ESSAY: The York Mystery Plays Conference 2015

Posted on by under Production, The Baptism

This past weekend, the entire HIDden team attended the York Mystery Plays conference at the National Centre for Early Music, in part because we were also reviving our production of “The Baptism” for it, but also because we like to stay abreast of what is going on with the continuing life of the cycle.

The focus of the conference was on the future of the mystery plays. The waggons have been rolling through the streets on a quadrennial basis for 21 years; as more of the people who have made them possible are retiring from their longstanding roles and as York itself continues to evolve, there is definitely an awareness that the years ahead must be approached very consciously and deliberately.

One of the prevailing strands of discussion was that of tradition versus innovation. This is not a particularly new debate, but it’s one that inevitably renews when contemplating how the plays will be staged in the future. The simple act of defining what their “traditions” are is challenging: for example, the longer “tradition” in living memory is that of static, large-scale productions, like the 2012 version in St Mary’s Abbey ruins; the medieval and more recent “tradition” is that of waggons throughout the city streets. Both have an equally valid claim to a role in the heritage of historic drama in York (and now that both are happening in offset four-year cycles, hopefully they will complement one another, rather than be seen as competing for the title of ‘real’ mystery plays).

Likewise, within the waggon-production community, there is often discussion and debate about how “historical” the plays should look and feel, or how much performances should change from year to year. Some groups are relatively locked in to a particular staging, due to large investment in purpose-built waggons. Some start from scratch every four years and reinvent their play, or perform different plays from the York Cycle altogether. Others tend to find a way in between. Among these variations, there has generally been a balance of plays which owe much of their character to the Middle Ages, plays which are experiments with techniques of modern drama, and pays which are designed to add colour and spectacle without being tied down to any greater theory or concept. This variety makes for a vibrant cavalcade of theatre throughout the streets of York, but there is also an argument that, for audiences who are as mobile as the waggons, this variegation may make it difficult to follow the (already episodically disjointed) story, particularly as younger audiences are less grounded in biblical lore. The follow-up discussion arising from the debate about tradition goes to the role of the overall artistic director: should he or she impose a style or theme upon all of the plays in the interest of cohesiveness? Or should groups function autonomously? Is there even the need for an overseeing artistic director?

Another controversial change from 2014 was the addition of a chorus- newly written to frame the plays in a greater context, it was intended to act as a bridge in places where there was either a large time gap in the narrative story, or where some further elucidation was helpful. The addition of the chorus (which did not exist in the medieval cycle of York, although other cities set the precedent) was one of the most debated subjects last year, and was of course much discussed at the conference as well. The fact that it is new and not traditional makes in a focal point for the greater debate about the role of addition and adaptation in historic drama.

Jane Oakshott’s keynote speech was therefore quite heartening. As the person who brought the plays back to the waggons and the streets in 1994, she is a strong advocate for historically informed drama. She points out that this is not synonymous with attempting to recreate the past, but that any historic play will be most successful if the people staging and acting in it have a solid grounding in its greater historical context. We at HIDden heartily concur. The tension between the past and the present is what makes our work so interesting. While we would not want our own productions to turn into a reenactment exercise, we would argue that changes and adaptations should always be thoughtful and deliberate, in aid of the play itself, and not simply for their own sake.

Many of these conversations are familiar. They are issues that have been discussed within the mystery plays community in the past, but there seems to be more urgency in the question of how their torch will be carried forward to future generations. Coming up with answers, however, remains challenging, so it’s worth keeping an eye out for their future development. Whichever way the York Mystery Plays go, we here at HIDden hope to stay involved in some capacity. We will always be among their greatest cheerleaders for having given us our start and bringing us this far, and for all the wonderful memories and experiences the plays have imparted. We’re sure we’re not alone in this, so if you happen to be in York in a mystery plays year, keep an eye out for how you can be part of an amazing historical event. No matter what changes with them, we know from experience that being involved can indeed change you.

 

Memories From The Baptism

Posted on by under News, The Baptism, York Mystery Plays 2014

 

We’re very sentimental about York’s Mystery Plays- after all, it’s where HIDden began. The quadrennial event remains close to our collective heart, not just because of our history with it, or even because YMP really stands for a lot of the same things we do, but because we just had such a wonderful time working on that production.

Among the reasons we’re so excited to be revisiting the production for the upcoming YMP conference is that it gives us a chance to get our cast back together. We were extremely fortunate to have such a talented, dedicated, and personally lovely group of actors for The Baptism, and we’re equally lucky to welcome them back. We expect that our rehearsals will be full of fond memories from last year, and we asked the cast and crew to share some of their favourites before the event.

Charles Hunt (God) sent this photo. Taken in the Minster Gardens before our first performance, the joke was that it was a “family portait” of God (Charles), his son Jesus (Ehren Mierau), and the Holy Ghost as embodied by a dove.

Trinity

Kate Thomas (Angel) remembers the downpour that had us all trapped in the waggon works when the area around it flooded. We’d just finished a rehearsal and put the waggon away for the night when it started to rain heavily, and the puddle that formed at the gate to the waggon works rose quickly to take over the entire driveway. A couple people from another group were stuck in a corner on a high bit of ground, also surrounded by water. Eventually someone opened up a blocked drain, and the water went down right away. We reflected later, though, that perhaps we should have taken advantage of the situation and put our waggon in the enormous puddle: wooden waggon wheels are challenging to keep damp, but it’s the best way to keep their metal rims from falling off.

Rain was also a problem the first day of performance. After the waggons had come into town, while we were waiting to film for the BBC’s broadcast, the skies opened up and poured down on us. We weren’t sure if it would pass in time for the filming, and had quite a waffling around with whether or not the angels should wear their easily damaged feathered wings if it didn’t. We spent the time waiting in the seating, one of the only dry places available. At one point someone pulled out a pin, a nod to the old question of how many angels could dance on its head- all three actors managed to get a finger on it, but it wasn’t quite a dance!

Ian Murphy (producer) and Nathan Bargate (production manager) both recalled with a laugh an incident from the building of the set. There was a question of whether the throne seat was safely secured and Nathan tested it by jumping on it rather enthusiastically. It wasn’t, and he fell into the throne. While he was stuck there, a crew member asked if he could offer an idea. “May I suggest… a cushion?” was his idea- not exactly useful at that moment, but amusing to all present.

Laura Elizabeth Rice (artistic director) recalls the performance in St Sampson’s Square as a favourite moment, because it was such a challenging location, with lots of noise, footfall and traffic. The cast handled it brilliantly, adjusting to these circumstances without missing a beat. At the end, one audience member who had been passing through was heard to remark, “If I’d known the plays were all like that, I’d’ve come out to see more!”- one of the nicer compliments for being unintentional, and especially in a space generally considered to be difficult.

We could probably go on at some length- there are an awful lot of “favourite moments” from last summer- but of course right now we’re looking forward to creating new memories among the company and for the audience. If you haven’t registered for the conference, do consider it. The mystery plays, in any form, usually find a way to be memorable.

DIRECTOR’S NOTES: REVIVING “THE BAPTISM”

Posted on by under News, Production, The Baptism

In most cases, a revival production doesn’t mean putting on an identical performance to an earlier one. It’s a chance to reconsider things, to make changes and what those producting it would probably consider “improvements”. After all, almost every show is a series of adjustments and compromises, many for very practical reasons, which hopefully do end up strengthening the finished product… but sometimes you do wonder what else a production could have been.

The Baptism is a rare exception. As we’ve been gearing up to put it on again, looking over old notes, photographs, and film, I’ve been reminded of how unusual that show was. No matter how I look at it, I keep coming back to the same thought: I would not change a thing. Of course there are infinite other ways you could stage it, some of which would work equally well. What made it ‘perfect’ in my eyes was the fact that it came out exactly the way it was intended. There were no compromises. It all just fell into place exactly as hoped, and those intentions were ones which worked.

The most important thing which went right in that production was, of course, our cast. While one tries very hard not to mentally pre-cast a show, I think every director has some idea of what their ideal would be, or at least what qualities they most want their cast to emobdy. Most importantly for The Baptism, I wanted actors who could make Jesus and John real. Medieval dramas are written to be extremely human, not at all the superhuman “plaster saints” that often characterize modern perception of Biblical characters. Moreover, only by making these characters emotionally real can the stories be compelling to audiences who aren’t present for spiritual reasons.

Jesus can be tricky to portray, since we tend to equate ‘holiness’ with ‘stillness’, and static acting makes for dull theatre. John the Baptist vacillates between anger, humility, and sanctity, all of which has to be played without going too far in any direction. Having worked with both Mark and Ehren before, I was thrilled when they were both available for the production, as I knew they would be completely capable of capturing these two characters as real people. Additionally, they have a great dynamic on stage together, which works so nicely for cousins Jesus and John.

The angels get to be a bit more formal and otherworldly, but they also need to be musical. It was so exciting to hear James, Kate, and Stephanie sing together- we realised right away that they would make a beautiful trio, and I don’t think, even after all the rehearsals and performances, I ever got tired of hearing them together. Stephanie, unfortunately, can’t be with us for the revival due to other commitments; she will be very missed! In what is probably the biggest change for this performance, we’re reworking the trio into a duet.

God doesn’t actually appear in the original version of The Baptism– it was the biggest liberty we took with the production. I’ve always liked the idea of using God as a constant character in the plays, even if he doesn’t speak or interact with the rest of the action, as a way of connecting the separate plays. His presence also has the ability to illustrate theological concepts that don’t really translate their meaning easily, which is why we decided to include him in our production. Charles might not have had lots to do during the play, but he was able to create a lovely paternal connection between God and Jesus as his son.

I thought from the beginning that the play didn’t want a lot of ‘showiness’ larded on to it- it should be simple, elegant, and dignified. The set and costumes had a medieval basis but I didn’t want it to be aggressive in its periodisation, and I think it managed to avoid that. Even the River Jordan, which was by far the most time-consuming piece to make, came out with the crazy-quilt effect intended.

If you had the chance to see us perform last year, the performance in August won’t be a big surprise. This is one occasion where it’s not about “how could we do it better”, but about revisiting something well-loved exactly the way it is. It’s nice to create a show with not regrets, and I hope that that affection we have for it is something, beyond the proverbial footlights, that we can share with the audience.

Our Next Production: Revisiting The Baptism

Posted on by under News, Production, The Baptism

 We have exciting news! To our great delight, we’ve been asked to revive last summer’s production of The Baptism for the York Mystery Plays Conference on 1 August.

HIDden has always had a special connection with the Mystery Plays- it gave us our start. York’s plays are a unique event with a very long history, and it’s always an honour to be part of the community that continues to create new chapters of that story.

We’re also looking forward to reassembling the majority of our very talented cast! Mark Burghagen and Ehren Mierau will be reprising their roles as John the Baptist and Jesus, respectively. Our angels, James Wright and Kate Thomas, are returning. And our God, Charles Hunt, will be back in his heaven- all should be right with our world!

We can’t wait to get back on the waggon!

For more information on the conference, or to register, please visit: http://www.yorkmysteryplays.co.uk/2015-conference-1st-august-book/

THE LEEDS IMC: REFLECTIONS AND PREDICTIONS ON MEDIEVAL DRAMA

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If you’ve been following us on Twitter (you do that, right?), you may have noticed a lot of recent tweets about “IMC2015” and rather more academic comments on medieval drama. That’s because last week was the Leeds International Medieval Congress, one of the two major international conferences for medievalists. It’s one of the highlights of my year, because one does not often get the chance to spend several days thoroughly buried in one’s pet subject, among like-minded people.

 

Despite the fact that I’ve mentioned medieval drama, you’d be justified in wondering why I’d go on about this to you. I think of it like this: we go to conferences so you don’t have to.

 

This is one of the ways we get the “information” that makes our plays “historically informed”. Although some of the issues discussed at a conference like this may seem highly abstruse, and you might never be able to point to a specific moment in a play and say, “There. That is how they used it”, everything that gets learned at a conference- or, maybe even better, every issue that is raised but remains unresolved- goes into the way that I think about the plays that I direct. Dramaturgy and academia are awfully similar, and any responsible director does their homework before tackling a new dramatic project. Of course, this is even more important in our case, because we couldn’t do a very good job of bringing history to the stage if we didn’t know what it was!

 

The other thing that I love about conferences like Leeds is the fact that they’re a chance to talk over ideas about historic drama with others who work on it, many of whom literally wrote the books on which this field is based. It is an absolutely lovely, incredibly supportive community, full of truly brilliant people. I don’t think I’ve ever left a conversation with any of them without having new insight, new questions, and above all a renewed ethusiasm for historic drama.

 

One of the issues which came up briefly that I want to explore more is the difference between ‘re-enactment’, ‘reconstruction’ and ‘revival’ in terms of staging medieval (or any historic) drama. The terms get used somewhat interchangeably, but I think they’re all very different. At HIDden, I think we live mostly in “revival” camp. We’re not necessarily trying to show you how things were (or may have been) in any of the time periods of our plays. And while we may be asking our own questions about what the demands of the text are, what staging options might work compared to what we know of the techniques and spaces available in the play’s original period, or how various styles of acting may have changed an audience’s understanding and engagement with the play, our ultimate goal is to give our audience something they can enjoy and appreciate. We want them to be able to find echoes of our stories in their own lives and experiences. HIDden always hopes to bring a play to life for the people who are seeing it, which invariably means making some compromises between the times and experiences of the play’s history and its situation in today’s world of performance and reception.

 

Another topic of discussion, which has been repeatedly cropping up at medieval drama gatherings lately, is what the future of the academic discipline might be. I’ll be talking about this again in the future, but to put on my hat of prognostication, I think that one of the ways forward will be more people looking at these plays who aren’t from the traditional disciplines of history and literature, and who might be from outside the formal academic community altogether. Performances that are divorced from academic institutions seem to be on the rise- like ours! The importance of the audience and its experience, both in academic study and in actual production, will continue to become more and more important. And modern- dare I say ‘revival’- productions will become an increasing focus of study in their own right. Those are just my guesses; we’ll have to wait and see if they come true.

 

One more “future” prediction which came up was that of interntional dialogue about the medieval dramas beyond Britain. Of course, those on the Continent are- and long have been- quite aware that they have extensive traditions of medieval performance. We here in Britain haven’t always paid as much attention to that, and I admit to being guilty of this myself; being monolingual is very limiting. While I’m not going to turn into a multilinguist, fortunately more and more of these European plays are being translated, and opening up these plays for those of us who are hobbled by language limitations. This makes these plays, many of which sound immensely interesting, potentially playable for British audiences, and I hope that someday we’ll have the chance to produce a few.

 

Now that the Leeds conference is over, of course, the immediate future, for me at least, is work and study. I’ll be returning to “The Vital Spark” and the Victorians, but I’ll be keeping these thoughts from the conference in my mind for the next medieval project.

 

In Conversation: The Late Victorian World of the Music Hall

Posted on by under Production, Vital Spark

I recently had a long chat with Lola Wingrove, our collaborator on ‘The Vital Spark’ and an expert on women in Victorian music-hall performance. Many interesting issues were raised in this conversation, which we hope will come through in the finished work. We’ll be posting some of this discussion here, to give you some background, and also as a window into some of the things we think about when putting together a play about the past.

 

Laura Rice: I think it’s kind of hard to get one’s head around music halls today, we just don’t have anything like it. We don’t have different theatres for different socio-economic classes. Theatre is generally thought of as a middle and upper class thing now, because of prices, and the theatre of the common, for everybody, is television and film, so we don’t have relationship with the idea that there could actually be separate theatres based on who you are.

 

Lola Wingrove: It’s quite interesting because things like film was basically what killed music halls, film and then television, and television is blamed a lot for the downfall of film nowadays, because if you’ve got it in your front room why would you bother going out. Most people seem to be staying in their houses and aren’t really interacting in the same kind of way. One of the biggest draws in music halls was their sense of community spirit and bringing everyone together and making everyone feel like they’re sort of mucking in together, so to speak. Yes, I think it’s something that’s quite foreign to us now, when we think about it, it doesn’t quite work out. It’s a really interesting theatre format, but people can’t quite understand it so much now.

 

LR: Do we have anything analogous? I feel like there are different programmes that are aimed at different groups, but it’s not quite the same in live performance.

 

LW: No. I know people [have compared] the TV show “Britain’s Got Talent” to the variety performance, because it’s the same sort of set-up of having people doing different kinds of performance, and you’ve still got that interactive quality, with people ringing in and voting and people talking about it in the street, and they’ll chat to eachother about it and read about it in the paper, so you’ve got that kind of weird community, in that it draws everybody in to talk about something in common. But one of the really great things that music halls did was actually reflect everyday life, a bit like soap operas do today, only the live format made it all even more immediate. They would have performers on stage that were performing for the people as the people you’d see selling stuff on the markets, or in the coffee shops. So although the kind of classed analogy is sort of there, it doesn’t totally work in that same sort of way. That’s why I think people have a difficulty understanding music hall.

 

LR: And the idea of variety, in a performance, because you don’t go to something where you’re going to see seven or eight different things, on potentially completely different themes in one night, we just don’t really have that anymore.

 

LW: That’s the thing, [there were] professionals going around and doing these different acts, and they would perform all across the country, so you’ve got professionals- animal trainers, acrobats, dancers, singers, comedians. And on the bills, quite often, especially towards the late Victorian period, the music halls would normally include a section from a ballet or an opera or something, so we tend to think of music halls as being these sort of rowdy, working-class kind of thing, and [we often think they were] a suppression, a way of keeping the working class away from the fine arts, but it wasn’t that at all. I mean, they were much better versed in ballet and opera and things like that than a lot of us probably are today, because of the fact that they would see it on a regular basis and get all these different acts. And we tend to think of the halls as being quite xenophobic because of the amount of patriotism and stuff like that, but for a lot of the halls, they actually employed lots of different acts from all over Europe, and there was a cultural exchange happening through the halls, which is quite often neglected and ignored as well, so it was quite a sort of novel and interesting experience. There are some acts that are just a little bit weird. Like, there was one guy and his whole act was just jumping up and down on the spot. No one has quite worked out why that was so popular, but he apparently just jumped up and down and everyone thought it was wonderful. But that’s the problem with performance history and archives, you can’t quite see how he did it in a way that was so hilarious.

 

LR: Where do their performers fit into the bigger arts picture of the times, and into society on the whole? I assume Jenny Hill wasn’t someone Queen Victoria was going to invite over for coffee, but maybe she would, I don’t know!

 

LW: Well, not Hill, but [her contemporary] Bessie Bellwood, she was invited by Princess Louise, by royal appointment, to sing one of her songs, because she’d heard the servants singing it and enjoyed it, so she invited Bessie Bellwood to go and sing to her. That’s how far it could go, if you had a really good, catchy song! Even royalty could invite you to perform.

I think at that particular time, because this is long before the royal command performance occurred, a lot of the middle and upper classes just tended to think of the performers as low and just weren’t particularly interested in them. They’d almost be sort of our idea of the reality show stars today, where if you were middle or upper class you’d probably have heard of Jenny Hill, and there are certain songs that you might even buy to play on your piano by her, but you wouldn’t exactly think of her in particularly high esteem. However, amongst the working classes… That is arguably a much wider base, because most of the classes would go to the halls, that was their main source of entertainment. Especially in the winter time when at home it would be very dark or you wouldn’t have enough money to get a fire going, you could go to these halls which were all beautiful and glittery and well-heated, so people would often go to the halls several times a week.

[With] that kind of audience base, performers like Jenny Hill were exceptionally well known, I mean they were really, really hugely famous, to the extent that when they died, in the funeral procession, they would have ten thousand people lining the street for them, these sorts of amounts. Definitely for Hill. Marie Lloyd was a very famous, she had twenty or thirty thousand lined up, lining the streets for her. So they were hugely popular and influential, with women in particularly. [Women would be] waiting for them backstage to give them presents. They had a lot of groupies, a lot of people were really sort of obsessed with them, and they were the stars who were used the most for advertising. They were the ones who were put onto cigarette cards or used to advertise [other things], in Vesta Tilley’s case it was clothes. And advertising gives you some power as well, so they were enormously famous, probably just because of that wide base, probably even better known that some of the legitimate performers, who arguably had the smaller audience base really.

 

LR: Is there any permeability between those two worlds theatrically?

 

LW: There was. Each year for pantomime the legitimate theatres stole a lot of the music hall and variety performers for their pantomimes, in order to get quite a lot more people in, and so even the middle and upper classes would have seen Jenny Hill in her numerous amounts of pantomime, so they did cross over to the mainstream theatres there, and there’s a lot of evidence of music hall performers being asked to perform, because even the legitimate theatres, they’d have a main play, but they’d quite often have a little bit of variety warm-up stuff before the main event happened, so they’d get performers like Jenny Hill to perform there. So there were definitely cases of that. And also, both amongst opera and ballet stars, there’s a lot of them finishing performing, and then going around to a hall around the corner and deciding to have a sort of knees-up but still perform again, and so there was quite a lot of moving across in that way. I don’t think there were so many legitimate actress who’d want to be seen on the music hall stage, so there’s a bit less in terms of cases of it going that way, but definitely in the other way it did work, and in fact I know they often said with Jenny Hill, that she was good enough and had been invited to perform in legitimate theatres as an actress.

 

 

Writer’s Notes: Introducing Jenny Hill, the ‘Vital Spark’  

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For many the image of a woman performing stand-up comedy seems like a fairly modern phenomenon, especially when listening to the constantly reoccurring debate as to whether or not women are funny. With strict ideas about a womans place being ‘in the home’ and backlashes against platform women and the fight for Women’s suffrage, the Victorian music hall would certainly not look like an obvious timeframe in which to begin an exploration of Women’s history in comedy. However, the enormous success, earning power and interesting material of the female serio-comic on the music hall stage gives us a complex insight into our comedy history. Serio-comics were performers who produced a mix of comic and serious songs and sketches, interspersed with patter and audience interaction. They relied heavily on topical and satirical comic songs and their material can be seen as an embryonic form of the stand-up comedy we enjoy today. These serio-comics would perform their material on the music hall stage as part of a variety bill during which acts such as dancers, acrobats, scenes from ballets and operas and animal acts would perform to a largely working class audience.

One of the most famous of these serio-comics was Jenny Hill (1848-1896) – known as “The Vital Spark.” Hill’s career began when she was 7 and played the legs of the goose in mother goose! Her most notable solo serio-comic successes occurred between 1870 and 1894 and it was during this time that she became one of the highest paid performers on the British stage earning as much as £80 for twelve nights work as well as having regular benefits held in her honour. At these benefits she was presented with gifts such as diamond rings and broaches. She performed a rich variety of material, mainly focusing on representing the lives and work of working class women but also including highly political songs (one seeing her perform as a female politician), upper class male personation and drinking songs. Although the press at the time constantly tried to belittle her achievements her reputation, tireless self-promotion though advertising and immense success throughout the country make her an intriguing and exciting lens through which to revaluate music hall and women’s contribution to comedy and performance.

– Lola Wingrove, theatre historian and writer for The Vital Spark

 

 

The Vital Spark: A New Project

Posted on by under News, Uncategorized, Vital Spark

We’ve hinted at new things on the HIDden horizon. One of them is, on the surface, a big departure for us- but it’s very exciting. This is a new piece of drama, tentatively titled The Vital Spark. It’s the story of the life of Jenny Hill, the first woman to be recognised as a “comedienne”. Hill was a star of the late-Victorian music hall, who, like many performers since, combined humour, interesting characters, and a certain degree of social commentary.

Hill is the thesis subject of Lola Wingrove, a PhD candidate at the University of Bristol. I first heard Lola speak about women’s performance in music halls last year, and right away I knew there was a play in there waiting to happen. We chatted after her lecture about the idea of using her work on reviving Hill’s repertoire to create the basis for a play about the life of this remarkable Victorian performer. And now, in collaboration, we’re doing just that.

A new play… Victorians… on the surface, it’s quite different from what HIDden has done thus far. This project goes to the heart of our interests: a fascinating personality, and interesting story, and one that speaks to a specific aspect of the past, one that you might not know very well. Certainly it’s quite new to us! Moreover, it’s taking us all right back to the archives; there are no scripts left of Jenny Hill’s performances, and of course there is no film, so the challenge, to Lola as the writer and to the HIDden team in putting the production together, is to use original material to try to imagine what happened. As with our medieval productions, we know we’re not going to “authentically” “recreate” anything. What we’re hoping to do is to use the evidence that history has left us to create something new, something that will show you a bit of theatre history that you haven’t had the chance to see before.

Although we’re still in the early stages of this project, we’ve already learned quite a lot. In the weeks ahead we’ll have more interesting things to share with you: a bit about Jenny Hill and her life and times; the Victorian theatre; and just how we’re approaching the challenges of creating a new piece from historic documents. I can’t wait to see how it all comes together- it’s going to be an exciting journey!

Director’s Note: Changing Times

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Over the past year, things at HIDden have changed somewhat. Our co-founder Suzanne Fatta has moved on to new projects (and is doing amazing things in Buffalo, New York). We’ve welcomed new faces- our producer, Ian Murphy, and production manager, Nathan Bargate, came on board following last year’s very successful ‘Baptism’ in York, and their work is helping to move HIDden forward in more ways than I can count.

But the change that will become the most apparent in weeks to come is that we are making an attempt to move out of the Middle Ages. We’ve always intended to look at drama from various time periods, and we’re really starting to do so. We’re also engaging more with newer works about the past.

This may seem like a bit of a departure for a company that has primarily produced medieval plays thus far, but it really isn’t. The HIDden team has always found drama to be an excellent window into stories of times gone by… and what time doesn’t have its interesting stories and characters? We don’t want to limit ourselves, or what we bring to our audiences. It’s a bit of a challenge to me personally, as a medieval drama specialist, because that’s my comfort zone, but I think we’re all enjoying the opportunities that a broader historical and dramatic perspective offers. It’s easy to get into a cosy niche and stay there, but it limits your ability to grow creatively, and that’s a huge part of what the arts are about. Broadening our horizons means we’ll be able to bring fresher eyes to any play we’re working on.

If you’re a medieval enthusiast, don’t worry, we won’t be leaving the Middle Ages entirely. At present, we’re working on some possible medieval merriment with the amazingly talented ladies of Timeline Songs, whose speciality is the music of the times. But we’re also developing a production with Lola Wingrove about late-Victorian working-class theatre, and we’re reading through some interesting new scripts from a variety of places and times. Broadening our horizons… bringing you more interesting productions… it’s all grist to this ever-engaging mill!

A Report From The Field: Medieval Drama at The Kalamazoo Conference

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I’ve recently returned from my annual pilgrimage to the international medieval conference in Kalamazoo, Michigan: four days of talking shop with medieval drama scholars from various countries and different specialities. Medieval drama tends to be a pretty small field, so there’s always a certain element of reunion with friends to the conference.

One of the themes which seemed to keep popping to the surface this year was that of performance. The central question was, why is medieval drama so overlooked? As someone said, the ancient Greek dramas often make it to the stage, not to mention the obvious revivals of Shakespeare that proliferate across Britain (and everywhere else). But medieval plays have remained the province of small church groups or within academic halls. Why… and how do we find a way to break this paradigm?

The issues discussed would sound like a depressingly challenging, almost insurmountable litany, but it was actually very positive. There seems to be a subtle groundswell in favour of more productions, especially those that aren’t tied to a university course or department. This is where companies like HIDden come in. It’s always exciting to find that we are, in fact, part of a bigger movement, and in a position to really work toward a larger goal. We’ve always believed that historic plays should be seen, and can be enjoyed by a much wider audience than might be supposed. It was very encouraging to be among others who are thinking along the same lines.

Of course this is all regarding medieval drama specifically, which is just one era of many. But if one rather small corner of the historic drama picture is potentially moving out of the shadows, it means there is scope for other neglected gems from the past to come into the limelight. In short, it means that, in a wider context, we’re on the right track.

We’re living in exciting times with historic drama, and I for one feel quite lucky to be part of it all.