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Interviews

An interview with the Headless Horseman

Dead Northern Interviews Illusions Director for stage adaptation of Washington Irvings Sleepy Hollow – Filipe Carvalho

An exciting creative team will resurrect the Headless Horseman and bring the Hollow to life, with jaw-dropping illusions by Filipe J. Carvalho (Back To The Future The Musical; Secret Cinema presents Stranger Things), design by Amy Watts, choreography by Chris Cuming, lighting by Jason Addison and sound design by Sam Glossop. Transforming the American Dream into the American Gothic, The Legend of Sleepy Hollow is a heart-pounding visual masterpiece revitalising the classic text for new audiences.

Q.  From campfire ghost stories to legends of haunted theatres, even Shakespeare himself didn’t shy away from the supernatural. Given that horror works so well in live performance and storytelling, why do you think the genre been so neglected on stage?

F: Just like comedy, creating horror live on stage is rather difficult and requires a specific set of skills. It is a very technical task and it needs a deep understanding of timing and psychology. This means it can be a risky genre to stage. For example, in a comedy show if a joke doesn’t land, everyone is aware of it and there is nowhere to hide. The same thing happens with horror. If you try to create a scary moment and it doesn’t deliver because it isn’t done correctly or the right “ingredients” haven’t been used, it’s evident to the audience that a moment was trying to be achieved but failed. There’s an expectation to be scared or tense at a horror show, and if you don’t achieve this the audience will leave disappointed. As if you’re staging a normal story, there are no preconceived expectations.

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Q. SFX can be problematic when shooting for the screen, but ultimately any issues can (not without difficulty!) be resolved by a reshoot or in post-production. How do you approach creating SFX for a live audience?

F: As you say quite rightly, in live shows if something goes wrong you can’t go back and reshoot or digitally erase something that shouldn’t have happened.

The only thing we can do to make sure illusions or effects go as planned on a live show is to plan as much as possible far ahead, anticipating all thing that can go wrong, and then rehearse, rehearse, rehearse. And even then, things will go wrong at some point, but that’s the magic of live entertainment.

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Q. Fear can invoke some erratic reactions in people. Have you ever had any peculiar behaviour from your audience?

F: My favourite reactions are the genuine involuntary screams and also when audience members physically can’t move because they are so scared. This especially happens in immersive experiences where audiences are left at their own devices to explore the performance area.

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Q.  Horror, more than any other genre, requires building tension. How do you time the performance to not lose audience immersion during and after the intermission?

F: One the best ways to do that is to finish Act 1 with a strong twist or narrative interrogation mark, so audiences spend the majority of the interval talking what might happen in the Act II. Similar to what TV series do at the end of an episode, they end it in a way you can’t resist to watch the next episode to know the outcome.

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Q. What scare techniques are unique to the stage that just wouldn’t be possible in cinema?

F: In terms of audio-visual techniques, there’s isn’t much we can do in theatre that movies can’t do, apart from having actors appearing in the stalls to scare the audience. Where live shows do have a big advantage over movies is in the fact audiences know that literally anything can be done in movies using CGI, making it harder to impress movie goers. On the other hand, if you’re sitting in a theatre watching a play or in a secret warehouse being part of an immersive show and you see a real person levitate in front of you and you have no idea how that is being done, now that’s impressive, and no one in the house can stay indifferent to that.

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Q. How much does technology play in creating your theatrical illusions over practical effects and what are the advantages and drawbacks of both?

F: I personally love tech – always have done – but, as we know, sometimes tech can fail on us. I don’t start the creative process by deciding if I want to use tech or not. I start by deciding what illusion or visual effect I want to see for a specific moment of the script or storytelling. Once I have an idea of what I want to create, we explore different options of how the effect can be achieved. Usually, there is more than one way of achieving the same effect, and it will depend on all the other factors specific to that show that will make us decide what route is best. For example, for one of the shows we wanted to transform an animal puppet into a puff of confetti. I started developing a way to use electronics to remotely and secretly produce this confetti burst, but as the rehearsals developed and after workshopping different solutions we actually decided to use compressed air and valves, all mechanical with no electronics or wireless triggering, because it just didn’t need to be complicated. When I was a teenager, a mentor of mine used to tell me, always think KISS, “Keep It Simple, Stupid”, which usually tends to be the best approach – although it’s very tempting to complicate things sometimes.

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Q. Horror is a popular theme with immersive entertainment such as Secret Cinema. What sort of effect do you think this will have on the genre in Theatre?  

F: I’ve actually worked with Secret Cinema! The last project I did with them was Stranger Things, which was an incredible show. Immersive theatre lends itself perfectly for horror shows as there is no separation between stage and audience. The audience is on stage and are usually part of the action themselves. This removes that comfort and security you feel when you’re sitting in a theatre, as anything can happen around you.

I don’t think horror being popular in immersive shows is going to affect horror in theatre plays, but I definitely think the fact immersive entertainment is becoming exponentially more popular will influence and encourage traditional theatre shows to up their game and try to incorporate more immersive elements.

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Q. What genre story would you like to bring to stage most? 

F: My favourites are horror and of course anything with a magical theme. I think Casper The Friendly Ghost would be a great show.  

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For more information about the stage adaptation of Legend of Sleepy Hollow go to https://www.tiltedwigproductions.com/thelegendofsleepyhollow

Categories
Curiosity Corner Food and Drink

Halloween Pumpkin Twist

It’s Halloween and that means Pumpkins!

Is there a more iconic fruit than the pumpkin when it comes to Horror? The giant orange squash has starred in more Halloween movies than Jamie Lee Curtis!

But let’s be honest for a moment? Who actually likes eating Pumpkin?

Sure, there’s a host of artificial pumpkin “flavoured” sweets, treats, and drinks that hit the shelves every Halloween, but they taste about as much like pumpkin as grape soda tastes like grapes.

Yet every Halloween millions of us purchase a pumpkin and set about scooping the goopy, sticky, seedy mess into bowls and start carving a spoopy Pumpkinhead. Only to stick it out front of our homes until it rots. Then it either gets lobbed in the bin, vandalised, or at best a compost heap.

In an age when we’re expected to be conscious of our waste, there’s no excuse to buy food with the sole intention of chucking the edible part and leaving the shell to decay.

There is another way! One that’s quite literally greener! The melon! There are so many to choose from, but our favourite is the watermelon. Just as much fun to carve but you’re left with sweet, juicy fruit and we’d wager that there are more fans of melon than there are of pumpkin.

And it gets better. There are a coffin load of watermelon cocktails, such as Sangira or Piña Coladas. So if you’re planning a halloween party they’re the perfect alternative to the pumpkin.

What ever fruit you choose. Have a fantastic Halloween!

Categories
Curiosity Corner Events

The Legend of Sleepy Hollow

 Tilted Wig, Malvern Theatres and Churchill Theatre Bromley 

 Thursday 30th September – Saturday 4th December 2021 

 Full casting has been announced for the thrilling new touring production of Washington Irving’s The Legend of Sleepy Hollow. Taking on the role of Ichabod Crane is Sam Jackson (Skins, E4; Beautiful Thing, National Tour) alongside Rose Quentin (York Witches Society, MSR Media), Lewis Cope (Vera, ITV; Witness for the Prosecution, London County Hall) and Tommy Sim’aan (As You Like It, Sam Wanamaker Playhouse; Doctors, BBC). They will join the previously announced Wendi Peters and Bill Ward

Adapted by acclaimed playwright Philip Meeks (Murder, Margaret and Me; Harpy), and under the direction of by Jake Smith (The Hound of the Baskervilles; A Christmas Carol; I’m Gonna Pray For You So Hard), the premiere production seeks to unleash terror on the stage. The ghoulish and edge-of-the-seat experience will tour theatres across the UK from September. 

An exciting creative team will resurrect the Headless Horseman and bring the Hollow to life, with jaw-dropping illusions by Filipe J. Carvalho (Back To The Future The Musical; Secret Cinema presents Stranger Things), design by Amy Watts, choreography by Chris Cuming, lighting by Jason Addison and sound design by Sam Glossop. Transforming the American Dream into the American Gothic, The Legend of Sleepy Hollow is a heart-pounding visual masterpiece revitalising the classic text for new audiences. 

With Hallowmas fast approaching, Sleepy Hollow simmers with anticipation. Arriving as the new teacher, Ichabod Crane finds himself embroiled in the secrets and unsettling traditions of the locals. However, all is not as it seems. When disturbing events overwhelm the small town, he finds himself swept up in a dangerous mystery which leaves him doubting his own sanity. 

Producer Katherine Senior of Tilted Wig Productions comments, The Legend of Sleepy Hollow is set to be an epic piece of theatre, combining a stellar cast with a fantastic script and theatrical illusions that will blow your mind! It’s incredibly exciting to be creating new work once again for the regions, as we’ve been planning this production for some time. We are thrilled to be heading back on the road and cannot wait to visit local theatres with this show. 

Notes to Editors Show The Legend of Sleepy Hollow 

Running time 2 hours, approx. 

Age guidance 12+ 

Original concept Washington Irving 

Adapted by Philip Meeks 

Director Jake Smith 

Cast Wendi Peters, Bill Ward, Sam Jackson, Rose Quentin, Lewis Cope and Tommy Sim’aan 

Designer Amy Watts 

Lighting Designer Jason Addison 

Sound Designer Sam Glossop 

Movement Chris Cuming 

Illusions Director Filipe J. Carvalho 

Producers Tilted Wig, Malvern Theatres and Churchill Theatre Bromley 

Performance Dates 

30th September – 2nd October Churchill Theatre Bromley 

High Street, Bromley, BR1 1HA 

https://churchilltheatre.co.uk/Online/

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5th – 9th October York Theatre Royal 

St Leonard’s Pl, York YO1 7HD 

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12th – 16th October MAST, Southampton 

142, 144 Above Bar St, Southampton SO14 7DU 

https://www.mayflowerstudios.org.uk/

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18th – 23rd October Yvonne Arnaud Theatre 

Millbrook, Guildford GU1 3UX 

https://www.yvonne-arnaud.co.uk/

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26th – 30th October Oldham Coliseum 

Fairbottom St, Oldham OL1 3SW 

https://www.coliseum.org.uk/

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2nd – 6th November Malvern Theatres 

Grange Road, Malvern, WR14 3HB 

https://www.malvern-theatres.co.uk/

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8th – 13th November Edinburgh Kings Theatre 

2 Leven St, Edinburgh EH3 9LQ 

https://www.capitaltheatres.com/your-visit/kings-theatre

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16th – 20th November Darlington Hippodrome 

Parkgate, Darlington DL1 1RR 

https://www.darlingtonhippodrome.co.uk/

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23rd – 27th November Devonshire Park Theatre, Eastbourne 

8-10 Compton St, Eastbourne BN21 4BW 

https://www.eastbournetheatres.co.uk/venue/devonshire-park-theatre

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29th November – 4th December Southend Palace Theatre 

430 London Rd, Westcliff-on-Sea, Southend-on-Sea, SS0 9LA 

https://southendtheatres.org.uk/Online/default.asp

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Twitter @tiltedwiguk Instagram @TiltedWig Facebook /TiltedWigProductions 

All enquiries, high res images and further information: 

Daniel O’Carroll, Chloé Nelkin Consulting 

E: daniel@chloenelkinconsulting.com, T: 0203 6272 960 

W: www.chloenelkinconsulting.com 

Categories
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