Asnières-sur-Seine, France – Now, if that headline is not an exaggeration, I don’t know what is. But at the same time, I had many roles to play yesterday in TAC Teatro’s year-end celebration of theater in Asnières-sur-Seine, outside Paris. I wanted to stamp this down here on the blog for several reasons: one is that I wanted to explain why there have been so few posts of late, the other is to celebrate yesterday’s achievements and fun, and finally, to get back in the groove of posting, period!
I do hope that readers of this blog have been missing my posts as much as I have missed posting them. But I have been working like hell on several projects that have perturbed all of this: Most of my time has been involved in working on another book, which is supposed to be published by the end of the year; as well as working for the last two months writing in a temporary, limited-time gig for the United Nations. Someday I might go further into that, but not now.
The point is, I have been occupied so full-time that I have barely had moments in the day to pick up my guitar, let alone to attend open mics. But one thing was certain: I had to help out Ornella Bonventre and TAC Teatro at the latest year-end gig at the Petit Theatre in the building of the Théâtre Armande Béjart in Asnières-sur-Seine. This year I had not one, but three roles to play.
As with last year, I MC’d the show with my ventriloquial figure, Peter McCabe. Unlike last year, someone captured some photos of these bits. So I am happy to have those to show on the blog. Unlike last year, I also played a role in one of the plays…or rather, in a way, two of the plays….
Brad as Chasuble with Ornella Bonventre and some of the children of TAC Teatro
I played Chasuble in “The Importance of Being Earnest,” by Oscar Wilde, but in the French translation. That was tough! Or rather, I would have preferred to do it in English, but I had a great time playing the character! I felt a touch of destiny as my great, great, or maybe even another great, uncle, was a famous preacher, a precursor to Billy Graham, named Charles Haddon Spurgeon. Of course, Chasuble is not exactly a flattering representative of the profession.
In the end, we did not perform the whole play, but just excerpts. I did this with the adult members of the TAC acting courses.
Peter McCabe, through me somehow, had been selected by the adolescent students to be the central figure – yes, good choice of words – in the play that they wrote themselves, called, “Ce N’est pas une Comédie Romantique.” I thought that was a brilliant title, and I am sure it will be stolen! The English translation is, of course, simple: “This is not a romantic comedy.”
Peter McCabe on stage in the ados show at TAC Teatro
Peter appeared alone in this show, although I had to wear Chasuble’s hat to cover myself and sit behind the chairs where sat Peter most of the time in order for me to whisper to him his lines, as he did not do the slightest effort towards memorisation.
It was a fabulously successful evening, with more than 160 people present. And Ornella, who deserves every bit of praise for her success for this event, was also praised by the unexpected appearance of the deputy mayor of Asnières who showed up to launch the event. This was a fine moment of confirmation of all of Ornella’s work, as this deputy mayor was none other than Marie-Do Aeschlimann, the wife of the mayor, Manuel Aeschlimann, and herself in charge of childhood and education in the town. Only the week before this, she had run in the second round of the legislative elections.
Brad and Peter with some Audience at TAC performance
From all we heard and saw, the day was a great success, and I look forward to participating again next year! With Peter, of course.
And I do hope to have some news soon from the open mics, and particularly from the success encountered by at least a couple of the bands or performers I met through my period of playing in the open mics around the world. There are a couple of recent success stories that I have been planning to write about for months, but keep getting side-tracked by the other work mentioned at the start of this post.
AUBERVILLIERS – I continue to be surprised by all of the cool cultural institutions, workshops and artistic spaces that I am discovering in Aubervilliers, a suburb of Paris, where TAC Teatro has been performing its latest show this season. A couple of days ago, TAC – well, Ornella and I – visited the Villa Mais d’Ici arts community to meet Les Grandes Personnes. “The Big People,” who were in rehearsal, are a troupe of really big puppets and puppet makers that was founded in 1998 and is one of the many artistic residents of the Villa Mais d’Ici.
Where to start?!?! I think the photos and short videos I took will tell the story best on this one. But I do want to say that I felt for a moment as if I was in Budapest at the Szimpla Kert, and yet here, at the Villa Mais d’Ici, founded in 2003, there was a much, much bigger range of artistic endeavors. From the puppets to an office of architects to theater performers to a guitar luthier, it seemed that anything goes at the Villa Mais d’Ici. (Which, by the way, is clearly a play on words for the Villa Medicis.)
As I looked into the eyes of several of these fabulous puppet figures – which have now not only toured the world but also spawned imitators around the world – I felt like I was looking in the eyes of my own ventriloquial figure, Peter McCabe! But where I feel safe arguing with Peter, no way I would get in a fight with one of these behemoths!
Ornella and I were wonderfully received by the director Pauline de Coulhac, who is also an actress who works with masks, and who over lunch told us about how the concept has grown over the years, “When we started out,” she said, “we were considered nothing but carnival performers. I am proud of that, but it is interesting that it all grew into us now being seen as street artists. And we are!”
I learned that my feeling of looking in the face and eyes of my own Peter McCabe was not based on nothing: These heads are also made from papier maché. The mechanisms that provide their underlying structure, however, are made by Maurizio Moretti, a mechanical engineer (static equipment and package engineer), who suddenly got bit by the bug of building puppets!
Ornella Bonventre of TAC Teatro with one of the Grandes Personnes.
Ornella Bonventre, Peter McCabe and Brad Spurgeon
I took a brief side trip into the atelier of the luthier, Adrien Collet, who it turns out shares dozens of friends with me on Facebook, and since I lost my last luthier who moved to the south of France, I will now know where to go to fix my almost chronically ill Seagull S6.
Les Grandes Personnes
But it will also be an excuse to return to see the Grandes Personnes and explore the rest of this artistic community!
PARIS – I’ve spoken a little about how musicians have survived and challenged the coronavirus pandemic over the last couple of years, but I have barely touched on theater. And theater has arguably been worse affected, as it tends to rely on fewer ways of reaching its public than music. (You can’t call a video of a theater show a theater show – even if you are one of the Cohen brothers directing Shakespeare!) But one of the reasons I have been so quiet on this blog in recent months is because I have been devoting a vast amount of time – and loving it – to three separate theater projects all produced by TAC Teatro over the final months of 2021. And I want here to share the information and the short versions of the videos I did of each of these shows, as I think they show the resistance that theater can develop – should I call it the “antibodies?” – to a pandemic that has otherwise eviscerated much of its usually fertile grounds.
I have written about TAC Teatro several times in the past, since I have been involved with Ornella Bonventre in one way or another in her theater company since 2017 when it was based in Milan, and then through its move to France the following year. But for me the biggest achievement of the company that I have seen so far has come in recent months with the three projects for which I have made these films. (And I should actually include here the period the members of the company spent doing research in Sicily last summer, but I won’t get into that here, since there is little recorded in video of that period. And also because the work they did subsequently benefitted by the research they did there, as I will mention later.)
Three written shows on three different themes for three different purposes: “Just a Sunday Brunch,” “Respire” and “Ajamola.” But all of them were put together and performed in Aubervilliers, at a theater space that TAC Teatro managed to recuperate in the middle of the pandemic and to save the creation, especially, of the biggest, most ambitious of the pieces above: “Ajamola.” I wrote about “Ajamola” two years ago when we first began creating it, just before the pandemic began, and before it had its current name. And it is the piece that has the most merit as being a monumental creation that made it through the endless battles that the pandemic threw in the company’s way over the last two years.
But I’m fluttering on. Let me get to the point!! I’ll do it in order of appearance though.
Translated as European Heritage Days and created by the French ministry of culture in 1984, the Journée du Patrimoine, in the third weekend of September was a huge success for TAC’s show, which the actors put together in only a few days and as a true announcement of the company’s arrival in Aubervilliers. Meant to highlight and show off the history of places and their artistic heritage, the day was a collaboration amongst many of the different artists of the space where TAC has been working in Aubervilliers, at 164 rue Henri Barbusse, and old warehouse-like space with musicians, sculptors and other artists, and TAC’s theater.
The TAC show was done with a set that was conceived by one of the sculptors of the space, Taïne Gras. She had created the installation of a feast table for a previous event, but remade it in the theater space, where Ornella and the actors of TAC created their show around it. The resulting show is a brilliantly funny and light piece that combines some elements of visual gags that remind me of the old silent cinema, and with a mixture of TAC’s usual physical theater forms of expression.
In addition to the theater show, there was a fashion show by a local designer in the courtyard of the place, and another event done by one of the other sculptors. We were blessed, somehow, with great weather, and the weekend was a resounding success, as you can see in the short version of the video that I made of the show.
November 25 is a date well-known by many as the International Day for the Elimination of Violence against Women. And TAC has done shows pretty much every year in support of this day, in one form or another – see the one at the Pompidou Center a few years ago – so this year, with the space in Aubervilliers, it was a great opportunity to continue the tradition. What was even better this year is that for the first time in France, the company put together its contribution with the backing of a subvention by the local municipality of Aubervilliers.
Over a three week period, the company worked with the local community to develop workshops, shows and a documentary film – which I made, and the short version, or trailer, of which I will paste in here – with the purpose of approaching the problem of violence against women in an indirect, let’s say, “non preachy” way.
Ornella went to the local schools, youth organizations and other public and private groups to get the word out and find actors to take part in the workshops and the final shows. It was no easy matter, given the limited time between having the project approved and the official deadline for completing it, which was the end of the year. Her goal was to complete all workshops, performances and the video by the end of the first week in December, and she succeeded.
The approach was to create a show that gets across the message of the horror of, and prevention of, violence against women. The main prop that they used, as you will see, is the umbrella, which is a statement of an item that protects, but at the same time isolates, and can be used as a weapon. In the video you will not only see actors from TAC Teatro, but members of the general public with no acting experience, including children, who took part in the workshops and created the show with the actors of TAC, under Ornella’s direction.
The show was performed both inside the theater space and in the streets of Aubervilliers, as a flash mob event, notably in front of the City Hall and in front of three local schools, where we got some great participation – and feedback – from the students.
But the crowning achievement of the TAC company really came in the half dozen performances of the show the company had been working on since the fall of 2019. “Ajamola” not only managed to survive, but to thrive through the pandemic, and to take on themes that were inherent to the pandemic, although strangely, some of those themes were part of the show from the beginning before the pandemic even hit! (I refer, for instance, to the so-called “dream constructors” who wear doctors’ white smocks! And how I remember everyone’s surprise and confusion when they first received their smock in Jan/Feb 2020 as to what should be done with the surgical mask that came with each costume! We threw them all away!)
I will not go through the whole show here, but for a nutshell description, check out the description of the show at the end of this blog post and as translated from the French. The play is inspired also by many of Ornella’s connections with her birthplace of Sicily, including the fisherman’s song that gives the play its title, and some other songs and musical bits in the production – which themes the actors imbued themselves with on that aforementioned visit to Sicily last summer.
In any case, the show had capacity, or near capacity, attendance each time, and as I recorded it through several cameras and a sound device simultaneously during each performance, I not only never grew bored or used to it, but I felt more and more understanding, enthusiasm and respect each time for the work of Ornella Bonventre as director, and the actors Sara Baudry, Julie Lossec, Tato Moya, Constance Dolleans and Marine Lefèvre.
And I cannot wait until the show returns, with a slight change in lineup, in the months to come. Keep posted!
By the way, I almost forgot to mention that I was actually an actor and part creator of the show two years ago, but as I became more occupied with other projects – mainly the Formula One book for Assouline – I pulled out. But I have contributed where and when possible, including at the moment I not only made the short trailer you find here, but I am working on a full-length film version of the show, which I filmed at every one of the presentations they have so far done of it.
Ornella Bonventre, Peter McCabe and Brad Spurgeon
In fact, on that same theme, I must not forget the activity of the company in Asnières-sur-Seine, where Ornella continues to teach lessons to a growing number of actors of every age in her acting school part of the company. Since the pandemic had killed any possibility of the three age groups – children, teenagers and adults – from putting on their season finale shows last June, Ornella decided to work with the students to put on the season final afternoon of three performances at the Petit Theatre in Asnières in November. And she invited me to present the festivities with my ventriloquial figure, Peter McCabe! It was our debut effort as presenters, and I found myself having to write and memorize our script very quickly…with the result, I am told, of my efforts to bring emotions of laughter to the spectators to actually succeeding in bringing strong emotions of sympathy for Peter McCabe, and equally strong emotions of disdain for me, his nasty master! What counted were the strong emotions! I regret also that the audience was apparently so involved in Peter’s performance that not a single spectator thought to take a photograph or video of our performance! So there is nothing to show for it here…. Maybe next time!
The station of a small village somewhere in the south. The court of a king. Two parallel events that intertwine: that of Alma, Nina, Vera, and Jules waiting for the train and that of the Marquis of the Moon condemned to tell stories to a mad king.
And above all: The dream builders are watching.
At the station.
People from different parts of the world, forced to leave their homeland, meet at the station of a small abandoned village while waiting for the train. An important train that will take them to where they have wanted to go for a long time, where they hope to finally find freedom. Will it arrive?
During this long wait, friendships are born, the plots of their relationships are woven and the individual stories of each come to life: the fears, joys and emotions of those who have challenged themselves, and so many dangers to freedom.
In the King’s Court.
In the power room of the palace of a mad king, the Marquis of the Moon, condemned to tell him new stories, decides to tell him that of the dream builders. This is how the dream builders come to life. They set to work in their laboratory, interacting with the lives of the protagonists who, unaware of everything, are waiting for the train at the station.
What happens when life changes suddenly and forever?
What is the force that makes us dream?
Stories of tenderness and bravery are told through songs, dances, objects that come to life and bring back distant people and memories.
CASTELLAMMARE DEL GOLFO, Sicily – “That’s not Italy!” Such was the idea behind a message a Facebook friend wrote when six days ago I posted a brief dream moment that I captured in a video when Ornella and I found ourselves in the back streets of this Sicilian town, hearing loud Italian music coming from a window while church bells rang simultaneously. Not Italy, perhaps. But not Sicily? A few days later, we encountered a traditional parade through the marina area of the town, and Ornella told me that it was the kind of thing she had so many fond memories of in her childhood here. So, was that not Sicily?
I know what my Facebook friend meant: It’s a little like those American novels set in Paris in which the French are all about wearing beret hats and eating baguettes and they are “oh so quaint, oh so silly.” But sometimes the clichés and real life come together. Castellammare del Golfo, Yesterday & Today
There was an exhibit of his handwritten manuscripts and letters on the walls, and his old camera is still there, and the owner of the bar decided during the lockdown this year to publish a new edition of his collected poems called, Timpesti e Carmarii, which first appeared in print in 1938, when the poet was 46 years old.
The parade that I show in the video, by the way, was part of a huge celebration of an evening in the presence of the famous Italian fashion designers, Dolce & Gabbana, who were in the town to show the film about them called, “Devotion.” (Dolce was born outside nearby Palermo.) The film was made by Giuseppe Tornatore, who is a famous Italian director, who filmed, notably, “Nuoco Cinema Paradiso,” and as he also has had a long association with Ennio Morricone – who died recently – Morricone composed the music for the film.
Tornatore’s was a fabulous film, by the way, although it was also clearly designed as an advertisement for the fashion house. For me, best of all, it was a great excuse to bring the past back to the presence in the form of the parade. There was a fabulous moment during the parade – which I put in the video – in which the performers sing a popular song from here, called, “Si maritau Rosa.” This will strike home very strongly with the actors of TAC Teatro (of whom I am one) as it is a song that we are singing in the new show, and which none of us knew anything about. It was, of course, Ornella’s idea.
But in any case, there it was, the past in the present. The folklore moment of ritual, bright colours, dance and music that may not be Sicily in many peoples’ minds, but it certainly was Sicily last weekend! I’ve edited part of the video in old looking black and white to show that the images we see of the town and the parade look like something we imagine having seen in the past, no more relevant to today…but then the color comes and it looks very much like today…as the past would have no doubt to our eyes had we been there…!
Emma Dante, left, and Ornella Bonventre at the panel discussion
CASTELLAMMARE DEL GOLFO, Sicily – A discussion about the vicissitudes of modern theater and the theater as a social action, taking place under the scorching sun of Sicily amongst the trees and vegetation of the small Fraginesi artists’ retreat outside this town was the moment I had in mind when I earlier spoke of the TrinArt association while writing about the turtle event last week. The panel took place on Wednesday, and opened my eyes to yet another cultural aspect of life in Sicily.
Some of the spectators in the round at the panel
I attended because Ornella Bonventre, representing TAC Teatro, was invited to speak on the panel, as she fit in perfectly as a director and actress who comes from Castellammare del Golfo originally – actually, she was born in nearby Erice – and now also has copious experience of theater also in Milan, Paris and elsewhere. The panel also featured the illustrious Emma Dante, who is based in nearby Palermo, but is also internationally known, having worked regularly in places as far apart as Paris, Edinburgh, the United States – where her play “The Sisters Macaluso,” was staged in 2017 – and many other places. Also on the panel were Laura Castelli, an actress from Milan, a couple of actresses from the Palermo-based company, Barba à Papa Teatro, and Maria Tesè, the deputy in charge of culture for the mayor of Castellammare del Golfo.
The event was attended by a healthy sized audience of perhaps 25 people – given the relatively remote location of the retreat – and among those in attendance was Nicola Rizzo, the mayor of Castellammare del Golfo.
Video: Ornella Bonventre talking about theater and society at the panel session in Castellammare del Golfo, Sicily
How fabulous to find such cultural energy amongst the rugged, parched landscape, and to contrast it in the mind with the works these people normally do in theater spaces. TrinArt is an artistic association founded by Simona Nasta, a Sicilian artist, but which is not only about art but also about taking in and harbouring refugees and other people with social problems at the retreat.
Opening words of Ornella Bonventre’s article on Rodari
Perhaps that is where the social theme of the theater came into it. In any case, given the crisis that theater has been going through since the beginning of coronavirus, it was also not surprising that a lot of the discussion revolved around the problems that theater is facing today due to the virus. But there were also discussions about the general health of the modern theater itself, and what attracts people – or not – to the theater today. Ornella gave an inspiring talk about how theater is and always has been a social tool, a tool for social transformation. I won’t go into the details of what she said, because I told her I thought she had the basis for her next article for publication. (Ornella’s latest article appeared a couple of weeks ago in the Italian education industry magazine called Pedagogika, and it is a wonderful piece about the popular writer and educator, Gianni Rodari, in a special issue of the magazine celebrating the centenary of his birth.)
In any case, it was a great pleasure to attend in this panel discussion, and I look forward to reporting about further such cultural activities from this summer in Sicily….
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
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
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
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
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.
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 – called Thalia – 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.
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.
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?!?!?”
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.
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
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.”
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….
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.
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
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!