Up Against the Wall - the movie...

You've seen the photos, read the reviews so here's a little snippet of the show. We also managed to grab the choreographer, Mr Paul J Medford, to talk a bit about his role and to show you a few moves in case you feel the need to have a boogie. Once you hear that famous high hat and guitar riff with a wah-wah (thank you Keith for those technical terms for some nice guitar action) from Shaft or the intro to Boogie Wonderland your muscles will start twitching and your toes will tap whether you are in control of them or not. Resistance to the funk is futile....

Up Against the Wall - the word on the street...

well it's not just the word on the street but also the press. Here are some of the reviews for Up Against the Wall. For me, the songs were the real heroes of the show and the band and vocalists do a sensational job with some amazing tunes. I defy anyone not to tap their feet to Carwash or get a goosebump when Gloria (Ann-marie Roberts) sings Natural Woman. She also has to be praised for managing to sing, and sparkle, while climbing many a step in some huge platforms boots....

Gloria (Ann-marie Roberts) in those boots with Leshai (Danielle Henry) and Jenai (Shelley Williams). Image: Ian Tilton

Anyway, the reviews....

In fact you're never more than a couple of minutes away from the next number and my toes were certainly tapping. It was great to see so many youngsters in the audience, having such a good time to music that was created long before they were born. Guaranteed to put a smile on your face. MANCHESTER EVENING NEWS. Read more here...

If you like funk and soul music you will love the Octagon’s latest feelgood production. THE BOLTON NEWS Read more here...

As a trip to the theatre, shows like this couldn't be any more accessible or given a sense of occasion, especially when even the ushers are dressed as though they’ve just finished filming Life On Mars. It’s the perfect 70’s themed night as well as one that celebrates the musical culture of funk and soul music. MANCHESTER MUSIC. Read more here....

Be prepared for a lot of clapping as you rewind a few decades and relive those classic hits. AFRIDIZIAK. Read more here...

Up Against the Wall - shutter-style

Up Against the Wall opened last night. The auditorium was packed and from what I've heard so far the audience were definitely getting in the groove. Here's a few shots of the cast doing their funky thang....

Looks great doesn't it? They don't sound too shabby either but of course the photos don't do the music any justice so you'll have to wait until next week when I can post the video.

An Interview With Libby Watson - Designer

It's all go in the auditorium at the moment as Up Against the Wall opens tonight. It's looking smashing and once again the space has been transformed. I have included a few sneak preview shots of the set but only enough to keep you guessing. (Set photography once again courtesy of Ian Tilton). The lady responsible for creating this funky 70s look is Libby Watson. Despite her overseeing many a costume (and believe me there are a fair few), towering platforms and afros a-gogo she took the time to answer a few questions for your reading pleasure...

How did you get into Theatre Design? And what advice would you have for people looking to work in this field?

I started as a student at the Bristol Old Vic theatre where I concentrated on carpentry and lighting design. I worked as a carpenter for a couple of years and then did a degree in theatre and film design at Wimbledon School of Art. I then assisted some big name designers on West End, Opera and Broadway. My first professional work was at Theatre Royal Stratford East and I have now designed over 80 shows.

My advice for people looking to work in this field is to get as much first hand experience as possible in all departments, from stage management to wardrobe etc.. A degree is the most formal way to train and gives you access to directors and designers. It is then a good idea to assist. At first you may be expected to work for free but if you have good skills in CAD (computer aided design) or technical drawing and high quality model making, it is possible to be in constant work and to be paid well. The other route is to try and work in fringe theatre, this can be challenging as the budgets tend to be tiny and designers are paid very little if at all.

Which project, that you have undertaken, are you most proud of?

I have worked many times with Paulette Randall (Director of Up Against the Wall). A couple of productions that stand out are Three Sisters for Birmingham Rep and Eclipse tour and Gem of the Ocean by August Wilson at the Tricycle. Both relied heavily on good visual research and a static set that was instantly evocative. Three Sisters was set in 1940’s Trinidad and Gem of the Ocean late 19th century Pittsburgh.


If you could produce designs for any production, what would that production be?

I like to work in all fields, but in the future I would like the challenge of designing more opera.

Can you describe a bit about the process you went through to design the set and costumes for Up Against the Wall and what you used for inspiration?

The process for this show is pretty much like any other. There are elements that need to be there, ie space for a band, enough floor space for choreography etc.. I worked with the Director, the MD and the choreographer and showed them ideas and possible solutions along with visual elements that I thought would contribute to a visual style.

A lot of the research came from blaxploitation films and books of the period. I used this material for both the set and for the costumes. I worked with a 1:25 model and produced a rough sketch model and then refined this to a completed model, which is identical to what you see on stage. I sketched costume ideas, which were then completed into full colour drawings after consultation with the choreographer and the Director.


What were the biggest challenges of designing for Up Against the Wall and what was most enjoyable about working on this production?

One of the biggest challenges for this show is to design something that is dynamic, but can accommodate the complications of the piece. The thrust space of the Octagon makes it more difficult to design a set that has moving parts, as there is little backstage space, no wings and no flying.

The play is very fast moving and we felt that a static set would be more appropriate. The costume changes were also a challenge, as with only 5 actors it leaves little time for anyone to go offstage and change. The most enjoyable part of the design process has been the hours of research and of course the music.

Up Against the Wall - An interview with Felix Cross

A Shaft (courtesy of Special Auto) - see what I did there?

Imagine my delight this morning when paying a visit to Stage Door, I heard the strains of Shaft coming from the BNT. So exciting and it is sounding marvellous. Our old office used to be next the the rehearsal room so you could listen to them rehearse the musical numbers which was great if you loved the music and if you didn't know the songs beforehand you sure did after hearing them on loop for a few weeks. The only time when this was a little odd was when they were rehearsing Absurd Person Singular which, of course, is based around Christmas so hearing Christmas carols throughout the Spring was a little disorientating!

Anyway, I digress. So I was walking down the corridor towards Stage Door and once I heard the first few notes of Shaft, I don't know what happened to me. Seemingly without me even being conscious of it I was soon strutting, nay dancing, down the corridor. My 'moves' attracted bemused looks from a couple of colleagues and even that didn't stop me.

It was like being taken over by mind (or body) controlling funk aliens...as often happens, after the fact I felt a little foolish (when I dance I look like a baby giraffe taking its first steps... on ice), but having read this lovely interview with writer and Nitro Artistic Director Felix Cross, I can now tell those that saw me acting oddly that it is due to, and I quote, 'songs simply so funky you physically couldn’t sit still when listening – you had to dance – it was scientifically and medically proved; those twitches in your legs were chemical reactions to the interconnected contrapuntal rhythms of funk.'

So as you can see, it wasn't just Friday exurberance (or my own complete lack of self-awareness) driving this behaviour but science that made me act that way. Honest...you can read Felix's interview in full by clicking here.