COVID-19: We Aren't Gathered Here Together

Last weekend it was Easter. I am a 'wishy-washy Anglican' (not actually my words, but I have been called thus) and only really attend Church at the major religious festivals - Christmas, Easter and Whitsun being the big dates in my calendar. Of course, this year I could not go to Church - no one can - and I missed it. I missed singing the songs and saying the prayers; I missed turning to my fellow members of the congregation and wishing them peace and good will. And I missed them doing the same for me. I missed that communal feeling.

For the same reason, I love watching sports and theatre; I enjoy a shared experience. Knowing that you feel the same thing as others is a wonderful thing. When I breathe in the hallowed turf of Anfield, it is a spiritual moment; all the home players and supporters know what I mean - we stand and sing together and no one cares how out of tune we are; we are in time. Our time. Any true fan will tell you the same (although they will worship at a different shrine). 

When the curtain raises on the stage and everyone takes a collective breath, we are all waiting to see what unfolds together. This moment will never be repeated - every performance is different - and we know we are privileged to witness it. And when the curtain falls and people applaud, they do it together. I have been part of a cast that received a standing ovation. It was magical and unforgettable. We did it for the audience and the audience appreciated us; and we were one. It was incredible.

I like listening to a band, but I prefer going to a gig or a festival. I don't need to then hear this gig again; I'm not a fan of live albums because generally the sound quality isn't as good, and the whole point is the being there. I am pleased the National Theatre, The Globe and the RSC are screening some of their performances so we can all enjoy things that we couldn't otherwise see - but we are still watching them alone. The roar of the greasepaint and the smell of the crowd is missing. (Yes, that was deliberate.)

'Queen Elizabeth viewing the performance of The Merry Wives of Windsor, at the Globe in Merrie England' by David Scott

I like a drink as much as the next person. But there's a reason I go to pubs and clubs, even if the beer is often ridiculously overpriced. I like the atmosphere of sharing things with like-minded folk. Restaurants and cafes are better when they're busy (not cramped and heaving full, but with a low-level hum of noise). Silence is good when it is shared. Have you had a moment's silence in public? Then you know what I mean: there is nothing more moving than a collective memorial. 

Over the last few weeks I have held many on-line conversations and 'attended' conferences and meetings; I have done group trivia quizzes and play readings; I have watched re-runs of football matches and 'live' theatre. But I have missed the physicality. I will stay at home, and I will practice the physical distancing, because it saves lives and that's what matters. But when all this is over, I will find my flock and I will join them again, and we will sing our songs. 

Because it may be elitist; it may be exclusive; but being there is everything.

Friday Five: Opening Night

Edith (Yanina Clifton) and Elvira (Anita Davenport) on our beautiful Blithe Spirit set (Andrew Kay)

Tonight is opening night of Blithe Spirit and there are so many people to thank for helping me bring this fantastic show to the stage. Naturally I am thrilled that Noel Coward wrote this play in the first place, and that Canberra Repertory accepted my submission to direct it. When the curtains open tonight, I'll be thinking of all these folk:

5 things that make our Blithe Spirit great:

1. The set - the team who designed and built this set are phenomenal. What we do looks great on it; and then we wreck it every night and do it all over again the next. Special thanks to Andrew Kay, Russell Brown and everyone involved.
2. The costumes - Anna Senior has designed a range of sublime and ridiculous outfits to bring our characters to life (or death, as it were), more than ably assisted by a team including Jeanette Brown, Anne Kay and a whole band of others. As someone who can barely sew a button back onto a shirt, I am enormously grateful.
3. The technical crew - Jon Pearson on sound and Stephen Still on lights have been brilliant to work with. I said 'Can I have this?' and they said 'How loud/bright do you want it?'. Their designs are subtle and superb, allowing a perfect background to the action without ever threatening to overwhelm it.
4. The stage crew - they're very busy; they have a lot to do, and they do it efficiently, quietly and seamlessly. From putting books in and out of bookcases to making cucumber sandwiches, they do jobs every night, which make the front of stage look as good as it does. And they are overseen by our stage manager Dot Russell, who is one of the calmest, most thorough and delightful people I have ever had the pleasure of knowing.
5. The actors - The best part of being a director is dealing with this wonderful production without ever having to learn the words. The worst is never being able to perform the play myself. I am honoured to have such fabulous people to do it instead, that I don't regret not being up there for an instant. We have all worked so hard to bring this vision to the stage and I know these actors will ensure it is executed exactly as we wanted.

Count down quotes to 'Twelfth Night': 5

"If this were played upon a stage now, I could condemn it as an improbable fiction." - Fabian, III, iv