So from 23rd April to 10th May I was in rehearsals for a play called The Birds. I mentioned it on here once or twice, but on 11th and 12th May we did it. We really did it. We put on an absolutely bonkers show with feathers, sequins and dance routines and got the audience on their feet every time!
I loved my costume. I can honestly say that, before this, the last time I wore a dress was 12 years ago. It was my mothers’… actually let’s not worry about which birthday it was, only know that it was a special birthday request from my mother. That’s what it usually takes to get me into a dress.
So imagine my trepidation when it was revealed I was not only going to be wearing a dress, it was going to be a flowing, ruffled tasteful ivory creation. Hmm. But, designed by Steve Denton and made by Bryony Tofton, it was fantastic! Because what went over it was a brilliant waistcoat made of sequins and feathers. And a crown.
Because I’m Eryr Euraid, baby, Queen of the Birds! For those who don’t speak Welsh, Eryr Euraid means ‘Golden Eagle’ and you’d better damn well do as I say, or it’s the mountain goat treatment for you. Look at those poor lickle goats.
And yes, I did watch this to help me get in character, as I was supposed to be the permanently angry / annoyed / regal Eryr Euraid and I was having trouble channelling this. Apparently I’m ‘too nice’ and ‘looked like you’re enjoying yourself too much’. For the record, that was meant to be an evil smile. These aren’t bad things to have said about one, I suppose, but not when you’re threatening to rip two of the other characters into tiny, little pieces.
This was my first real play, and I loved it. I loved being part of it and the camaraderie of the cast. It was also bloody hard work. I’m not just talking about the long days / weeks doing things over and over again in slightly different ways, or the fact that I can recall “peter piper picked a peck of pickled peppers, where’s the peck of pickled peppers peter piper picked?”, “there’s a chip shop in space that sells space ship shaped chips” and “I’m not a pheasant plucker…”
The rest of the cast were hearing. Imagine it, three long weeks spending every waking moment with hearing people. I had interpreters for the rehearsals but I was staying in a hotel with the other non-local cast. No terps for the communal evening meals in various restaurants. The only thing that saved my sanity was the fact that all of them can fingerspell and sign a little bit, and the ones who for various reasons can’t, were willing to repeat things almost to infinity. Thank goodness for that.
I love the cast. They’re a bunch of amazing, cool, talented people, and they can and do fingerspell and make the effort to sign and / or patiently repeat things. Some even learned new signs from me, and tried their very best to remember them. The only thing I could have wished for is perhaps more awareness of how little I actually understand of what’s being said around me, which if there’s no terp and I’m tired, is very little indeed. The rule of thumb is – if you’re not looking directly at me within a distance of about 6 feet, I haven’t understood what you’ve said. So all that chattering to each other, amongst each other; my lip-reading skills are decent, but they’re not THAT good.
I did had a great time. It was a brilliant ride, and I’d love to do it again. It did no harm to my ego that in my first scene of the play, every Bird character had to bow and scrape to me. Who am I kidding? I loved that! Everyone should have a chance to be Queen for a day – and I did it for three weeks! Bow to me, peasants!
Overall, we adapted to each other very well, and we also came up with visual cues for me throughout the play. Case in point, my first scene, I had to come on while another Bird was singing beautifully. The two human characters were supposed to clap, thus attracting the attention of the chorus, at which point we’d chase them around before beating them up. Problem – we anticipated that the audience might clap too, and they did, every time. Kudos to you, Nightingale! Solution: Nightingale (who also answers to Andria) would smile and nod politely through the audience applause, then when the humans clapped, she would bow towards them. At which point I would notice them, and give the signal to attack. That’s because I’m the Queen, baby, did I mention? Don’t cross the Euraid!
And the director, Cheryl Martin, had the really cool idea to have the Birds as my chorus. This meant that as I signed my lines, the Birds had to say them, in harmony, hence my ‘chorus’. We even made a tape of the chorus doing their creepiest, meanest voices for the lines so that when it was played during the play, it would seem as if the voices of the chorus were coming from everywhere. I thought it was a great way to integrate my signs into the play, and illustrate Eryr’s authority, and I loved the idea of being followed around by a group of loyal servants whose only jobs were to bow to my every whim and voice everything I signed in creepy, birdy voices. I wonder if I could get my interpreters to do that…
Furthermore, every performance was BSL terped by Erika James, and had captions on screens all around the stage. I’m not sure what else we could have done to make this play accessible. And yet, how many deaf people came? Very few indeed. I won’t lie, I was disappointed. It’s at this point I’d like to thank Rosie and Ellie for coming all the way from London and Birmingham respectively to see the play – thank you! And thanks for the drinks, which really I should have been buying for you after you’d made that effort, and I’m glad you enjoyed the play! As for the one who said “oh, but if I’d known you were going to be wearing a dress…” what does that have to do with anything? I’M IN A PLAY YOU PEASANT! I digress.
We had amazing people working on the play, too, for example Ange Thompson who, as stage manager, was called upon to track down such things as a big fluffy penguin toy, a scroll, and some hearing-aid batteries (mea culpa). She was also in charge of my cues – and this was another brilliant thing – there were little boxes with two lights at eye level at each of the stage entrances, the green light meant get ready and red meant go. This was how I knew when it was time for me to regally enter the stage, and Ange, as well as looking after the captions, operating the chorus voices and various cues, was also in charge of cuing me. And she did it very well, bringing a new meaning to multi-tasking!
There are so many people who were involved in this, I’m afraid to start naming them all in case I leave any out! But I think you all did a great job, and this was a great opportunity and experience, and I’m really glad I was able to be a part of it. I love you guys.
Long Live The Birds!