By Patrick Marber
A brand new model of an international vintage by means of certainly one of Britain's best-known modern playwrights. After omit Julie relocates August Strindberg's omit Julie (1888) to an English state condominium in July 1945. during this radical re-imagining of theatre's first "naturalistic tragedy" the occasions of Strindberg's unique are transposed to the evening of the British Labour Party's "landslide" election victory.
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Extra resources for After Miss Julie
But the argument is more important than whether or not The Wedding Community Play Project could and should have been developed further. My view is that without a solid, administrative and artistic infrastructure for community theatre in Belfast, without a sustainable programme of activity, such opportunities will always be lost, as community theatre groups lurch from new project to new project. Jo Egan, commenting on the fact that the project was financially under-resourced (leading to an inability to pay the expenses incurred by cast members because of the punishing rehearsal schedule, the employment of a skeleton administrative and production team, and the underpayment of some professional workers) says: ‘The real under-resourcing for me is in the attitude of funders.
Or, if we had been able to summon up more courage, could we have taken the exploratory process to a new level? For me, this has been a frequent and challenging question within the context of a 17 gerri moriarty Belfast which is often referred to as a city ‘emerging from conflict’. Do we disempower ourselves through self-censorship, or are we making delicate judgements about what is and is not possible at any given moment in time? At this point, my attention was also distracted in another direction, as difficulties both among the professionals working on the project and between them and the participants became more and more apparent.
Paula McFetridge, an experienced theatre professional, came on board as production manager. Working closely with Jo Egan, she began to resolve the mass of logistical detail – getting the cast from one venue to the next in the right order and wearing the right costume, co-ordinating the stage managers’ mobile phones, working out at what point in the journey audience members could go to the toilet! Key members of the group (workers and participants) dug deep into stamina, patience, dedication and determination, and the ensemble approach which Jo Egan and I had tried to encourage during the workshop process and in directing the house scenes paid high dividends.