Giddy Kippers

by Laura Lindsay

Maiden blog post by Mr Peter Carruthers...

Right then, blog time it is! So, what shall we talk about?

And there’s our first problem; you’ve not really got a say in where this conversation goes have you? I can say whatever the hell I want and all you can do is either carry on reading or go and do something vastly more productive, leaving me rambling away like an old redneck on his porch.

And so it goes with writing and performing your own work. No matter how much you believe in what you’re doing and saying, you really have no idea how it’s going to go down until you’re stood up there in the blinding lights, forcing your thoughts down the necks of the innocent people you hope are still sat out there in the darkness.

Thankfully, when we performed ‘Hidden’ in Preston and then at Joshua Brooks in Manchester, it seemed to go down really well, yay! We had some very kind feedback and some equally kind reviews. Relieved smiles and much patting of backs ensued. Then, Laura and I sat down to watch the DVD…oh dear… “Wow, was I that rushed every night?” “Why am I stood so still? I look frozen!” “Why is my voice so high all the way through that monologue?!” etc, etc. It became extremely apparent to us that although the show had been a success, there was still a lot of room for improvement and there was no way we were going to rest on our laurels.

Enter Martin Jameson.

I first met Martin directly after one of the performances at Joshua Brooks and he was extremely positive about the show. He didn’t waste much time though and quickly went on to tell us that he felt the piece was still a good way short of its potential and that he would love to meet up with us to discuss how we might be able to develop it.

So a few weeks later (following the cringey DVD session) the three of us met up, ate lovely food and got stuck into the script.

That was over a year ago, and here we are, finally ready to unleash the revamped, finely tuned and genetically modified Hidden ‘GTI’ on the Library Theatre Replay Festival. We’re only two days into rehearsals and I’m already giddy as a caffeine fuelled kipper. Although there hasn’t been drastic changes to the script, the new structure and fine tuning of certain scenes has made a massive difference in making the piece feel less like series of monologues and duologues and more like a fully rounded, interwoven play. Martin has been superb in the rehearsal room, he’s really booted us out of our comfort zone and made sure we’re using every last bit of detail from the new script. This new impetus, added to the superb set design and Martin’s almost sexual passion for clever scene transitions has really got the rehearsal room buzzing.

Which brings me back to my original point; how do we know that we’re not just rambling away in a rehearsal room? How do we know if it’s going to go down well when we open next week? Well, I suppose that uncertainty is part of the drug that all actors find so addictive, you never really know for sure until you’re up there sharing your work with that most precious of commodities; an audience.

But then again, sometimes you just know.