At first I thought the event was perhaps misnamed, as its usefulness extended beyond those of the world of ‘am-dram’. We were told in the welcome that it aimed to ‘break the boundaries between professional and non-professional theatre’. The word ‘amateur’ can have such a negative connotation and, to quote Simon Callow in his opening address, ‘too often it is bandied about as a term of abuse’. I soon came to realise that the word ‘amateur’ was not one to be ashamed of and that perhaps we, as ‘theatre non-professionals’ should reclaim it.
On offer
Each delegate could choose their workshops and talks from a host of options and the brilliant organisers had individualised itineraries for each of us. As well as Simon Callow's talk, I also enjoyed a discussion and Q&A with Mike Bartlett, a directing masterclass with Stephen Unwin, and an audition surgery with Andy Johnson. Other choices I didn't make included voice workshops, introductions to new drama games and short extract performances by local companies. Books by the practitioners in attendance were available at discountedc prices.
I was particularly enlightened by the conversation with Amanda Wittington, playwright of Be My Baby, Ladies’ Day and Ladies Down Under – we were even given a bit of news that a third ‘Ladies’ play’ is in the pipeline! In my work, I struggle to find enough strong roles for female performers. How refreshing to hear from someone who writes of the experience of women and creates work with numerous high-quality female roles. Whittington is making important steps in attempting to redress the injustice of a patriarchy-fuelled, imbalanced history of male writers. It's a shame there weren't more female practitioners delivering. We learned of her approach to writing these and other perhaps lesser-known texts, namely Mighty Atoms (about female boxers), Satin and Steel (centred on the karaoke circuit) and Kiss Me Quickstep (set at a ballroom dancing competition). She spoke of the importance of comedy in helping an audience care about the characters, how ‘humour oils the wheels,’ and that, for her, ‘writing plays is a political act.’
Leader and professional stage combat specialist Roger Bartlett spoke to us of the importance of safety in learning and using the techniques and of the use of eye contact in communicating with a fellow performer to indicate readiness, focus and intention. Many of the delegates admitted to using real ‘slaps’ in staged performances in the quest for naturalism. I was reassured to learn that he explained resorting to real contact in such scenes is actually unnecessary, i nadvisable and potentially dangerous. It is definitely worth arming yourself as a director with some of the basic techniques to achieve the desired effect while keeping your performers safe and protecting yourself from liability. We tried out the technique for the ‘upstage/downstage slap’ (with the victim's back to the audience) but also the same technique for the ‘profile’ (side-on) slap and when the audience are in the round.
Sharing a space
The highlight for me was the conversation, chaired by Nick Hern himself, with Jez Butterworth – a funny and inspiring person. It was a treat to learn of his process, influences (such as Pinter, Greek tragedy and blues music), the structure of his work, and how he develops most of his ideas while walking his dog, Crosby, on Dartmoor. He spoke of the importance of a playwright being inside the theatre, with theatre people, as much as possible and how the six years he spent away from this creative home were comparatively artistically barren. He told us of his development as a playwright, having created ‘heat’ with first play Mojo, next needing to create ‘light’ in his work – indeed, doesn't his subsequent work glow warmly? He even spoke of his legacy, wishing to share his work with us now so that we carry it on after he's dead, a ‘hugely important’ practice.
The inaugural Amateur Theatre Fest was incredibly well-organised and thoroughly enriching. However, it seemed to be a well-kept secret and perhaps not many educational practitioners knew about it or its relevance. This event was a bargain at only £25 for early birds and £30 for those later to the party. My advice is, if they run another next year, jump at the chance and get yourself there!