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A Year of Creation @ TAC Teatro, and the Incredible Synchronicity of the New Show

August 3, 2020
bradspurgeon

A scene from TAC's Latest show

A scene from TAC’s Latest show

Despite the lockdown, despite the Paris transport strike, despite the gilets jaunes, despite the mice we had at home for a while, and finally, despite the two-month-long illness that I had in January and February that was apparently NOT coronavirus, everything worked out fine in the extraordinary year of work that we all had at TAC Teatro, of which Ornella Bonventre is the director, and I and six others are actors. It culminated with a high moment at the beginning of June when we began to make a fabulous video of our show that we are hoping to complete soon.

Although Ornella created TAC Teatro several years ago and it had some success based in Milan, when she moved to in Paris in 2017, it was impossible for her to not transform the project into both an Italy- and France-based company.  But there was much work and preparation involved in rebuilding the company in her newly adopted location. After spending her first year in France shuttling back and forth regularly to Italy to operate TAC there while living in France and laying the foundation for the company in its second country, she finally settled down to working full-time building the company with new actors in France.

Marine Lefèvre and the old woman

Marine Lefèvre and the old woman

That began last fall in what proved to be difficult timing: starting with the gilets jaunes occupying the streets every Saturday (which did not really directly affect the project) and then the metro strike came in November and lasted for around two months – the longest ever such strike – and made the challenge of creating the company all the more difficult, as the actors had to come for their training, creation and rehearsal sessions three times per week by foot, car, bike or any other manner possible aside from metro from all around Paris.

We thought that would be the worst of it, when along came the Coronavirus and its lockdown. Still, the metro strike gave us all the fighting spirit and a sense of imagination so we were able to continue creating the show and training during the lockdown through three-times-per-week online video conferences.

When I say creating the show, here’s what I mean: Since last fall and the beginning of this new phase of TAC Teatro, the actors of the company used the method that Ornella specializes in for creating theater shows: The French call it écriture de plateau, and it entails the actors all together, along with the director, writing the show through body actions, personal texts, music, improvisation and an original idea that Ornella presented to us in the form of a story that was intended to fire up our imaginations and get our creative juices going.

Poster for Première Etape in October

Poster for Première Etape in October

We performed a first “work-in-progress” show of the piece in the small theater at the Theatre Armande Béjart in Asnières-sur-Seine in October, which we called, “Première Etape,” or first step, and it was well attended by the public. We were about to do the second stage of that in February, after we spent a week the whole company together working in residence in Italy in Emilia Romagna. But, yes, the day we were supposed to put on this second show for the public, France declared that anyone who had been in Emilia Romagna in the previous 14 days had to go into quarantine, as it was the epicentre of the then “young” coronavirus in Europe. So we had to cancel the show. Fortunately, however, none of us got sick of the virus.

Then came the Paris lockdown a couple of weeks later. We continued working online, but we had to cancel the premiere of what was going to be the completed show, which we had scheduled to perform in Asnières in late May.

Still, the story had a happy ending when in early June the mayor’s office of Asnières donated to us the big stage of the Armande Béjart Theatre, as well as the city’s technical crew, to film the piece. It was a gesture to help out the creative sector, so badly hit by Covid.

Now I want to talk very briefly about the extraordinary synchronicity in the creation of this show, which for the moment we are calling “Terminus,” but which might change its name before it is staged. There was an amazing foreshadowing of subsequent world events reflected in this creation that we did not do on purpose, but that somehow came about of its own accord. In brief, the piece is about a group of immigrants who come from various parts of the world to a land where they hope to make a new life. They are, in fact, badly treated by the locals, and even duped by the military, and their world begins to fall apart; just as had their own countries before their emigration.

During creation in Italy as the Constructeurs de Reves

During creation in Italy as the Constructeurs de Reves

Working behind them, invisible and unknown to them, however, are the “constructeurs de rêves,” or the dream creators, who try to help them. The dream creators are dressed in white doctors’ coats and work in another layer of reality to try to change the course of human actions.

When the coronavirus came along, the show took on another sense to us, as we could not believe the way our futures – the future of the whole world – had fallen into the hands of doctors in white coats, and for everyone on earth almost without exception, their world had fallen apart.

Janice Zadrozynski in character for the TAC show

Janice Zadrozynski in character for the TAC show

I have often found while writing creatively that such strange synchronicities with real life do indeed happen. And now that we have almost completed the show, we hope that the constructors of dreams will allow the world to get back to some state of normalcy in the coming year so that we can finally perform it in public. I will keep you posted on this blog as to what happens.

The company consists of Ornella directing and the following actors acting, performing, playing music, and writing the show all of us together: Julie Lossec, Janice Zadrozynski, Marina Meinero, Pacôme Puech, Marine Lefèvre and Sara Baudry. You can find all of our bios through the TAC Teatro “About us” menu.

And, by the way, I have only spoken about our new show here, but we also performed in public this last winter doing a street action to commemorate the day against violence to women, for which we also created quite a complex flash mob performance, and we ran an online open stage for all kinds of performances throughout most of the lockdown . So it was, in the end, a productive season for TAC Teatro, despite all the elements and human nature itself seemingly fighting against us.

Saving Claretta’s Eggs through Song and Art on the Beach in Sicily

July 30, 2020
bradspurgeon

TrinArt Turtle Event Poster

TrinArt Turtle Event Poster

ALCAMO MARINA, Sicily – The last thing I imagined finding myself doing yesterday evening as the sun set on the Mediterranean was to be standing on the vast sandy beach of the Alcamo Marina playing songs to save the lives of unborn Loggerhead sea turtles. But that is precisely what happened, thanks to an invitation from TrinArt, an association based in Castellammare del Golfo, that in turn had been invited by the association that was interested in protecting the turtles after a recent attack by vandals of the beach site where the turtle eggs are buried.

I will likely be speaking more in the coming days about TrinArt and its artist founder, Simona Nasta, but for the moment back to the event on the beach to save Claretta’s eggs! Claretta is the name of the turtle – no doubt for its scientific name of Caretta caretta – that laid the eggs on the beach. The site was cordoned off with the help of various associations, including the World Wildlife Fund, but when some idiot man went and allowed his dog to go in and tear apart the nest, destroying some of the eggs, it was time to draw attention to the fact that the eggs needed protection.

Singing Mad World on the Beach in Sicily

So TrinArt set up an event to invite artists to the nest yesterday to perform and attract attention to the turtles. These sea turtles are in a precarious situation in the area – in fact, it is an endangered species – so it has been celebrated whenever they have been laying eggs anywhere. The beach that Claretta chose, however, is a very popular one for vacationers, and is, in fact, lined with vacation homes. But only a very small fraction of the turtles that will be hatched from the eggs is ever expected to make it to adulthood, once it leaves the nest and goes into the sea. So any disruption to the already perilous process is highly to be discouraged.

Turtle Egg nest in Alcamo Marina, Sicily

Nasta had invited Ornella and me, and so it became a TAC Teatro experience, and I brought along my guitar to play music with the other artists. Strangely, the first musician who played stole two of the songs I had planned to play, which I considered on theme: “Stand By Me,” and “What’s Up!” with its strong and appropriate line: “What’s goin’ on?!?!?”

More performing at turtle event in Sicily

So I decided when it was my turn, at the prodding of Ornella, to do “Mad World,” and “You Ain’t Going’ Nowhere,” finishing off with my own song, “Borderline.”
Nasta led a blindfolded ritual painting with the public, and I have decided to show the result of that work here – done by her, and several members of the public, who led her blindfolded to the canvas in front of the turtle egg nest.

wwf turtles

For TAC Teatro, it was a nice moment tying together with the company’s past, as Ornella has led theater research projects along with the World Wildlife Fund in the past, and this reminded her of those great moments. For me personally, as we drove back to Castellammare del Golfo, I suddenly remembered the last time that I had taken part in an artistic event to save a species. Unfortunately it dates back to what is now more than 40 years! I was living in Nairobi, Kenya, and I was invited to perform an act with my ventriloquist’s dummy, Peter McCabe at a “Save the Rhino” event. I guess that worked out pretty well for the Rhino, even though they still have big problems. I only hope this event yesterday will save the sea turtle – or at least Claretta’s eggs….

Save the Rhino interview with Peter and me from 1970s

Save the Rhino interview with Peter and me from 1970s



Another performer at the turtle event

Borderline on the Beach in Sicily

Further Adventures at TAC: Musical Moments Close to My Heart – and the Second Stage Event

February 7, 2020
bradspurgeon

Second open-door event TAC poster

Second open-door event TAC poster

An incredible bit of synchronicity or something else has come about recently between the troupe of TAC Teatro and me. We are working on our first full-blown play, and in recent weeks there has been a sudden incorporation of a couple of bits of music that I had nothing to do with but that lie at the heart of my life-long musical loves.

As it turns out, both of the pieces were introduced by the same member of the company. But the skills and talents that we have in the company mean that the music can be performed to a degree that I never imagined likely. I mean, I knew we have great musicians in the company, but here I am talking about Irish music! And the company is made mostly of Italian and French actors and musicians.

So how amazing it was when over recent rehearsal days the troupe began playing and incorporating into the play the famous Irish piece of music dating back to the 1930s – and one of the most popular pieces of the last century – called “Cooley’s Reel.”

Three of the actors and me playing Cooley’s Reel at TAC Teatro

I was familiar with the piece from so many different sources from my initial period listening to Irish music during the Celtic revival of the late 1960s and early 1970s and with bands like Planxty, The Chieftains, the Bothy Band, the Sands Family, Horslips and many more. And you go to any Irish music jam session and you are likely to hear it there too, as I’m certain I did in recent years in Irish pubs in Paris or elsewhere.

Anyway, I made a video of the musicians rehearsing the piece (and I added into the video some of the first exploratory acrobatic workout we did with the ladder that is also part of the show – check it out, above). It was only one of a handful of the first efforts to play the reel, so there are a few minor moments off the rails, but it sure sounds great to me already! Bizarrely, for me, I have found myself playing the bongo a little bit like a Bodhran, rather than me doing my usual musical instrument, the guitar. My Seagull guitar is here played by Pacôme Puech – I didn’t have the confidence to get the rhythm right on the guitar – and on flute is Marine Lefèvre, and on fiddle is Marina Meinero.

The other bit of music that I was stunned to find one of the actors – Marine – wanted to incorporate somehow in the show was “Only Our Rivers Run Free,” which I also first heard through Christy Moore’s version in Planxty. It is one of the few traditional Irish songs that I occasionally have the guts to try to do myself on stage, as to me if feels like a great Bob Dylan protest song, and I try to ignore that I’m not Irish and I can attack it like a Dylan cover.

It was written in 1965 by Mickey McConnell, who was only 18 years old at the time. He went on to have a career as a journalist at the Irish Times, before decided in his 40s to return to a career in music. Extraordinary. The poetry of the song is astounding, and even more so when you realize it was written by an 18-year-old. I love that line, “are you gone like the snows of last winter?”

So that’s the update from my adventures at TAC Teatro. In the meantime, I hope the snows of winter go fast and I’ll be able to post some great thing about the completed show in April! In the meantime, we will be inviting the public to check out our progress in our “second stage” open-door event on 29 February, as the poster at the top of this post explains….

TAC Teatro’s Paris Flash Mob and Performance for the Elimination of Violence Against Women

December 4, 2019
bradspurgeon

TAC Teatro in Les Chaussettes Rouges

TAC Teatro in Les Chaussettes Rouges

We took a short break from the creation of our work-in-progress at TAC Teatro in order to put together and perform a commemoration for the International Day for the Elimination of Violence against Women. Originally intending to put on the flash mob and short performance in Asnières-sur-Seine, where the company rehearses, we had a last minute change of plan and did it all in Paris. So it was that putting on this performance we called “Les Chaussettes Rouges” (The Red Socks) was pure delight.

In the middle of a few weeks of desperately cold, rainy, horrible weather, our target date of 24 November, the day before the official date of the United Nations commemoration, we ended up with sun all over town. It could not have been a more beautiful day, and so it allowed us to use several different locations for the flash mob, and another location for the performance, as we spread the names of women victims of violence across the city where the day before there had been a demonstration of 45,000 people in support of the same cause.

As you can see in the above video that we made of the day, we started by rehearsing what we planned in a small, quiet backstreet of the Place de Clichy. Then we put on the first flash mob at the beginning of the Boulevard de Clichy. After that, we walked to the Place des Abbesses, in Montmartre, where we did the second flash mob.

We performed a third flash mob at Stalingrad, in the big place by the canal, and we did the performance in the park of Belleville in a kind of modern take on an ancient amphitheater. Present were all of the actors of TAC Teatro and a couple of the students from TAC’s acting school.

It was quite an emotional, but also liberating, day, as we moved through the city as a group and performed for a surprised public, looking and pointing to the sky for the victims of domestic violence. The flash mob and performance was something we all wove together in a few days preceding the event – with lots of thought having gone into it in the month before, week to week, as we continued to prepare our show.

It was, as Ornella Bonventre, the director of TAC Teatro said, the preparation for the event that was as much an act of contributing towards this cause as was the actual performance.

Now back to work on the show!

A New Tack With TAC Teatro – or Should it Be Called a New TACtic?

September 23, 2019
bradspurgeon

TAC Teatro

TAC Teatro

Why have I done so few posts on this blog in recent months? Let’s call it a TACtic. I have mentioned TAC Teatro a few times on this blog in the past three years, and especially my activities with TAC. But as of this summer, I have been devoting a lot more time to TAC, and am now a full member of the troupe. This is part of a decision to transform all my open mic experiences into something different, and, hopefully, bigger.

When I say bigger, I mean above all in terms of range of use of the body, voice, performance. I continue to play guitar and write every day – in fact, I am working on a very big writing project that I will finish at the end of the year – but I got to the point with the open mics that it felt as if I was repeating myself. Since stopping my travel to the Formula One races at the end of 2016, I had pretty much only Paris as my stage. And as big and beautiful and great is that stage, playing the same open mics with the same songs for the same spectators began to wear on me.

But my love of performing and my need to create are as strong as ever and always. Now, invited by Ornella Bonventre, the director of TAC Teatro, to involve myself even more than before – that is to say, with at least three meetings with the newly formed Paris troupe per week — I have found what feels like the answer to the stagnation at the open mics.



Of course, I am also continuing several other projects, such as the completing of my open mic documentary and the completing of my open mic memoir. But as far as performing goes, the idea is to build as much as possible on the physical theater of TAC Teatro. This is a kind of theater that appeals to me as it involves voice, music, physical action, acrobatics, puppetry, juggling, unicycling, text and just about every other thing you can imagine all wrapped into one.

Among its great proponents are groups like Odin Teatret of Denmark – I am also finishing the editing of a video interview with the founder of that theater, Eugenio Barba, that I conducted along with Ornella – and even the Théâtre du Soleil of Paris, and many others. TAC Teatro has existed for many years in Italy, and Ornella started up the Paris part two years ago. This year is the biggest step so far, with the recent gathering of several new performers – and you could say I am part of that wave.



In the first week of September five of us, under Ornella’s direction, put together a performance on the theme of borders, or “Frontières” that we performed on an outdoor stage at the city hall of Asnières-sur-Seine, where the French TAC is legally based in France. I am putting up on this blog page two videos connected to that event, one of which is a short video of the performance that Luca Papini, an Italian filmmaker in Paris, made.

The other video is of my own specific contribution to the writing of the performance, that did not make it into Luca’s film. All the performers created the first seeds of their own scenes, which we all then worked on together under Ornella’s directing, and so I was pleased to learn that Ornella had found in the filmed bits of our rehearsals and moments of creation, that there was a good, complete filming of my scene. (The exercise of filming the rehearsals was in order for the performers to have a more objective view of their work.) Ornella just finished preparing that segment as a video, which I post above.

TAC Rehearsal with music

TAC Rehearsal with music


We all used our personal preoccupations of the moment to create these seeds of our scenes, which were all also somehow connected to the theme of borders. My own section, called “Le Passeport,” as you will see, has to do with my personal battle with the concept of Brexit, which is affecting me to the point of madness as I wonder at how long I will be considered a legal citizen in France, as opposed to an illegal alien…. And I emphasize that word ALIEN.

So to sum up, again, my lack of presence on the blog in recent months has had nothing to do with an end to my creative projects, but rather, a reduction in the approach of the past – focusing almost entirely on open mics – and the beginning of a new approach, combining all of my interests, including playing music. I hope now I can shake myself out of the lack of contributions to the blog and back into a cycle of regular updates, but on a bigger theme!

The 27th Hour: Women’s Rights with TAC Teatro and others, in front of the Pompidou Center in Paris

May 11, 2019
bradspurgeon

Playing to the 27th Hour at the Pompidou – Photo: © Morgana Stabile

PARIS – Performing in front of the Pompidou Center last Sunday afternoon, I had my first taste of dancing in a choreography.  I feel often like the world’s worst dancer, and although music is at the center of my life, I hate dancing.  I love to watch fine dancers, I just feel that I cannot do it.  But the choreography on Sunday was in the form mostly of a kind of boxing movement, and we were in a big enough group that I felt I could fade into the mass and not be seen!  So why did I do such a thing in front of the famous Pompidou Center – and in front of several cameras filming it?

Simple:  I, like the other 14 or 15 people who took part in the performance – called “La 27ème heure” – was invited by Ornella Bonventre and her TAC Teatro, with which I have performed occasionally over the last couple of years.  Most importantly:  The event was designed to fight violence against women.  Another detail for why I participated was that in addition to the dance, I was told I could sing a song and play my guitar. So that gave me the inspiration to try the rest….

https://ellepi.zenfolio.com/blog/2019/5/27-me-heure

So it was that the 15 or so artists, musicians, dancers, actors, had been rehearsing for several weeks to put together this street action in defence of women’s rights.   Although it came months after the usual day of women’s rights, TAC Teatro, which is new in France after several years of success in Italy, has since 2011 put on events annually in support of women’s rights in the streets in Milan, and Ornella was keen to continue this TAC tradition in France, with no need to fit any particular anniversary date.

For this, she put together this team of performers not only from her own group of artists who take part in her TAC Teatro high-level Monday morning actors’ training sessions, but also joined forces with the prestigious ARTA (Association de Recherche des Traditions de l’Acteur) based at the Cartoucherie in Paris, part of the Théâtre du Soleil group.

Choreography of the 27th Hour at the Pompidou – Photo: © Morgana Stabile

And so commenced several weeks of artistic creation for the Pompidou performance. Very early on the street action transformed from the kind of spectator participation event that TAC usually does into a performance in which the spectators were just that – invited to enter mentally into the performance, if not physically or vocally – and based on a choreography directed by Philippe Ducou, of ARTA. Ornella and the other artists proposed texts related to women’s rights.  

In addition to her experience in performing street actions for women’s rights at TAC Teatro, Ornella also has frequently staged the “Vagina Monologues” of the author Eve Ensler, in Italy, in Italian.  So several of the spoken texts came from excerpts of the “Vagina Monologues,” and were performed in several languages – French, English, Romanian, Vietnamese.

Ornella gave the event the name “La 27ème heure,” or “The 27th hour,” after an Italian study that showed that women have days that consisted of 26 hours – to take care of their jobs, their homes, their children, their husbands, etc. – where men need only 24 hours. The 27th hour is the hour that the women should have to be free and do as they please, to escape from their burden however they wish.

More choreography of the 27th Hour – Photo: © Morgana Stabile

In the end, we put on a 35-40 minute performance, ending with my singing of the 4 Non Blondes song “What’s Up!” as I circled the dancers and finally incited both the artists and the spectators to sing along.  Luca Papini, a Paris-based teacher, photographer and filmmaker – invited to the event by Ornella – made a 5-minute film of the performance and put it on his blog. It’s a fabulous tribute, and paints a beautiful picture of the event, so I am sharing the link to his blog item with the video.

Crazy Mad Wall of “Frontière Nord” at the Cartoucherie in Paris (France, not Texas)

February 17, 2019
bradspurgeon

Frontiere Nord

Frontiere Nord

PARIS – Could there be a better time to be staging plays about the building of walls to separate peoples? Could there be a better play to show to Donald Trump about the significance of building walls than “Frontière Nord,” a play written in 2007 by the Canadian playwright, Suzanne Lebeau? After all, it was written for children (of all ages). My guess, though, is that Trump would never understand the messages of this play, even in the brilliantly produced and performed version that we saw at the Théâtre du Soleil last night – to say nothing of Trump’s certain lack of understanding of the French language. But what was so fabulous about this production by the visiting Montpellier “Théâtre de l’Evidence,” is that it speaks to the spectator on so many different levels of language – music, dance, vocal expression, mime, and above all of intensity of emotion – that it is unlikely any spectator can see it without some sense of the stifling nature of building walls between societies.

I’ve been thinking a lot in recent weeks about exactly what constitutes great theater, as I work on a personal theater project with TAC Teatro and its director Ornella Bonventre; and as I just had my story published in The Stage all about Paris’s 30 minuscule theatres of fewer than 50 seats; and after also seeing yet another piece in one of those theaters last week. The latter was the one-man-show enacting the “Diary of a Madman” by Nikolai Gogol at the Tremplin Théâtre in Montmartre. Some of these thoughts came to me during and after that production, directed by Stéphanie Slimani, with the actor Sylvain Zarli, attempting to adapt the classic Russian story to the stage using many of the elements of physical theater, including the introduction of another character beyond the human presence in the form of a dog puppet.

And it is this question of text vs. physical action that really preoccupies me. Most of the plays we see in Paris have to do with the text, and the talk the actors do around that text. The use of the physical to express another world is far too often an afterthought. This is where “Frontière Nord” director, and founder of the Théâtre de l’Evidence, Cécile Atlan, not just excels but in my view works like a virtuoso.

Puppet in Hand in Frontière Nord

Puppet in Hand in Frontière Nord


The play took place at the Cartoucherie in Paris’s 12th arrondissement, in an annex space of the famous Théâtre du Soleil, founded and run by Ariane Mnouchkine since 1970. (Actually, her company was founded in 1964, but they have been at the former munitions factory since 1970, in a wonderland of theater that if you have not yet been there, you have to go.) The atmosphere of the place is more than convivial: Food and drink is served before and after the show, the room probably seats a maximum of 100 or so people, and you can usually meet the artists afterwards for a drink. The show was also presented in conjunction with the ARTA (Association de Recherche des Traditions de l’Acteur) research center at the Cartoucherie.

The live music is provided by the “Trio Zéphyr,” also based in Montpellier. Trio Zéphyr consists of three women string players – violin, viola and cello – who have been performing together for 19 years, and whose vocals are as sweet as their stringed instruments. The music comes from a rich assemblage of classical, modern and world music influences, and while it was composed by the trio for the trio – Marion Diaques, Claire Menguy and Delphine Chomel – and not for the play, Atlan worked specifically with pieces she chose or the trio suggested, adapting the performance and the pieces together.

Frontiere Nord at Théâtre du Soleil

Frontiere Nord at Théâtre du Soleil

The synthesis of the whole is just stunning, as the music adds brilliant drama to the already dramatic situation: The sudden appearance of a wall being built to separate people from the north and the south – and everywhere in between. It is a multiracial cast, too, by the way, with a total of eight actors – three men and five women – plus the trio of musicians, always present and visible off to the side, and sometimes involved practically physically in the action.

I cannot emphasize enough the quality of every element of this show: The actors are 100 percent in character the moment they arrive onstage, and the intensity of their performance is practically physically palpable throughout. The show was about 90 minutes long, and I was not bored for a moment. It was the third show I have now seen in the last year in this room – ranging from a fabulous amateur group’s production to the most recent show of Odin Teatret, called “The Tree” – and it kept me dreaming and asking questions and confronting ideas throughout (as had Odin’s show).

Trio Zéphyr

Trio Zéphyr


In many ways, I felt like I was watching a piece of ancient Greek theater, with the fabulous use of a chorus technique that continued throughout the play, and consisted of three or four characters speaking in unison much of the text. It was a highly stylized production, disconnected from everyday reality, that lifts the spectator into a world about as far from popular text-based theater as you can get.

The use of the puppet character was also beautifully done and added another dimension, and of course it is not surprising since early in her career, Lebeau had studied puppetry. Having started as an actress the 1960s, the Québecoise began devoting herself to writing plays in the mid-1970s and is now one of Canada’s most successful playwrights, especially as an export. I found it very interesting that at the same time as the main Théâtre du Soleil is putting on the production that became a huge controversy in Canada of the play “Kanata” – its Québecois director, Robert Lepage, was criticized for doing a play about the country’s indigenous people without using an indigenous actor (he is using Mnouchkine’s troupe, which personally makes sense to me, but that’s another story) – this other theater at the Cartoucherie is staging a play by another Quebecois that SHOULD be noticed by as many people as Kanata because of its very important subject matter in our day of Trumpian walls…but also, fittingly, in this day of the “Gilets Jaunes.”

“In this story,” said Atlan (in my translation from the French), “the building of a wall destined to create a border has dramatic consequences: Loss of jobs, uprooting of populations, isolation of families, suffering of children…the work exposes the question of freedom, and what humanity does with it. This wall leads to all of the barriers, both visible or invisible, that deprives humankind of its liberty.”

Theatre du Soleil Nefs

Theatre du Soleil Nefs


The play, appealing to almost all the senses – it also has fabulous costumes, by the way – and through a physical theater of an exceptional level, manages to communicate this message to the spectator in a powerful way that the written word or current events alone cannot come close to. That, I suppose, is precisely what makes great theater.

FRONTIÈRE NORD
at the Théâtre du Soleil, from 08 to 24 February 2019

Singing, Juggling, Ventriloquising, Clowning, Unicycling and Acting with Ornella and TAC Teatro at the Forum des Associations of Asnières-sur-Seine

September 16, 2018
bradspurgeon

Brad and Ornella performing for TAC Teatro in Asnières-sur-Seine

Ornella and Brad performing for TAC Teatro in Asnières-sur-Seine

Ornella and Brad performing for TAC Teatro in Asnières-sur-Seine

ASNIERES-SUR-SEINE, France – It is now a week ago, so no longer considered news, but I wanted to get down as a matter of record, the fabulous day I spent performing with Ornella Bonventre and her TAC Teatro at the Forum des Associations of Asnères-sur-Seine. Founded in Milan, Italy, TAC Teatro now also has a base in France, in Asnières. And last weekend was the annual associations forum of this city just outside of Paris. That meant it was time for the local associations to show off what they do, and try to get new adherents. We had the whole stage to ourselves in front of the mayor’s building – the Hôtel de Ville, or City Hall – and had great fun performing a little show as Ornella introduced TAC to the people of Asnières.

I was pleased to find myself on stage for the first time with the newly face-lifted Peter McCabe, my ventriloquist’s – well…o.k., sorry, Peter, I’ll just say, happy to be on stage with Peter after his recent facelift. Only problem was the facelift seems to have gone to Peter’s ego, and he announced to the people of Asnières that he was going to be the next president of the United States of America – saying that he could do a lot better than the current office holder.

We put together a short video of some highlights of our time on the stage, which I paste in here; and we were very proud to find a few days later – and this makes some sense of having not written about this before now – to find that we were picked up in the official city video of the event, very much near the place of honor, in the last 10 or so seconds of the video, at approximately the 2 minute 20 second point of the video. I am pasting that one in here too.

In any case, it was a fabulous day, and thank goodness the weather was great – as it has been all summer, but after the worst winter in recent memory in Paris (and Asnières). I hope Ornella Bonventre and her TAC Teatro are selected to do this again (as not all of the associations were selected to show off their expertise).

Showing the Philosopher and other Tales at the Braziers Park Mini Indie Film Festival – in the Extraordinary Surroundings of an Intentional Community

August 26, 2018
bradspurgeon

Braziers Park

Braziers Park

BRAZIERS PARK – I just finished this afternoon showing my Colin Wilson interview film at a film festival in the barn of an ancient country home called Braziers Park in England, not far from Oxford. It was a beautiful fitting location for the first show of this film to a general public after 12 years of its making. I have so much to say about this whole fantastic weekend at this extraordinary faux Gothic former home to Ian Fleming – the author of James Bond – and to Marianne Faithfull, who spent some time of her childhood here and later brought her boyfriend, Mick Jagger to visit. It is more than 300 years old, but it is thanks to its more recent history that I ended up here. Since the 1950s the house has been the home to an “intentional community,” which is hosting this Mini Indie Film Festival this weekend.

That community is a small, nearly self-sufficient commune that acts as an educational institution, or to be more precise, a School of Integrative Social Research. So there’s nothing religious or sect-related in the place. It is apparently England’s oldest such community – or one of the oldest. I did managed to read a few unflattering things written about it (mostly to do with sex) by Marianne Faithfull in a book of hers about her time at the community, of which her parents were members, but it seems to have been changed since then, because I’ve seen nothing odd going on!

In fact, I was a little worried before I came about what I might find. But it has been a fantastically comfortable event and lifestyle. The house looks and feels like something you would see in a classic film – anything from an Agatha Christie story to Frankenstein, or, indeed, James Bond – with some 20 or so rooms for guests, a study, drawing room, large kitchen, very high ceilings, and a huge garden. There is also a campsite, and many acres of farmland, and even farm animals.

I was invited by one of the Colin Wilson film’s producers to show the film here as he, Michael Butterworth, was also showing a film about his life and publishing concern. In a nutshell: Michael Butterworth is one of the founders of the Savoy Books publishing company in Manchester, and he is also the publisher of my book, Colin Wilson: Philosopher of Optimism. Mike was also one of the producers of the interview film, along with Jay Jeff Jones, who was also the director, and a small production company in England called Excalibur Productions.

Savoy Books also had a hand in the film production, so it was the perfect marriage to join up the showing of the Colin Wilson interview with the film about Savoy Books, called “House on the Borderland,” which is by Clara Casian, and is about the publishers’ problems with the Manchester Police Department, a battle that went on for years decades ago. (Here is the long trailer I made of the interview film, the full length of which runs 1 hour 30 minutes.)

Showing the film in the barn was a delight, as was speaking with the spectators in that setting afterwards. In fact, the festival has been a wonderfully quirky and thought-provoking adventure with a huge cross-section of films, including horror films, documentaries, short art films, and others.

There was an excellent documentary called Power Trip, by Zoe Broughton and Paul O’Connor, about the battle against fracking in England.  It covers the trials of a real grassroots movement by citizens under threat of the ravages of this bizarre method of removing oil from the earth, in a battle fought by normal citizens, including many housewives, grandmothers, and people who would never otherwise have been involved in such a movement.

Ornella Bonventre in Ian Fleming Library at Braziers Park

Ornella Bonventre in Ian Fleming Library at Braziers Park

The horror film “The Fallow Field,” that I saw last night, scared the hell out of me. At first I was sorry I attended, as it played from 10 PM to 11:30 PM, and we need to get early to bed and have a full night of sleep here. I was sure this horribly frightening film would keep me awake all night with nightmares. In fact, perhaps it was the act of catharsis, but I slept much better last night than I have in days. Still, it was perhaps a help to have the leading actor in the room to talk to after the film. This way, we could confirm to ourselves that it was only a film. As this actor, Michael Dacre, proved to be harmless as a person in real life. Or rather, he seemed not at all to be the horrendous character he portrayed in the film, a character that ranks up there with the worst of them in my experience. Meaning, a horrendously evil, nasty, but at the same time human, murderer. Dacre plays a farmer who kills people and then buries them, only to dig them up again…. But I don’t want to give away the story. Suffice it to say that this is an excellent horror film that also forces us to ask questions about our own humanity. It transcends the genre. Made in 2009, it has apparently had a hard time breaking out, including spending a few years in its own fallow field.

The festival is also called a “Wider Community Weekend,” as it is a kind of “open doors” weekend to invite the community in for many other activities as well. Among those is the three-day workshop by Ornella Bonventre and her TAC Teatro, a workshop which she has called “The Flow Zone.” I have been attending her workshops, and helping out there was well, and learning a lot about the process of acting…and getting into the flow zone.

Ornella Bonventre directing her Flow Zone workshop at Braziers Park

Ornella Bonventre directing her Flow Zone workshop at Braziers Park

The festival continues tomorrow, so I may well post again on the subject. Oh, I should explain a little more about how this was the childhood home of Ian Fleming at the turn of last century, so there is a direct link to the James Bond novels somewhere. And there is an Ian Fleming library within the house. I have barely begun to explore all of the nooks and crannies, and somehow I feel I will leave the place without doing so, as there are so many activities that there is barely any time available to lie about. But this only gives me another reason to hope to return next year – maybe to show my open mic film…!

Oh dear, and how could I almost forget to mention that last night, in fitting with my usual adventures and this blog, they held an open mic in the drawing room – complete with a mic and a little amp. I had my guitar and played a couple of songs, Ornella did a bit of the song from her workshop – with everyone joining in – and many others did readings of prose – including Dacre reading something from Jack London – and Michael Butterworth reading some of his brilliant short poems. I was very touched also by a regular denizen of Braziers Park who sang a song that he said he learned here in 1961 or 1962. The beat goes on!

Seven Weeks Away, but Not Just a Vacation: From Paris to Milan to England to Sicily

July 31, 2018
bradspurgeon

Ornella Bonventre at the Greek Theater in Segesta, Sicily

Ornella Bonventre at the Greek Theater in Segesta, Sicily

CASTELLAMMARE DEL GOLFO, Sicily – It seems hardly possible that it has been exactly seven full weeks since I last posted on this blog. That has to be a record absence for me. It equals one year’s worth of vacation when I was on staff of the International Herald Tribune, the Paris-based newspaper that worked under the French labor system and so gave us lots of holidays each year. I can say that these last seven weeks have not been a holiday, but the busiest time of the last year – which is the reason I have not been contributing to the blog. So here is a point-by-point recap of the main events of the last seven weeks:

1. Most of early June was spent digging out nearly 20 years’ worth of my piled up papers, paraphernalia and trash from my garage and cave in order to make space for Ornella and her TAC Teatro’s paraphernalia from Italy. Cleaning these places led to many wonderful discoveries, but also some very difficult decisions; among the many relics that I found were three never-before-used Zippo lighters with the aforesaid International Herald Tribune’s marketing department’s effort to publicize the newspaper’s coverage of the 2000 presidential elections. Beautiful objects that I had kept but never once used, I now find use for them, particularly for Ornella and my daughter’s smoking habits….

IHT Zippo lighter

IHT Zippo lighter

I am loving the process of filling these classic lighters with fluid, new flint stones, etc. (I am a little disappointed at how quickly they are losing their paint job, though, as you can see from the photo of this lighter used by Ornella for just one month.) There used to be so much more “process” in the past in our daily lives…. But among the difficult decisions in this vast clean out, was whether I should keep the hundreds of copies of actual newspapers – of the aforementioned IHT – that had the print versions of my articles in them. I had always taken hard copies of the paper home to have a record of the printed work – but I had never had any use for these relics. Now, I found myself with the difficult decision of either throwing them away or else having no further usable space in my storage areas. As I knew that all of the copies existed in microfilm or other electronic form, as well as online in the online archives of The New York Times – many of which copies I also had to decide whether or not to keep – I ultimately decided to throw them all away. It was a heartbreaking moment, but also a feeling of truly moving on into the future. Like the Formula One teams that I had written so much about, I chose to look forward, rather than backwards at personal mementos.

2. Having cleared out these storage spaces, it was time to go on a brief trip to Milan in order to clear out TAC Teatro and prepare the moving van to bring to Paris all of the aforementioned paraphernalia. It was a massively busy and tiring three or four days that also involved very difficult choices. For instance, the most heartbreaking for Ornella was the decision to leave behind the linoleum flooring that she used as the floor of the theater space, and which had come directly from use on the floor of the famous La Scala Opera House, and had, therefore, been danced upon my some very famous performers. But it was just too heavy, massive when rolled up, and required a very good cleaning job, which we had no time for. We nevertheless managed to pack up and transport to Paris two tons of paraphernalia, including seating for at least one hundred spectators, a sound system, a series of spotlights, a piano, keyboard, drum, a workbench table from a famous Italian filmmaker and writer, and countless other items far too long to list here without getting anymore boring than I already risk being. The whole collection of paraphernalia ended up taking two moving vans instead of the original one that had been planned for.

3. We returned to Paris and spent the three or four days waiting for the delivery by finishing the cleanup of the storage space. (Let me note that this was happening in a hot month of June, and with all the dust from the spaces, and the pollen in the air, I wore a face mask nearly full-time to help my breathing.) When the paraphernalia arrived, we then spent two days filling up the storage spaces, but rest easy knowing we can now prepare for the future. It was also very satisfying to have replaced my 20 years’ worth of accumulated crap by this investment in the future of TAC in France.

Philosopher of Optimism

Philosopher of Optimism

4. No sooner did we catch our breath again, barely able to believe what we had accomplished, than we departed for a quick trip to England, where it was time for some more very satisfying work: The first stop was Nottingham, where I was invited to attend the Second International Colin Wilson Conference in order to do the very first public screening of the interview film that is connected to my book, Colin Wilson: Philosopher of Optimism. Produced by a British film production company as well as the publisher of my book, Michael Butterworth, and his other company, Savoy Books, and directed by Jay Jones, it consisted of an hour and a half interview of Colin Wilson by me. Although the film was done in 2006, it was never quite finished. I recently decided to ask if I could work on the edit through my company, the perfectly named, “Unfinished Business SAS.” I was given the go-ahead, and prepared first a trailer for the film (below) and then I prepared the film for this private showing for the 55 people attending the three day conference, including the members of Wilson’s family – three of his children, and his wife, Joy. That last name is certainly the right word for me to use as well to describe the entire event, and especially the reception of the film: It was a pure joy!

5. From Nottingham, Ornella and I headed on to the Cotswolds for a brief visit to have a reunion more than 40 years after I met him with the man who created my ventriloquist’s figure, and to whom I brought the suspect in question for a facelift (and a body-lift). But on the way there we had a fabulous, three-hour long meeting and tour of the Renault Formula One factory at Enstone.

Brad and Ornella at Renault F1 Team

Brad and Ornella at Renault F1 Team

This fell the day after the team’s home race, the British Grand Prix, and at the end of the series’ horrendously tiring triple-header of races in June/July. Although it was the strangest feeling for me to be in England during the race weekend without attending the race itself, the trip was more than compensated for by both our stay overnight in Oxford – where I played in two different open mics (and can now update my Oxford guide), followed by the trip to see Peter Pullon in the Cotswolds. This aforementioned ventriloquist figure builder has become one of the world’s foremost puppet makers, having created some of Britains most famous figures: Rod Hull’s Emu, Honey Monster, the Hoffmeister Bear, Smash Martians and Keith Harris’s
Peter McCabe with Peter Pullon

Peter McCabe with Peter Pullon

Orville. I am waiting with baited breath the renovation of my figure, whose name is Peter McCabe, and for whom I have some future plans that I will talk about on this blog as they happen. (Peter most recently had a cameo role in my video of my cover song of Mad World, by Tears for Fears.

6. No sooner did we return from England than it was off to Sicily for us and a three-week vacation, during which period I have, nevertheless, been using every available moment to make plans for the future year, and my many projects for my new life in Unfinished Business…. We have been staying in Ornella’s hometown of Castellammare del Golfo, and reading on the beach by day, and walking the city streets by night, occasionally finding places to play my guitar and sing. We have done a lot of tourism, as well, which we have posted about copiously on Facebook. The highlights for me have been the visit to Segesta and its ancient Greek temple and above all, its ancient Greek theater.

A Plant Growing from the Encasing Sculpture in Gibellina.  ©Brad Spurgeon

A Plant Growing from the Encasing Sculpture in Gibellina. ©Brad Spurgeon

The acoustics of this place are astounding – although I’m not sure the plywood floor they chose to use to cover the rock surface of the stage was wise. And the most painful and touching visit was to the site of the 1968 earthquake, which killed more than 900 people and wiped out two towns. The ruins of many of the buildings remain locked in time in the countryside, and one of the towns, Gibellina, is now covered, encased, in a white concrete monument, or work of art, to mark the tragedy. Walking amongst these ruins and the monument, is a deep, difficult, but valuable experience.

7. I almost forgot to mention that in between all of these activities and right at the beginning of the month, we found a space in Paris that we are looking at as a possible future location for TAC and Unfinished Business. But it represents quite an investment, and it required us to make trips to the bank, an accountant, work on a business plan, and generally occupy all of the free time we had between the above activities! (And we have still not finished working on that.)

So as you can see, I have been busy as anything in the last seven weeks. But now I’ve had a moment to record it all in the web log, and I’m glad to have had so many rich experiences to get down here….

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