Two
plays by Keith Dewhurst
Adapted form the books Lark Rise to Candleford by Flora Thompson
Finborough
Theatre
September/October 2005
Directed
by John Terry and Mike Bartlett, Designed by Alex Marker, Costumes
by Penn O'Gara, New Musical Arrangements by Tim van Eyken, Movement
by Kitty Winter
Press
David Brett, Peter Caulfield, Hugo Cox, Rosalind Cressy, Hannah
Emanuel, Susie Emmett, Nicky Goldie, Michael Lovatt, Gary McKay,
Tom Murphy, Owyn Stephens, Anna Tolputt, Sophie Trott
Press
'Alex Marker's set
almost looks like a sepia
tinted photograph
the staging is full of inspired moments
the production
creates an entire beguiling world that
enfolds its audience in a warm embrace - a big achievement in
a small-scale theatre.'
Sam Marlow, The Times
'With
barely room to swing a cat, Alex Marker's wooden platforms and
steps work wonders, representing a whole variety of situations
from fields to homes to streets to pubs.' Carole Woddis, What's
On Stage
Click here for press
cuttings
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Set
Model scale 1:25. Point of view taken from the landing above the
audience entrance
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Set
Model Scale 1:25. Looking toward the South end of the theatre
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A
panorama across the Finborough space looking North West
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Lark
Rise: The harvest gang on their lunch break
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Candleford:
Laura (Sophie Trott), Dorcus Lane (Rosalind Cressy) and Zillah
(Susie Emmett) watch the hunt.
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Emma
Timms (Anna Tolput) and Mrs Peverill (Susie Emmett)
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Laura
Timms (Sophie Trott)
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Lark
Rise: 'John Dory', a fruit and fish salesman, comes to the
Rise.
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Candleford:
Laura has a wash
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Lark
Rise: The harvest
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Candleford:
Laura (Sophie Trott) is sent out on her first post round and is
teased by the two young footmen from the Hall (Michael Lovatt
and Owyn Stephens).
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Lark
Rise: "All together for the grand circle dance".
The whole cast and, on most nights, half of the audience too.
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A
typical Lark Rise audience
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Lark Rise arose from the embers of Shapeshifter's production of
Soldiers at the Finborough in 2004, which had been very successful
in attracting audiences and a lot of critical attention. On the
strength of this I was invited to join Shapeshifeter as Associate
Designer and we found ourselves wondering what to do next. It had
to be bigger and better than the last show. We settled on Lark Rise
to Candleford.
The show had
originally been staged at the Cottesloe Theatre at the National
as a two-play promenade production, with a cast of nineteen actors
playing seventy-five characters and the Albion Band providing
a folk rock score. We were proposing to mount it in one of the
smallest fringe venues in London.
We were entered
for the Mark Marvin Rent Subsidy Award (Peter Brook Empty Space
Awards 2004) and won, much to our own surprise and that of a few
others: Lyn Gardener's bemused comment, 'A promenade show at the
Finborough! Won't that be more of a shuffle?' sticks in the mind.
The work began
in earnest to accrue the remaining funding and mount the show.
My biggest challenge was how to produce a set that could contain
varied locations and would be visible to the majority of the audience
at all times. I experimented with textures colours, levels, entrances
and exits: no corner was left unfilled; the directors even had
an actor entering from the tech box window. I eventually produced
an environment that included a two-storey hayloft, ladders, a
hill, folding tables, a counter on castors, flaps, doors and a
tin bath. The experience started right from the moment the audience
left the bar as they passed two actors playing the fiddle and
accordion on the staircase landing, dressed as part of the set.
One of the
biggest challenges I faced was where to hide ten seating blocks
(measuring two and half metres long) and eight pieces of steel
deck rostra, in a venue measuring ten metres by seven and a half
metres when the backstage area comprised of one dressing room,
an office, a tiny tech box and a smallish mezzanine storage area.
The nagging
feeling that we had bitten off more than we could chew was allayed
the day the cast first saw the space. Our talented group of actor/musicians
had been rehearsing hard at the Jerwood Space with only tape marks
to indicate ladders and a myriad of levels. As soon as the cast
walked in to see the transformed space, one of them exclaimed
'Wow, I haven't felt like this since my Dad built me a tree house!'
It was then I knew we had a show.
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