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.’

King John in Summer.

King John In Souliloquy from In Souliloquy on Vimeo.

 

Live true to your name.

Performed by Paul Tonkin
Written by Victorine Pontillon
Directed by Victorine Pontillon
After William Shakespeare’s King John.

In Souliloquy is devised and produced by V&T
King John In Soulilouquy is a Seasonal Soliloquy.

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Paul Tonkin trained at University of Wales Newport where he received a 1st Class BA Hons in Performing Arts.

Theatre Includes: Lord Henry in The Extraordinary Cabaret of Dorian Gray (Spiegeltent, Southbank); Tony/Ensemble in Ash (Waterloo Vaults/Edinburgh Festival); George Wilson/Owl Eyes in Gatsby (Leicester Square Theatre); Eliot in How To Build An Igloo (Miniaturists, Arcola Theatre); Nick in My Previous Self (Courting Drama, Southwark Playhouse); Jerry in Betrayal (St David’s Hall, Cardiff); Nick Rochester in Winter’s Tales (The Story Museum, Oxford); Bob Cratchit in A Christmas Carol (Middle Temple Hall, London); Heathcliff in Wuthering Heights (UK & Ireland Tour); Father/Mouse in Hansel & Gretel (Brentwood Theatre).

Film & Series Includes: Steven in Horizon, Web Series 1 & 2 (Hanover Pictures); Leo in Terminal (BOVTV Productions); Gingerbread Man in Amstardam (011 Productions); Frank in Restrainer (Njie Films); Kevin Haynes in Intruder (CBA Productions); Neil in Broken, ‘Best Supporting Actor L.A movie Awards’ (CBA Productions); Ford Factory Worker in Made in Dagenham (Paramount/ BBC Films).

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New 2017 In Souliloquy Trailer!

Why hello there – we have a gorgeous new trailer pulled together by Victorine to celebrate both our body of work (go on check out our portfolio) and in anticipation of what is to come.

It features familiar faces from our talented collaborators – especially the wonderful voice of Lydia Lane as Marina. An edited down version of her monologue voices over the footage of our work.

As always all directed by Victorine and written by Tilly (Orlando and Margaret of Anjou written by Victorine).

In development at the moment

  • The rest of our ET TU series
  • Summer Seasonal Souliloquy
  • Autumn Seasonal Soulilouuy
  • Mechanicals’ Macbeth!

 

Please enjoy this reminder and stay tuned for more new work soon!

On Jessica and the Other.

As a writer tackling classical work and characters I’ve not had a problem feeling a contemporary resonance in the words, performance, character, form of anything we have produced. Yet, with Jessica In Spring I specifically wanted to address the tone, vitriol and horrendous narrative that has become a part of our politics, our media and our life over the past few years.

Brexit, Trump – 2016 was a year that apart from anything else legitimised voices that Othered. ‘Us’ and ‘Them’ – let’s blame poor people, people with a disability, different gender, immigrants, those who do not look like us. Let us not turn in and look at ourselves, let us not look to work together; let us point fingers and be rude, because that is Presidential, isn’t it?*

So Jessica came out of this place, of giving a voice to this Other – to someone who is Othered by circumstances, birth and also in her choices. Her choice to convert and marry out of her religion gives her some level of acceptance in society but she can never truly become part of the world she has made the choice to ‘join’ because she knows it for the sham it is.  Like those of us who are Othered, she knows much more of the world and her place in it than someone who has never been in that situation. I wanted her to articulate the fierceness that comes with this knowledge.

The concept of privilege is interesting to me because awareness has some bearing upon it but also those who are resolutely unaware often have the most. Jessica is privileged in some ways but she’s also Jewish and a woman in a time where she was legally a chattel of first her father and then her husband. It her experience as the Other experience that rounds her person into who her husband fell in love with – she dares the listener and him to accept her for all she is, shadows and all – rather than a beautiful construct of a good little wife. Ultimately that’s who we all are. People. I think Jessica speaks of that.

In Spring too, we have all these connotations of ‘new life’ and ‘rebirth’ of the year but this can be sad too. She is someone (in our version) who actively embraces this duality. I think her words in voiceover over the moving images works really nicely to communicate this. There are layers to her that she won’t deny.

Jessica In Soulilouqy from In Souliloquy on Vimeo.

 

So please watch AND listen – both, together, separately. She has something other to say.

 

x Tilly

 

*FFS. No it’s not and I know Orange McOrangeFace won’t read this but omg, ew, what an awful excuse for a human.

Jessica In Spring.

Jessica In Soulilouqy from In Souliloquy on Vimeo.

Know your own shadows.

Performed by Diana Kessler
Written by Tilly Lunken
Directed by Victorine Pontillon
After William Shakespeare’s The Merchant of Venice.

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

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

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Introducing: Diana Kessler as Jessica.

Jessica In Spring is our seasonal souliloquy for the spring months of 2017 – and we are delighted to welcome Diana Kessler into the role. We have recently filmed this lovely piece and it is due to be released before we hit Summer solstice!

Diana Kessler Headshot

After stints in Berlin and the US, Diana is delighted to now be based in London. She’s performed and produced plays at the English Theatre Berlin, BATS Theatre in Wellington, and the Tristan Bates and Cockpit theatres in London. She trained with Dominic Kelly at the salon:collective and with Mary Docherty in The Actors Class, and is honing her directing skills in The Directors Cut. Diana is excited to be putting her German language skills to use in her current job, where she’s the voice of main character Roshni in the German version of “Jamai Raja”, a popular Indian TV show.

We are delighted to have Diana as part of our In Souliloquy family!

Updated In Souliloquy Team Page!

We’ve done some much needed website admin and as such would like to invite you to look at this round up of people we’ve been collaborating with! Here are our updated castings since Cycle 4!

Projects like this could not happen without the support and dedication of people we work with so much love and thanks to everyone.

More announcements coming soon – it’s a busy second half of the year for us.

 

Mechanicals’ Macbeth: A Witches Extract @ Parkland Pop Up Shakespeare

ET TU: Iachimo & Goneril.

ET TU: Sebastian & Petruchio.

ET TU: Sebastian & Petruchio @ BRIEFS.

Snout In Souliloqy @ Where Do We Go From Here?

Ariel In Winter:

Snout In Souliloquy #GlobalStage #AroundTheWorld

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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Ariel In Winter.

Ariel In Souliloquy from In Souliloquy on Vimeo.

Be your own island.

Performed by Christopher Montague
Written by Tilly Lunken
Directed by Victorine Pontillon
After William Shakespeare’s The Tempest.

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

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

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Christopher Montague graduated from the University of Reading with a BA in Film & Theatre (2011) before training as an actor for two years with Fourth Monkey Theatre Company (2013-2015). Christopher is also Co-Founder of Attila Theatre, formed in 2013 and works as a freelance actor, director, deviser, stage manager and barman (obviously).

Having seen Chris perform Ariel at Attila’s Pop Up Shakespeare Festival he was our first choice to bring new understanding to the spirit released finally to freedom.