A filmed version of Whose Blood is now available to view online. Please check it out using the following links
Of Rites and Rituals
My play Whose Blood is now three weeks into its run, and yet it has taken me this long to fully understand its meaning. Only now that the play is in the hands of the director, actors, and technicians, do I fully see its power.
All theatre is an event (the event of people coming together to witness a story) but what makes Whose Blood so unusual is that it is being performed in an actual 19th Century Operating Theatre. The drama is therefore a recreation of what might have occurred there. The play tells the story of a couple in 1832 who face a difficult choice about a surgery, but what makes the play so unusual is that they are standing in the actual space where they would have made that decision.
I have come to fully realize that the play is not so much a play, as it is an event. It is the event of witnessing a story which blurs the line between past and present, history and reality. The actors bring to life a story that has remained hidden until now. The play is actually a rite or a ritual. It calls to life the stories of those whose blood lies in the floorboard on which we sit. I am proud to be a witness.
Whose Blood: Opening Night
The play has opened and we’re sold out for the entire run. Wonderful and still terrifying.
Whose Blood Cast and Director Speak
We open tomorrow night with Whose Blood. You can see the cast and director speak on-line about at the play
Director Karena Johnson
Candic Onyemama: Efua Kuntu
Charlie Folorunsho: Abakah Kuntu
John Gorrick: Samuel Carter
Mark Hawkins: Hugo Forester
Where It All Began
I’m staying in Paris at a friend’s apartment and found this picture on the wall: Le Malade Imaginaire. I performed the lead when I was 17. Michele Gregoire and Teresa Linehan bravely lead us into a world of 17th century hypochondria. I admire and draw strength from their daring.
Words Not my Own
Words Not my Own
It’s a strange thing that happens to us writers sometimes: suddenly our words are no longer our own. This is what I’ve wanted, been working towards, and yet it doesn’t feel easy. Like a child growing up and leaving home, I suspect.
I’ve been writing my play Whose Blood for over a year now — nineteen drafts, last time I counted. I’ve done readings, had lots of input, but up until now my words were always mine. When I didn’t want to work on the play, the script just sat on my shelf, waiting for me — I could neglect her for weeks and even threaten to never come back. But now that rehearsals have begun, everything has changed.
My words are no longer my own, instead they are now the contours of a universe that the director, actors, and crew inhabit. The actors chew on the words and spit some of them back: I make changes. The costume designer listens and then sews outfits, the sound and lighting designers create the light of candles and the sounds of a 19th century carriage. The director constructs dances and movement to fill out this world that she now also imagines.
I want to run away. It was easier when the words were only my private playthings I could control. I’m at times embarrassed: it sounded better in my head. I’m not sure if this child was ready to got into the world.
When I leave rehearsal the actors are singing and dancing. I go back to my quiet apartment and look at my script and try to pretend she is still mine, but it doesn’t work. The director calls: questions about some lines and plans to move into dress rehearsal. I look online and there is publicity “a new play by Alex Burger.” These words are really no longer mine, they are a map to a world we construct together. I hope the world is beautiful, but I’m still not sure I’m ready for the shock of the visit.
Whose Blood opens the 23 February at the Old Operating Theatre. For more information and tickets go to www.whoseblood.com
Return from Ghana
I’ve just returned from 10 days in Ghana, making the same trip to London that my characters in Whose Blood made almost 200 years ago. Although I’ve lived and worked in many parts of Central and West Africa, this way my first trip to Ghana. It felt oddly familiar, comfortable, a part of the world and a part of me I have left but not forgotten.
Rehearsals start tomorrow, we open in three weeks. We will see what these weeks bring.
Grab: Film Reading
Dear Friends,
A big thank you to all who participated in the film the reading last week. It was moving and fun to have everyone come together, and very helpful for the project. Since our reading we’ve been thinking about a few things including:
- A new beginning. We’re experimenting with a new action packed 1st scene
- Mexico expanded: widening Mexico view to encompass more of the community
- Plot and character shifts including changing how Kate/Thandi meet, the use of US assassins, etc.
So thank you all for you time input and energy. We’ll keep you posted.
It looks like little Jim/Seema might be on the way!
All the best,
Alex and Jim
Whose Blood: Play Reading
On 26 October we held a reading of my play in progress Whose Blood: A Tale of Desire and Despair Set in a 19th Century Operating Theatre. It was terrifying, enlightening, and gorgeously directed and acted. Now back to rewriting.
World Food: Film Reading
Dear Film Readers,
A warm thanks for participating last night in the film reading. It was an amazing event for us to have such a group gathered, and to hear the piece out loud with such varied voices. It has given us much food for thought.
We’ve spent the day working on the film, thinking about such things as:
- Characters: How can we tell the most real and complex stories
- Land Grab: how can we push the movie towards land grab, which is perhaps the most pressing and complex issue?
- Inside Africa/Inside Mexico. What would the film look like if we really put ourselves inside these worlds and wrote from there?
The event stirred up so many thoughts and possibilities for us – you made this happen. We welcome continued discussion.
All the best,
Alex and Jim
