Bad Faith

Bad Faith is a project I first started thinking about when I met amazing Belgian choreographer Tara D’Arquian about two years ago. Tara is one of the most hardworking and visionary young artists I’ve ever met and she had an ambitious plan in mind.

Her plan was to create a dance and text piece with a broad reach, exploring mental health, womanhood and, to my amazement, she’d seen me perform and wanted me to write the text for the piece.

This task was a big, big change for me. For a start, I’m not that used to writing work for other people to perform and, of course, although a big fan of contemporary dance, I had never written work to fit into a dance piece.

During the development process, I was lucky enough to go to Brussels to the beautiful space belonging to L’Escaut Architects. The atmosphere and attitude of the L’Escaut building was lovely, with architects and artists coming together to cook and eat lunch every day.

 

 

It was fantastic just watching the dancers and the amazingly watchable actor and theatre-maker Hannah Ringham.

But perhaps my favourite part of the whole process was working with our fantastic extended cast. I had the privilege to meet and work with nine women, all 60+ from all sorts of different backgrounds and with a wealth of fascinating experiences. I ran creative writing, performance and singing workshops with them where they created material around themes of the body and also writing that nurtured both the central character Nora and themselves. During the show, the extended cast sat in the audience and spoke and sang their own beautiful writing from their seats. It’s been just over a month since the show and I miss these wonderful and inspiring women so much already.

 

 

The completion of the development of Bad Faith felt like a very big project coming to an end and I felt all the accompanying come-downs of that! Now that it’s been a month since the show, I can reflect on the work and tell you that I’m incredibly proud of what we achieved. It’s not an easy mission to work with such contrasting languages, dance and poetry, within the same piece and my hat goes off to the whole creative team that made it happen. There will, I’m sure, be more chances to catch this show in the future.

You can read the four-star Guardian review here.

 

 

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