Red Heart I've been in the cupboard, where the analogue photos live. Where the old Time Out (from the days we bought it, lived it, breathed it) reviews and previews are filed.
I had come out of Mime School with the great fortune of having met two extraordinary women with whom we set up a company called Three Women and toured UK and Europe 1980-83 (that's a tale for another day).
I decided I wanted to do work that incorporated both more movement and more acting. I'd seen a solo artist in Edinburgh who inspired me with the possibilities of this mix. Reader, I married him. I remember the day my husband said to our friend Rex Doyle, at that time working at The Crucible in Sheffield - do you know any directors who might want to direct a physical theatre performer? This was before the term or concept of 'devised work'. Rex put himself forward.
I was fortunate in turn to be able to ask Rex to direct my first devised solo show (I had performed the scripted, if silent, Act Without Words in Australia). Everyone's first work is autobiographical, so they say and I performed Red Heart - a piece about growing up in the thin suburban rim of Australia - at the Salisbury Arts Centre in 1983.
I had come out of Mime School with the great fortune of having met two extraordinary women with whom we set up a company called Three Women and toured UK and Europe 1980-83 (that's a tale for another day).
I decided I wanted to do work that incorporated both more movement and more acting. I'd seen a solo artist in Edinburgh who inspired me with the possibilities of this mix. Reader, I married him. I remember the day my husband said to our friend Rex Doyle, at that time working at The Crucible in Sheffield - do you know any directors who might want to direct a physical theatre performer? This was before the term or concept of 'devised work'. Rex put himself forward.
I was fortunate in turn to be able to ask Rex to direct my first devised solo show (I had performed the scripted, if silent, Act Without Words in Australia). Everyone's first work is autobiographical, so they say and I performed Red Heart - a piece about growing up in the thin suburban rim of Australia - at the Salisbury Arts Centre in 1983.
Click on the images above to see them in full.
There followed a number of successful collaborations where the work careered from silent pieces Red Heart and Women's Parts to minimal text Wendy Darling to dance/action/multi-charactered script Frightened of Nothing to full blown monologue play Hiroshima Mon Amour (no relation to the amazing film of the same name).
Rex led the devising process, serving as dramaturg and director in shows that varied widely in style. He worked always with a light touch, a wicked humour and huge humanity.
The photographs on these three posters above are all by the wonderful Douglas Robertson. The Piaf shot is either by Douglas Robertson or Dee Conway.
There followed a number of successful collaborations where the work careered from silent pieces Red Heart and Women's Parts to minimal text Wendy Darling to dance/action/multi-charactered script Frightened of Nothing to full blown monologue play Hiroshima Mon Amour (no relation to the amazing film of the same name).
Rex led the devising process, serving as dramaturg and director in shows that varied widely in style. He worked always with a light touch, a wicked humour and huge humanity.
The photographs on these three posters above are all by the wonderful Douglas Robertson. The Piaf shot is either by Douglas Robertson or Dee Conway.
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