When One Door Closes opens at La Boite tonight!
Season continues until April 23
A door slams. A shot is fired. On the other side, unseen by the audience or by the befuddled, inconsequential husband and lovers are the three great heroines who created twentieth century drama: Miss Julie, Hedda Gabler and Nora.
What if they all landed up in the same room?
What if they couldn’t speak?
What if the room was full of scratched recordings of A Dolls House, Hedda Gabbler and Miss Julie, plus a dash of Freud?
How would they navigate each other, their own pasts and the future?
La Boite and Circa join forces on this new creation. Three masterpieces of turn-of-the-century drama meet the visceral force of extreme acrobatic theatre.
In between rehearsals we asked Nathan Boyle and Todd Kilby some STUFF…
Stretch or cardio?
NB: I’m about 75% stretch and 15% cardio. If i had to run away from something, I would be dead… Should probably change that.
TK: A healthy combination.
Base or fly?
NB: Base, although there are some times when I fly.
TK: Another deliciously healthy combination. (Middle)
Describe your weekly training routine.
NB: Every week is different, but it is generally along the lines of a 9 to 5 day except I don’t work at a desk. The first hour is a warm up. Then we move into skill training/skill development or we work with our Artistic Director. We have an hour break from 1 till 2 for lunch. Then generally have a light warm up and get back to work either working on specific skills or scenes from shows. At the end of the day we have a 30min cool down which we call ‘Body Love’
TK: My training routine will change a lot depending on where in the world I am, how long I have and what shows/skills I am doing. It usually begins with an hour long warm up consisting of some light cardio, stretches, strength and a bunch of co-ordination exercises/games (fun is very important). Then I usually train through the skills that I need to train for a specific show followed by any other skills and ideas that I am keen to learn and explore.
What if not circus? (And how did you come to it?)
NB: I have only ever done circus, So if I was no longer able to be a performer I would love to get into some sort of design. I love architecture but I also have a passion for costume/fashion design. So maybe that?
TK: If not in the circus, I would love to be involved in the worlds of both theatre and music. Working in the creative process and the performance element. I came to do circus when I was 13 through two sources at the same time. One was the guidance of a high school drama teacher and now friend, who ran a circus school and the other was at a Newcastle community circus called ‘Circus Avalon’
Favourite place in the world?
NB: Favourite place in the world would be New York.
TK: I don’t have one favourite place as that would be quite rude of me considering that this beautiful planet we are lucky to call home is host to a plenitude of magnificence, but here are three honourable mentions: NEWCASTLE (Home), BERLIN (City of my dreams), Bhutan (Carbon Negative)
What are you reading?
NB: The latest XS Entertainment piece *Wink Wink*
TK: Sombrero Fallout by Richard Brautigan
What are you listening to?
NB: I admit, I have the world’s most eclectic and somewhat bad taste in music, I will listen to anything. I basically have Spotify on random and go from there.
TK: Adagio of Spartacus and Phrygia by Aram Khachaturian.
NB: That one gender should not be raised above another, they are both equal.
TK: Feminism – The advocacy for woman’s rights on the ground of the equality of the sexes.
Are there commonalities within the roles you play across the stories of Hedda Gabler, Miss Julie and Nora Helmer (A Doll’s House)?
NB: Yes and no, sometimes I’m a male and sometimes I’m female. It’s all very gender fluid.
TK: Commonalities are everywhere. I am man. I am woman. I am man/woman. I am woman/man. I am control, freedom and support. At one point I am even Hedda Gabler. This may sound confusing but through the dramaturgy of the show roles are free to exchange and create a whole.
Without dialogue, how much of the original stories & characters will we get? What’s the most important thing for us to get?
NB: There is some text, but instead of being spoon fed the plays we have used our physical bodies to encompass the roles of the women and men from the play. It’s quite obvious who the characters are as they are all so different from each other, come to the show with an active imagination and go with it from there.
TK: The characters, you will definitely get. That much is clear. As for the original stories, we have extended beyond them in time and space, whist exploring the thematics of the three plays.
What do we need to teach boys (and girls) about the roles of men (and women) in society?
NB: We need to teach everyone this. Each sex can be just as ignorant as the other. Your sex or sexuality shouldn’t define where you stand in society. If everyone is granted the same rights and same social status that question would be redundant. What a world that would be!!
TK: I’m not too sure about the ‘we’ and the ‘need’ in this question, but my view on our roles as human beings extend far beyond just boys and girls and men and women. Let’s just have care and compassion for each other regardless of gender, race, sexuality and religion. Let’s care for this planet. Let’s make people laugh. Xx
Directors Yaron Lifschitz & Libby McDonnell
Dramaturg Todd MacDonald
Lighting Designer Jason Organ
Costume Designer Libby McDonnell
Performers Circa Ensemble
Composer Oonagh Sherrard
Production pics by Dylan Evans