I write this as I sit on a train to Worcester for the last time this tour, for Vamos Theatre's Dead Good. This week we play Shrewsbury, Liverpool and close the show (for now 😉 ) in Wolverhampton.
This has been my first mask job although I've been making and touring work for well over a decade, perhaps closer to two 😉 though as many tell me, I dont look it. I will share here some of my observations as a first timer in mask and what drew me to this weird and wonderful art form in the first place.
Over the last 5-7 years, I've been working more with puppetry and theatre that uses movement and imagery to tell stories. This is partly because I've been increasingly interested in collective meaning making beyond words and partly because I've always felt physically 'clumsy' or an 'inelegant' mover so this draw to physicality was to deepen my practice and quite literally feel more connected and 'in my body'. I'd wanted to study mask for years, though I did have preconceptions of it as quite stylised and choreographed (two aspects that did not attract me at all). So when I was invited to a workshop audition for Dead Good, I thought perfect, what a brilliant way to have a go! The workshop was at Jacksons Lane and I was immediately attracted to these mad looking masks and how much we all grew to care for them straight away. It became apparent that masterful maneuvering required extremely naturalistic acting. The mask magnified everything. Every look, gesture, involuntary movement, and breath carried meaning. And not always what we intended. (I crossed my legs once while sitting, leaning forward to listen and it looked like I was desperate for the loo).
I could see how special and magical a technique Vamos's brand of full mask theatre is and so was delighted to be asked to come on board. (Plus I absolutely love touring, putting my life in a rucksack, and living simply. This economy is perhaps analogous to mask acting. Though part of my tour ritual is to visit the local charity shops and on this tour Tewkesbury, Bury St Edmonds and our base Worcester were particularly fruitful. So as you can see, even from these bracketed asides, economy does not come naturally to me).
I spent a day working with Vamos Theatre's Artistic Director Rachael ahead of rehearsals beginning in Worcester. She was thrilled that she had three of her favourite mask actors confirmed for Dead Good: Alan Riley (co-founder of Trestle), James Greaves (mask actor for over 30 years), and Bidi Iredale (star of Finding Joy) and wanted to make sure I'd be comfortable in that rehearsal room as brand new to a technique, that frankly baffled my brain, amongst some serious talent. We also had some good conversations around race and mask. There is a lot more to explore and discover here, and its commendable that Vamos Theatre has taken steps over previous years to diversify their casting.
Rehearsals began in Worcester in early January. I loved staying with Maggie Keeble who inspired the show, and she, Bidi and I became a little Worcester family- looking out for each other, talking about things the show brought up for us, and checking in.
Rehearsals were amazing. I have never handled so many quick changes. And I loved watching Bidi, Alan and James in action. I knew then that my acting would benefit a lot from this practice. It requires absolute clarity and economy of thought, active listening and a different kind of spatial awareness. With the mask on, our peripheral vision is virtually gone, it is like going around with a bucket on your head, so definitely a trust exercise getting around in the blackouts! The aural cues become everything, many emanating from Janie'e brilliant soundtrack as well as the live action on stage.
The final thing that really left a mark is Vamos Theatre's motto of 'nothing about us without us'. Based on over two years of research with hospice workers, palliative care experts and people whose experience is reflected in Dead Good, it was incredible to share very early runs with invited audiences who influenced the making of the piece. The process has definitely been 'Dead Good'.
Radhika Aggarwal