29th August 2016
And so it’s over…the Edinburgh adventure.
Bit blue today, but greatly cheered by the comment below posted on my website – all the more meaningful as it comes from an ex-serviceman…
“Mr Mears, I saw your show yesterday, (28th), and found it extremely enjoyable, (although I don’t think enjoyable is an appropriate word for such a serious subject matter!) Certainly, it was thought provoking and led to a long discussion between my 16 yr old daughter and I afterwards.
So, here I am in the final week of Edinburgh…and audiences for This Evil Thing are slowly building, but with over 3,000 (yes, three thousand) shows to choose from, it’s not easy persuading folk to see my show rather than the other 2,999.
In the first week, the List (Scotland’s version of Time Out) reviewed the play and it was a glowing review with not one bad thing to say – but it only received three stars. The star system is, alas, so important in Edinburgh – one star more or less can make the difference between someone deciding to see a show or not.
Monday 8th August
So, I have opened THIS EVIL THING at New Town Theatre, Edinburgh, with the help of my brilliant team, director Ros Hutt and sound designer Mark Noble. Various teething problems with lighting boards and so on, but the incredibly mature and experienced Mark (aged 24) has dealt with them all.
First two performances last week went very well, including the two who travelled down from Dunblane and were very moved by the whole experience.
First two previews gone very well! One audience member who travelled down from Dunblane was very emotional at the end.
Also a nice interview here with some background to the piece.
Tickets for THIS EVIL THING now on sale here.
Flyer for THIS EVIL THING below
MICHAEL MEARS Flyer for THIS EVIL THING
Hard at work, running chunks of the play now, and indeed the whole play, and although I know all the lines (AND, I think, am saying them in the right order), there is still the little matter of the choreography of the crates to master – the nine wooden crates that are now playing such an integral part in the production.
When the action of the play shifts to France, I have to move them from where they have been assembled to suggest a prison cell in Richmond Castle, to create a French pier or jetty, while some evocative accordion music plays. It’s almost like doing a dance…but myself and director Ros Hutt soon realise there isn’t quite enough music in which to achieve this ‘scene-change’ … so Ros suggests ten seconds more of accordion. But the play is already a minute or two over its allotted length of 75 minutes for Edinburgh, so I say, ‘Let me try it with just five seconds more,’ – and that does seem to solve the problem. Apart from Bible and the spud.
Wonderful recording session this week with two musicians, and four singers from the Helen Chadwick Song Theatre to record music for This Evil Thing.
There is a congregation singing a hymn in chapel at one point in the play, there is a burst of ‘In An English Country Garden’ at another, and ‘I do like to be beside the sea’ when the conscientious objectors are surprised, once they’ve been shipped to France, by being given 24 hours liberty in Boulogne (to ‘think things over’ – whether they really want to carry their protest all the way to the threat of being court-martialled).
How to suggest simply but evocatively so many different locations in my play THIS EVIL THING? A ten feet deep pit in which a C.O. is imprisoned, a Methodist chapel, a work camp outside Aberdeen, a hospital tent, a seaside pier, the House of Commons, an English country garden, a prison cell in Richmond Castle… the list goes on…
Sunday July 3rd
Ros Hutt, the director of THIS EVIL THING, and myself were hoping to get up to Richmond Castle in Yorkshire to visit the very cells where Bert Brocklesby and other conscientious objectors were imprisoned in 1916.
There is still graffiti on the walls of one cell, drawn by Bert himself with a piece of charcoal he smuggled in – that graffiti being a rather fine drawing of his fiancee Annie Wainwright; as well as an image of a man bearing the weight of a cross. (The graffiti is being restored and preserved by English Heritage.) Timetables wouldn’t permit our trip however.