February the 1st in Theatrical History

(John Philip Kemble and Sarah Siddons in Macbeth as painted by Thomas Beach)

On the first of February 1757 John Philip Kemble was born. The son of Roger Kemble (b 1721 d 1802) and Sarah Ward (b 1735 d 1807) he was part of the theatrical dynasty the Kemble Family. John Kemble had several siblings being one of twelve children, out of whom 5 others became actors including the most famous female actor of the age Sarah Siddons. The family has its beginnings in the famous 'Ward Company of Comedians' run by John's grandfather John Ward and the union of Roger Kemble to John Ward's daughter Sarah solidified the legacy of the Kemble family. John Philip Kemble learnt his trade touring with his grandfathers company and ended up having great success on the London scene after debuting at Drury Lane in Hamlet. In 1803 Kemble left Drury Lane and joined George Frederick Cooke at the Covent Garden company with his sister Mrs Siddons joining him soon after. Tragedy struck five years later when Covent Garden was destroyed by a fire. Both Mrs Siddons and Kemble lost their vast wardrobes to the fire and chose to build a new theatre designed by the architect Robert Smirke, his most recognisable work is the facade of the British Museum, costing one hundred and fifty thousand pounds in 1809 which is the equivalent of nine million pounds today. This of course led to increases in the price of attendance which brought about the darkest part of Kemble's career when on opening night of the new theatre at Covent Garden the audience cried out for the old prices and continued until the police and military had to be called. For two months riots and disruptions continued under his regime at Covent Garden until he finally agreed to reduce prices to the old rates. Kemble would retire in 1817 leaving his share in Covent Garden to his brother Charles but by now the shine on the Kemble family had long been overshadowed by a new star Edmund Kean.



Ulysses is produced at Her Majesty's theatre in 1902. This play is a poetry play based on the ancient Greek tale and was written by Stephen Phillips. It was produced by the theatre company of Beerbohm-Tree and is speculated to have been part of the inspiration for James Joyce's later novel of the same name.

Not another Article about the Death of Regional Theatre + The Injustice of the Redgrave Theatre Farnham

Every single year it seems without fail there is an outcry from some corner of the theatre industry here in the UK regarding the failure of the Regional Theatres. Now am I really hearing this? Surely the truth is that the theatre industry is currently booming artistically and with the good box office receipts for shows such as Legally Blonde that the commercial side is doing well too. Of course Legally Blonde is a west end show but when there are regional tours of The 39 Steps, a west end favourite, coming this year then surely something right is happening. I can honestly say that in my area our local theatre has its best line up for the Spring Season in years, we have 10 quality plays between February and June visiting all vying for my money and all contain stars such as Kelly McGillis, Leslie Grantham, Gary Wilmot, Kate O’Mara, Damien Williams and Lee Mead. Also there are many respected theatre companies putting on productions, companies such as The Agatha Christie Theatre Company, Ian Dickens Productions, Kenwright Productions, Middle Ground Theatre Company and Black Eyed Theatre who were hailed as one of the most exciting companies currently in the UK by the Stage. Add in that there are several high quality amateur productions also being staged in the local theatres and there is enough to keep even the most ravenous theatre addict happy. Of course I understand that what is true in Worthing may not be true elsewhere but when I read about situations like that of the Redgrave Theatre Farnham I sometimes think that a lot of other places troubles are nothing but tragedies of their own design. Farnham in Waverly has a thriving Rep Company but no permanent home for said company. The Redgrave Theatre built for the original Farnham Rep is currently dark having been shut down by the local council in 1999 due to one disastrous season which saw revenues fall. The current company is doing great business but because the council has already sold the theatre off for development they are relegated to a tent by the side of the current theatre. I believe the saddest part of this tale is that the Redgrave is not an old theatre it was built in 1974 and is in perfect working order. So in Farnham we have a healthy market for decent theatre, we have a venue that is in mint condition but also a council that is disregarding this possible boon to their local economy. It’s just a crying shame that Waverly council cannot support the local Theatre Company by giving them another chance, instead they have sold it off and it will be demolished next year to make way for a new housing development. For more information regarding the Redgrave Theatre and the campaign to save it please go to this website http://www.farnhamtheatre.co.uk/RedgraveTheatre.html




The redevelopment of theatres on a regional scale still happens frequently; recently the Marlowe Theatre in Canterbury was demolished to make way for a brand new venue under the same name. This will be the third rebuild for the Canterbury venue and surprisingly enough the City council decided that the price of renovating the old venue, whilst cheaper than a new build, would be just throwing money away as it would need more attention in the future and be unable to house the West End quality shows expected of such a prolific theatre.



Then there are the box office receipts for companies such as Birmingham Rep which despite the fact we keep getting it drummed into us every single year that Reperatory Theatre is dead still boasts full houses and true artistic creativity. Their work and that of many Northern Theatre Companies tour extensively throughout the country and many end up on the West End, so if companies such as Birmingham Rep and West Yorkshire Playhouse are creating new work that feeds the stages of the nations capital I would argue that the regional industry is far from dead and in fact we are on the brink of a new era of local theatrical excellence.



The other aspect that these journalists, who report the death of regional theatre every single year without fail, seem to conveniently choose to ignore is the vast amount of experimental theatre companies, dance companies and fringe theatres dotted around the country. In Brighton alone there is a large enough amount of alternative spaces for them to have their own Theatre Festival to rival, like an annoying little brother screaming at an older bigger brother, Edinburgh’s summer festival. There are hundreds of theatre schools around the country feeding the main drama schools in London with performers who are more often than not being trained not just in the tools of the trade to make you a great actor/dancer/singer but also being given the chance to create their own work and develop their own plays, shows and revues. Those that herald regional theatre as dead are just mourning the fact that the industry they knew is dead and gone; instead it has evolved into a more inclusive multi format, arts propelled industry which has more to do now with the cultural identity of the UK than any other time in history. Those of us who may mourn the death of a local rep company should really stop moping and look at what is being offered in our local area before writing it off and just spending that money for theatrical entertainment in London.

It's been a long summer and what do I do now?

For those of you who were following this blog over the past couple of months I can only apologise for the lack of information or updates throughout August. During August I was involved in producing and performing my own piece of street theatre. We performed in Worthing to great success and interest from the local shoppers. I found the whole experience fun and rewarding in many ways and FP Theatre Productions in conjunction with The Idlers was given a big push into the minds of local people which is always good. There is however a part of me that feels deflated now the show is over and we have no other bookings.

I don't believe it has anything to do with not having a project as I do have a new project to look at and ideas I want to develop, I believe it is because I have not reached a 10th of my potential and I feel like I have wasted myself over the past 2 years since graduating from University. During my time at University I was lucky enough to have several chances to work with some phenomenal talents, one of whom trusted the University enough to let me direct in his theatre. That man is Alistair O'Loughlin one of the founders of Prodigal Theatre the foremost creators of new theatre in the country and their developmental resources for companies is amazing. Alistair and I first met when I was 17 and instantly made a huge impact on my life as a performer by telling me that everything I believed about myself being a good actor was rubbish, he talked about how I had probably had a talent for acting as a child and had been doing it for years but that, as he put it, having the flower of talent is not enough as you have to make sure you have the tools for the craft of acting. From that day I changed my attitude and went forward gung ho and sucking in as much information on how to create effective characters, I listened to his style, to his teachings and worked hard to improve myself. I excelled under his tutelage and my grades for the units he taught me were the highest i had on my Diploma. Two years later I got the chance to direct at his theatre and he gave me the only piece of advice he could give me (he was unavailable for the majority of the rehearsal and development period) which was to look up Metatheatre. I looked but found little i understood, overwhelmed and under prepared for the situation of running a group of actors in creating a piece of theatre i completely mucked up. It is more than fair to say I lost control of the situation and that version of 'Don Juan Returns from the War' at the Nightengale Theatre Brighton was not good and definately not the right calibre of work he expected. I didn't speak to Alistair again but the things he has said and his continued work has stayed with me and for the valuable lesson he taught me all those years ago I feel guilty at letting his theatres reputation down. Yet now I believe his impact on me has continued by motivating me to understand Metatheatre, to look more at alternative types of theatre such as mediatheatre and older art forms such as Bauhaus performance art and it drives me to create my own work. I see what he has done and I want to do it. Too long I have been part time and now I am going to go full time with this. I need success in the theatre field, I crave it. I want legitimacy as an artist and I have something to say, at the moment i do not know what it is but I can feel it inside. Nobody knows me as well as I know myself and nobody understands my passion. University gave me everything i needed to express myself now I need money and backing and venues, rehearsal spaces etc to make it possible to show my passion to the world.

I know this post has seemed rambly but this is an issue i feel so passionate about I cannot help myself. I need to still train, I know barely anything even people like Alistair are still learning new things about their art and themselves, its an ongoing process which I halted for a year and now I have to continue and work at it harder than ever before. So my training restarts today with the work of Keith Johnstone. If you ever have the chance to read his work please do its fascinating.

For the next post I will be starting my first list of my top ten musical sequences.

See you soon.

Chris