We have a small army of dedicated Bloggers, reviewing shows and taking part in workshops and events.  If you are interested in joining us please email us.

We are particularly interested in encouraging new artists and practitioners to get involved as we want to know what you think and don’t worry we will give you free tickets to the shows!

If you have an idea for a blog, a theme for one or you just want to write about something that is important to you (and relevant to us in some way) get in touch.  If you know of any good blogs and think we should too,  please get in touch too!

Two Peas Without A Pod – Levantes Dance Company

This enchanting performance was a pleasure to watch from start to finish. Bethanie Harrison and Eleni Edipidi designed a warm and happy atmosphere while sharing their world with the audience. About to go on holiday, we’re introduced to the pair while they’re waiting for their taxi. Once away, there’s a whirlwind of synchronized dance movement, fun music and a clear representation of a strong relationship.

They told a typical holiday tale of two friends , having a holiday romance and almost falling out with each other over the new object of their affections. (Who was a very co-operative ‘mysterious stranger’ from the audience).Some of the stage was awash with bright colours and decorative staging to represent their home and break environment while the other half remained bare and empty, almost reflecting their close friendship – it’s all or nothing. A bond of extremes. The imagery created by the feathers in their hair, patterned dresses and coloured wallpaper was so unique to the story. This, along with holiday scenes projected on the back screen made the performance intriguing and delightful.

One of my favourite parts was when paper aeroplanes landed on the stage to represent their flight home – and they get back to life as they know it. But being a big Elvis fan, the part of the story I enjoyed the most was hearing his version of ‘Fools Rush In’ fill the theatre while Bethanie and Eleni swung gracefully from their trapeze. Their show was a spirited mix of love, comedy and obsession and was constantly interesting.

Belong To This Band – Kings of England

On returning to the theatre space the audience see the members of Kings Of England lined up and ready to perform. Each with a drink in hand, they raise a toast before launching into the story of Henry. The folk style songs were full of life and character as they relayed the different chapters of the anti-hero’s life. The group sang in unison as well as solo parts from some members. The piece was engaging and well thought out with and each section suitably accompanied by music. There was a good sense of companionship amongst the group as they all did their part to celebrate the life and death that Henry experienced.

The part of Henry was played by King of England’s leading man Simon Bowes. It was clear from the outset that the story would be about him as he ensured that he stuck out from the rest of the group by the way he stood and carried himself. He was different to the others just as Henry was so different from those he grew up with and became involved with.

The props they used were paper cut outs of dogs, antlers and musical instruments. I felt these unusual items were thrown into the mix to enhance the fun side of the story. At certain points the audience was addressed directly by individual members of the company. It was reminiscent of a priest standing at a pulpit, giving their sermon to an eager congregation; these are the facts of Henry’s existence and when he died his spirit continued on for a new journey.

I really enjoyed this piece and thought the company as a whole worked incredibly well together and gave great life to the story they told.

Search Party’s performance of Growing Old with You was a touching and thoughtful display of the ups and downs of a continuously developing relationship . The production marks the end of the artist’s 20′s and every ten years a new show of a similar theme will be produced. At different periods throughout the piece they would not only celebrate their 20′s but also lament the inevitable approach of the big three zero.

Jodie Hawkes and Pete Phillips introduced themselves to the audience by dancing silently, embraced in each other’s arms, up a long salt laden aisle – which ran from up to down stage. This intimate and precious closeness set the tone for the show’s duration. They continued to depict their struggles and barriers by physically demonstrating how difficult if can be to carry one another and lean on each other. Their bond was clear. And the relationship solid, if not somewhat uneven. Pete seemed to get the brunt of the hard times, being dowsed in water and buried in salt, but his love remained strong as he serenaded his partner. There was little dialogue for their story, other then when they each separately addressed the audience to tell us about how they met and share their aspirations for the show’s future.

I enjoyed Growing Old With You and Search Party created a very honest and believable relationship which I didn’t feel I had to question as being genuine or not. It was a very promising start for the productions that are to follow over the next few decades.

You Were Saying – Chris Fitzsimmons

There was quite a buzz in the bar before the first instalment of performances on the 16th of April. An excited audience poured into the space, where each one was individually greeted by a welcoming Chris Fitzsimmons as they made their way to their seat. The one man show was delivered in a very easy way. There was no need for elaborate props or fancy set design. The very few props that were selected , like the bag, the phone and the flask, were just right to add to the enjoyment of the performance. He told us the tale of the night when he was stood up by his internet pen pal. I thought Chris was a talented story teller and I was instantly interested in what he had to say. The only visual enhancers, (apart from the clever use of lighting) was an image of a ticking clock on the back wall. This was all that was needed as it represented the passing of time while he waited for his friend and also the time that had passed since his father died. The added voiceovers (pre-recorded by Chris himself) of his Dad and the council representative were also well done and demonstrated how varied a one man show could be. I really liked this piece and I thought that there was a soft and effective blend of comedy and sadness.

Horse – Leentje Van de Cruys

Horse was an unexpected, and initially adventurous piece of work. With nothing to decorate the stage other than a mic and a microphone stand I thought we may have been in for some fun stand up comedy. As the lights dimmed, the sound effect of a horse galloping, echoed through the room and a figure of someone could be seen arriving on stage. The person standing before us was a woman, wearing nothing but a pair of pink bowed high heels and a horse’s head over her own. She proceeded to introduce herself as being a young foul, and even though she knew she was a young foul, she couldn’t shake the feeling that actually she was Don Quixote’s stead from the 16th century. The performance went on as we were regaled by her horse life and some of the problems she has encountered, eg: drinking in pubs with people and over friendly men stroking her just because she’s a horse. I felt that this performance had the potential to be entertaining, but as the time wore on, my interest in it waned. Although, at first I thought it brave and ambitious to be on stage naked, I soon changed my mind and realised that what it really was just self gratifying. The piece lasted for around 30 minutes longer than necessary. Coming into and touching members of the audience certainly did not add to the performance either. I’m afraid I didn’t enjoy this work and can safely say that no neigh never, no neigh never no more would I wish to see such a self indulgent piece of exhibitionism ever again.

The Ticket Tearing Technique

So you’re probably thinking, what is the life of an usher at a contemporary performance theatre such as the greenroom, really like? It’s great, lots of time off, the summer to yourself, get to see shows and get paid. The added benefits of a home away from home, regulars who you sort of know and don’t know; performers whose show you remember or don’t. Names lots of names, that don’t always link with the image of a face, but that may just be I brain. (Sorry if you have suffered at my blank questioning “hello, don’t I know you” face) And most importantly, my social life is sorted, as I tend to work Fridays and Saturdays. I rarely need to worry about the answer to “what are you doing this weekend?”

Sounds pretty easy? Its not, ticket tearing techniques themselves are an artform. It’s not enough to look at the ticket with head bowed reading the small print, tear the stub off, return the bigger stub, and randomly reach for the next one. No, an usher must make eye contact, smile, check the glass is plastic; the ticket is right, say “hello” with a smile “enjoy the show”, reach for the next ticket and hold on to the little stubs. This doesn’t even include the ushering people out of the theatre quickly without being too bossy technique, standing by a door without looking threatening or bored techniques, or the dreaded but thankfully occasional “would you mind filling out this questionnaire” techniques.

This week I’ve been practising all of the above as Emergency is upon us, our yearly instalment of new performances from emerging performers. For us ushers one of our more hectic weekends of performances. 40+ shows in four or 5 different areas and one show starting every twenty minutes, queues for this show intermingling with queues for the other shows, emptying the theatre spaces in record time, and a fair amount of “go here, do that, tell so and so” randomness.

So hopefully we’ll see you coming to watch some shows, by new performers before they hit the big time. Its all free, starts Friday evening, ends Sat night. I’ll be the one in the black polo shirt that says staff, come and say hello.

conor a

http://emergencymcr.posterous.com/

http://www.greenroomutd.org/scheme/emergency

For an usher at the greenroom the end of summer is marked by fire training which heralds the beginning of a new season of shows, and the end of having my Friday nights free. This will be my sixth year at fire training, and over the years I’ve picked up a bit of knowledge about what happens at the greenroom. Like three years ago, the buzzwords in contemporary theatre seemed to be “lack of pre-tense”, I wasn’t sure what it meant then but over the 3 years I think I figured out and I think last year’s programme of shows saw it emerge in the performances. A season of shows which spoke to me directly as an audience member more than any previous year. And this season’s programme of shows looks exciting and challenging. Last year, the phrase Super-Modernism started to be whispered in the passageways. A quick search on Amazon will only bring up books about architecture. So I reckon we have a few years before it filters into contemporary theatre practice and onto the stage of the greenroom. Hopefully by that point, I may have some idea about what it means.

Hopefully, over the next few months, this blog will give you an usher’s eye view of the goings-on at the greenroom. Reviews of the shows, where possible interviews with the artists and the company’s; if I hear whispers of what is new and up-and-coming in the world of contemporary theatre. I will try to keep you informed in a “Bluffers Guide to the greenroom” way. I am not an authority on theatre practices. I’m just a bloke who rips your ticket and makes sure your safe. And with your safety in mind, i am of to sit in one of the big comfy  red chairs and learn about contemporary safety practices.

Talk to you soon

Conor A.