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BLOG

Interview with Delaney Davidson on playing the devil....

8/28/2017

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Picture
-Why were you interested in the The Black Rider project?
Have loved the music by Tom for ages, I listened to it years ago, and was always interested in the Faust theme. I also wanted to get away from the rigid way music is performed on stage, and try something more dramatic. The fact that it was a Christchurch based project was a massive appeal as most of my work takes me travelling. 
 
-Did you have any prior interest in Waits, Burroughs or Wilson’s work?
Huge fan of Waits over the years, and enjoyed the influence that Burroughs had on writing as well as his seminal work teaching the Beat poets.
 
-What was your role and how did you approach it?
Pegleg the Devil/Ringmaster and also a small role as a haunted painting. I thought a lot about it on my own and also enjoyed following the direction of Peter Falkenberg. It was really great to work with a director. I enjoyed having a different outlook on my performance and it was invaluable to have direction that I believed in. I found it would give me the conviction I needed as it wasn’t my decision whether It was working or not, I could just trust Peter.    
 
-Did you introduce anything new to your role or make any obvious changes from the actor who played it in the original Hamburg production? 
I tried to use the character of William Burroughs as a cue for the way my version of Pegleg spoke; a strange lilting staggering flowing way of talking. I also went against my initial impulse to make him angry mean and loud and tried to play him as quietly as possible. I though this made him more sinister. I watched the Hamburg version to get some solutions aswell to the way he is in certain scenes.
 
-What was it like working with Laban movement techniques?
Using Laban was a challenge but also really good as it helped me get out of my usual traps. It’s a great exercise and really starts you thinking differently about movement.
 
-What instruments did you play?
Guitar, Singing, Drums, Whistling, Singing Saw, and Banjo.
 
-Describe your costume decisions?
A tail coat for some elegance and formal feeling, a corset to make him unnaturally skinny, boots and tight trousers to make his legs and feet look like hooves and animals legs, gloves to make the hands iconic/symbolic, a hat, and make up to give him a birdlike quality.
 
-What was the process creating this different version of the original musical score?
We started out just trying what would work with the scenes, and because we were using a lot less musicians we had to make sacrifices. We lost our drummer as well so this meant everyone had a lot to do. I think all these setbacks were in our favour in the end.
 
-How would you describe the music in the production?
Atmospheric, Beautiful, Sad, Dark, Minimal, Tense, Loud, Disgusting, Sweet, Horrible, Frightening, Heartbreaking, Rousing, Compelling, Simple and Complex.
 
-How was your experience working as an actor/musician in the theatre different to your previous experiences? 
I love theatre music because it can be so minimal and do so much. Its very different from performing a show. I sometimes miss the possibility of volume that I have at a live concert. But I always enjoy the way theatre music makes me think about sound very differently.
 
-What was your experience collaborating with others on the project and what were the difficulties and challenges?
Working in a group is a real challenge for me. I am naturally impatient, and find the slowness makes me freak out. I also find it challenging to be dependent on other peoples timetables. I enjoyed what happens with a group when it comes to creative input and found we made something as a group that I could never have found on my own. Working with others, overcoming my inhibitions with movement and performing, learning text, doing things the same every time, keeping the focus and intensity of the character for the length of the show.
 
Thursday 31st August - Friday 1st September, 8pm.

https://nz.patronbase.com/_FreeTheatre/Productions/1516/Performances
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  • HOME
  • ABOUT
    • A brief history...
    • Jarry, Ubu, Pataphysics and Free Theatres
    • Manifestos and Writings
    • Who We Are
    • Shirley Horrocks documentary
    • Training and Devising
    • Home, Space and Design
    • Praise and Awards
  • Te Puna Toi
    • Past Te Puna Toi Projects
    • Artists in Residence
  • UPCOMING
    • Woyzeck
  • EDUCATION
    • Kidsfest and Holiday Programmes
    • Schools Workshops
    • Adult workshops
  • ARCHIVE
    • Productions 1979 - present >
      • The Tempest
      • The Axe
      • Endgame
      • Digitising Performance
      • Erewhon: Over the Range
      • A Summer Night's Dream
      • How Dare You
      • A Winter's Tale
      • Ubu Nights >
        • Past Ubu Nights >
          • Ma Ubu Night
          • Ubu Through the Looking Glass
          • Ubu in Wonderland Ubu Night
          • Frankenstein Ubu Night
          • Casablanca Ubu Night
          • Faust Ubu Night
          • Not Hamlet Ubu Night
          • Punk Ubu Night
          • The Art of the Deal Ubu Night
          • Crossroads Ubu Night
          • Ubu Shows Us the Way to Brecht's Whiskey Bar
          • The Devil and the Blues Ubu Night
          • Bowie Ubu Night
          • Warhol Ubu Night
          • Berlin Kabarette
          • Beat Ubu Night
          • Twin Peaks Ubu Night
          • David Lynch Ubu Night
          • Kafka Ubu Night
          • Tango Ubu Night
          • Ubu Ubu Night
          • Lovecraft Ubu Night
      • Ars Acustica
      • Alice
      • The Black Rider
      • Frankenstein
      • The Mauricio Kagel Project
      • Te Puna Toi 2015: Footprints/Tapuwae
      • Kafka's Amerika
      • The Soldier's Tale
      • Canterbury Tales
      • I Sing the Body Electric
      • Hereafter
      • Passion, Pulse and Power
      • The Earthquake in Chile
      • Doctor Faustus
      • The Marvellous Corricks >
        • Corricks - Credits
      • Distraction Camp
      • Remake
      • Ella and Susn
      • Free Theatre - 25 years and counting...
      • Faust Chroma
      • Enigma Emmy Goering/Nico Sphinx of Ice
      • Faust Feast
      • Diana Down Under
      • Philoctetes >
        • Production Credits - Piloctetes
      • Fantasia
      • Christmas Shopping
      • Grimm's Sleeping Beauty
      • Achternbusch in the Antipodes
      • Caucasian Chalk Circle
      • Samson Airline
      • Kabarett Kabul
      • Footprints/Tapuwae
      • Last Days of Mankind
      • Medea
      • Bakkhai / Diotek
      • Krapp's Last Tape
      • Murderer Hope of Women / The Philosopher's Stone
      • Comrade Savage
      • Love on a Bicycle
      • Resolution Island
      • Songs for the Judges
      • Crusoe
      • Oedipus Rex/Oedipus at Colonus
      • States of Shock
      • Empire Builders
      • Yes
      • Power
      • Robinson Crusoe: Or I THat Was Born To Be My Own Destroyer
      • Newsbites
      • Dumped in Space
      • MedeaMaterial
      • Salome
      • Electra
      • Sphinx and Strawmen
      • The Girl Who Sings Waterfalls
      • Hamletmachine
      • Oresteia
      • A Respectable Wedding
      • Bitter Tears of Petra von Kant
      • Double Act and Postponeless
      • Cloudkiwiland
      • Preversions
      • G.O.P. Helpomatic
      • The Mortal Pleasure of Wander Lust
      • Red Cross & Takeaway
      • Lulu Earth Spirit
      • The Meeting
      • Action / Tongues
      • Cowboy Mouth
      • The Rise and Fall of the City of Mahagonny
      • A Letter from L
      • Dinosaurs and All the Rubbish / The Hunting of the Snark
      • The Ride Across Lake Constance
      • Electra
      • In Three Minds
      • The Rapist Over Suzannah
      • 1984: The Future Is Now
      • Leonce and Lena
      • Kabernette
      • The Joffongract
      • My Foot, My Tutor
      • King Lear
      • King Ubu
      • Jazz Cellar Dada / Heavy Metal Cabaret
      • Kabarett
      • Black Cat Cabaret
      • The Gas Heart/Ox on the Roof/The Mirror Wardrobe One Fine Evening
      • Round Dance
      • Woyzeck
      • Make-up Ground down / Texts for Decomposition
      • Court Case: Arts Centre vs Free Theatre
    • Image Gallery 1979 - present
    • TV3 Clips
    • Selected Reviews
  • SUPPORT
  • BLOG