Although You Made Me : Oliver was a drama performed in the Garrison Theatre it involved a whole new way of working and Morag Mouat (director/producer) gives an insight into the process.
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"I am delighted to let you know that your application on behalf of Islesburgh Drama Group for Refresh Now #2 has been successful and we're very excited to be working with your team on a new project."
The start of an email Stephenie Pagulayan, who wrote You Made Me : Oliver, received which set us on this new and exciting journey. Since Lockdown the group has been on a massive learning curve starting with Martin Summers encouraging us to join in play reading Zoom sessions to filming a play in the Garrison Theatre. Along the way director Jennie Atkinson and playwright Lesley Leslie pushed the boundaries further by producing three radio plays!
The rules regarding the project were strict and had to be -
- only two folk on the stage at one time
- social distancing so never closer than two metres
- four cast members
- only two cast members in each dressing room
- one technical rehearsal
- one dress rehearsal
The view from the lighting box
We both agreed that with these restrictions we needed Keith Morrison on board to design the lighting for this production. As usual Keith came with great ideas and we settled on using plain screens for the backdrop to the play. However, we had none so Martin sent out a request on Facebook and the UHA hostesses from the Gilbertson Park Games Hall offered several for us to use.
It needed to be a short rehearsal period as we were still working on A Life of Wir Choosin, so with three weeks in the diary we all set to work. More Zoom rehearsals ! I tried to adapt what I would do in a rehearsal space through the screen which was challenging and if we had more time there were more exercises which could be easily adapted.
Stephenie's script lent itself to the guidelines as she had written only two cast on the stage in each scene. Unfortunately there were five of a cast and although we thought about doubling up I have never been a fan of this as it confuses the audience unless the whole cast are involved. After discussions with Shetland Arts Trust (SAT) they agreed we could have five cast members and they would stay socially distanced in the auditorium.
SAT were excellent to work with from initial contacts to the practical aspects of our time in the theatre and filming the project.
What a challenge for the cast - Zoom rehearsals followed by one technical and a dress rehearsal! The play was set in small claustrophobic rooms so there wasn't need for much movement but it all had to be done at the technical. Challenging, but the cast nailed it and the following night the dress rehearsal went well. We were all so happy to be back in the Garrison and able to perform!
Writer Stephenie Pagulayan watches the filming commence
I was keen for it to be filmed as a play - continual to keep up the energy and momentum of the piece. This was particularly important for Kevin as he was on stage the whole time. After discussions with JJ Jamieson, and when he saw the technical rehearsal, he agreed with the proviso that we could go back and redo any areas which needed extra filming. As it was the cast nailed in and the only bit which needed redoing was one word which Kevin and Donna-Marie said in unison.
During the filming I was behind the screen and moved all the furniture - I used to be backstage years ago so it was interesting to be involved in that side again. Doreen, our stage manager, would have been very proud of me - all dressed in black with lists and stage plans to keep me right!
Morag Mouat (left) and Stephenie Pagulayan outside the Garrison Theatre
Finally to the script. You can only produce good drama if you have a good script and I was so fortunate to have a stunning script written by Stephenie Pagulayan. This is one of six plays which she has written but my favourite so I was delighted she chose this play and myself to direct it. We changed very little of the written words, just a couple of things that couldn't work due to the social distancing rules. I hope we achieved her vision of what she wanted the play to look and feel like.
We had a good feedback session a week after we filmed the play. I felt this was important so the cast could le me know what worked for them and what didn't. There were some good ideas and if we had to do it again I would take them on board. Although we are hoping we will soon be back in our beloved Garrison we have to learn from all our Lockdown projects and, where we can, feed this into our continuing development as a drama group.
Morag Mouat