Our First Interview

Today we started the interview process for WELL. We're talking to a whole range of scientists, development economists and specialists in arsenic and the contamination of groundwater. Our main scientific collaborator and partner on the project is the eminent and lovely Professor Stuart Reynolds who is in fact Will's dad, and has been teaching students at Bath Uni about the problems of arsenic poisoning in Bangladesh for the last 10 years. What a coincidence! In fact it was Stuart who sparked our interest in the project in the first place. So we whipped out our fancy new microphone and began - sat round the kitchen table - exploiting nap time to avoid additional comments from our 9 month old baby. As a seasoned lecturer of over 35 years Stuart is wonderfully eloquent - and dare I say it - poetic speaker and I'm really excited about incorporating the recordings into the eventual soundscape and musical score for the full production. And baby Noah stayed asleep for the duration!

Flicker - Research

Here are links to some of the research that helped us develop the opera.

Locked-in syndrome: a review of 139 cases

Pressure Volume Curves of the Respiratory System

Scientists seek to help Locked In man speak

Life can be worth living in locked-in syndrome

We also read the following books which provided a great (non-scientific background)

The Diving Bell and the Butterfly by Jean Dominique-Bauby - the book that inspired FLICKER in the first place - beautifully written and powerful memoir about the experiences of having Locked In Syndrome written entirely by Jean blinking his left eyelid.

Me Before You by Jojo Moyes - a surprisingly un-sentimental novel about the relationship between a young man who becomes paraplegic after a motorbike accident and his carer.

opening night

opening night

By Poppy

Last night we opened Flicker to an almost sold-out house in the Lilian Baylis Studio of Sadler's Wells. Despite a madly busy day - whose idea was it to have only a day in the space with a huge amount of sound, lighting and video to tech (over 100 video cues in a 55 minute opera) - it was a resounding success. Everyone from funders, to the patients & staff who have contributed to the project and even the random audience members with no connection to the production or to Metta all loved it and found it simultaneously a huge insight into Locked In Syndrome and the work of the RHN and also a profoundly moving and emotionally engaging performance.

So Will was possibly the most stressed of all of us with his several hundred cues and a somewhat recalcitrant set of computers to work from, however everything came together smoothly - if last-minutedly and everyone commented on how beautiful and powerful the video was and how much it added to the performance.

Both Jon and I were slightly shell shocked and I think it will take a few days to process fully how it all went - a surreal experience to have just three days rehearsal and end up presenting something so polished (not quite the concert performance we had originally imagined back in 2011). But we couldn't have wished for a better showcase for the work - the singers were extraordinary, the band under the masterful conducting of Andrew Gourlay were sublime and the actor - our good friend and god mother to our son Noah - Loren O'Dair was astonishing in her portrayal of the Locked In character Iris - communicating so much literally just with the movement of her eyes.

Rehearsals

Rehearsals

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By Jon

We've been rehearsing 'Flicker' for a couple of days with the full orchestra, the singers, conductor Andrew Gourlay. The RHN have allowed us to rehearse at the hospital, in their wonderful Assembly Room; the patients and staff have been dropping in out of the rehearsals all week, and it feels as if our work's become a real feature of life here, if only for a while – it's lovely to hear the singers' voices echoing down the long Victorian corridors.

After a small crisis occasioned by the delivery of an F-sharp crotale rather than an F-natural one, it's thrilling to hear the piece come to life with such terrific performers. Everyone's working extremely hard, from Andrew's meticulous work on the score, to Will's marshalling of his small army of laptops as he develops the video projections, to Loren's beautifully controlled performance as the 'real' Iris, while Poppy zooms on and off the stage giving directing notes whenever Andrew stops the musicians. The hospital have incredibly generously lent us a bed and wheelchair, which they've custom-fitted with a light-writer for us, which makes a huge difference to the realism of what we're presenting.

I'm still making a few final changes to the score (now I've heard it played live), but really just minor adjustments to the orchestration; overall I'm very pleased with how it's sounding, and as always am overwhelmed by the privilege of having my music played by wonderful musicians. I think we're all feeling quite confident about the performance at Sadler's Wells now, and we're really looking forward to putting the piece in front of a live audience – tomorrow!

 

Finishing/not finishing

Finishing/not finishing

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By Jon

I've finished! Or at least that's what I've been going round telling everyone; in fact I've just finished setting the vocal lines and the harmonies, having in the process pushed Poppy's near saint-like patience almost to the limit with my repeated texts and emails asking if we can shave yet another couple of syllables off a line.

I've now got to orchestrate the opera for our five-piece band, and have got about 4 weeks to do it before I have to send the completed score to our conductor Andrew Gourlay, the vocal part to the singers and the instrumental parts to Aurora.

I've made a chart on my studio wall with the total number of bars in the opera (1341), and the number of days left before the deadline, and I've worked out I need to orchestrate at least 123 bars a day to keep on top of things. So far I'm just about managing to do it, thanks in no small part to my assistant Fran, who's input all my manuscript material into Sibelius (a software notation programme), which has saved me a huge amount of time. Once I've (eventually) finished that and sent the score to Andrew, I'll need to go through it again, this time reducing the instrumental version to a keyboard and voice arrangement that we can work with in rehearsal with Aurora's fantastic repetiteur John Reid for a couple of days before the other musicians arrive.

Very excited now the performance at Sadler's Wells has been confirmed, and very much looking forward to hearing it played live by such fantastic musicians.

 

Baghdad - Late 1970s

Baghdad - Late 1970s

Baghdad. Late 1970s. I would come back from my primary school, eat lunch and have a siesta before waking up to watch cartoons. This was my daily routine as a six year old. I still remember that upon waking up I had to wear socks before turning the TV on. For some reason I couldn’t bear the idea of watching cartoons without socks on. Maybe I thought the cartoon characters could see me and they would disapprove of my naked feet.

Most of the cartoons were Japanese imports dubbed into Arabic. The cartoon that stands out in my memory is the adventures of Sindbad. Unlike the Sindbad of the one thousand and one nights, the cartoon version was a young boy with some kind of bird pet for company. There was one particular episode that I found equally fascinating and frightening. It was the episode where Sindbad meets an old man that asks to climb on his back so he may cross a river. However once the old man has his legs wrapped firmly around Sindbad’s neck he refuses to descend and Sindbad has to carry him everywhere. The old man metamorphoses into a scary looking goat. Eventually Sindbad gets the old man-slash-goat to drink some wine and by making him drunk, he gets rid of him.

When I was approached by director Poppy Burton- Morgan to select a story from the one thousand and one nights and use it to write something about the Arab Spring, I knew immediately that I wanted to use the story of Sindbad and the old goat. I read the original version and was surprised how violent and weird it was. In my version, Sindbad is a young man who flees his country in search of a job. He boards a boat that he hopes would smuggle him into Italy. But the boat is caught in a storm and Sindbad is shipwrecked and that’s when he meets a radical preacher that has been exiled by the tyrant that rules Sindbad’s country. This meeting has terrifying consequences for Sindbad.

Young, secular Arabs were the fuel behind the revolutions that swept through Tunisia, Libya and Egypt. However on the back of their success, Islamists parties have come to power. This is largely down to the fact that as opposition figures, the Islamist parties were the most organised and connected to the masses. There is a prevalent belief that Islam is the answer to the woes of the Arab world. The big question now is whether the Arab spring is going to turn into an Islamists winter.
It is certainly possible that these new governments might enforce regressive laws particularly in relation to women’s rights. However, that is not the only possible outcome. When I was researching my play the Prophet (which was shown at the gate theatre during the summer), I interviewed a member of the Egyptian Muslim brotherhood in Cairo who was keen to emphasise the modern face of his organisation. Provided the Islamists parties do not go down the road of rigging elections
then their influence on the political scene might wain as secular parties find their feet in this post dictatorial era.

Sindbad and the old goat is a cautionary tale about the Arab Spring. And so we could all hope that it would never come true.

Hassan Abdulrazzak | Monday November 26th 2012

Arab Nights - Chirine's Letter

Arab Nights - Chirine's Letter

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Just one week now until Arab Nights opens at the Soho in London - and this week it's the turn of Egyptian storyteller Chirine El Ansary to share her thoughts... This is an open letter to the respectable Egyptian citizen, a father, a mother, an aunt, an uncle... Those who carefully brought us up, with much love indeed.
Those who responsibly scolded us for lying, while meticulously teaching us never to be true to ourselves, explaining over and over again that 'who we truly were' was not acceptable and that in order to become decent members of this decent society we had to be shaped and reshaped, moulded and remoulded to fit in.

The respectable Egyptian citizen, a father, a mother, an aunt, an uncle,
who filled with fear and a destructive-protective instinct, desperately tried convincing us that there was no "way out" or rather that the only "way out" was in fact a "way in" based on permanent denial and everlasting compromise. Denial and compromise until Death comes in.
Not physical Death, but the insidious Death of the soul, the heart, the will...
Whatever you want to call "it".
"It" that makes us unique individuals and keeps us alive.

A few managed to resist.
They made difficult choices and had to bear the consequences : pointed fingers, loneliness, alienation, harassment, accusations of having betrayed their own society, of not being real Egyptians, of being influenced or manipulated. In the mean time, many others, too exhausted to offer more resistance, gave in.
They turned into puppets, reluctantly leading a life in which decisions and choices strengthened a rotten, corrupt system profiting a handful of worthless criminals.
See no evil, hear no evil, speak no evil...and rot...and die.

Kan yama kan,
Once upon a time
There was this lovely very young woman
There was this lovely very young man
She was learned in poetry, music, philosophy, mathematics, computing,
He was learned in poetry, music, philosophy, mathematics, computing,
She spoke several languages,
He spoke several languages,
She was and idealist,
He was an idealist,
The One Thousand and One Stories they knew made them want to speak the truth, Become freedom fighters.
They would save their country and change the World!
They were both Shahrazad.
Yes, he was Shahrazad too,
For is it possible to sacrifice a woman without sacrificing a man?

Kan yama kan
Once upon a time
There were all these older experienced good Egyptian citizens
Who knew Wrong from Right
Who knew Evil from Good
Who knew Ugliness from Beauty
They had a strong sense of Morality and had to protect it, no matter what,
Even If it meant the collapse of Integrity and Humanity
Even if it meant turning the hope-filled roads into dead-ends.

Conservatism, Fundamentalism, Wahabism, Salafism, Bla-bla-ism,
So many isms that we like to accuse.
But what about the sweet respectable citizens, who carry no "isms" but nevertheless twisted the truth and accepted the unacceptable?

They who for decades turned a blind eye and a deaf ear on the horrors that were taking place, condemning the few who dared speak,
thus making possible the inconceivable, Snipers
Thugs
Expired tear gas
Cold blooded murders for Security's sake
Street children turned kid soldiers
Officially approved rapes
Virginity tests they had somehow been silently conducting for years.

Chirine El Ansary | Wednesday November 14th 2012