Citizens Theatre

The Trouble with One Person Plays

2012-03-09T14:43:00.000Z

I've always struggled with one person plays, every time I've been to one I've felt exposed and uncomfortable. With no other actor onstage the only person an actor can talk to is me. To be fair not just me, but the audience, and I've always felt that this was wrong. I like to sit back and watch a performance, take it in and enjoy it. As soon as I am being talked to very directly by one single actor, I'm no longer watching the show, rather, I'm worried about any number of things, including looking interested so I don't upset the actor, who's only a few feet infront of me! I'm no longer watching the play becomes the problem. Not listening or thinking about what's being said, I'm being distracted.

Lynn Kennedy, in rehearsals for LIMBO

Though I'm also completely wrong about one person plays. Working on LIMBO has allowed me work to on this with Lynn, the advantage of a one person play is that it can allow us to create a much more personal connection between you the audience member and the performer. More so than with a larger cast play. When rehearsing the show Lynn and I were very careful in not pushing the audience away but drawing them in. First establishing a connection with the audience and then allowing the character to pull back a bit and try to hide her emotions. Using Pinter (a popular lad in the Citz this month) style characterisation to hide our characters true emotion beneath a mask. Drawing the audience in as we see her struggle against her inner turmoil. I think the result creates a very dynamic and heartfelt performance, that Lynn creates beautifully. The key being not to through to much directly at the audience but giving the character and the audience space to think and feel.

Yesterday evening was the opening night and I hope the production does not keep the audience at a distance, instead, drawing you in as an audience member so you feel connected to the character, as it's only the two of you in that theatre, no-one else.

Richard

Director

LIMBO

Circle Studio

8-10 March, 6.30pm

And we're off...

2012-03-07T17:21:00.001Z

So, it’s Wednesday afternoon, the day after Press Night, and I think I can say without fear of contradiction, that it all seemed to go really rather well! A very positive response from an enthusiastic audience, both in the auditorium and in the bar after the curtain came down, so a few post show sherries were taken by cast, crew, production team and audience too - lovely! A few of us even made it over the river for a final nightcap, just to make sure we slept well…

But the Betrayal team don’t rest on their laurels and take it easy on themselves, oh no. Today at 2pm, we assembled onstage to rehearse Fraser in to the show- he is taking over ASM duties from Emma, who will be taking over DSM duties from Cathy when she goes into King Lear rehearsals on Monday. It’s a non-stop theatrical carousel here at the Citz, I tell you!

[Ed. Knowing some of the intricacies of the stage management backstage, we send lots of luck and best wishes to Fraser!]

And now the next stage of the run comes into play, namelyperforming it nightly and keeping it alive, fresh, vital and true - a task weare all relishing, I’m sure. This will start before every performance with the statutory game of Keepie-Uppie, and of course the vocal warm up, which I willnow be leading. Dominic has passed this job on to me, as he will now bespending all his time and efforts getting into King Lear mode. Obviously, I’m rathernervous of this, but Dominic assures me I’m up to the task! Oh, and while I’mon the subject of warm ups, vocal and physical, I’m delighted to report thatlast night, pre show, we once again smashed our previous Keepie-Uppie recordwith an extraordinary 307 - GET IN!!!

So dear reader, I will take my leave of you, and take thisopportunity between blizzards and hailstorms to go and grab some sustenance,but fear not, I will return soon to the Blogosphere, and share more Betrayalgoodness with you….and Keepie Uppie scores too, obviously!

Barrie

Ed. Review from The Stage: http://bit.ly/yeeIXY

"Distressing, caustic and superbly realised, this Betrayal is a menacing celebration of The Citizen’s new direction."

BETRAYAL
2-24 March | More info

Watch Audience Reaction
Watch Trailer

Whoops, cheers and keepie-uppie

2012-03-05T16:00:00.001Z

Well, folks, it is now Monday morning, and much has happenedsince last I checked in at the Betrayal Blog. We played our first previewperformance on Friday evening and……the audience response seemed very positiveindeed-good news! Many moments of silent tension were indeed met with “youcould hear a pin drop” hush, and other moments were greeted with much laughter,which is a relief to all involved. The audience seemed to be with the play allthe way, and the appreciation at the curtain call was a lovely thing to be onthe receiving end of.

We met on Saturday afternoon for notes on the previousevening, and worked through a few little adjustments/ideas/thoughts/concerns onthe stage, before the 2^nd preview performance that evening. However,before that happened, we had to gather at 6.30pm for our pre-rehearsal, and nowpre-performance ritual that is “Keepie-Uppie” (physical warm-up!), and vocalwarm up round the piano with Dominic. The excitement and concentration in theroom was palpable as we smashed our previous Keepie Uppie record of 117 with anextraordinary….wait for it…..*drum roll*……284!!!!!!!!!! Good times.

The 2^nd preview was then performed before a lovely, warm and sizeable audience, who showed their appreciation at the end of the evening with whoops and cheers mixed in with their loud applause - a lovely way to end the week, and to go into a well deserved day off for all concerned.

So here we are, at the start of the week, and we shall meet at 3pm for notes, and then another dress run at 4pm to keep the show like a well oiled machine as we work towards Press Night tomorrow. I of course, have succumbed to the pesky cold that seems to be doing the rounds at the moment, so my chief aim is to keep that to myself, as I fear I would be rather unpopular if I passed it on to Cal, Neve and/or Hywel.

So, dear reader, until I next tap out another posting toyou, I would ask that you send lovely, warm, positive theatrical vibes in thegeneral direction of the Gorbals, and I would also ask a personal favour-namelythat you send me antiseptic, non-coughy/sniffy/sneezy vibes to dressing room 7 -that would be hugely appreciated, and not just by me I’m sure…thanking you inanticipation……

Barrie

Finally, here's a short video of audience reactions to the show after Saturday's preview. Thanks to everyone who came to speak to us!

BETRAYAL
2-24 March | More info

Photos by Richard Campbell. See more on Flickr

Lights, camera.....

2012-03-02T10:40:00.000Z

More missives from our man on the inside, Barrie Hunter...

Here’s another quick check-in from dressing room 7! It’s Thursday afternoon and we are currently finessing the technical side of shifting from scene to scene. Since last I blogged, I have the pleasure of announcing that we finished the tech rehearsals for Betrayal well within the scheduled sessions, so we were allowed the luxury of some time away from the theatre and arrived early evening last night to do the first of our dress rehearsals. I’m pleased to report that generally it all went fairly smoothly, and everyone seemed quite positive about the whole experience-good news!

As always though, there are still many elements to improve on, and Dominic and all the other departments are currently implementing these improvements as I type this missive. We are working towards our second dress rehearsal this evening, which I believe will be photographed, so I’d better shave my face and comb my hair for that. The mood in the camp though all seems very positive, which is always a lovely thing at this stage of the proceedings.

I have to go now, as I hear over my little tinny tannoy, that they are approaching a moment that I am involved in, in a scene-shifty stylee! When next I blog, we will be 2 dress rehearsals down, and 1 more to go before we perform the play before a preview audience tomorrow evening….YIKES!!

Barrie

PS…..I am tremendously pleased to announce that all corkscrews, plates, cutlery, glasses and bottles behaved impeccably, and I only hope that gravity doesn’t interfere further in my onstage prop-based travails……only time will tell, and of course, you will be the first to know……..

Layering on coats of theatrical paint...

2012-02-28T15:31:00.002Z

Actor Barrie Hunter continues his backstage blog...

It is now Tuesday afternoon, and we are in the 2^ndsession of technical rehearsal for Betrayal. We rehearsed scene changes yesterday afternoon,and all that that entails, and on the whole it all went rather well, I think.It’s quite a complex thing to do actually, as the idea is that scenes disappearand appear without the audience seeing it occur. Without giving anything away(again, I can only suggest you come and see for yourself!), there aremechanical devices at play here that assist us, but we all have to get to grips with them first. Always good tobe challenged at work!

So today we are incorporating all of those challenges, andlayering on other coats of theatrical paint, namely lighting, sound, costume,props etc…and doing the walking/talking thing too - all very exciting!

I am currently in my dressing room, bedecked in my ratherfetching waiter garb, listening to the rehearsal stop/start/stop again on theshow relay system, and keeping an ear out for when I have to pop down andassist in the scene change between scenes 5 and 6 - who said men can’tmultitask?...

We will be “teching” till 10pm this evening and carrying ontomorrow morning with a view to having a dress rehearsal tomorrow evening. Willwe stay on schedule? Will we maybe even be ahead of schedule? Will I manage notto drop the corkscrew this time? These, and other questions will be answeredwhen next I get a chance to type some more Betrayal-based musings on my laptop.Til then, dear reader, you can but keep a finger or two crossed that all goesto plan………

Barrie

[Ed. "coats of theatrical paint" nice...might have to steal that phrase...err, it seems I already have].

BETRAYAL
2-24 March | More info

Patiently waiting

2012-02-27T16:32:00.001Z

Firstly, let me explain. My name is Barrie Hunter, and I’m an actor. Helen in marketing asked me if I would be interested in jotting down a few words for the Citz blog, as I am currently rehearsing the role of the waiter in Harold Pinter’s Betrayal, which previews at the end of this week. I appear only in one scene, so I think Helen realised I would have a little more time on my hands than the 3 other actors, who have slightly more involvement than myself, to say the least! [Ed: That; your sparkling wit and astute mind!].

[Ed: My bribery to get Barrie to blog. Pinter's much over-looked waiter makes his mark]

I turned up on day one of rehearsal for the meet and greet and read-through, then I departed to let them get on with it while I jetted off to New York for a holiday-nice! I re-joined the team last Monday, which was the start of week 4 of rehearsals for Neve, Hywel and Cal (Emma, Jerry and Robert respectively), with Dominic at the helm.

Barrie with Andy Clark in Hamlet at the Citz

It’s been fascinating observing the play come together, and see the importance of punctuation being acknowledged within the production of the play. Every pause, silence and dot dot dot (…) line ending is in the script for a reason, and by not using them wisely, it just simply would not be the play that Pinter wrote. Dominic has likened this to a musical score, which I think is absolutely bang on, and when it’s observed, it works wonderfully well.

I, on the other hand, have the somewhat easier task of merely timing my exits and entrances, uncork wine bottles, pour said wine, take food orders, deliver food orders, take away plates, and generally interrupt Cal and Hywel’s conversation in the restaurant-easy peasy! Aside from one corkscrew dropping incident on Saturday morning, I seem to getting to grips with this for the most part.

There is an extraordinary amount of liquid intake in the play, and a large part of the setting up in the rehearsal room before a run of the play seems to be taken up with the filling of various bottles, beakers, glasses etc with water, which the cast then proceed to imbibe through the play. We have one of the most well irrigated casts I have ever had the pleasure of working alongside, and at the end of each run, before Dominic’s note session, the Citz’s plumbing is thoroughly utilised!

So here we are now at the start of Tech Week, when the whole shooting match relocates from the rehearsal room to the stage, and a new set of challenges await for the cast, crew and production team-happy days! We commence at 2pm this afternoon to rehearse the scene changes on stage, of which there are many. Without giving too much away (you’ll need to come and see for yourself), the rehearsal room has resembled a furniture warehouse from the late 60’s/early70’s, and that furniture (and cast) has to now arrive and depart the playing area seamlessly, as time passes through the play backwards and forwards…that’s the plan, anyway. Watch this space to find out how this all pans out…

BETRAYAL
2-24 March | More info

50p Tickets Revival

2012-02-27T12:53:00.001Z

Saturday saw the first of three 50p ticket sales planned for 2012.

Echoing the 50p sales of Citz past, this was designed to provide absolutely anyone with the chance to see our work, provided they have 50p and the patience to join a queue. The offer was revived by new Artistic Director Dominic Hill. Saturday's sale was for Betrayal by Harold Pinter, which previews this week and is the first show to be directed by Dominic since taking up post!

Tickets went on sale at 10am. I arrived at the theatre at 8.50am and at that point there were 3 folk in the queue. From this point on the numbers grew steadily and we were delighted the rain stayed away.

From our point of view the build up to this sale was very exciting, but definitely nerve-wracking as we had no idea how many (if any) would show up. It was so good to see all the people who were prepared to wait to get tickets.

Actor Cal Macaninch joined Dominic to present the first ticket to the patient first person in our queue.

Well done to all who were successful in getting some 50p tickets this time around. 50p tickets for King Lear go on sale at 10am on Sat 14 April and for our Beckett double bill on Sat 26 May. If you can't make any of these, don't worry...

We are absolutely committed to providing theatre which is accessible to all of the Citizens in our community. For our own work, we provide a wide range of concessions which start at just £2 (for Unemployed and Gorbals Card-holders) and as a matter of course, we offer all seats at previews for just £6 and £10 Tuesdays. See Pricing info here. Check Box Office for pricing on each show as some visiting companies vary.

This season, you can also see Limbo on 8-10 March for £5 (or £3 with a ticket to Betrayal).

Here's a wee slideshow from Saturday. Thanks again to all who took part, braved the cold and made it a big success! Here's to the next one.

Choosing Limbo

2012-02-21T17:43:00.002Z

This week we started rehearsals for Limbo by Declan Feenan, the compelling and tender story of a young girl who gets into a relationship with an older man. Its a one woman play performed by the actor intern at the Citz, Lynn Kennedy. When I arrived at the Citz last September to be the resident assistant director, Dominic mentioned to Lynn and I that we should meet up and see if there was any work we could make together.

I had been at the Citz for a month, working on A Day in the Death of Joe Egg before I got a chance to properly meet Lynn. We sat down together briefly in the office we would later share to chat and see what kind of projects we might like to work on together. I have always worked on new writing and was very keen to find or create a new play for us to develop together but first we both wanted to get to know one another and each others tastes. Taking a trick I’ve used to get to know designers I’ve worked with we went to visit galleries together, see exhibitions, installations, to build up a knowledge of what work was going on right then in Glasgow and to find common ground. Going to the theatre together, then sitting down after with a drink to argue about what we liked and disliked really began to allow us to see how we might begin to work together.

We soon started to focus upon two ideas, to find an existing play to work on together or to devise our own. We got to work just before Lynn started rehearsals for Hansel & Gretel at the Citz and before I headed to assist on Mister Merlin at the Tron. By the time these shows started we knew we wouldn’t have time to devise our own show and should realistically be looking for an existing script.

With this in mind we started then to read, read and read some more. Searching for the best one person play that would suit Lynn perfectly. It was not easy. Finding a great one person play especially a great one person play for a young female actor, proved much more difficult than I ever thought it would be. After striking out with my own search I decided to call in some help and try to find a new play at the same time. I began a wider search by calling, emailing or generally shouting across the street at the literary departments of the Traverse, the Royal Court, Paines Plough and Tinderbox. Four of the biggest new writing companies in the UK. Asking each for recommendations and advice on finding what I was looking for. I got some great advice from everyone in these theatres but nothing at first came up, there seemed to be a lack of new one person plays. Calls then went out to the Playwrights Studio and onto various new writing blogs and still I couldn’t find anything that was suitable.

When I was particularly desperate and days away from when we needed to finalise the decision, I got an email from Tinderbox and one from the Traverse with a few more recommendations, one of which was Limbo. At first I wasn’t sure about the recommendations, I didn’t recognise the names of the writers but after a bit of research and a read of the plays I knew that I had found some winners.

I took a few recommendations to Lynn and after she had time to read them we sat and discussed what we liked. We whittled the choices down to two plays, Limbo and Adult Child/Dead Child by Claire Dowie. One of these two we would take to Dominic. Both were great scripts, Adult Child/Dead Child would be a real challenge in performance, with a fantastically rich and deep character, plus a great story, but Limbo attracted both Lynn and myself to it. The gorgeous and heartfelt story of a young girl alone and trapped in her own life really made us want to produce this piece and so it was Limbo that we took to Dominic.

Several months later we have now just started to get stuck into the play and are really excited about what we will discover and create together over the next few weeks. Come along to find out...

Richard

Director

LIMBO | 8-10 March

Starts at 6.30pm (under 45mins)
£5 or £3 with a ticket to Betrayal!

Many thanks go out to: Jennifer Williams, Chris Campbell, Andy Arnold, Hanna Slättne, Emma McKee and James Grieve. For all of your help and advice, very gratefully received.

Lovesongs

2012-01-23T12:58:00.001Z

For Frantic Assembly’s forthcoming tour of Lovesong, we recently ran a competition in our enews where we asked people to send us their favourite lovesongs. The entries were so good and varied, we thought we’d share the list with you. The full list is below, but we also made a playlist of any of the tunes that were available on Spotify...just in time for Valentines day.

Let us know if you’d add anything else.

The First Time Ever I Saw Your Face
Roberta Flack

You're the One  Shane McGowan/Maire Brennan
Circle of Friends Soundtrack

Bed of Roses
Bon Jovi  

Heartbeat
Buddy Holly and the Crickets

Love Hurts
Roy Orbison

Romeo and Juliet
Dire Straits

Just An Old Love Song
John Stewart

Endless Love
Diana Ross and Lionel Ritchie

Ae Fond Kiss
Eddi Reader

Nocturnal Me 
Echo and the Bunnymen

Lovin’ You
Minnie Ripperton

Dance Me to the End of Love
Leonard Cohen

Always
Atlantic Starr

May You Never
John Martyn

I Can't Make You Love Me
Bonnie Raitt

The Lady in Red
Chris de Burgh 

Try A Little Tenderness
Otis Redding

At Last
Etta James

If Love Could Last Forever
The Bathers

Between the Bars
Elliot Smith

Wonderful Tonight 
Eric Clapton

I Want You
Bob Dylan

I Feel The Earth Move
Carole King

Have I Told You Lately That I Love You
Rod Stewart 

This Must Be The Place 
Talking Heads 

Something
The Beatles

 You Are So Beautiful
Joe Cocker

My Love is Like a Red, Red Rose
Karen Matheson

Couldn’t Love You More
John Martyn

Someone Like You
Van Morrison

Love Theme from Bladerunner
Vangelis

It’s Oh So Quiet
Bjork

That’s Amore
Dean Martin

Let’s Get it On
Marvin Gaye

Secret Love
Doris Day

Time After Time
Cyndi Lauper

I Surrender
David Sylvian

Lovesong described by The Telegraph as "a tribute to the durability of loving relationship" has been receiving rave reviews in the early part of its tour. It reaches the Citizens Theatre on Tue 7 February and plays until Sat 11.

“I’ve never seen such an instantaneous standing ovation…the piece beats with such profound truth that you’re held rapt “
The Telegraph ★★★★
“Lovesong is compelling, understated perfection…poignant and uplifting…a hugely memorable performance”  
The Stage
“It all works beautifully…This haunting play is shot through with compassion and tenderness.”
Plymouth Herald
"Lovesong is an atmospheric, gentle, humorous tear-jerker.”  
What’s On Stage ★★★★

More info on Lovesong

50p tickets! Yes, you heard us right, 50p.

2012-01-17T12:31:00.000Z

This season the Citizens Theatre is doffing its cap to the good old days with a 50p ticket offer for Betrayal, King Lear and Krapps Last Tape/Footfalls.


Not even the Glasgow weather could keep them away!

We are offering:

10 tickets per performance for
10 performances of each show for just 50p!

These will go on sale for each show at 10am on the following dates:

Sat 25 February for BETRAYAL
Sat 14 April for KING LEAR
Sat 26 May for KRAPP'S LAST TAPE/FOOTFALLS

These tickets are only available at the theatre in person, so it's time to join a good old fashioned queue. You can't reserve in advance, it's first-come-first-served! Cash only. 2 tickets for person. Allocated price band II seats. Terms apply.

Don't worry if you can't make it down. The Citizens Theatre is committed to making its work accessible through concessions and standard offers such as £6 Previews and £10 Tuesdays, which you can book online!

In addition this season you can also get a CLASSIC PASS for the 3 shows listed above. See Pricing for info on this and other offers.

The Citizens (and Palace Theatre) facade back in the day!

No longer an unsung hero

2012-01-05T11:51:00.001Z

Yesterday on Facebook, we posted some pictures of a surprise party for Frances Coyle who has worked at the Citizens Theatre for an astonishing 44 years and retires this year.

Photo by Richard Campbell

Frances who is 82, has been a friendly face behind the coffee bar for a great many years and is known to audiences possibly far more than some of the creative teams behind the shows!

Today we're delighted to announce that Frances is one of the first recipients of an Unsung Hero Award from The Stage.

You can read more about the Unsung Heroes and The Stage 100 Awards on The Stage website.

It is said that Frances has never taken a day off sick. Two of her eight children have also worked at the theatre and more recently one of her grand-daughters.

We'd like to offer a sincere thank you to Frances for her incredible service over the years and wish her the very best for a happy retirement!


Frances with the Front of House team

Some comments from Facebook:

"Frances may you enjoy every minute of your retirement and let someone else serve you tea and coffee for a change. Much love. Claire x"
"Happy Retirement Frances, i remember working with you, cant believe you have been there all this time!! Great days with all the girlies!! Xxx"

"Frances has probably been the most constant and familiar face at the Citz as far back as I can remember. I hope she has a wonderful retirement and enjoys every minute of it. Best wishes"

Spring Season Brochure 2012

2011-12-22T14:57:00.000Z

As you may already know our Spring Season 2012 is on sale. Our season brochure is at the printers and will be on doorsteps and in leaflet racks across the city early in January.

Here's a sneaky peek - click on the preview to view full screen and flick through at your leisure.

The season starts with a schools' production of Theresa Breslin's award-winning story Divided City, a stunning piece of visual theatre from Frantic Assembly: Lovesong (trailer below) starring Siân Phillips; 6 shows from the Glasgow International Comedy Festival and The Infamous Brothers Davenport by Vox Motus.

You can see the Citizens Theatre's own productions of Betrayal, King Lear and a Beckett double-bill of Krapp's Last Tape and Footfalls using our brand new Classic Pass, or for those of you not afraid of some old-fashioned queuing - you could take the risk of going for some of our 50p tickets! You can see information on special offers on our Pricing page.

Here's to a happy and fun-filled Christmas and New Year!

Both Little Ulla and Hansel and Gretel are on until 7 January, but if we don't see you for those, we look forward to presenting some amazing theatre in 2012.

Spring Season Talks

2011-12-15T17:55:00.000Z

Brand new for 2012, we will be opening up a series of fascinating workshops to the public. These will allow you to get under the bonnet of theatre-making! Designed as pre-show events, they are specially programmed to open up the creative process on stage and allow audiences, students and school groups to get closer to our productions.

DIRECTOR'S NOTES
With Artistic Director Dominic Hill
Ever wondered how a play is put on stage? Fascinating insights into casting, rehearsal, design, lighting and costume.

BETRAYAL | Thu 15 March, 5.30pm
KING LEAR | Thu 10 May, 5.30pm
KRAPP’S LAST TAPE & FOOTFALLS | Wed 6 June, 5.30pm

THE MECHANICS OF THE STAGE
KING LEAR | Wed 2 May, 5.30pm
An informal look at how lighting and sound are used in King Lear and why they are integral parts of every production.

MUSIC AND TRAGEDY
KING LEAR | Fri 27 April, 5.30pm
Musical Director Paddy Cuneen discusses how he approached creating the musical landscape for this most powerful of tragedies.

All events take place in the Main Auditorium and will last approximately 40 minutes.

Cost: Individuals £2, Groups £1 (with ticket to show)
Book at Box Office: 0141 429 0022

These events above are open to the public, for a full run down of all educational workshops for schools, click the links below:
BETRAYAL
KING LEAR
KRAPPS LAST TAPE / FOOTFALLS

Charity previews

2011-12-02T16:37:00.001Z

Each year we hold a fundraising preview of the Christmas show for a great local charity called the Prince and Princess of Wales Hospice.

The ticket income for the first performance of Hansel and Gretel goes to the Hospice, whilst tickets to our second preview are free to invited groups. There is the opportunity for audiences to contribute additional donations to the Hospice in the foyer.

One of the signs - here at the theatre - that Christmas is nearly upon us, is the annual call for goody-bag-stuffers. Children who attend the charity previews get free goody bags. This year, as well as Citz merchandise, we've had generous contributions from the hospice itself, Candylicious and Glencrest.

The festive stuffing session, which was this afternoon - is our first real excuse of the season to stick some Christmas tunes on, start the "what are you doing for the holidays" banter and compete over who has the most efficient goody-bag-stuffing strategy. Martin's five-at-a-time this year took it a step too far! Here's a few colourful snaps of our afternoon:

Thanks to the cast of Aladdin has a Waash at the Baths, who helped out this afternoon. Right, back to the grindstone.

In rehearsal - a Director's-eye-view

2011-11-29T09:52:00.001Z

Guy Hollands continues his photo-blogging from the Hansel and Gretel rehearsal room. It's first preview this weekend!

More photos from behind the scenes:
In rehearsal 1
In rehearsal 2

In rehearsal - more snapshots

2011-11-25T14:45:00.001Z

Some more behind the scenes Hansel and Gretel snaps from Director Guy Hollands:

David Carlyle and Gemma McElhinney enjoying rehearsals

Jim Sturgeon enjoying not been trapped in a cage.

Inspired by Mr Hollands, here's my contribution. I spotted this up in wardrobe:

See more of Guy's snapshots.

Programme Design Winner!

2011-11-23T12:16:00.001Z

A huge thank you to everyone who entered this year's primary schools' programme design competition - for Hansel and Gretel. Below are the 6 finalists.

The Winner - Emma Hay (from St Barbaras) was chosen by a panel made up of Guy Hollands (Director), representatives from Glasgow Dine Around (show sponsors) including Ryan James from The Buttery and Natalie Maynard from Malmaison Brassarie; as well as Cat McNaught (Marketing Manager).

Her design will grace the cover of every programme for this year's Christmas show. Well done Emma!

WINNER: Emma Hay (10) St Barbaras PS

Laila Begum (9) Ibrox PS

Anna Campbell (10) St Conrads PS

Katie McGowan (11) St Barbaras PS

Caley McGuinness (p6) Ibrox PS

Louise Paterson (10) St Bartholomews PS

Book a Glasgow Dinearound £15.95 dinner throughout November and be entered into a competition to win a VIP family day out. More info.

He hasn't forgotten about us!

2011-11-23T10:32:00.001Z

OK, I admit that must be one of the cheesiest blog post titles I've ever written, but I couldn't resist. For those of you who aren't on Facebook, you'll not have seen the rather wonderful praise we received recently from none other than Simple Minds' frontman Jim Kerr.

"In Glasgow I always try to get to the Gorbals and the Citizen's Theatre. During my teenage years I was almost as passionate about the "The Citz" as I was about going to rock concerts. Good to see that the great work continues and the present "A Day In The Death Of Joe Egg" is testimony to that. The building has much charm and an atmosphere of the type that I miss. Small venues? Hmmm. Now there is a thought?"

Jim Kerr
Simple Minds Official Facebook Page

Thanks Jim!

In rehearsal - snapshots

2011-11-16T15:58:00.001Z

A theatre is a fascinating place to work. We are privileged to see lots of interesting and often, quite strange things in the course of our daily lives. Throughout the year, it's not unusual to walk past giant sweeties, suits of armour, a hot air balloon basket, a jalopy, a fat suit or any number of crazy props and costumes backstage.

During rehearsals for Hansel and Gretel, Director Guy Hollands will be snapping some of the things that catch his eye.

Inpired by this rich creative environment and armed with our favourite photographic app Hipstamatic, we'll be posting some random backstage shots to give you a flavour of what we see behind the scenes.

We hope you enjoy!

Opening night is over...but the work has just begun

2011-11-08T16:05:00.000Z

Ever wondered what happens once a show opens? We don't just sit back and put the feet up (that goes for marketing & production). Assistant Director Richard Lavery blogs about the show from his perspective behind the scenes:

The play has opened. Audiences have poured in and poured back out. Reviewers have scribbled notes and typed up opinions. Congratulatory glasses have been toasted, clinked and downed. A Day in the Death of Joe Egg has opened to a fantastic wave of press and intense audience debate. As it did in 1967, right here in the Citz.

As you can imagine the work doesn’t stop on press night. The team go from the spread out and relaxed in comparison work of rehearsals to the concentrated and pressured work of performance. With everyone from stage management, lighting, flying, sound and the actors now arranging their days to a very specific deadline. With each day no longer having any margin for error, as there is only one chance a day to get the job right or all the prep has gone for nothing.

During the run it is a difficult and finely balanced thing to keep the performance exciting and fresh for each new audience every night. So for the actors there is a constant reappraisal of the work that has been done, going on every night. At the same time the director or assistant director is watching and tweaking the show to refine it, making it stronger the further into the run the show goes.

And as you may imagine tweaking a solid show can be very difficult and dangerous. As you constantly risk ruining the show with the wrong suggestion at the wrong time and throwing the whole show off-kilter. By changing the smallest thing one actor does, it can ripple out and either throw the other actors off or change the meaning of a whole section of the play. It’s the most exciting and infuriating thing about theatre, it’s always live, always changing and always teetering on the edge of disaster! That’s of course were the skills of the team come in to keep the show getting better.

We’re now in the last week of the show and the pressure is on for us to make the audiences last chance to see A Day in the Death of Joe Egg here as fantastic as we can. I’ve no doubt that it will be.

Richard
Assistant Director

A DAY IN THE DEATH OF JOE EGG
Until 12 November
This is the very last week of Joe Egg, so there's only 5 more chances to see the show. Call 0141 429 0022 or book online.

Glasgay!

2011-10-26T11:39:00.000+01:00

It's that time of year again, when Glasgay! hits the Citz. This year we have two shows from the festival that celebrates queer culture.

SPAIN
You can't run away from your problems...but you can take them to nicer places.
Spain tells the story of an ex-pat Scot, thrown into an existentialist crisis, after 20 years living it up in Gran Canaria. He finds a small memento that commences a long journey home.
More info

CH CH CHANGES
Just gonna have to be a different man...
Herald Angel Award Winner 2010 Grant Smeaton transmutes into a spectrum of multi coloured sexuality as seen through the eyes of five characters in mid-life in this intimate, compelling and provocative new one man show.
More info

Both shows previewed last night, open tonight and run until 12 November!

FEEDBACK FROM TWITTER

"So Spain at @citizenstheatre was fantastic! Mark Kydd gives a brilliant performance. So funny and so moving!" @jonnyley

"Ch Ch Changes was outstanding tonight. A must see." @lorrainecleaver

"Saw Spain last night. Fab! Lookin fwd 2 Ch ch changes. So much good stuff. Go Citz!" @scotsguy_61

If you see the shows, let us know what you think on FB, Twitter or by leaving your rating/comment on our website.

Your reactions to Joe Egg previews

2011-10-21T12:09:00.001+01:00

Five sessions to go...but don't forget the cats!

2011-10-19T16:06:00.001+01:00

Rehearsals are hard but techs are art. It's the moment that a director and the creative team really get to play. It's the time when a script actually becomes a play, a piece of theatre. It's also one of the most chaotic and stressful times there can be for any show. Lights getting rigged, focused and the refocused. The set getting painted and tweaked on every break. A constant demand for excellence, quality and professionalism up against the most stressful of time pressures. The opening night [Ed. Fri 21 Oct].

The "New" Prompt Box, off stage left

It's a marvel to watch a tech, it's like a film set without cameras. The director scrutinising every detail, technicians under pressure to change everything they've been working on because it's no longer right with only five minutes to change it or we'll be behind. And once you get behind it means less time for the actors to perfect their performance on the actual stage. A tech is a constant negotiation between time and quality. With a small army of theatre professionals all working to get a show ready for a demanding public. It's fantastic!

Front door of the house from off stage left

The A Day in the Death of Joe Egg tech is just the same as every other one. Hard work! With tireless professionals all working together to get this gorgeous play ready. On Saturday (15/10) after the final rehearsal in the morning the technical and creative teams work on to start the lighting prep for the tech. The tech is the last stage of all the technical work, the technical teams having been working in the theatre ever since the last show closed over a week ago. There is a lot of prep that must happen before the actors and rehearsal team get onstage. The set is constructed in sections onstage after moving from the workshop. Lights are rigged per the lighting designers exact specifications and the show's needs. Once lights are up, work on the stage can get properly under way. After the basic set is ready then the painters and set dressers can get under way. The painters having to work overnight to get the set ready for the next day, and because it's the only time it's clear to let the paint dry! Meanwhile the costumes and props are being prepped and checked to see if it's what the designer needs. Each of these pieces having to be in place for the tech. When the director (Phillip Breen), designer (Max Jones) and lighting designer (Tina MacHugh) get to play with them and bring them all together. And that's when the stress sets in.

Stage right

Top of the stairs on the set

Having to get this all right, quickly, is a difficult skill. A tech is simply working through the play scene-by-scene making sure that all the lighting, sound and all the technical moments are right. And it can be an incredibly frustrating time. Spending hours on one scene because it's just not working right whilst flying through others because everything just fits into place. Every time something happens onstage it's been thought about, scrutinised, argued over to get it ready. That's what can be very exciting about theatre, it's real and right in-front if you. Every time something happens a person has either pulled a lever or pressed a button.

Pre-Tech prep onstage

There are a massive amount of people having to work together to get this show ready, this blog post does focus on the creative team. When you come to see A Day in the Death of Joe Egg have a look at the names away from the actors and the creatives. There are an awful lot of them and they are fantastic! I've only been at the Citz for a short time and this is my first show here but I have been constantly impressed by the skill and joy with which the team here do their jobs and make the Citz a home.

Stage left

We've just finished the tech now and we're hurtling towards the dress! Can't wait!

If you're wondering what the cats are in the title mean, come and see the show

Richard
Assistant Director

The Origins of A Day in the Death of Joe Egg

2011-10-18T18:18:00.001+01:00

We delved into the Citizens archive and the treasure trove that is the Scottish Theatre Archive to find out more about A Day in the Death of Joe Egg, which was considered by many to be ground-breaking at the time. Original cast member Joe Melia described the production:

"like playing West End Comedy and Ibsen at the same time"  

The Times in 1967 said:

"This is one of the rare occasions on which audiences can feel the earth moving under their feet...treating an intensely painful taboo subject with absolute truthfulness and yet without alienating the public...Peter Nichols and a dazzling cast have significantly shifted our boundaries of taste."  

You can flick through our compendium of 'Joe Egg' facts on Issuu, which features letters between Nichols and Blakemore, 1967 press cuttings, company info and behind-the-scenes insights on the Joe Egg 'controversy'.

OPENING NIGHT - POST SHOW EXCLUSIVE
We open this week and are delighted to have Peter Nichols and the original director Michael Blakemore with us for the grand opening on Friday night. They will take part in a fascinating (free) post show discussion. You can still get tickets here.

Singing for our Supper

2011-10-15T11:10:00.001+01:00

We're deep into the last week of rehearsals for A Day in the Death of Joe Egg and it's all coming together now, with all the little details and touches slotting into place. We've had a fantastic time on this hilarious play, having such good times in rehearsals that it'll be sad when we finally open. Though we're getting to that stage when the excitement and nerves really set in, having only 4 full days of rehearsals left before the tech begins. Nerve wrecking to think that!

Wednesday was an unusual day, as after a long hunt with several departments of the Citz scouring Glasgow. Today a small crack team of Citz Sound Commandos (working title for an upcoming mini-series, CSC) headed to a local school to record some gorgeous angelic singing. This was for a particular key and lovely moment in the play that needed the singing talents of a young choir to get it right. And luckily the Hyndland Secondary 3rd Year Chamber Choir were kind enough to volunteer their time and talent to our cause.

So I went along with Laura and Paul on a grey and windy day from the Citz to Hyndland Secondary and were guided through the labyrinthine corridors until we arrived at one of the drama rooms and awaited the choir. A really talented group of singers who sung fantastic versions of Once in Royal David's City and Hark the Herald Angels Sing. So good were they that we got them in two takes each. The first takes only stopping for a mysterious hammering sound coming from the heart of the school.

With a few great recordings under our belt we quick footed it back to the Citz for more rehearsals and a cuppa tea. You can hear the efforts of the Hyndland Secondary 3rd Year Chamber Choir deep in the second act, worth coming along just for that! That and the fantastic acting!

Hope you enjoy the show.

Richard
Assistant Director

[Ed. I'm liking the sound of "Citz Sound Commandos" I think we should approach Channel 4!]

In case you hadn't spotted it, we have a brand new trailer: "Conversations with the Cast of 'Joe Egg'". We preview from 19 October and opening fully from Fri 21 October. Book tickets at citz.co.uk.

Iranian actress sentenced to 90 lashes

2011-10-13T14:38:00.000+01:00

This morning we received a message from Equity (the Actors' Union) about Human Rights issues in Iran. We thought you might find this of interest.

"A campaigning has been launched for the freedom of Marzieh Vafamehr, an Iranian actress who has been sentenced to 90 lashes and one year in jail for her role in My Tehran for Sale, an Australian film about an actress whose theatre work is banned in Iran.

Actors’ Equity of Australia has set up an online petition calling for her release and Equity UK is encouraging all members to sign up to it.

Vafamehr, wife of the acclaimed film-maker Nasser Taghvai, was arrested in July after starring in the film, which touches on many of the taboo issues of modern life in Iran. Iranian human rights activists have reacted with outrage to her conviction and in particular the fact that she faces 90 lashes. It comes only two days after a student activist, Peyman Aref, was lashed 74 times in Tehran's Evin prison for insulting the president, Mahmoud Ahmadinejad.
The film, directed by Granaz Moussavi, features Vafamehr as an actress who flees to Australia as an illegal immigrant after being persecuted in Iran. She appears with a shaved head and without a hijab in some scenes. In the film, an underground party where men and women dance and drink is disrupted by a group of moral police who arrest some of the partygoers. My Tehran for Sale premiered at the Adelaide film festival in 2009 but remains banned in Iran.

Other members of Iran's film industry have also been arrested in recent years. Pegah Ahangarani, a popular actor was released from jail in July. Director Jafar Panahi received a six-year prison term and 20-year ban from film-making last year. Mohammad Rasoulof was also sentenced to six years in jail. Ramin Parchami, an actor who voiced support for the opposition, still remains in jail.

Go to Equity's website for more information or sign the online petition.
Thank you for supporting this campaign"

Backbeat reborn

2011-10-11T15:59:00.000+01:00

Last night a posse from the Citz travelled to London for a whirlwind visit with one purpose - to catch the opening night of Backbeat at the Duke of York's Theatre.

The show which premiered at the Citz in early 2010, has been tweaked for the West End by new Director David Leveaux and opened to a great response last night. Reviews have started to come in:

"nuanced and compelling…the most interesting pop show since Jersey Boys. It likewise not only captures the pulse of what drives its protagonists to make music, it is also even more interestingly about their personalities."
The Stage

"Backbeat about the "lost" Beatle at Duke of York's is a cut above the normal bio musical. Intelligent & a liitle heart-breaking too."
Lyn Gardner (The Guardian) via Twitter

"an exhilarating account of the Beatles – then known as The Quarrymen – in Hamburg in the early 1960s…the hardest, meanest rock ‘n’ roll I’ve ever heard on a West End stage…It’s a beautifully wrought and darkly cynical evocation of an era…For once, you really do feel like dancing in the aisles at the end."
WhatsOnStage.com ★★★★

"The transition to the stage works slickly…Director David Leveaux captures the fizzing energy of this brink-of-change era…Backbeat is a back-story to cherish."
Evening Standard

We know our audience loved this show in Glasgow. Tickets for the London version are currently on sale until March 2012. We'd highly recommend squeezing it in if you're heading to the big smoke, or even creating a wee trip around it.

BACKBEAT
Duke of York's Theatre
24 Sep 2011 - 24 Mar 2012

At the show itself and the glamorous after party, the Citz crew did their best to act cool amongst a rather starry line-up of guests which included David Tennant, Gary Lineker, Hayley Mills, Harry Enfield, Steven Van Zandt, Dave Clark and Dominic Cooper amongst many others. Some of them were even kind enough to allow some photos (...like they had any choice!?).

Cat and Mel with Dominic Cooper

Lesley gets a picture with Dr Who for her son. Apparently that's what they all say!

You can see the rest of our snaps on Facebook or check out some great press shots on wooller.com.

Behind the scenes with Joe Egg

2011-10-03T17:32:00.003+01:00

What a great way to start the week. Along with Toad's Caravan, we set up a make-shift film studio in a rehearsal room and got up close and personal with the Director (Phillip Breen) and 3 cast members from A Day in the Death of Joe Egg.

First up, Phillip set the bar exceedingly high with his matching scarf and sock ensemble!

He let us into the secret that he'd been thinking how perfect 'Joe Egg' would be for our auditorium, when he directed here for The Caretaker (in 2008). Little did he realise at the time that this was in fact the stage where it first premiered in 1967.

His natural love of Peter Nichol's play shone through in the interview. From his perspective, the cast are all working extremely well and things are shaping up nicely.

Miles Jupp (of Balamory and The Thick of It fame) told us of the somewhat interesting non-human characters in the show - you'll have to book a ticket to find out what - and told us how Miriam is cracking him up at lunchtimes (Ed. we're jealous!). Sarah Tansey gave us an impassioned insight into her character Sheila's determination and got us all properly psyched to see the production.

Finally Miriam Margolyes revealed her family connection to Glasgow, in fact to the Gorbals. She also talked of seeing the original 'Joe Egg' production that transferred from Glasgow to London's West End back in the late 60s and how it had her roaring with laughter.

All of our interviewees are having a great time with the comedic aspects of the play, descriptions of which range from stand-up and farce to situational and black comedy.

Our short interview trailer should be live early next week!

A DAY IN THE DEATH OF JOE EGG
19 October - 12 November 2011
More info

Guest Blog by Peter Nichols: ‘Joe Egg’ revival 2011

2011-09-30T14:10:00.000+01:00

My diary for June 1967 relates how, at the opening of A Day in the Death of Joe Egg at Citizens Theatre, my wife and I sat in the circle before it started while a woman behind us was going through the programme for her friend who’d forgotten her glasses. ‘This one’s named here and his picture, but he’s not in the play. That’s funny. Ah, here it is. He’s the writer. Yes, he wrote it. He has four children and two cats. Bless his heart. And married to an art teacher,’

She went on telling of her plans for the summer. ‘We thought of Spain but ..’ at which point the lights went down. An hour later, after the wonderful cast had given what is still the best performance of my first real stage play, the woman continued: ‘But in the end we decided on Cyprus.’ But my wife says I made this up, like most of the play itself.

Plays, especially comedies, strike people in very different ways. William Goldman in his book ‘The Season’ describes seeing it on Broadway. ‘ I’ve been waiting a long time for Joe Egg to come along and do its demonstration so that I could sit back and say to myself . ‘Oh, sure, that’s it, what it’s all been for: it’s the theatre’s special ‘thing’ and no other art form can steal it away. It is, in the true and non-phony sense of the word, ‘theatrical’ and that’s why nobody can ever tell you about ’Joe Egg’. You gotta be there.’

Somewhere between this and the lady at Citizens is perhaps the truth. We’d cautiously expected three weeks there but somehow all felt we’d done something special. Next day my wife and I flew home to Bristol and our three other children, leaving this new-born one to make its own way in the world, which it has for 44 years. Diary goes on: ‘I was sorry to be leaving Glasgow and shall always remember it fondly as giving me one of the happiest weeks of my life.’ It wasn’t my first appearance in the city. In the 1950s I’d played Count Dracula in rep at the Theatre Royal and a local critic claimed ‘Count Dracula no longer so fearsome. There were no gasps, no shrieks, last night’. At ‘Joe Egg’ there were a few gasps but far more laughs, which was our intention. In this production by Michael Blakemore, still probably the best, its male lead was played by a comedian Joe Melia, a part since done by other comics like Jim Dale and Eddie Izzard, and by actors Albert Finney, Richard Dreyfuss, Alan Bates, Clive Owen, Mark Benton and Christopher Eccleston. I always suggest to directors fresh to the work that they should think Noel Coward rather than Strindberg. I’ve said the same to Phillip Breen [Ed. our Director for the 2011 production] so we have high hopes.

It’s marvellous to have it done again at its birthplace and we’ll be there at its rebirth.

 Peter Nichols
(Writer - A Day in the Death of Joe Egg)

Photos from "Feeling You're Behind" by Peter Nichols.

Men Should Weep - Alternative ending

2011-09-27T17:14:00.000+01:00

Ena Lamont Stewart wrote Men Should Weep in a 'blaze' in an effort to show 'real people' living 'real lives'... however the play we all know and study is not the script Ena first wrote in 1947. Her first vision was much darker, much angrier, much more radical and it has not been performed in over half a century.

Following the performance on Wed 5 October, join director Graham McLaren and the cast of our production as they read the original final act on stage and reveal what the playwright first wanted to happen to the Morrison family.

This event is completely free, but you must reserve a ticket. To reserve a place phone the Citizens Theatre Box Office on 0141 429 0022.

Since we don't expect every member of that night's audience to be able to stay, please note that you're very welcome to book a place simply for the read-through (even if you're not attending that night)

Men Should Weep
Alternative Ending
Wed 5 October, 10.15pm
at the Citizens Theatre

The Koestler Trust Awards

2011-09-16T11:09:00.000+01:00

This year the Citizens Theatre, specifically the Learning team have won a total of 6 awards for their work in prisons through the Koestler Trust. These awards are given to projects delivered both in the UK and internationally.

The Koestler Trust has been running an awards programme for offenders, secure patients and detainees for almost 50 years.

For our HMP Barlinnie project, Platform 2:10 we received:

- Gold for the Stage Play, which was written by inmates.
- Gold for Design and Technology - for the CD cover – in the product for use category.
- Highly Commended for the rap “Walkin’ Free” - in the hip hop category.

For HMP Greenock project, A Woman’s Place, we received:

- Bronze for the book “Dear Future” - under the category Life Story,
- Platinum for the music created for A Woman’s Place - under the category choral music.
- The play itself was Highly Commended - under the category of Drama

The Koestler is a very prestigious award and it’s a real scoop for the team to be recognised.

On 21 September, there will be a launch of an exhibition at the Royal Festival Hall, at the Southbank Centre in London. Work from our projects is being exhibited, with Kate Black and Elly Goodman (from Citizens Learning and TAG) attending.

You can find out more about Platform 2:10 and A Woman’s Place on our website. You can also listen to the amazing music written and performed by prisoners in Barlinnie on AudioBoo.

Whale Music

2011-09-06T11:59:00.002+01:00

At the Citz, we run Nightschool drama classes for adults. This has grown over the last few years and now offers 4 classes catering for everyone from the absolute beginners to experienced performers.

As a graduate of 3 levels, I can honestly say it was one of the most satisfying and enjoyable things I've ever done.

Quite often at the end of a long day, I'd find myself not really in the mood for an evening class; but without fail, the spirit of fun and enthusiasm exuded by the course leaders infected us all, and we left with a huge grin and a real sense of achievement.

I think one of my favourite things about the classes was the interaction of all ages and abilities. There is a very supportive atmosphere that allows each participant to push themselves within their own limits without feeling too pressured.

There have been quite a few successful graduates of Nightschool over the years, many of whom have gone on to perform in our community theatre productions and some who have gone on to drama school or turned professional! Emma Sullivan and Judith Hastie formed Loose Goose Theatre after working together in Donald Pirie's Level 3 class.

Their first production is Whale Music by Anthony Minghella, which will be at The Old Hairdressers on Renfield Lane from Wed 14 - Fri 16 September. Whale Music - which will be directed by another Nightschool graduate Scott Cadenhead - is Anthony Minghella's tender tale of female friendship and strength in the face of adversity.

The tickets are available from ticketweb or by calling 08444 77 1000. They're also available on the door. Good luck to all at Loose Goose!

Autumn 2011 Level 1 is now sold out, but we have a few places left in both Levels 2 and 3. Call 0141 429 0022 if you fancy trying your hand at acting, meeting some lovely people and most of all having a great laugh!

The Stage Awards - video

2011-09-01T12:20:00.000+01:00

A new video has just been posted of The Stage Awards for Acting Excellence. If you scroll to 6 mins 25 seconds, you get to the start of the Best Ensemble Award which went to The Monster in the Hall.

"they told the story with glorious panache"
Thom Didbin (judge)

Unfortunately our cast were on stage at the time of the awards' ceremony so writer David Greig accepted on their behalf. This film features the award, David's acceptance and a couple of interviews.

The cast who were unaware of their win, were actually completing their very last performance of the whole festival. This final audience had a treat as David Greig (who winged his way to the Traverse) stepped on stage during the applause to let everyone know about their win.

I wasn't there, but have been told by a few folk that the audience offered a rapturous response. What an awesome way to close another stunning festival run!

You can see clips of the show and audience response on YouTube.

"I never expected to be that woman. Her. But I am."

2011-08-30T12:12:00.009+01:00

It was entirely coincidental that this morning my friend linked to a blog (of his friend's) written from the point of view of a parent bringing up a child with disabilities.

A Day in the Death of Joe Egg which opens soon, is about just that (amongst other things). After reading A Drake's Progress, I was struck by how well the writer, Carolyn disected every day occurrences in their lives using wit, music and love, or as she puts it:

"it's either this, or I'll have to express it through the medium of interpretive dance, and no-one wants that"

Photo from A Drake's Progress

I'd definitely recommend reading Carolyn's blog to get an insight into living with disability. From trips to Adventureland for kids (AKA Dante's circle of hell), the creation of T-shirts in response to stares in the supermarket, pimping rollators and finding time to celebrate the small achievements...it'll make you smile, and there's not enough smiling in the world! Some 6 years ago, Carolyn wrote an article for The Guardian and since starting her blog has attracted the attention of other parents coping with disabilities.

Because it was written in the 1960s, A Day in the Death of Joe Egg will raise debate about terminology, attitudes and what's considered acceptable nowadays. It's interesting to read a contemporary take on terminology such as Carolyn's post Ripples.

Thanks Carolyn for sharing your experiences.

Read the blog - A Drake's Progress
Follow Carolyn on Twitter @drakeygirl
Find out more about the Prader-Willi Syndrome Association

Blog title taken from the post Her