Dancing At The Disco At The End Of The World is the latest show by Replay Theatre who specifically produce theatre for children. Part Lord of the Flies, part Animal Farm, part rave, Dancing at the Disco at the End of The World propels audiences into a post-virus future where the survivors are young, but the rules are old: Don’t question, don’t challenge and don’t dare.
I had up to now, never set foot inside Riddel’s warehouse. I was amazed when I opened the heavy iron front door at how untouched it was. The building still had most of its original interior. I walked over the original brick floor into the main space. Looking up through wooden support beams you could see right to the iron sheet roof. The space whilst dark, was lit just enough that I would be able to get what I needed. This space was definitley picked for its “post-virus future” appearance.
Traditional theatre and drama happens in a specially designed building, in a space created for the purpose of nuturing performing arts. The images that I created in these spaces always depended on the sets, the lighting and the costumes. This is not the case with on site theatre.
Theatre photography is often fast paced. You’re having to dart from one side of a seating bank to the other in the dark. You’ve got two or three cameras slung round you, all with different lenses and settings. You can’t see the buttons. You’ve no time to check your photos as you go. You just have to trust your instincts that you’ll get the shot. On site theatre photography steps it up even further by exposing you to dirt and dust, steps and stairs, low hanging beams and wires along the floor.
As well as all of the dangers listed above the performance doesn’t happen on a linear platform. The actors and actresses are running backwards and forwards and moving up and down through the building. I didn’t dare taking the camera down from my face incase I missed something.
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