Et Tu – Diana and Eleanor.

Et Tu – Diana & Eleanor from In Souliloquy / V&T Productions on Vimeo.
Not All Women.

Performed by Mary Roubos and Ruth Keeling
Written by Tilly Lunken
Directed by Victorine Pontillon
Produced by V&T for In Soulilioquy
After William Shakespeare’s Henry VI part II and Pericles Prince of Tyre.

Music from https://filmmusic.io
‘Sheltered Swan’ by Sascha Ende (https://sascha-ende.de)
License: CC BY (http://creativecommons.org/licenses/by.4.0)

diele4

Ruth Keeling

After 16 years as a professional wardrobe mistress Ruth retrained to become an actor and subsequently trained at the Poor School in kings Cross and also at the London Repertory Company. Her theatre credits include ‘Her Naked Skin’ – National Theatre, ‘Hot Flush, The Musical’- UK Tour, ‘The Social Notwork’ – Camden Festival, ‘Death by Biscuit’ workshop. TV- includes ‘Eastenders’ ‘Hollyoaks’,  ‘Doctors’,  ‘Little’ ‘Miss Jocelyn’  ‘Ben Elton Sketch show.’ Film includes ‘Ashes’ with Lesley Manville and Ray Winston; ‘Molly’ with Javier Bardem and Elle Fanning

@KeelingRuth- twitter

Mary Roubos

https://www.spotlight.com/2613-5643-2434

In Souliloquy is devised and produced by V&T Diana & Eleanor is part of the Et Tu series

Introducing: Sophie MacKenzie as Mariana for ET TU.

sophie-large-10147 mid copy

We are delighted to announce Sophie MacKenzie as Mariana for our next ET TU release. Sophie’s spotlight: https://www.spotlight.com/interactive/cv/4373-0194-6737 details her theatre work, she is a musician as well as a visual artist. https://www.instagram.com/_powerful_man/

Our Mariana is beginning to feel a little trapped in the web of her own happily everafter. Luckily her new bff Bianca has wine and good heart.

Introducing: Tilly Lunken as writer of Mechanicals’ Macbeth!

IMG_7603

Reintroducing our writer for Mechanicals’ Macbeth – Tilly Lunken.

Tilly studied Creative Writing/Theatre Studies at the University of Melbourne (First Class Honours) and has an MA in Creative Writing: Scriptwriting at the University of East Anglia (Distinction) (Skillset Approved) where she was the recipient of the Malcolm Bradbury Development Award. She is a graduate of both the Royal Court and Menagerie YWPs and has been mentored through the Little Angel Theatre and Norwich Puppet Theatre.

She is the co Artstic Director and writer of In Souliloquy. She completed the Criterion Writing Program under the tutelage of Greg Mosse where Mechanicals’ Macbeth is being performed in November and is writing a Christmas Show Fran and the Littlest Reindeer. Tilly also teaches masterclasses in writing, devising and dramaturgy for visual theatre and puppetry. She is a member of feminist writing collective Nevertheless She and is co-writing The People’s Rock with them for Vaults Festival 2018.

Website
Twitter: @theatreofwords

Mechanicals’ Macbeth is being performed at the Criterion Theatre as part of a New Writing Showcase on the 20th November, from 2pm. All free and all welcome, just rsvp for doorlist!

ET TU: Iachimo & Goneril.

Et Tu – Iachimo & Goneril. from In Souliloquy on Vimeo.

 

Iachimo – Tom Pepper
Goneril – Jennifer Aries

Written by Tilly Lunken
Directed by Victorine Pontillon
After William Shakepeare’s King Lear and Cymbaline.
Et Tu – Iachimo & Goneril is part of our ET TU series of dualogues.

iachgon8

Music: Kevin MacLeod gymnopedie 3 – Satie (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
creativecommons.org/licenses/by/3.0/

Special thanks to the gorgeous Crooked Well pub in Camberwell!

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!

Updates on Writing, R&D, supportive frameworks and spreadsheets.

A lot of writing involves things other than writing – there is a lot of thinking, a lot of dreaming, a lot of procrastinating doing other things. There is also, depending on the project a lot of planning and working out the scaffolding of everything and how it works (the dramaturgy) and other research.

If you are lucky much of stuff that surrounds actual writing can be collaborative, especially in theatre. For Mechanicals’ Macbeth we have done some R&D with the concept and idea and also performers playing around with situations. It is a work of intricate layers and structures and is actually very complicated. Once written and in production it will hopefully not feel complicated – but the depth that supports what you will see on stage will be strong and supportive and allow the comedy to entertain. It was in recognition of this that we made the decision to not write it in isolation but to open out the consultation around the writing and engage with other perspectives. (You can still do our R&D survey here)!

It’s also worth mentioning here that having a supportive and involved director is the best thing ever! It’s so important to creativity to surround yourself with other artists that you connect with – especially when embarking on such a big project.

So, onto some Behind The Scenes/ Process:

Source and Structure.

In the case of much of In Souliloquy work we have a source text and character. With Mechancials’ Macbeth there are two source texts – Midsummer Night’s Dream and Macbeth – the whole plays as well- not just one through-line/character journey. There needs to be a lot of deep interrogation of the source material for a show such as this and it has been a delight to rediscover these texts in constantly new and different ways. We are consciously using the structural layers of these works in Mechanicals’ – to underscore our new narrative journey.

Story.

From this, together we have knocked out the structure and story and timeline of the play. In some ways this is quite similar to devising/making a show – because you are building it in a different way to just writing it. This isn’t about writing to particular beats or hitting particular points at particular times – more so managing a lot of characters and a lot of action and knocking that into something that makes narrative sense and is fun to watch.

Characters.

We have six Mechanicals’ characters (Quince, Snout, Bottom, Snug, Flute and Starveling) – these characters from Midsummer are then of course cast in Macbeth. Them dipping in and out of these is super fun but needs to be precise in the writing, direction and performance. We also have a new original character that interacts with the others in a puckish role and brings our ensemble to seven. It is key to us that no character let’s lost in the mayhem and it doesn’t become “the Bottom show.”

As part of our character work we have been exploring the physical aspects of the group and are working with Shelley Knowles-Dixon as a movement director. This is really exciting in terms of fleshing out characters!

Spreadsheets.

This is the first play I have written that I have felt compelled to put structures etc. into a spreadsheet. With seven characters and lots of action it is going to prove super useful once the first draft is written to check in with. Hopefully it will also prove useful with directing choices and scene transitions and all the other times when everything is confusing and your brain is like “you know what would be really useful at this point? A spreadsheet.” Looking at the structure like this as well as in dot points is also useful as you can fill out extra character columns, and crucially also running time.

It’s a beautiful thing.

spreadsheeyt

Consultation/Collaboration.

We’ve been doing wider R&D!

Thank you to: Jackson, Kate, Emma, Shelley,Jeannie, Ivana, Jodi, Nicole for your in person participation and everyone who so far has completed our survey. It’s actually super useful and has already helped inform what goes into the show or how we approach mashing Midsummer into Macbeth more that we initially thought we might.

IMG_7350

We have lots of lovely big roles of paper for mapping out big ideas – and it’s been just fabulous to work with such a lot of people giving time and thoughts to the project.

So there you are, stuff is moving, things are happening and in exciting news out of all this actual proper writing is happening. The script is pulling together! It is moving – we are on the way. Honestly, writing is at times isolating. But it helps to know, just as our dramaturgy of Mechanicals’ Macbeth holds up the story – my director, R&D participants, performers we have cast and our In Soulilouqy team hold up me.

Much Mecanicals’ love.

Tilly x

Mechanicals’ Macbeth R&D Survey!

We are well into R&D for Mechanicals’ Macbeth and it’s chugging along very nicely – we are using lots of wonderful brains and lots of paper and fleshing out our Big Fat Idea into a play.

As part of this we have a survey that we would love you to participate in! A few questions that open out our process to a bigger net of people.

IMG_7350.JPG

I’m sure that the collated answers will end up on a huge roll of paper! You don’t have to be a super Shakespeare or Theatre person to participate. All we need is a little bit of your time. You can access our google form HERE.

Thank you so much! We truly appreciate each and every response.

 

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.

Introducing: Jonathan Cobb as Flute/Witch Two for Mechanicals’ Macbeth: A Witches Extract!

Returning to our stage again we welcome Jonathan Edward Cobb as Flute and Witch Two for Mechanicals’ Macbeth: A Witches Extract for Attila theatre’s Parkland Pop-Up Shakespeare 2017.

Jon

Jonathan graduated from Drama Studio London in 2014, and in 2015  was very lucky to perform out at Vienna’s English Theatre as Justin in ‘The Fox on The Fairway’. He has toured three Shakespeare productions; ‘Romeo and Juliet’ (Romeo), ‘King Lear’ (Edmund) and ‘Measure for Measure’ (Lucio) with Quite Right Theatre around Italy and recently has been performing in ‘The Sentence Snatchers’ at The Rialto Theatre in Brighton. He has filmed the feature film ‘Hippopotamus’ Recently finished performing as Idle Jack in ‘Beauty and The Beast’ at The Leatherhead Theatre. He Appeared as Malvolio and Sebastian in C Theatre’s ‘Shakespeare in The Garden: Twelfth Night’ at C South (Venue 58) St Peters Church as part of the 2016 Edinburgh Fringe.

Spotlight

(You can also check out Jon’s Don John In Souliloquy here and his turn as Sebastican for #EtTu @ Briefs here)

Mechanicals’ Macbeth – A Witches Extract is on as part of Attila Theatre’s Pop Up Shakespeare event in the Crouch End Festival.

  • Sun, 11th June 2017 from 1:00 pm to 5:00 pm
  • Tue, 13th June 2017 from 3:00 pm to 7:00 pm

Parkland Walk N4 3EY.

Come find us near the Graffiti bridge!