WORKSHOP
SERIES-THE CLASSICS IN PERFORMANCE
WORKSHOP 2: GOETHE’S FAUST
Following a very successful performance
of Sophocles’ Antigone at Riverside Studios in 2010,
Theatre Lab Company is hosting a series of theatre workshops
on the classics. The workshops are scheduled to take place
over the next few months, and details of individual workshops
will be advertised individually nearer the time. The themesof the workshops will beEuripides' Medea,
Goethe's Faust, Ovid's Metamorphoses,
Shakespeare’s King Henry V, andDante’s Divine Comedy.
The second workshop, Faust by Goethe, will take
place on the 23rd and 24th September 2010 (Thursday and
Friday) 10am – 3 pm in our rehearsal studio in Acton.
The theme is the classic tale of Faust, the man who sells
his soul to the devil in exchange for eternal youth, love
and power.
The workshop aims to explore the subjects of endless pleasure,
excessive knowledge and power, addiction to desire and
lust, the unfulfilled aspects of human nature and the
ultimate questions of faith and choice.
Participants should have a genuine interest in this classic,
be familiar with the play by the time of the workshop,
and be prepared to explore the wonderful, demanding and
endless challenges of Goethe’s Faust, where
the potentials in language, emotion and passion of the
characters are infinite. The work will involve physical
and vocal elements of performance and promises to be an
experience for actors who love classics.
The cost of the workshop is £40, to book a place,
please email your CV and a covering letter to Anastasia
Revi, Artistic Director of theatre Lab Company and workshop
facilitator at anastasia@theatrelab.co.uk. Places are
limited.
Our next
production will be another of Sophocles' tragedies, Oedipus
the King, for more news about this production, watch
this space.
THE PAST, THE
PRESENT, THE BALANCE - A great coexistence in Sophocles'
ANTIGONE by Theatre Lab Company
The atmospheric theatre of aesthetics and visuals that
is the essence of Revi’s work is so present in
this production … The dust that covers everything,
the drops of perfume on Antigone’s skin as last
preparation before her death, the rice they throw on
her as she walks to her “bridal” tomb, the
dynamic presence, singing and dancing of Robert Finlay,
Chris Gunter and Mathew Wade as Chorus, the inornate
“imprisoned music” of Ann Malone and Noah
Young, the fairy figured Lisa Stuart as Antigone, the
gradual shrinking of the “omnipotent” King
Creon by George Siena, the desperate Haemon by Tyler
Coombes, the unpredictable almost “inadvertent”
Johan Buckingham as the prophet Tiresias, the innocent
Sentry by Tobias Deacon and the down to earth teenager
Ismene by Kathryn Carpenter complete powerful images,
create contradictions and arouse the senses …
Anastasia Revi seems to win this bet by putting her
signature on this classic production that is full of
turns and twists without losing the balance. (Evdoxia
Lymperi, Hellenic Broadcasting Corporation 3, 2010)
A TIMELY EXAMINATION OF AGE-OLD DILEMMAS
The sheer energy of the players grabs the audience from
the off, and the pace does not slacken… Theatre
Lab has succeeded in recapturing some of the magic of
this most ancient art form while making it feel relevant
to the fast-changing modern world. (Dan Hodges,
Fulham and Hammersmith Chronicle, London, 2010)
Strong and rich-voiced performers who make the ritualised
gestures and choreographies she has given them grow
from feeling … there is musical support throughout
on tambours, pipes and bell-like gong composed and played
by Anne Maolone and Noah Young which is very atmospheric
… The physicality produces emotional effect without
having to comprehend any obvious significance in its
rituals and gestures. (Howard Loxton , British Theatre
Guide, 2010)
Lisa Stuart is an intense, dramatic and reckless Antigone
in contrast to the down to earth Ismene of Kathryn Carpenter.
Skinhead George Siena, dressed in black, makes a frightful
Creon. He looks and acts the dictator, threatening,
sometimes cajoling and always menacing. The Chorus consisting
of three young men were amazingly effective and show
what talent and imagination can do… Tobias Deacon
made a wonderful and very humorous Sentry. One does
not associate too many laughs with Greek tragedy but
the poor, terrified Sentry who has to tell Creon that
his orders have been disobeyed can be quite funny. Deacon
was… One of the major strengths of the production
was the music composed and performed by Anne Malone
and Noah Young. (James Karas, Greek Press, 2010)
