ET TU – Tamora and Caesar

In an endless battle, two sworn enemies come together and connect over the trauma of their wars.

Julius Caesar – Timothy Hofmeier
Tamora – Sabrina Richmond
Written by Tilly Lunken
Directed by Victorine Pontillon
Et Tu Tamora and Caesar is part of the Et Tu Series by In Soulilouquy

http://www.insouliloquy.com

Music: Anamalie by Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/

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Sabrina Richmond is a performer and writer. She has performed in new writing in theatres across London such as Theatre Royal Haymarket & The Pleasance. Her first play An African in the snow – a migratory experience of loving & living in the cracks of identity across 5 countries has an upcoming short residency at The Pleasance theatre’s LABS programme. Her background in journalism drives her interest in issue-based storytelling. She undertook her actor training at an Acting for Film Conservatory, New York Film Academy, New York.
Spotlight: https://www.spotlight.com/interactive/cv/9252-1209-4269

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Timothy Hofmeier – https://www.spotlight.com/1891-3494-6269

 

Hecate in Fall

Hecate In Souliloquy from In Souliloquy on Vimeo.

Eternity is only an instant.

Performed by Jeannie Dickinson
Written by Tilly Lunken
Directed by Victorine Pontillon
After William Shakespeare’s Macbeth.

In Souliloquy is devised and produced by V&T
Hecate In Souliloquy is a Seasonal Soliloquy.

Music:
String Impromptu Number 1 by Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
creativecommons.org/licenses/by/3.0/

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Jeannie graduated from East 15 Acting school is 2014 where she did the MA Acting course having previously studied Drama at Exeter University.  Since graduating all the projects she has been involved in have been new writing, including a play she co-wrote with her peers. She played the title role in an R&D of a new play ‘Ada’, about Ada Lovelace, at the Nottingham Playhouse earlier this year and recently played Eve in 5* reviewed ‘Adam & Eve’ with Broken Silence Theatre Company at the Jack Studio Theatre.

We have worked with Jeannie on the R&D of Mechanicals’ Macbeth, Mechanicals’ Macbeth at the Criterion New Writing Showcase, and also for our ‘Shakespeare Shaken-Up’ talk  where she performed a gorgeous version of ‘Ophelia In Souliloquy.’

Introducing: Jennifer Aries as Goneril. #EtTu

We are excited to announce Jennifer Aries as Goneril for the second instalment of our Et Tu series of dualogues. A daughter of Lear and a Queen in her own right Goneril is meeting Iachimo from Cymbaline to compare notes (and wine) on their legacies and futures.

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Recently completed filming on Sky Atlantic’s “The Tunnel”, Jennifer’s most recent screen appearance was as Mary Cox in “Ripper Street”. From being a series regular in BAFTA nominated comedy sketch show “Little Miss Jocelyn” to a plot pivotal character in Charlie Brooker’s “Dead Set”, Jennifer has enjoyed some great jobs in popular TV shows. Having done her time up in Edinburgh, and part of a creative collective “The Director’s Cut” she enjoys collaboration and new writing, performing regularly in showcases of new material with fresh talent & rehearsed readings. Her creative inspirations and idols are Julia Davis and Steve Coogan, and a job with either of these would be a dream come true! She is currently working on her short film with a view to entering it into next year’s festivals.

Et Tu: Iachimo and Goneril is currently in post production and coming soon in Summer 2017!

Et Tu: Sebastian & Petruchio Filming – behind the scenes!

Welcome to our exclusive and exciting behind the scenes fun of our first Et Tu shoot!

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A moody Petruchio, brooding and all out of love awaits the company of Sebastian… reviewing his lines? There were so many great moments on this day!

 

At times it was very serious. And very fun.

We had a long day in the Players Bar (thanks to the Charing Cross Theatre for hosting our boy and their little drama). Many thanks again to George Turner (Petruchio) and William Sebag-Montfiore (Sebastian) for joining the team to work on Easter Sunday!

Hope you all had a lovely break – stay tuned for more behind the scenes easter eggs (totally went there) and updates as it gets edited and leading up to the release!

 

 

About Ariel

To be a director, you have to have a vision. Of how you want to bring whatever text you are directing, to life. What you want to communicate to your audience, and how exactly you plan to do so. Everyone has their own technique, a method, a plan, to achieve that. Of course, that isn’t our only job as directors, but I would say, that is probably our main function. However, in the nearly ten years I’ve worked as one, I have learnt one fundamental thing: it never looks nor ends up like you imagined it would. That’s life, though. Sometimes, your vision, your understanding even your understanding shifts somewhere in the rehearsal process, and you go with it. And most of the time, you end up with something far better, far more exciting and on point than you thought you ever could.  It has been very rare for me indeed, (I count probably count the instances on one hand), to arrive at the end of a job, and find it totally matches my vision.

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To celebrate an extraordinary year, Tilly and I wanted to create a festive Souliloquy. Something to tie it all in, and transition us into what we hope will be a truly exciting 2017. Something a little bit lighter, and little more fun, and a little different from what we had done before.
Finding a suitable candidate wasn’t a problem – Ariel was our first and only choice as I remember. Once that decision was done, we only had to write it, figure out what to do with it, cast it, and film it. So nothing much. Tilly came up with a brilliant first draft, and we had a quick meeting about what I had already come to think I might like it to look like. I won’t speak to the writing process – that’s all Miss Lunken brilliance – but from the “editor’s” perspective, I would say Ariel’s tone was quite difficult to nail down, and we had quite a few discussions about finding our Ariel’s voice. It was as always a wonderful process, and Tilly is a perfect collaborator because we can always have these great discussions and she is so open to new thoughts and interpretations.  Casting Chris was also a brilliant Tilly decision, and after a short to and fro of scheduling and all that jazz, we were ready to film.
To give you some idea, here are a couple images which give you an idea of what my mood boards were going for. Mood boards are one of those things I can’t do without whenever I am directing, or writing, or doing photo-shoots, or acting for that matter. I find them to be such an awesome tool for communication through senses and emotions rather than words which more often than not, fail me in real life.
So, as you see, quite moody mood boards. I loved the fog, and the darkness and solitude of the woods, it really felt like an uninhabited island, though perhaps not a “golden place” at first glance, one that might be so for a spirit of the air. (PS it also looks so darn cool). But hey, I thought, it’s not like I’ll have a smoke machine. So we can do without the fog. And still make it look awesome. To the woods (near my house) then! Chris bravely agreed to be my victim (as Tilly is still away in Australia), and come for an adventure in sunny Kent. And by sunny I mean that it was utterly frozen, and wouldn’t you know it – FOGGY LIKE THE DEVIL. Honestly, I think the gods of art were looking out for me, because we may have frozen, and I may have lost takes due to hand shaking and teeth chattering, but MAN DID IT LOOK PERFECT.
Now, another thing about me as a director, which I may have mentioned before, I’m not really a dictator. More of a gentle molder. I like to see what actors bring to the table, particularly on something like this where we have had basically zero rehearsal time (so yeah, our actors are pretty badass), and go from there. And Chris brought so much on the day.
It was my first time filming outdoors – other than a brief try with our Lady Macduff, in which she was grieving, and wallowing in the empty silence devoid of her children, and the kids in the nearby school were screaming. So not great. I was a bit fearful, mainly because I am not a sound person, and generally wasn’t sure it would all work. But we found an empty bit of the woods, and got down to it. Though we did have minor incidents – the birds, the lost dog and screaming owners, my chattering teeth – it all went superbly well. Chris brought such a delightful mix of quiet power, cheekiness and joy, and we could not have asked for a more perfect Ariel. I think we really wanted to remind the audience, and ourselves, of just how powerful and natural of a being Ariel is. That despite his playfulness in the original material, he is still, or was still, a caged animal.
I think this piece is about returning home, to yourself, and finding yourself in solitude. A lot of people struggle with the notion of loneliness/solitude, but I have always reveled in solitude. In spending time with myself, my thoughts, and I do think it is important to know how to be alone with yourself. One thing I did stress to Chris was the importance of his use of the word “me”. I don’t think it’s a word Ariel has really know the meaning or the power of in quite a long time, and to be able to reclaim that must feel very liberating. It was also vital for us that Ariel, generally, was a bit less dramatic than perhaps a lot of what we’ve done so far; as incredible as all that work has been, we wanted to finish off on a rather positive note. And I think that we have achieved that.
All that to say – the vision I had for Ariel, was completely and utterly realized, (almost) exactly how I had imagined it. (Nothing will ever be exactly as you imagine – but this came pretty close). It was a tremendous experience, working with Tilly & Chris on this, and generally having a partner like Tilly, who trusted me alone to do something we never had before with one of her babies. (Though I did have her voice in my brain a bit). I hope you all enjoy it. Thank you for your support and collaborations so far – here’s to many more in 2017. I’ve said it before, I’ll say it again. The secret to good art is believing in what you are doing, and trusting those you do it with. If you have that, you can do anything your mind can dream or conjure up.
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INTRODUCING: Snout in Souliloquy and our #WorldStage.

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A wall for all.

On this day where there seems little to celebrate we are announcing the next stage of our In Souliloquy project. Snout In Souliloquy is a monologue we have shared with artists around the world (#WorldStage) who are then returning their work to us to distribute a collection of their diverse and exciting interpretations.

So, we are here and we are building a wall. Of sorts. Not one to keep anyone out or to imprison ourselves but to connect with each other. It’s a wall on a stage, a digital stage – it’s a wall played by a person who fixes things and believes in the power of art and theatre to connect with people. It’s a wall played by an artist that appreciates the world and their part in it and challenges us to see how we live in a new celebratory light.

In Souliloquy is about connecting through characters and experience across time and giving voices and new understanding to known stories. It also involves connecting to each other now. Digital Theatre reaches new audiences outside a traditional context, it lets us watch in bed, or on a train and experience that one on one connection to each another person through a tiny screen. A soul is speaking to you. Listen.

One of us voted in this American Election. One of us voted in the Brexit referendum. Both of us grieved the outcomes of both. We are so very proud to be producing this next level of In Souliloquy in this context. Now more than ever we need to make good art (hat tip Neil Gaiman) to respond, challenge and connect us to new understandings of each other and the world.

We are theatre people. We make good theatre. We share it and we reach through whatever disconnect people feel. Here, come sit with us.

Let’s build something together, a stage – upon which sits a wall, for all.

Stay tuned for the release of Snout In Souliloquy in the second half of this month!

XX

PS. If you are interested in being involved/you know someone in a far flung corner of this planet who might be – do drop us a line!

 

 

 

 

In Souliloquy Blooper Reel Cycle 2-4!

In Souliloquy Bloopers – Cycle 2-4 from In Souliloquy on Vimeo.

We are delighted to share a little of the behind the scenes work (fun) that has gone into this project! Please come and share a laugh at the various antics edited together for your viewing pleasure from our resident wonder Victorine.

 

 

V&T’s Big Epic #ShakespeareSunday Souliloquy Celebration.

Today Tilly and Victorine answer “what’s your favourite part of each Souliloquy?” It goes without saying, each performance was so different, unexpected and brilliant, it’s hard to pick favourite things. However we’ve given it a good go. Here’s a chance for you to revisit ones you love and watch one’s you’ve missed.

All the Character Titles are links to the character portfolio.

Juliet

V: The calm, detached nature of Fern’s performance. It gives the heartbreak and tragedy a whole new, unspeakable level.

T: It’s always a treat when an actor surprises you. Fern just got Juliet in her own way and you feel so much for her. It’s quite a simple text, because of the character’s age but she brings such beautiful depth to that simplicity.

Lady Macbeth

T: We filmed Fran first and I cried. It was just such a rush to see and hear those words come alive in her character – she gives a gift of a performance. It’s perfection.

V: The tear. That was such a genuine and beautiful moment – to capture that was an incredible first day/first Souliloquy gift.

V&T: Also this:
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The Fool

V: Michael’s sing-songy bit. It was so significant of his whole Fool – such a cheeky, playful character yet biting and cynical.

T: I love the song in this one. Michael’s voice is often singing it in my head now – it’s such a perfect capture of both the humour and the darkness of the character.

Lavinia

V: The delicateness of Joanna & Egg’s movement. Simplicity and beauty to contrast the harshness and violence of the words.

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T: I don’t think you can perform this piece visually without a puppet. It needs that layering and I love Jo’s performance and Little Egg so much. It’s captivating.

Helena

T: The lovely earnestness that Christine brought to this is super endearing. Can’t you just imagine Helena being exactly like that? I want to hug her and reassure her it’s ok.  

V: Christine’s performance really influenced the edit on this one – so different from what I had planned, it gave me a whole new perspective! I love when actors make you think like that!

Margaret of Anjou

V: Rewriting and doing it on camera vs. stage. It really shifted the performance and the things I found in the text, which is always incredibly rewarding.

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T: Victorine is Margaret. Watching her inhabit these words is a real privilege, it was very special being in the room and witnessing her performance.

Emilia

V: The raw emotion. I have always admired Shannon’s ability to strip herself down and just go with what she is given.

T: Shannon’s heart is beating with Emilia during this performance and you are right there with her sharing in the anguish. We break as she does. After what has happened, it was never going to be ok.

Miranda

T: Casting Tessa was just perfect for this one. Her voice is so lyrical and her eyes so bright – she really brings out the depth of the character beyond a superficial happy ending. It’s magic.

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V: Tessa’s voice! Such an enchanting and mesmerizing quality. And those eyes! I’m on that island every time with her.

Yorick

V: The way John just jumped in and navigated the text so skillfully! Talk about switching gears…. He grabs you and drags you down into his World and you love him for it.

T: I love John’s performance so much. Yorick is character we had to build from nothing and he continued that process – he pops out of the screen in such an engaging way.

Richard III

T: Richard III is such a well known character that it took something special to make it new – which it is. The balance of righteousness and grief is tricky but is nailed. Great pacing to a great performance.

V: The fact that our incredible Richard came in with so many ideas and willing to play around with styles and shots, it was really about me throwing away my character preconceptions and plans!

The Soothsayer

V: Chris’ crazy. His intensity and crazy Soothsayer eyes. Never lets you off the hook!

T: The intensity that Chris brings to this role is so good and it was lovely to work with an actor that really engaged with the words. It’s dark in a way that fits so well with the character sits beautifully alongside the source text.

Viola

T: Viola was challenging to capture on the page but Peyvand brought her to life in with a softness that really lights up the screen. This one is so moving and beautiful, in spite of a lighter subject.

V: One of the first filmed at Tilly’s and it made us all a bit more relaxed I think, and that gave Peyvand’s Viola ease and simplicity (and wispy hair), which literally took my breath away!

Cleopatra

T: I love how visual this one is. Neil’s face – especially the ‘lined eyes’ which are captivating and the whole thing is shot like a painting. It’s a lovely piece of art.

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V: The edit. I wanted to do Neil & Cleo justice, and I knew it was going to be a long and complex edit unlike anything we’d done. I wanted a story within the story to really showcase the words and Neil’s transformation!

Titania

V: Eliza’s hair. Just kidding. The fun we had making it I think – Eliza just jumped straight in, and again it really infused the atmosphere of the piece and lent it that air of a midsummer night dream…

T: Eliza was a joy to work with – she just brought so much to the character and clearly relished the text. You can see it in her performance, it’s also a joy to watch!

Ophelia

T: Lillian brings such honesty to this role and that is so much a part of Ophelia’s character she is her. Her eyes confronting you and all your assumptions about her death and beauty. It’s such a strong statement, I love it.   

V: Lily’s take on Ophelia. So unexpected and unguarded, cynical and fierce.

Tybalt

V: Owen is another one of those actors that is just incredible simple and honest. It worked so well to create a Tybalt unlike any we’d ever seen. Heartbreaking.

T: Oh Tybalt! It’s so great how Owen captures the dawning comprehension of what he has lost and that while he might not be at fault the way he lived enabled the way he died. Such a waste of life. It’s really sad. 

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Abhorsen

T: There’s a creeping quietness to Richard’s performance that is very sinister. This man lives like no other and knows death like no other – this considered starkness really works in black and white.

V: Richard’s quiet and disquieting threatening performance. Again, it’s nothing you expect, and that’s what makes it interesting.  

Katherina

V: I think Annie is Kate. She had that energy and fight to her, without ever forgetting the love. And her voice is so melodious.

T: Our Kate is very determined and Annie brought such a lovely underlying strength to this performance. She might love him yet, but she’ll do so on her terms. It’s a real pleasure watching the character unfold. Great accent too!

Orlando

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T: Kaiden really embraced the poetry of Victorine’s writing with this one – it’s so lovely and moving the way he tells his story and isn’t afraid to acknowledge how his experience has changed him for the better.

V: Kaiden’s melange of playfulness and quiet introspection. I’ve never let anyone perform my writing before, so it was a big moment to see him do so with such grace and honesty.

Cassandra

T: The darkness of this one is complex and builds. Julia looks so fragile and yet Cassandra is fully embracing her bloody end. It’s a nice dramatic dynamic that really works.

V: The tone. We worked so hard to get it just right, and I think it payed off. Beautiful Julia, threatening words, and a very dark melancholic vibe.

Doll Tearsheet

V: The corset! I jest. But actually, I think it informed Annie’s performance and helped her find more layers to Doll. Softness and seductiveness all meshed together perfectly.

T: Annie brings a nice vulnerability to Doll – it’s an intimate and layered performance. She’s kind of playing the space between ‘I’m fine, get lost’ and ‘please help me’ – it’s a tightrope and she dances beautifully along it.

Lady Macduff

T: A wonderful complete performance here by Tracey. Lady Macduff guides you through every corner of her grief and anger – it’s a record of the unrecorded and a defiant interpretation. She is continually heart breaking in so many different ways.

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V: Tracey was another who came in with so many ideas – I loved that so much! I just said “F**k it” to my plans, and went along for the gut-wrenching ride with her.

Marina (to be released 22nd Aug)

V: I think Marina represents a lot of our whole In Souliloquy journey. There is such simple beauty in this once again – Lydia is a gorgeous storyteller. And no she hasn’t made me cry. Repeatedly.

T: Beautiful. Lydia brought so much to this character, there is such steel in her performance and such power in her delivery of Marina. It’s just means so much – and makes me cry for good reasons! I want to grow up and be Marina.

Don John (to be released 23rd Aug)

T: John nailed Don John and you just believe in his contempt for others, but you also know where that has come from so you root for him. I love how engaged he is, you are going to listen to what he has to say – now he wants to say it.

V: John’s eyes! He is so captivating and inviting – my kind of villain! His focus never relents, it’s amazing.

Thank you to all our wonderful performers. It’s been a true pleasure to have you along for this journey. Love V&T x

 

In Souliloquy – Teaser

Wondering what all these In Souliloquy posts you’ve seen pop up on your feeds recently are all about?

Why not check out our new teaser? It’s only a 30 second taster – but hey – you’ll get the idea.

And keep your eyes open for our upcoming releases: Richard III, Viola & Emilia.

Cycle 2 Preview – Alas! Tis but a taste.

Cycle 2 – Teaser. Alas! Tis but a taste. from In Souliloquy on Vimeo.

Alas! Tis but a taste. But what
Sweet mouthful my good friends!
Such a feast awaits those patient
To await their good gratification.

Yorick – In Souliloquy Cycle 2 teaser – performed by John Last.