Rise Development Process

Rise Development Process

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Over the course of 6 weeks Dizzy O Dare developed Rise working with a creative team including:

SeaChange Arts – Producer

Emma Williams – Director

Flick Ferdinando – Director

Owen Gaynor – Acrobatic trainer

Craig Bryne – Composer

Blackstar Live – Technical Design

The development process was broken down into 3 stages; R&D, Devising and Creation and Production.

R&D

Over a 10 day period Dizzy worked with director Emma Williams at their rehearsal space SeaMonkey and at The Drill House. The purpose of the R&D was to researched the themes, beliefs, poetry, writings, music and cinema around reincarnation, love and relationships.

During this time the company developed a large amount of content to potentially include in the show, starting from their back catalogue of work on the street, in cabaret and on stage, and touching on new ideas which might connect with themes in the show.

They also worked with Owen Gainor to test ideas of acro balance and incorporate this into the show (although by the end of the process the acro balance was taken out as it ended up not being relevant in the final show).

Working with Emma was particularly helpful in terms of discussing the themes of the show, the structure and flow.

At the end of the R&D the company did a work-in-progress showing at Circus in the Pound, London.

They also made the decision to lower the height of their tight wire rig to enable it to fit into more venues.

Devising and Creation

This stage of the development process involved working director Flick Ferdinando, composer Craig Byrne and production/technical specialists Blackstar Live.

The company spent time both at the Drill House and at their rehearsal space.

With Flick they looked through existing material and developed it further, as well as creating new scenes. At the end of the process they brought back Emma Williams to show her how the show had developed and have another external ‘eye’ feeding back.

Initial conversations with Blackstar Live started to discuss the themes of the show; explore ideas for the projections and start creating a lighting design.

Craig Byrne was also brought into the creative process for talks regarding the music in the show. Craig attended rehearsals so he could gain an understanding of the narrative and themes in the show and start to compose a potential soundtrack.

The company also presented several work-in-progress showings for producers, local artists and public at The Drill House, Great Yarmouth.

Production

The final two weeks were spent working at The Drill House with Emma Williams, composer Craig Byrne and Blackstar Live.

Week one involved final decisions on costumes, fine tuning and rehearsing.

Week two focused on working with lights and projection with a full technical dress rehearsal for invited public and peers.

Here are a few snaps showing various stages of the process…

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