Gravity & Levity

Wow! Now everything is different, ‘all change please, all change’. We had a run of everything that we’d been working on, one thing after another, as well as fluffing through some improvised transitions to boot. The run lasted about an hour and I believe the words Charlotte used to describe it were ‘well, that was a &!@#ing disaster’. However, an organic part of any organic process is to reflect on your practice and to decide, what is it you are actually making? Charlotte has (I feel) a very organic methodology, a very practical and efficient way of work (Charlotte may disagree) but we seem to get things done fairly quickly or to put it better, decisions are made quickly (probably because she knows what’s what).

Things actually take a very long time to make, it's not the deciding of what to do that is the problem, it’s mainly the problem of being able to repeat them and repeat them cleanly and without breaking, dropping or garrotting your partner in the process. Anyway the piece has taken a rather different route, I’m not actually doing any harness work at all… not sure if that’s because I’m rubbish on a harness or... just too good on the floor, assisting people. To be honest, I’m very happy with my new role, I’m the ‘Caretaker’, or, in reality, the not so ‘care-taking’ somewhat over enthusiastic and perhaps boisterous, young aerial dancing newbee, who is always trying too hard to please everyone. Deep down I resent this, but it’s actually quite close to the truth. The role also calls for a bit of speaking and dialogue, which is marvellous fun! I’m a pretty bad actor, with poor, let's say, ‘underdeveloped skills’ (except once, when I played Fagan in a production of ‘Oliver’ for four nights, everyone said I was brilliant…) Anyway know I have a lot to learn. I’m comfortable talking in public, but that’s a minimum requirement when performing and trying to be convincing in the art of Theatre (note the big T in Theatre). Cue Charlotte, who has been, so far, schooling me physically in just about everything; my shoulders, landings, quality, partnering, softness, focus, projection, timing, spacing, feet, shoulders etc, etc and to be honest deservedly so! Secretly, I’m &!@#ing loving it! I feel like I haven’t been challenged like this in ages. You have to be on the ball all-of-the-time! No messing about!

**Warning** Do not work with Charlotte Vincent, unless, you’re willing to do some changing (growing), work hard and realise that no matter how angry she seems to be with you, that she has actually got the very best and honest of intentions; no matter how hard the move is that she wants you to do, and do well! And sometimes they really hurt! The funny thing is that even though it seems awkward and real mean on your body, the ‘move’, in the end (after a bit whining) is always possible, and… probably… worth it. No, I’m just kidding. The material is really great. The revised duet (/trio) that I get to perform with Jenny is starting to look and feel awesome! Tomorrow, I’ve got to learn a kick arse duet with Vanessa, and from what I’ve seen will be a lot of chuckles/tough new set of skills to learn. Bloody fabulous I say! Bring it on C V.