Well, it's been hectic lately. Genuinely. We have a work-in-progress session coming up on the 5th of April, we're currently dipping in to rehearsals with Imitating the Dog Theatre Company, and we've been lucky enough to be given a great opportunity for next year.
The piece we're working on is coming along nicely. We've finally settled on the world that the performance takes place in - the rules, the ideas and its inhabitants. It seems simple really, but we're trying to be as accurate as possible with it. From an early stage in the process, we decided that we didn't want to create an event on stage if we're not totally sure of the rules of the world it takes place in. So with that done, we moved on to the content. The working title of the show has changed quite a few times since its inception, but currently, it's going by the name of My Canary's Name is Daniel. Seeing as we've been working on it for a while, we feel fairly comfortable in giving out some basic information as to what the piece is based upon fairly soon, and some early promotional press will appear quite soon. (A few early photographs can be found at our facebook group).
The show revolves around a man living in an abandoned, scorched town, who is coping with his survival whilst the normal world carries on miles away from him. Though he's been here for a while, the piece starts as he's about to throw himself a party to cope with the boredom; even though he knows no-one will come, he still sends out his invites. The only entertainment which he seems to have being what he makes for himself - and his canary. Daniel.
Once we've cobbled together some official press and copy for the show and the Process at Play festival at the end of September, which we're thinking will include the piece's first showing, we'll be able to give a much more detailed description.
On the 5th April, we'll be inviting a small audience in to view the work in progress, with a discussion afterwards focusing on feedback and analysis. We've been working out how to work well as a company with all three members on the stage working without an outside eye to keep tabs on the composition and general aesthetic. The first go-to solution is to, as we've done before, film our work and watch it back together giving it a bit of a critique, but it will be nice to have an up-to-date, on the spot and fresh pair of eyes seeing the work.
In other news, we're currently spending a lot of time with Imitating the Dog Theatre company, dipping in to their rehearsals, helping out as extra sets of hands and just generally observing how they work. It's been useful to say the least so far, and we've got another couple of weeks to go. We fully accept that we're just starting out in the grand scheme of things, so to work with an established company who've just got back from their tour of the middle east (genuinely) is endlessly helpful. We'll be learning everything we can from them.
On a very similar note, Sticky-Tape are immensely happy to announce that we've been selected to work underneath Proto-Type Theater for a year, starting in September, in their company mentorship scheme. After form filling and an interview stage, and what was described as a exceptionally difficult descision for them, they've accepted us as a graduate company they'd like to work with - providing us with rehearsal space, office space and a lot of useful guidance in the world of theatre. On top of this, it means there's a possibility that Sticky-Tape will be relocating to Manchester from our base at The Lancaster Institute of Contemporary Arts. It's an exciting opportunity that we're more than happy to accept.