Sabina "Sabs" Netherclift on Jacques LeCoq | Part 2
1h 20m
·
The Uncensored Critic Podcast
·
The return of Sabina “Sabs” Netherclift!
Sabs returns to discuss more about her time with Jacques LeCoq on Paris and her love of movement all together.
We delve deeper into LeCoq’s work including the exercises, “The Invisible Room”, the “Seven States of Tension” and “Clowning”.
As well as when she turns her skills towards directing, having directed Helen Edmunson’s play “Coram Boy”. We talk how she likes to conduct the rehearsal room, how she approaches text and how her training in Paris helps with words as well as movement.
Sabs’ Instagram: @sabinanetherclift
Thanks for coming back Sabs, always a pleasure.
Oliver Gower
Spotlight Link: https://www.spotlight.com/9097-9058-5261
Instagram: @goweroliver
For enquiries and requests: [email protected]
Please Like, Download and Subscribe!
--- Send in a voice message: https://podcasters.spotify.com/pod/show/oliver-gower/message
The episode Sabina "Sabs" Netherclift on Jacques LeCoq | Part 2 from the podcast The Uncensored Critic Podcast has a duration of
1:20:36. It was first published
More episodes from The Uncensored Critic Podcast
Rachel Birch-Lawson on Movement
Rachel is currently Head of Movement at the Guildford School of Acting.
She trained at the London Contemporary Dance School, graduating in 2006, and in 2009 she was selected for a unique choreographic programme, Dance Beyond Borders, which took her work across Europe, including Germany, Belgium as well as across the UK.
She holds an MA in Choreography from Trinity Laban, a fellowship from the Higher Education Academy, moreover she’s an associate of the Institute for Leadership and Management and a Consent Forward Artist certified by the IDC (Intimacy, Director’s and Co-ordinators).
She has collaborated with the Guildhall School of Music and Drama and the British Youth Music Theatre.
Rachel talks me through her love of movement, how it means different things to different practitioners, her work with animal studies and how people who say “it’s not their thing” can grow to love and embrace it. Not to mention, how integral it is to the actor’s process, finding the body of the character, finding the big expressions and condensing it down into a natural character’s characteristics. Thus helping the actor to have a full body experience of the person they’re playing whether it’s for stage or screen.
Check out Rachel’s website for more information on her work and how to get in touch: rachelbirchlawson.co.uk
Rachel’s Instagram: @rachelbirchlawson
Thank you Rachel!
--- Send in a voice message: https://podcasters.spotify.com/pod/show/uncensored-critic/messageTom Kelsey on Understudying in The Shark is Broken and A Little Life
Tom trained at RADA and has been involved in a vast array of projects such as:
- Film: My Bloody Galentine
- Clusterf*ck - Web Series
Short Films - Number 11 and Digging
Animations - Kill Clause and Video Game - By Grit Alone
As well as on stage where he understudied a number of parts in "The Shark is Broken", a dramatisation of what happened behind the scenes on the set of Jaws at the Ambassador's Theatre. Including A Little Life, covering Jude St Francis (James Norton) and Willem (Luke Thompson) at the Harold Pinter and Savoy Theatre in London.
Tom talks his experience of preparing for multiple roles and being on alert for anyone falling ill so he could step in and cover. Talking about how understudies rehearse at the same time as the main case in different rooms, liaising with the main director and cast. Working together to make sure that if anyone can't perform one night, there is always someone there to cover.
Furthermore, we discuss how important understudies are, how you should prepare for these kind of jobs and how vital they are to a production.
Oliver Gower
Spotlight Link: https://www.spotlight.com/9097-9058-5261
Instagram: @goweroliver
For enquiries and requests: [email protected]
--- Send in a voice message: https://podcasters.spotify.com/pod/show/uncensored-critic/messageKate Godfrey Part 2 | Understanding Shakespeare
The return of Kate Godfrey!
Kate is an actress, voice coach and one of the leading Shakespeare experts of our time.
She returns to the show to unpick some Shakespeare monologues with me. Showing how she works with actors one on one to find the meaning in the text, helping them with how verse speeches are written and to play them as best you can.
Paying attention to the punctuation, how long or short a thought is, and asking what the sub-text/wider story is and why would they be saying the things they're saying now? All culminating in the actor knowing the best way to communicating the speech to their fellow actors or the audience alone whilst serving the text accurately.
The two pieces we look at are:
- Iago, from Othello: "Thus do I ever make my fool my purse" - Act 1 Scene 3.
- Gloucester, from Henry VI Part 3" "I can add colours to the chameleon" Act 3 Scene 2.
Kate takes me through both speeches and together we dissect the rhythm, identify the thought patterns, the motivations of the characters and uncover the best way to perform them.
I loved this episode and I hope you watching/listening who are actors who love your Shakespeare got as much from it as I did.
Keep a look out for our second Shakespeare analysis on the more comedic and light-hearted monologues coming soon, watch this space!
Thank you again Kate, always a pleasure.
Oliver Gower
Spotlight Link: https://www.spotlight.com/9097-9058-5261
Instagram: @goweroliver
For enquiries and requests: [email protected]
Please Like, Download and Subscribe!
--- Send in a voice message: https://podcasters.spotify.com/pod/show/uncensored-critic/messageJane Moriarty on Being an Associate Director, Prima Facie and Filmmaking
Jane Moriarty is a director, writer and filmmaker that has been a finalist in both the JMK Director's Award in 2019 and the Genesis Future Director Award with the Young Vic in 2018. She trained at Mountview after achieving her undergraduate degree in English, Drama and Theatre studies at the University of Cork.
She has worked extensively as an associate director on productions such as:
- Taming of the Shrew at The Globe
- Christmas Tree and Queen Ann at the RSC
- The Birthday Party at the Harold Pinter Theatre, dir. Ian Rickson
- The Inheritance, dir. Stephen Daldry
- Prima Facie, dir. Justin Martin
As well as director on:
- Rough for Theatre I and II by Samuel Beckett at the National Theatre Studio, where she was resident director in 2016-17 and 2021.
- The Apologists - Sydney and VAULT Film Festival in 2019
- Burn It Down - Theatre Royal Stratford East
She is also a brilliant filmmaker with her debut short film "Kitchen Tales" premiered at the Newport Beach Film Festival with music by Oscar winning composer Stephen Warbeck. As well as her other short "I Called You" currently doing the film festival rounds.
To see "Kitchen Tales" and more information about her upcoming work can be found on her website: janemoriarty.com
Jane talks about her work as an associate director, what the job is and how she works with the director for shows in the theatre. She was also part of the Prima Facie creative team that brought Suzie Miller's play to life with Jodie Comer, directed by Justin Martin.
We discuss how the show developed in the rehearsal room and the impact the show had on it's audiences. How they felt comfortable talking about their stories and how it relieved them from their past experiences similar to what the character of "Tessa" went through.
We mention her film work, the process of making them and how they make it from words on a page to in-action on the screen.
Check out her film "Kitchen Tales", a beautiful film about an Indian family emigrating to the UK and how their relationship is told through the type of food that's made in the kitchen.
Oliver Gower
Spotlight Link: https://www.spotlight.com/9097-9058-5261
Instagram: @goweroliver
For enquiries and requests: [email protected]
Georgia Bird on Stage Management and the Impact of Prima Facie
Georgia is the general manager of Empire Street Productions, working closely with the CEO and producer James Bierman making world class theatre for the London and International Stage.
She originally trained as a Stage Manager at Rose Bruford College and has been in the wings for shows both in the UK and overseas, including:
- The Audience
- Photograph 51
- The Inheritance
- The End of Longing
- The Mirror and the Light
- Prima Facie, amongst many more.
Georgia was the company stage manager for Prima Facie both at the Pinter in London and the John Golden on Broadway. She talks about how the production took shape from a stage management perspective, the day to day life behind the scenes, and how it was a family backstage not just another team to be part of.
We also touch on how important stage manager's are and their team that work behind the curtain. Making sure the set is set up correctly for the night, the actors have everything they need and that the show runs smoothly every night with no hiccups.
Furthermore, Prima facie was a show that touched many people, especially those who had in some way or another suffered the same abuse or assault that "Tessa" went through. Georgia reveals just how many people the show affected and made them not afraid to share their stories with the world.
Thank you Georgia, really great talking to you.
Oliver Gower
Spotlight Link: https://www.spotlight.com/9097-9058-5261
Instagram: @goweroliver
For enquiries and requests: [email protected]
--- Send in a voice message: https://podcasters.spotify.com/pod/show/uncensored-critic/message