Contributions from participants

Is the latest Scott Rankin Big hArt play, This Is Living, an example of brilliant community theatre highlighted by the powerful evocative performances of trio Anne Grigg, Lex Marinos and Bruce Myles? Or is it a powerful evocative drama overly complicated by parallel worlds dramatised by skateboarding local kids and whispering elderly Witnesses?

Unarguably though, the play was beautifully held together with tender ballads played by the quartet called the Dunaways, and sung on a clean stream of emotion by Anne Grigg.

Scott Rankin’s play about the interwoven intimate lives of small-town people certainly held a sell-out crowd crammed into the old Wynyard Theatre transfixed. So much so, that the ‘young people moments’ created in many the indignant moment of fear so often felt in reality when an elderly person is confronted by the energy and vitality of the young. The crowd came in intending to be pleased by a quality performance being held in their home town, involving many of their young and not-so-young residents. They cheerfully chatted on the pavement for the additional half- hour it took before the doors were opened. They sat uncomplaining in their cramped plastic seats for the duration, and streamed out full of pleasure at having been entertained for two hours - living proof of the value of community theatre. 

The complexity of This Is Living is enormous. The central tableau is frequently paused while (almost too) subtly connected side platters are presented. A group of memories from our common past offer a garnish to the present. This is portrayed by older people from the local community, clad in newspaper-printed washed-out clothing, whispering their lines which have been taken from reminiscing interviews. They are sometimes, enormously effective; on other occasions, an untimely halt to the fascinating unfolding of the lives on stage. A few among the older members of the audience were visibly moved by voices which could easily have been from their own pasts.

Data projections back-stage and on the side walls, and complex moving light effects added even more sensory stimulus, with further complexity introduced by appearances by local skateboarding enthusiasts. Their presence was heard, not in spoken lines, but through the resounding crashes, scrapes and bangs of the boards, and the loud music. Marvellous parallels of small town life: but often too invasive to allow some in the audience the luxury of staying with the magic. 

A fascinating evening, and a performance worth attending; perhaps as much for its positive effect on small town culture, as for the stage performance.

Rees Campbell

 

 

Scott Rankin’s multi-layered work is highly technical and often circular themed. This is evident in the new production titled This Is Living, which starts at the end, has a circular stage in addition to props; and is played in a local pub/theatre where many local stories have arisen over the years. The show will soon become local history and photographs will see that it is remembered by a few people who get awfully nostalgic and decide to erect a museum containing important community events such as this one.

Having experienced most aspects of art production including film, acting and backstage, I can say without question that it is hard to bring so many different aspects of the arts into one piece. In This Is Living, Scott and his crew have done this. Bringing many different age groups, spanning from young people and adolescents to people near the middle of their life and older people, accentuates the circular theme by having a lifecycle of people. This will be beneficial to communities to bring an understanding of each age group.

Darcy Rankin – Wynyard High School

 

I found it a great learning experience to participate in the workshops and view the show, This Is Living.  It was an experience which evoked the unfolding of many memories, some sad, some happy. As the story unfolded, I almost felt that time had stood still and that I was living in the 60’s again; so much of the dialogue was so relevant to me.  It also reinforced my thinking about my future, the changes and challenges that I may have to face as I am now in my 81st year. The actors skillfully portrayed so many facets of living such as loneliness, friendship, depression, loyalty, discontentment, love, infidelity, and the ending of life.

The teenage skateboarders with video back-drop represented the youth of the community with excellent dexterity. They brought the exuberance of youth into the show: not all have the same opportunities. We need to be careful not to stereotype images concerning the young and old - they are individuals.

As a pianist with a great love of music, I was enthralled by the sensitivity and tenderness in the music presented by the Dunaways.

Yes! This Is Living was an experience - a story line with much to ponder on.

Margaret Pegus

 

This is Living, written and directed by Scott Rankin and produced by Big hART had its world premiere at the Wynyard Wharf Theatre on Friday 22 March 2009. 

This is Living is a story of a married couple, and the love triangle they are involved in. The main actors - Bruce Myles, Lex Marinos and Anne Grigg - all play the roles of ageing citizens on the cusp of retirement and dealing with all the problems that come with old age.

I spoke to a few of the people involved in This is Living and they all seemed to have been enjoying themselves and benefited from the opportunity they have been given.

I would not recommend this show to many children or teenagers, as I myself did not enjoy the actual show very much; although I did appreciate the amount of work that had been put into it.

I think most people aged above twenty would enjoy watching This is Living, while everyone would benefit from watching. I think it is especially aimed at people aged fifty onwards, as they could relate to the things happening in the lives of the main characters, like dealing with old age, retirement and reminiscing on old and forgotten memories. The older people in the community could relate to the show, because it reminded them of past experiences and forgotten times.

The whole show linked together fairly well, but the skaters and the heavy metal music could have been worked into the show better. I would have liked to have seen the younger people and skaters more involved in the show as they represent the passage from youth to old age. 

Before the show started, while standing outside, I thought the skaters on the ramp and the choir provided good entertainment while waiting to be seated.

The audience was not involved very much, so I would also have liked to have seen more of that. The Dunaways, the band who played at the start and during the show, were very talented and entertaining. 

This is Living is now moving on and being shown in Latrobe and in a couple of places in Southern Tasmania. I am sure that it would be a positive experience for most who attend and they will be very entertained by it.

Jacob Handley – Wynyard High School

 

In his latest creation, Scott Rankin has produced a quite different and exciting theatrical experience. His story is told in a novel setting, unfolding on a circle of reality, set in a sea of nostalgia, with echoes of youth flashing across the background. This is Living is a new look at the age-old eternal triangle theme, beautifully portrayed by the professional actors in the cast. The theme unfolds in the context of a ‘small-town’ environment and experience. Personal stories become a vital part of the plot by clever use of historical material, mostly personal stories gathered from interviews, which are expressed through poems by a chorus of local citizens – ‘witnesses’ or ‘ghosts’ from the town’s past.

The evening began outside the theatre, where a group of young people were vigorously skate-boarding against a counterpoint of harmonic singing from a seniors’ choir. The scene was thereby set for a tale of failed relationships in later life which had started with so much hope in youth.

Jan (Anne Grigg) and Morgan (Bruce Myles) have been married over 30 years, and have a close friendship of similar longevity with Ron (Lex Marinos). Morgan, a press photographer, is the dreamer; Jan the practical housewife; and Ron the pragmatic ex-sportsman who has remained ‘footloose’. The unfolding account of their past and evolving relationships is triggered by Morgan’s retirement, and we are drawn inexorably into an increasingly complex web. The skilfully balanced performances by the principals makes the characters totally believable, and we can all too readily identify with them as they grapple with the difficulties which beset them.

The music, written and performed by The Dunaways, is much more than incidental; it adds immeasurably to the effect of the story, as do Anne Grigg’s haunting renditions, as Jan, of the main songs. 

It was great to see the involvement of youth in a theatrical experience, but - on opening night - they did not seem to achieve full integration with the core story; and times, almost a diversion. There were also some awkward moments between the Witnesses and the main cast, but these appeared capable of smoothing out over time. Certainly, the use of local people in these roles moving around the main performance platform was very effective, working well as an indicator of ‘moving’ time. The community participants are to be congratulated for the dedication, which was apparent in their performances.

The unexpected twists and turns of the plot maintain our interest, with perhaps a slightly slow area early in the second act; but with a build-up to a somewhat enigmatic climax and a resolution of sorts. The production as a while is certainly a rewarding, if confronting experience; and the occasional touches of levity are welcome. In the end I was left with this thought: “This is living: it ain’t pretty, but you just have to get on with it as best you can, and enjoy the memories.” It was a powerful and well presented message.

Endzzzzz

Michael Cook

 

 

This Is Living is a story of love and betrayal: underneath the humour is the cold bitterness of reality. With this, Scott Rankin has formed a trip down memory lane using many archival photographs and oral histories from individuals around the community. This Is Living also gives an insight into the lives and skills of younger people. Witnesses (played by older people), the three main characters (Morgan, Ron and Jan), the skateboarding, movie visuals, lighting and the band all work hand-in-hand to make this idiosyncratic show. The story line goes into depth about how Morgan (Bruce Myles) and Jan (Anne Grigg) seemed to be happily married until Morgan retired; and that’s when the dominos really start to fall.

Anne Grigg plays the beautiful role of Jan in This Is Living. She was my favourite and her vocals were superb, she really came through as my favorite character. The music is a great aspect of This Is Living; it enhances the most enjoyable scene of all, where all the Witnesses get up and dance so freely it really makes an uplifting atmosphere. I do think that the Witnesses stories had so much potential if only they could have been heard from their hushed voices.

All too often you get a show that just doesn’t hang together, but This Is Living really did. 

Samantha Flight – Wynyard High School

 

The new stage attracts the eye like a full moon tilted in the sky, surrounded with many stars.  Around the stage ghosts are seen drifting and observing the progress of the world.  Moving at speed, boys on skateboards can be compared to life with all its ups and downs.

Freda Cook

 

 

Music ensemble, the Dunaways, exceeded my expectations in creating soulful melodies inspired by 60’s pop and folk music.  And so I ask the question: does the music suit the show and vice versa?  The answer is an emphatic – amazingly!  For those of you attending, all I can say is be prepared to be impressed.  Big hART has once again put on ‘the big show!

Dillon Roberts

 

 Janet Sell’s Letter to a Friend

Dear Chris 

You asked the other day if I miss life in London and all the joys of live theatre and music? It’s hard to explain, but I’m much more involved in it here, as a participant, not just an observer. To prove the point, we’ve just had the world premiere of a performance piece called This is Living in the old theatre here in Wynyard. It’s going to be part of a festival called ‘10 Days on the Island’. This work has evolved from many months of interviews and activities in the community, involving schoolchildren, members of Service clubs, nursing homes, local choirs and senior citizen groups.  The professional writer/producer, Scott Rankin, (who by the way is very dishy) lives locally, and he has used his knowledge of the State to create a show which is designed to make people think about current social issues. The main theme is that young people are now growing up in an ageing community and both young and old have to face that reality and learn how to make the most of it.  Being part of that older group we know what it’s like! 

Several friends were selected to perform, and so for months I’ve been hearing snippets about the workshops and preparation with the production team.  It’s been obvious that they have been having a ball!  In fact I’ve been a bit envious.  So when I was offered a chance to attend a Workshop with a professional theatre critic, James Waites, I leapt at the chance.  On the first evening, a small group of us met James for dinner and then attended what was to be the final dress rehearsal. Due to some last minute hitches, all we really saw was the technical rehearsal.  In many ways this was more interesting.  The set was so different, nothing like the beautiful but complicated and frequently changing scenery we have for our annual Music Hall, which you’ve heard me complain about before!  The technical rehearsal revealed some very different problems, adjusting more sophisticated multi-media equipment and performance to a very old theatre, with a mix of professional and non-professional crew and performers, both young and old (some in their 80’s)! 

The Workshop was great, held in two parts before and after seeing the opening night.  Discussing what makes a good theatre critic was enlightening, although I am sure few are as empathetic as James.  He provided lots of examples and insights into what makes a theatrical experience special, and I will be looking with fresh eyes and hopefully a more open mind.  Different to my previous rather black-and-white judgement of, simply, ‘whether I’ve seen a good show or not’!   

After all the discussion and anticipation, I have to admit that opening night was a bit disappointing for me.  The acting and music were good, there were some amusing lines, the story was powerful but there was something missing.  Something to do with connections, between the old and young,  But perhaps this was deliberate?  

Many in the audience were asking in the interval: ‘What’s it all about?’ - ‘Why was so and so doing that….’ - ‘Why were the kids on skateboards?’ They were confused about the story: as was I, in parts, even with the preparation.  I found myself trying to defend the show, saying how lucky we were to see a premiere, the birth of a new concept in theatre.  Their argument was that they had paid to see a show and expected to be entertained, as I would have done before the workshop! 

Do you remember the first time we saw a Mike Leigh play, where the actors had not been scripted but worked it out as they went?  That was pretty powerful stuff, novel at that time – was it the 60’s or 70’s, I’ve forgotten?   Performances have moved on from there and I think this piece is the next step: the title says it all ‘This is Living’.  Community theatre is much more evolving and involving than mainstream productions and the intriguing thing for me is that the final performance on the Festival Tour is likely to be very different to what we saw here on opening night.  Already I’ve heard that there were substantial changes in the next night’s performance, and some of those reflected our comments at the workshop! Isn’t that fantastic? 

When we moved here eight years ago I had no idea of the creativity rampant in this area. It’s just amazing, and as Anna said recently – it must be contagious!   

So no, I don’t really miss London at all, but it would have been nice to have shared this experience with you! 

Cheers,

Jan

Janet Sell 

 

This Is Living

An ambitious production that not only had Director and Writer Scott Rankin on the edge, but also the audience.

Big hART has a record of drawing inspiration from the very communities where the show is performed. Wynyard is no different. The Witnesses are older locals and some couldn’t live much closer. Dicko and his pumpkins for example live over the fence from the Wynyard Theatre.

The story is a familiar one to many of us. We are an ageing community - confronting our mortality, reassessing relationships, and reflecting on memories.

Two stages work simultaneously to accommodate to it. The original stage is taken over by the young performers who are a constant reminder of our youth - emerging from the darkness at various intervals to reveal intensely good times. The new elliptical stage is set among the audience on the main floor with the Witnesses providing a conduit for our thoughts and memories, several seamlessly double as lighting assistants.

The juxtaposition of stages is really a statement about life itself. The main characters have lead dual lives too. Revelations, non-disclosures and pragmatic tolerance over time provide interesting insights into one couple’s journey with their best friend.

Music by the Dunaways, memories projected onto the theatre walls, the ebb and flow of the Witnesses all support the unfolding story which, in Scott Rankin’s own inimitable style, has a surprise in store after the final applause.

Does the show ever end?

Richard Muir Wilson

 

 

And so King Scott

stands tall amongst the minions

bustling to his bidding

with friendly smile and outstretched arm

ready to bestow

a thoughtful greeting or helping hand.

Benevolent dictator

whose blink can cause 

not chaos in the rainforest

but a storm to tear through dressing room

and tech director, through the musos and the chorus

sweep under stage boards

onto those whispered words

now hanging

impotently in time

While actors pray for a royal pardon

but fear as punishment,

exile from this promised land of fame

And so King Scott

admires his laden trestles

gifts of plenty from those who love.

Tangled cables, screens of buzzing light, or melody of tune

invention of wood and steel, of electricity

and magic in intention

And so King Scott

stands hidden in the darkness

while his actors and his players take their bows

amongst the whistles and the stamping

the adulation of applause

for this night amongst many

in the kingdom of hedonism

And they bow to him

© Rees Campbell 2009