Mykey continues, I would love to invite you to come along to see this show which has been created entirely through collaboration by this most beautiful, caring, supportive and dedicated group of performers and creatives who have become a family unit in themselves.I wish my cow would give us some milk More than anything I wish we had a child Please, pal I want a child Squeeze, pal I wish to go to the festival I wish you'd give us some milk Or even cheese I wish we might have a child I wish You wish to go to the festival? The poor girl's mother had died You, Cinderella, the festival? You wish to go to the festival? What, you, Cinderella, the festival? The festival? What, you wish to go to the festival? The festival? The king's festival? And her father had taken for his new wife The festival? A woman with two daughters of her own Look at your nails Look at your dress People would laugh at you Nevertheless I/You/She still wish to go to the festival And dance before the prince? All three were beautiful of face, but vile and black of heart. It is a place where people who might never want to consider professional performance can exercise their inner creativity with like-minded people and have the best of times in the process.īut most importantly, as I have discovered through this process, it is a place where people can come together to make new friends, family, and support networks, escape the difficulties of day-to-day life, have lots of fun, and make great art along the way. It is a place where many professional performers can find their feet and develop their artistry before heading out into further training or industry. But if I have learned anything from my experience with working with this most brilliant set of people, it is that in the truest spirit of community and togetherness that Sondheim’s lyrics ring evermore true… “No one is alone.” Community theatre is incredibly important on so many levels. ![]() Mykey continues, “It is true that over the past few years we have all been ‘into the woods’ in one way or another. “Before watching our production of ‘Into the Woods’, I’d like you to take a moment to think about yourself, your life, your family, your relationships, your friendships, and the events we have all been living through over the course of the last couple of years.” In my director’s note in the programme for our production I wrote… Throughout the entire process, they considered the importance of sustainability in relation to the design of the show, which was finally realised in an amazing series of sets, props, puppets, and costumes, created entirely through reclaimed and recycled materials, passion, determination, blood, sweat, and tears! In the production department, our volunteers worked hard to create at the highest level possible. From long and meaningful discussions around the themes and contexts of the production, movement and embodiment workshops focused on building their characters, considering how to create atmosphere and communicate meaning through non-verbal language, and even how we might incorporate moments of sign-assisted English into the movement language of our show (in a bid to take a step toward considering how we might improve accessibility within future productions), no new stone was left uncovered. Mykey explains that the process started long before they even began to speak their lines or sing their songs, the company navigated their way through new experiences within a rehearsal process that for many, was entirely alien to them. It’s no secret that they chose to perform one of the most complex and difficult pieces in the musical theatre repertoire as their “come-back show”, but from day one, the entire company of performers, makers, and volunteers faced the challenge, head-on, from the first rehearsal. Mykey explains that it is in this space where great work and magic can happen.Īfter such a long time apart in the wake of the pandemic, Junction 4 wanted to return to the rehearsal room (and the stage) with an entirely new approach to making productions, with a focus on raising the aspiration of what could be achieved in a community theatre setting. To allow a space where performers, creatives, and production teams can feel united and safe to play and explore together. ![]() ![]() to create and hold space for great ideas to live and breathe. His standpoint is regardless of the setting, be that education, amateur, community, or professional theatre, every single person involved is an artist, with a million different ideas and outlooks that are all just as valid as his own. ![]() Mykey’s approach to directing is through a collaborative rehearsal process, where every actor, creative, and member of the team has a voice in what and how to create.
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