• leodoulton

Coming To Come Bargain Strand 5: Things people have called me to compare me to uncanny things

This blog is part of a series on how I came to write Come Bargain With Uncanny Things (tickets available now!). If you want to read the other parts, see the links below:


Strand 1: Why I (Un-)love Opera.

Strand 2: Four Alternative Approaches.

Strand 3: No Hero, No Journey

Strand 4: The Reading List Cometh.


***


An archfey, luring them down theatre corridors to transfer them into another realm.


The big bad, waiting to reveal what I was all along.

Someone with a dream-haunting laugh.

The angel of death.

Much of it nice, all somewhat weird, and I admit it’s quite nice making work where I dance in time with that part of me for a while.

This show allows me to combine three ideas:

1. I like interactive theatre.


2. I like opera.

3. The thing that opera can do interactive theatre can’t is the beyond-human.


What music can reach for is not excess emotion, since I cannot guarantee a world in which there is such high emotion while the audience also have control, nor the studied prettiness of pre-scored music. But I can make magic, for I think most cultures have had an understanding that somewhere in music there is the wonderful.


And thus you are invited to the beautiful ritual that is Come Bargain With Uncanny Things.


To paraphrase what I said at the start of rehearsals:


We are making something holy.

Something for people to come together and be human.

Where it’s quiet, with the satisfaction of craft.


If that’s not a space you’ve seen before, and you want to be a part of it: welcome aboard.


A person in a white dress with gold strands in her white hair, and a gold flower on her dress, stares at the camera in sinister light.
Strictly, First Witch from Macbeth (played by Joy Warner). But it could be an archfey.


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