DRESSING UP TOO
Sherman Cymru, Cardiff
Thurs 21-Sat 23 Feb
Involving all 120 of its youth performers, Sherman Cymru’s Dressing Up Too explores the relationship within themselves and between each other and how our ever growing consumer society influences perceptions of reality in an innovative catwalk-style theatrical performance that will prove challenging for both performer and audience member. It will examine the aspirations, goals and expectations that young people hold for themselves as they take the reins of the performance.
Tickets: £8/£6. Info: 029 2064 6900 / www.shermancymru.co.uk
Phillip Mackenzie, head of creative learning at Sherman Cymru, chats to Buzz about the production…
What is Dressing Up Too all about?
It is set on a 12-metre catwalk three metres wide with projection screens. It’s a chance for emerging directors that I am working with to each create a 15-minute piece for the catwalk. At the end of the catwalk are three microphones. I am using the catwalk because the catwalk is all about aspiration and image and the microphone is about what is inside and the internal world. It is a fusion of text, movement, projective image and sound.
What inspired you to reinvent the show this year?
I first used the set ten years ago and I’m continually trying to find templates that involve everybody at the theatre so that they get to know what it’s like being in a large-scale piece of work. I’m trying to invent new ideas for large-scale work and I am also keen to give young emerging directors a chance to work in a large-scale space.
How is this performance unique? What changes have you made?
The first one I did ten years ago had a completely different cast. I made the entire show so I worked with six groups of ten. The big difference is that the emerging directors here are creating work as opposed to me. I’m working with the older people in the production so have much less control of the material.
Is the performance aimed solely at young people?
No, no it’s absolutely for a wider audience. Most youth-set audiences are full of friends and family and then obviously the older people will bring their own audience as well so it will be quite a cross-range of ages.
How is the production process going? Have you encountered any problems?
No, I read a really interesting quote on the radio this morning saying if you, especially as a creative person, are already 100% sure of the outcome of something, you should be doing something else. It’s really important to take a risk to allow other people to take a risk as well, otherwise nothing would happen.
Your experience in theatre is endless, have you found it easy relating your ideas to a younger cast and audience?
I’ve been doing it for 10 years so have become quite skilled at it, but it’s always a challenge. There are some people that have a natural performance, others are quite shy and need encouraging in a different way. Then there is encouraging the emerging directors to try out their ideas.
Where did your inspiration come from? Was it your own personal experience?
The initial inspiration came from an avant-garde fashion spectacle and catwalk models for the Canary Wharf Japan Festival and Dupont in Paris. That was before I took up the job at the Sherman.
Do you think there will be a repeat performance in ten years time?
I say why not. We are dealing with a continual turnover of young people who are coming through the theatre, dealing with a turnover of who those emerging directors are and each time you do it, you learn a bit more to make it better for the next time.