Kandinsky - Trap Street and Dinomania: Two Plays by Kandinsky

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Trap Street and Dinomania: Two Plays by Kandinsky
Author:
Kandinsky
Publisher:
Salamander Street Limited
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Books / Detective and thriller
Year:
2020
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Dinomania ~...~...~...~...~... Wildly inventive theatre company Kandinsky return with a head-spinningly smart show about Victorian fossil hunters...No-one else makes theatre quite like this. Time Out

Dinomania was originally commissioned by New Diorama Theatre, running from 19 February to 23 March 2019.

165 million years ago, an iguanodon is killed in the heart of a rainforest. Time passes, the rainforest becomes the South Downs, and every part of the iguanodon degrades and disappears - except one tooth.

197 years ago, in safe, affluent 1820s Sussex, a country doctor finds the tooth. But where does it fit in the story of an earth created by God just 6,000 years ago?

~...~...~...~... Evening Standard

~...~...~...~... Consistently smart and inventive. The Stage

~...~...~...~... Brilliant comic timing... I have rarely seen such an electric cast A Younger Theatre

This is such intelligent work from a seriously talented company - Lyn Gardner for Stagedoor

Sharply funny and exciting throughout - The TLS

For Kandinsky, this is yet another nuanced, reflective, and highly creative approach to theatre-making. Original and perceptive, this is storytelling at its best. - Exeunt

Trap Street

~...~...~...~... Trap Street is an 80-minute show that melds an astonishing complexity of themes, a mastery of form and a deep, deep humanity ... another triumph for Kandinsky Time Out

This show premiered at New Diorama Theatre, running from 6 to 31 March 2018. It also ran at the Schaub14hne, Berlin from 5 to 7 April 2019 as part of the Festival of International New Drama (FIND) where the New York Times described it as:

not only the highlight of the festival but one of the most ingenious pieces of new theater I have seen recently... The three-person cast deftly shifts between time periods in a mesmerizing single act that combines minimal stagecraft, improvised music and finely chiseled performances to create an anguished cry of moral outrage about neoliberal economic policies, gentrification and the erosion of the social security system.

Its 1961 and the concretes just been poured for a brand new housing estate. Its beautiful, not because of the clean lines, indoor toilets and wide windows, but because the idea behind it is beautiful. This is the future, and its for everyone.

Its 2018 and the last tower of the estate is about to come down. The dream that saw it built has long since died and now the estate has to follow suit to make way for new buildings, based on new ideas. This is the future, whether you like it or not.

~...~...~...~... Timely critique about the housing crisis is both angry and humane. Evening Standard

~...~...~...~... Compelling and intelligent The Stage

ferociously intelligent, poignant ... Trap Street effectively maps the process of British dreaming, and how that process is permanently written into the landscape itself. Exeunt

Kandinsky brings the companys trademark theatrical inventiveness to city life, exploring a community trying to find its way in a landscape shaped by power. TRAP STREET charts 50 years of changing attitudes to ownership and space in London, to ask what home means in 2018.

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First published in 2020 by Salamander Street Ltd.

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Trap Street & Dinomania Kandinsky, 2020

Application for professional and amateur performance rights should be directed to Kandinsky c/o Salamander Street. No performance may be given unless a licence has been obtained, and no alterations may be made in the title or the text of the adaptation without the authors prior written consent.

You may not copy, store, distribute, transmit, reproduce or otherwise make available this publication (or any part of it) in any form, or binding or by any means (print, electronic, digital, optical, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages.

PB ISBN: 9781913630102

E ISBN: 9781913630119

Printed and bound in Great Britain

10 9 8 7 6 5 4 3 2 1

For David Byrne and Poppy Keeling

Introduction

Whenever a play is published, there are certain assumptions we make about authorship usually its safe to assume that the writing and the ideas belong to one person, whose name is written on the spine. But we can say one thing for certain about the plays in this book: they were not written by Wassily Kandinsky, or by any other sole person.

We make our shows through a collaborative devising process that is fed into by every artist working on the production. Weve been making shows like this since 2015 and it differs from a traditional scripted process in lots of ways, mainly that we dont have a play when we start rehearsals, so its a particular kind of frightening for the performers. There are different stages to the process: reading and researching, gathering material, talking for hundreds of hours, then dragging things into rehearsal rooms with actors, musicians and designers to find out what kind of show we can make with the people we have in the room.

Were absurdly excited that these plays are being published, but when we came to finesse the scripts, things got strange and complex. Texts by a playwright might change in rehearsals, sometimes a lot, but the level of stage direction and description stay rooted in one persons vision. Our text is rooted in its original production, in the hard work and ideas of every single person in the rehearsal room; working out how best to represent texts that were made like this, how to make them intelligible and pleasurable to read, has not been straightforward.

The process required us to imagine a reader (you); to imagine why somebody would pick this book up. Will the texts be read by people planning their own productions? By people who want to remember ours? Or just by our Mums? To please everyone, weve tried to walk a line between clarity and not overdescribing, and we hope anyone staging their own version of either show would feel relatively free with the scripts.

Both shows were made by and for a particular group of people, but we think theres potential to stage them with larger companies and in very different ways, and ultimately you should have fealty to the reality of whoever you have in the room with you. Our only request would be that you assemble a room full of people who represent the world around you, as it is now, over and above any naturalistic reality in the text. Dinomania is full of Victorian men with beards, but its also got dogs and horses and babies and lions and duck-billed platypuses. You probably wont be casting any lions, so its best not to get too hung up on the Victorian men either.

We began making theatre through a devising process in 2014 and Trap Street was the third show we made this way. It began as an idea about maps and mapmaking, but the more we read about London, and who owns it how its been bought and sold and changed hands, even land that appears to still belong to the public we began to realise it was a show about social housing. Everything weve made belongs to the people we made it with, but were particularly grateful to all the members of the company and creative team whod grown up in social housing and brought elements of their real lives into the rehearsal room with generosity and trust. The graphic novel Here by Richard McGuire, depicting a single room over millennia, was also a huge influence on the show, and is fantastic.

Dinomania was our fourth show, but the idea had been around for years: wed wanted to make something about the discovery of dinosaurs since reading Deborah Cadburys brilliant book, The Dinosaur Hunters , several years before. This, and Adrian Desmonds The Politics of Evolution: Morphology, Medicine and Reform in Radical London , were hugely useful, and we also got great additional reading from Dr Alice Marples although inevitably theres some fudging of the facts in our version, with apologies to any keen historians. The original tooth that Gideon Mantell found is on display in the Natural History Museum, London, as well as a bust of its founder, Richard Owen, hidden round the corner at the top of the stairs. Both are well worth a visit.

We also have to mention the one thing we couldnt find a way to properly reflect in this book. Anyone who saw either of these shows will know that theres an intimate connection between every single thing that happens on stage and the music, which for both of these plays, as for several others, was composed and performed by Zac Gvirtzman, a uniquely talented and patient person. Zac is in the room with us for every rehearsal and the action of the play is both developed alongside and inextricably connected to his music. We have been incredibly lucky to work with him so often.

Finally, the hugest of thanks to everyone who worked on both these shows. They are yours. We hope you like your book.

Painter 18661944 People sometimes imply that it is cultured pretentious of - photo 3

Painter, 18661944. People sometimes imply that it is cultured (pretentious?) of us to have a theatre company named after an artist and we would like to assure you that the company was in fact named after a cat (though the cat was named after the artist).

Especially our Mums.

Ground Control by Anna Minton is great on this, if youre interested.

CONTENTS

Trap Street

Trap Street was first performed on 6 March 2018 at New Diorama Theatre, London.

The cast was as follows:

Amelda Brown

Hamish MacDougall

Danusia Samal

Music composed and performed by Zac Gvirtzman

Directed by James Yeatman

Dramaturgy by Lauren Mooney

Production co-design by Joshua Gadsby and Naomi Kuyck-Cohen

Stage management by Eleanor Dear

The original production was developed and staged with support from Complicite, Unity Theatre Trust, the Foyle Foundation, the New Diorama Emerging Companies Fund and supported using public funding by the National Lottery through Arts Council England.

Trap Street was devised by the cast and creative team.

Note

This show could be staged with a company of any size.

We made it with three actors and a musician. The actors doubled as follows:

ONE Andrea

Val

TWO Young Andrea (Y.Andrea)

Esme

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