992 or visit www.circa.co.nz.

Behind-the-scenes: Viewing Video in The Nero Show

Angela Boyd, one of the talented technicians involved in The Nero Show, takes some time to tell drama on the waterfront all about the video element of the show and what it was like to work on this dynamic piece of theatre.

DOTW: What is your role in The Nero Show?

AB: Video designer – I created (or collated) the video footage seen in the show.

DOTW: Video is an important part of this production: there are TVs all over the set and video streaming constantly. What was involved – technically – in creating this aspect of the show?

AB: I went to several rehearsals to get the feel of the show, and did some pre filming to have a basic structure to cut to. I’d then film different segments using greenscreen or a neutral set depending on various ideas we had for the look of the footage. Once the set was in, we filmed the rest of it. Rehearsals were constantly timed so I’d have cue points to cut to – it was a very interesting way of working. There was a lot of research and tests done beforehand to get the look right.

DOTW: The video segments that depict members of the cast look quite authentic to the time period of the show [Check out The Nero Show trailer on Youtube here] – how did you create this effect?

AB: That’s a Colonel Sander’s secret recipe question! I had several different effects and filters to make it look as natural as possible. I’m also an archivist, so it was important for me to get the look and feel right. ‘60s television had a particular feel to it that is quite different to the “whiz bang” cutting and shooting of today. As the show progresses though, the video has a slightly more modern feel to it, that (hopefully) complements the idea that the themes in The Nero Show are constantly recurring throughout history.

DOTW: In terms of the other footage, how did you go about choosing what would be shown throughout the play?

AB: Paul [Jenden] had a very clear idea of where he wanted particular footage to sit during the show, so after reading the script, I spent hours wading through archival footage. I chose footage depending on the mood of the song. It was quite restrictive as I wanted to find footage that had a Creative Commons license – which means you can “remix” the footage per se. The Prelinger Archives were great, because they encourage the reuse of archival footage. The ads that run throughout the show were chosen to highlight the excess of Nero’s family – alcohol, cigarettes and pills. Great family fun, haha.

The cast of The Nero Show gather around one of the set's many televisions to watch Angela's handiwork.

DOTW: In your opinion, what does the video add to the production?

AB: The video footage sits strongly within the context of the show – the show itself is structured as if a live television show, and “The Nero Show” which Seneca hosts is shot in Nero’s mansion, so we tried to structure it so you get the feel of a television show with ad breaks, outside broadcasts, news breaks and such. It was also a comment on the role media has played throughout world history, and how heavily people rely on it – hence the television sets always being on. Still holds very much true for today.

DOTW: Have you work for a theatre production like The Nero Show before? If so, what else have you worked on? If not, what was the experience like for you?

AB: I’ve been involved in producing promotional work for theatre before, but nothing on this scale! Working on film and tv productions, I’m used to tight deadlines, but there’s nothing like a looming opening night to get your creative (read: panic) juices going. It was a fantastic experience that pushed me to learn new things, which is what I always like to look for in different projects. Also, working with Gareth’s [Farr] wonderful music and Paul’s great lyrics definitely helped to get the look and feel of each video segment.

DOTW: What was your favourite part of working on this show?

AB: Sitting in on the rehearsals – I’m still blown away with how quickly the show came together, due to the immense talents involved. I was very conscious of being a distracting force from laughing so much.

DOTW: What will you be working on next?

AB: I’ve got a couple of my own projects in the pipeline, and a couple of archival and editing contracts, but I’m always looking for new projects that push and challenge me!

The Nero Show is on at Circa One until 19 June.

Need to Know Nero

Actor/singer Jason Chasland, currently starring as the infamous Roman Emperor Nero in The Nero Show, talks to drama on the waterfront about his experiences in the latest Paul Jenden/Gareth Farr creation and the ‘freaky talented’ cast he gets to work with. The Nero Show is on at Circa until 19 June.

Q. What can you tell us about your character in The Nero Show?

A. Without giving away too much, he is a rare and wonderful "piece of work" He is charming, self-indulgent, popular and cunning...

Jason Chasland as Nero.

Q. How do you think the world of Nero in Rome 54 AD compares to that of JFK in 1963 Washington, D.C.?

A. The parallels are freaky, I think even now it's all very relevant and shows the world of politics is not that much different: lies, affairs, mistresses, scandal and smiles for the audience (I mean public, ha ha).

Q. This is your first time in a Jenden/Farr musical – what can you tell us about the experience so far?

A. It has been full on from day one! The material we were given is so creatively exciting and challenging! Along with the supportive creative team and cast, it is a challenge we all were willing to step up and take on; in short, I am absolutely humbled to be a part of a rare and wonderful original piece of theatre.

Q. What has been your favourite part of the experience? The most stand out moment, either during the rehearsal period or since opening?

A. That is a tough one, the cast are so hilarious both on and off stage we constantly laugh till we cry. It's insane, they have all been so generous, supportive and insanely talented, so for me that has been the best. Also, I have to say performing my last solo [at the end of the show] is the most incredible gift. The combination of Paul's haunting lyrics and Gareth’s dark and beautiful music, gets me every night!

Q. What can you tell us about the rest of the cast?

A. They are a bunch of freaky talented people, whom I cannot wait to come to work every day to see. We usually all come super early and have copious amounts of tea, coffee and laughs before the show. It's also surreal to be working with actors who have been my role models in N.Z. theatre, television and film.

The cast of The Nero Show: (left to right) Louis Solino, Lyndee-Jane Rutherford, Joanne Hodgson, Jason Chasland, Paul Harrop, Christina Cusiel

Q. What do you think potential audience members should know about The Nero Show?

A. It’s an epic ride of hilarity, genius, music and jokes one after the other, but most of all it’s insane fun! If you don't laugh out loud once you should see a doctor immediately. The costumes, set, cast, music and lyrics are all amongst the best in the business ...so what are you waiting for, book now! ha ha

Q. What will you be working on next?

A. I will be going for a break and then doing some solo concerts in Australia and the South Island. After that, I am waiting to confirm a few contracts, so fingers crossed! I hope to be back at Circa some time very soon, the staff have been warm, welcoming and so supportive.

The Nero Show

Deeply immersed in the rehearsal period, the creators of The Nero Show – as well as members of the cast and crew – take some time to share their thoughts on this brand new musical spectacle. The Nero Show opens at Circa on 15 May and runs until 19 June.

PAUL JENDEN, Writer and Director
“Nero is a figure famous for his excess and cruelty, as well as for fiddling while Rome burned. While I was researching ROME I was interested to discover that some of this might not be true. I was particularly struck by the fact that for years people would bring flowers to his tomb and that Nero’s popularity with the general population survived long after his death.

This curious tension between fact and fiction started me thinking about political figures of our own times. Wondering about how Nero would have survived in our modern world led me to other iconic figures, particularly John F. Kennedy.

I am old enough to remember the death of JFK and how the shock was felt even in Wellington. I think Kirkcaldies even put up a memorial window display. And I realised that I was remembering another world, before we all became so used to tabloids, TV and political spin.

In the light of later revelations and discoveries, it is clear that things were not necessarily as innocent as we believed, and that the JFK legacy is as much a mix of myth and fact as Nero’s.

So I decided to set Nero’s story in 1963 and to give the characters some striking similarities to people that we might recognise.

As I was researching Kennedy I discovered that his election coincided with the new use of hand held movie cameras. The historical footage was not unlike modern tabloid TV and led to the idea of the show being based on a live TV broadcast, like Edward R. Murrow’s famous “Person to Person” show, on which the Kennedys actually appeared.

To add a further bit of fictitious spice to the mix, I wondered what might have happened had Nero come face to face with his contemporary, Boudicca, the Celtic warrior queen. And of course, in 1963 she would have been the Queen of England...

This mixture of fact and fiction is the perfect script to send to Gareth Farr to set to music. Having three hit shows under our belts, we decided to set out into new territory and to embrace the world of 1963, but with an equal mix of historical fact and silly invention. So this is 1963 of Jenden and Farr, and anything can happen..."

Jason Chasland as Nero and Christine Cusiel as Agrippina.

GARETH FARR, Music
"Having developed three musicals together, Paul and I have developed a fairly streamlined process for creating vocal music - and when we embarked on The Nero Show we thought we would try something a little different. Instead of a chronological approach to writing the music - i.e. write each song one by one, in order of their appearance in the show - we decided to look at the whole show at once, and put down a basic rhythmic skeleton of it all in one big workshop session. It was fascinating for me - in the previous three shows, I have tended to experience it as an audience member would - a slowly developing plot as I work my way through the songs. This time I felt as if I could see it from Paul's point of view from the word go - and had an insight into rhythmic ideas that he had built into the lyrics, which I could either use verbatim, or work against to create new rhythms. After this rhythmic stage was completed, the more solitary process of putting melodies and chord structures on top felt somehow more unified and organic, and I feel the result is possibly our most tightly woven work yet."

MICHAEL VINTEN, Musical Director
“Why did I say ‘yes’ to working with this crazy bunch of performers!? Again!? Because I secretly love it, not that I'd tell them that. I also wouldn't tell them it's because I think they're all incredibly talented, funny and just a little bit mad. What a life! We get paid for doing this?”

Lyndee-Jane Rutherford as Poppea.

JASON CHASLAND, Nero
“The cast amazes me every day with their wit and talents. I believe with this show especially, it takes a lot of research, discipline and intelligence to pull off the particular comedy and dramatic turn of the piece. Paul and the cast have created a wonderfully supportive rehearsal atmosphere, so I think as a cast we all feel safe and excited to try new things, going to extremes in order to create this unique show. There's a fine line between making a fool of yourself and brilliance. Hopefully in the end it's the latter! Ha ha!”

PAUL HARROP, Britannicus
“I am loving working on this production. To work seriously on a musical is a rare opportunity for an actor these days and you couldn't ask for a better or more challenging playground than the one provided by Paul Jenden and Gareth Farr.”

JOANNE HODGSON, Octavia
“To be in this Farr/Jenden production is truly amazing; the rehearsals are supportive, challenging and hilarious.

Every day Paul's script and vision is realised as life is breathed into the rehearsal space with props, set pieces and characters showing their faces more and more.

After just 3 weeks we did a run through with Gareth there for the first time. I was so nervous but it was wonderful hearing him laugh, clap and even shed a few tears as he heard for the first time the actual sounds of what he had imagined while composing for our voices.”

Jason Chasland as Nero and Emma Kinane as Boudicca

LYNDEE-JANE RUTHERFORD, Poppea
“I am in my fourth Jenden/Farr musical and they still blow my mind with their genius. Every song is amazing, beautiful, exquisite and then on top of that is the story: funny, moving and sometimes challenging. I feel privileged to be involved again.”