Tuesday, August 23, 2016

Viola In Souliloquy.

Viola In Souliloquy from In Souliloquy on Vimeo.

She found her song playing not who she was.

Viola In Souliloquy
By Tilly Lunken
Directed by Victorine Pontillon 
Performed by Peyvand Sadeghian

After William Shakespeare’s Twelfth Night

In Souliloquy is co-devised and produced by Tilly Lunken and Victorine Pontillon.


Viola in the play has incredible agency as a character, but only when she is dressed up as a boy – she sets the entire plot in motion with her decision to disguise herself and make her own future. The confusion that this causes is tidied up neatly at the conclusion of the play.

Our Viola is a little wistful for the freedom she had and she well knows that her husband may not have loved her at all if they had not met as they did and she became his closest confident. 

I found this character quite hard to write, she didn't want to be captured - but I think eventually we got the balance between her living her 'happily ever after'and still being wistful for another life she had a taste for. I think the Peyvand's performance is beautiful - it's considered and reflective and gazing out into the window she just glows with character. It's very moving.  

Monday, August 15, 2016

Richard III In Souliloquy.

Richard III In Souliloquy from In Souliloquy on Vimeo.

Richard III In Souliloquy
By Tilly Lunken
Directed by Victorine Pontillon

After William Shakespeare’s Richard III

The Richard of the play is a proper villain, who revels in his evil and is cowardly in his ultimate demise.

Our Richard III places himself into a history acknowledging why he was written this way and whilst admitting he did terrible things, he deserves the due respect accorded to the rest of his family (in spite of their great sins). 

Richard as a character of course comes with immense mythology - there have been many books, theories and discussions around his place in history and literature. Our addition to this includes a great performance that captures the true cost to a person's legacy of villainy - that is then exaggerated and transcribed for the stage and history. 

Sunday, August 14, 2016

Miranda In Souliloquy.

Miranda In Souliloquy.
By Tilly Lunken
Directed by Victorine Pontillon
Performed by Tessa Hart

After William Shakespeare’s The Tempest

A Princess who is an island.

In the play Miranda marries for love in a match that reunites her family and leaves behind her life and the magic of the island. She is swept up in love and plot and given no time to reflect on any choices she makes. 

Our Miranda is content in her heart but her mind is used to freedom and not being bound by the strict social conventions of being a Princess at Court. Her story falls into what happens in the 'happily ever after' genre - because what does that mean?

Working with Tessa was great, we both love the lyrical quality of her voice and how her eyes shines - she is Miranda and she really captures the lightness in tone of the character as well as taking on the seriousness of feeling trapped by her society and happiness.

Tuesday, August 9, 2016

The Soothsayer In Souliloquy.

The Soothsayer In Souliloquy from In Souliloquy on Vimeo.

The Soothsayer In Souliloquy
By Tilly Lunken
Directed by Victorine Pontillon
Performed by Chris Rogers
After William Shakespeare’s Julius Caesar

The Soothsayer is a warning in the play to Caesar but his reason is drowned out by others and so fate is sealed. He has little voice and is dismissed but shows great insight.

Our Soothsayer speaks of prophecy, of consequence and a little of himself and where he stands in the ruins of what path Rome takes. His voice is positioned in history and time and yet reaches beyond all that.

Chris' performance is a really intense and closely observed one. This man knows too much and cannot stop speaking this knowledge, even if he wanted to. This one also really benefits being just listened to with your eyes closed, his voice has such depth and feeling. 

Listen. Caesar didn't and look where that got him. 

The Soothsayer In Souliloquy is part of Cycle 2 of the In Souliloquy project.

Monday, August 8, 2016

11 Thoughts on Preacher Season 1.

There are spoilers for the entirety of season one in this post! So don’t say you were not warned. Also, usual note on that I don’t really watch the gory bits and I am not here at this party for the gross and violence. Having said that, most of it was pretty much integral to the world building and plot so… you take it and hide behind a cushion.

1.     Dominic Cooper is Jesse.

I’ve loved Dominic Cooper since The History Boys but he often plays characters where you can see him as an actor. Dominic Cooper as Howard Stark etc. but here he inhabits this role so completely it’s mesmerising. He’s not anyone but this preacher – he stinks the sweat and is him. For me it was a joyful performance throughout, complicated and tightly wound. I can’t wait to see where it goes next. Also, for a show that did no explaining as to why Jesse was chosen by Genesis – Dominic Cooper’s performance kind of did. The presence of this person here, now means something. His boots, his skinny jeans, his collar and his hell of an accent.

2.     Tulip Love.

This lady is kick ass and complicated. Woo! Her introduction was insane and just the crazy side of awesome. Super sassy, mouthy and strong she appears but she is also just the right side of broken and her eyes shine with vulnerability. One of the most important flashbacks was her and Jesse as kids and their connection there cements how they are connected now and will forever be. Anyway, it’s super refreshing to have a female lead that says what she thinks, does what she wants and knows who she is. Love her!

3.     Cassidy’s loyalty.

I really loved the friendship between Cass and Jesse and how this developed and deepened throughout the season. It’s kind of hard to sympathise and empathise with someone who literally sucks blood to survive but he manages. He’s funny, tough and a real good listener – what more do you want in a best mate? He rounds out the main trio in a nice way, the love triangle thing not hopefully going to overshadow the fact he loves them both. It's hard to know what somebody like Cass believes in, so it's kind of nice he found Jesse.

4.     Emily’s Small Smile.

I feel Emily is underrated – she stuck around and put up with Jesse’s shit long before all of this went down. True, she was head over heels for him but still, there was something inside of her that connected with him. She knew he was not as he seemed and yet she helped him anyway. I feel the plot complications that happened with the character (becoming friends with Tulip – yeah ok /feeding Miles to Cass – um what) weren’t explored enough in the last couple of episodes to justify that murder. We needed to know more, and hell now we won’t. Although I live in hope – Lucy Griffiths has a fab screen presence.

5.     The Cowboy Stuff.

Ok, so bear with me here as someone unfamiliar with this world and not that interested in violence the only clue about who this person was came from reading some recaps. Dear Showrunners – assumed knowledge is ok but when without it your character doesn’t make any sense at all you have a problem. The Saint of Killers is an interesting concept – just use it. Don’t be cute. And do we really have to spend that long in his personal hell? No. I would also argue that the violence in these sections was amongst the worst in the show and not strictly necessary. Yeah. We get it is hell. He kills people. He wears a hat. 

6.     The titles were kind of awesome.

Boom! Ace overall. But also the opening one a bit off. AFRICA. Really guys? An entire complicated collection of countries and cultures and you go with AFRICA. If you can manage ALBUQUERQUE you can manage to not be lazy and stupid. The joy of these were how specific they could be – it was a nice nod to the comic origins of the story and there is potential for them to be used more. Less generic slightly awkward unconscious racial bias and we are cooking with gas.

7.     Donny Who?

I’m not sure anyone figured out who Donny was or what he needed to be in this show. And his switch in the last episode was really weird and happened entirely off screen. Cop out much? Hell yes, we have seen various guises of this man and how he travels to them – why do we not get to see his conversion properly and thought process after the confrontation in the church. Interesting to note in his interaction with the car boot (which I didn’t watch) I totally thought he had killed himself – nice twist with the hearing thing.

8.     Eugene’s return.

Ah, this was heart breaking, but excellent use of the character. Having not read the comics, I really loved this kid. I felt terrible for him. I thought it was a really nice use of the form and medium to have him return as he did. I hope we see a lot more of him and I hope he does escape hell – whether to return as a villain out for revenge or to find some sort of peace.

9.     Annville’s Acceptance of Violence.

YEAH IT’S TOTALLY NORMAL THAT YOUR SHERRIF STRANGLES BLEEDING OUT ANGELS IN BATHS. Good lord. Sometimes I felt this show need to get a grip. I mean I know it was stylised violence but I couldn’t watch a lot of it. I don’t know about you but frequently I have hundreds of bodies piling up with loads of angels killing each other in my motel room all the time. Great scene, great sequence. How the hell did that get cleaned up? There was a vibe of weirdly charged violence to the place that when it got razed I’m sure someone somewhere took a breath and felt the earth was cleansed. 

10.  Angels.

Quite creepy. Into comics. Lonely.

11.  The meat thing.

I am frequently thankful to be vegetarian!

Preacher Season 1 is out now – you could pay money to an evil company that doesn’t pay tax and mistreats its workers or you could liberate it from a biscuit tin yourself.

Saturday, August 6, 2016

Yorick In Souliloquy.

Yorick In Souliloquy from In Souliloquy on Vimeo.

No one truly knows another well.

Yorick In Souliloquy.
By Tilly Lunken
Directed by Victorine Pontillon
Performed by John Last
After William Shakespeare’s Hamlet

In the play we meet Yorick only in death and only through the voice of Hamlet who clearly is focused on knowing his own self rather than who’s head he holds up. He isn't a character and yet almost everyone exposed to Shakespeare knows his name.

Our Yorick is angry. Angry at being remembered in a way he does not want and at being reduced to a prop for someone else’s story. He also challenges how well we know anyone - who says as a clown and the life of the party he could not end up somewhere dark and see his Once Prince again. We bear witness to the false remembrance of this character.

There are no skulls.