The Lucky Cat

*This work is currently in development

WHAT do you want to talk about?

The continued development of a new puppetry work, The Lucky Cat.

 

WHY do you want to talk about it?

I want to talk about The Lucky Cat with regional presenters to seek potential opportunities for further development.

I am seeking two weeks in two regional venues/centres to continue developing our work and then each week presenting a showing to your community. In presenting the work we will be seeking direct feedback from our target audience, 5-12yr olds. During each week we also want to offer workshops in puppetry and storytelling to give young people the tools to create for themselves and tell the stories they feel passionate about.

Also we want to get to know them, to understand what it is they want to see in a performance.

As a new company, these kind of relationships and that understanding of our audience will be vital in the creation of relevant meaningful content. As well as what works we create It will be a huge help to how we develop the company going forward.

I am open to exploring, in conversation, what potential avenues there are for achieving something like this. How we can establish those meaningful relationships we all hope for.

 

What is your driving force in creating this work?

I wanted to create this work for any young person who feels like they are unlucky. The Lucky Cat recalls the childhood relationship I had with my own black cat called Shadow. I was jealous of him, he was free & not bound by the things I was, like school rules & homework. I wondered why I was so ‘unlucky’ & I believe young people are asking themselves the same question at the moment with COVID-19 & its further isolation of this state. The Lucky Cat offers a heartfelt response, an understanding, reassuring them that their life is not predetermined & through their choices they do have control over their own lives. The other driving force behind this work is to create theatre for young audiences that is outside of company frameworks and truly independent. I think there is a desire for work that is unique and that can take more risks. I hope this company and this work achieve that, stepping up to the plate as it were and pushing the medium forward. I care about theatre for young audiences and believe it can be complex and emotional. Young people require theatre to gain emotional intelligence. They also don’t need to be talked down to. I want to create work that speaks to them on their level and I think with a show and company like ours we can do that.

 

Are you looking to engage in particular regional areas?

Not looking to engage particular regions necessarily. However we definitely want to engage young people with this work. We would love to create relationships with schools, care centres, arts centres & other such venues. Especially engaging young people in the 5-12 year old range.

 

Is what you want to discuss time-sensitive, or does it have a date for commencement or completion?

It isn’t necessarily time sensitive. We hope to organise the residencies to takes place the end of 2020 or the end of 2021.

 

What do you see as the next steps?

After completing a two-week development in Perth in October and a development showing at Subiaco Arts Centre, our next steps are organising these two one-week residencies in regional venues/centres to test and trial our performance. During these one week residencies providing workshops and delivering a showing to gather feedback. We hope by the end of the residencies we will have a finished, tested and proven show able to be premiered. Our aim is to have a premier performance at Fringe Festival or Awesome Festival in 2021/2022 From there we would aim to form a regional WA tour, returning to where we developed the work and engaging further audiences.

 

What do you hope this project will achieve, and how will you know if it has been a success?

 

I hope this project achieves unity between Monkey Brain and the community we are engaging. I hope to have achieved further development and testing of our production. I hope to have engaged young people and inspired them to create themselves long after we go. I will know this project has been a success if we have created strong working relationships and by the end of it having a tested production ready for premier and touring.

 

Tell us about any supporting materials that will help illustrate the work.

Development Trailer to be made the week of the 14th September. It would be nice if there was some way of sharing this trailer before the discussion.

 

Tell us about the skills and experience of the people involved

  • Yvan Karlsson – Writer/Director Yvan Karlsson is a Director, Movement Director, Dancer & Puppeteer. Performing credits include: Spare Parts Puppet Theatre (SPLAT! & Nobody Owns the Moon), Compagnie Royal De Luxe (THE GIANTS), Circus MAXIMA (Fearless & CATCH!), ERTH (Dinosaur Zoo) & Circa (LEVIATHAN). Directing credits include: Ophelia (Fringe World 2016), Tape Tape World (The Wanderlings, Singapore) & many other short works for INSITU & The Blue Room Theatre
  • Leon Hendroff – Puppet Maker/Design Consultant Since 2005 Leon has designed and made puppets for performance, retail, display and festivals, including numerous Spare Parts Puppet Theatre productions and award winning creations for Joondalup Festival.
  • Rebecca Riggs-Bennet – Sound Designer/Musician Rebecca Riggs-Bennett (or Elsewhere/Rebecca), is an emerging sound and spoken word artist, sound designer & electronic music producer. Her practice is interdisciplinary and branches across performance and installation.
  • Caitlin Mcfeat – Performer Caitlin McFeat is a performer and theatre maker. In 2016 she graduated with a B.A in Performances Studies from Curtin University. In 2019 Caitlin shot onto The Blue Room Theatre stage, performing in multi award winning productions See You Next Tuesday (Dir. Alexa Taylor/Static Drive Co) and The Wolves (dir. Emily McLean/Red Ryder Productions).
  • Tristan Mcinnes – Performer Tristan McInnes is an improviser, actor and storyteller. Before graduating from Curtin University in 2017, Tristan had been working with Spare Parts Puppet theatre in their First Hand program. Since then, he has become a regular performer with The Big Hoo Haa and the Blue Room Theatre.
  • Humphrey Bower – Mentor/Dramaturg Humphrey is an actor, writer, director, dramaturg and teacher based in Perth. He has worked in theatre, dance and puppetry and contemporary performance with companies and artists across Australia.

 

 

Company Contacts

Yvan Karlsson
0468 911 277
yvank4@gmail.com



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