“Have you noticed this new, surging life in the theatre world?”
So begins Richard Findlater’s article (see image to the right), published in the Evening Standard on Monday 14th November, 1960. This particular article captures the excitement and indeed, need, for a new kind of theatre in Britain. As the television set found its way into more and more homes, something needed to change within the world of the theatre to entice the public through auditorium doors. This change is aptly described by Findlater, who writes,
“Into the British theatre of the 1960’s – prematurely looped with crepe by ever-ready mourners – come new bewitching sounds…The sound of unfurling blueprints for new buildings. The sound of men talking about new buildings. And even the sound of buildings being built…TV is supposed to be killing off the live theatre. Yet suddenly there is the stir of new life – not only in plays and players but in bricks and mortar, too.”
Chichester Festival Theatre truly was an exceptional feat of building work, not least because the money raised for the build came from private donations and the local community, who obviously felt the same as Findlater: “We need more theatres and we need new ones.”
It does not seem very long ago that I was writing about looking forward to beginning rehearsals for Out of the Archive, and yet here we are already on the other side of the Scratch performance!
The auditions were well attended by a mixture of current and previous youth theatre members, as well as other 16-25 year olds in the local area who have never attended a group at CFT before. It was a strong group of performers who we had to whittle down to a cast of just seven, based on the types of characters we had to fill.
We then entered into an intensive rehearsal process over two weeks. Playing two characters in two of three very different plays is no easy task, but this is what we have asked of the majority of our actors. We began by blocking through each of the plays very simply – to get the shape of it and a feel for the changes in pace. Through this process we were able to pick out the key pieces of set, costume and props that we would need and used temporary found objects to represent them (including a seagull created from a large toy mouse and a rabbit ears headband, it’s amazing what you can find in a rehearsal room).