Young Vic-Chef promises to be ‘funky’ future

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New Young Vic artistic Director Kwame Kwei-Armah, says he still don’t know what kind of games he is on the stage, but they promise to be “funky”.

He says that he is currently listening to what people want away from the London venue.

But he says he is not directing any plays himself, while in the role.

This means that his latest Drama Henrik Ibsen’s Warehouse, The woman from the sea at the Donmar, is the last he will.

Has Manueal Harlan

“I’m in the middle of my listening exercise. If there is something, they pull it, it I love new games and I love classic. I love adaptations of the classics, I love Ibsen, and I love Chekhov, and I love Shakespeare, and I love August Wilson.

“Well, actually, I’m just trying to and way funky with new plays and classics.”

And what is funky, he has a unique way of warming the actors before you get to grips with the script.

You have a 20-minute dance party before the rehearsals begin, the actors and the crew take it in turns to play list.

He says there is a way to solve, everyone starts up before the serious work.

“It’s part of my process, in everything I do. A company that dances together, stays together. It is therapeutic for me.”

He says he wants to shake off the occupation in the morning and “vibration to the frequency of the beautiful music.”

Manuel Harlan

Not that the work is serious though – he loves jokes, and even manages several peppered in Ibsen’s work.

“If an audience laughs, it breathes different. And the game breathes differently, we breathe differently, we feel included.”

He said, he said, the occupation “let’s go for the gag” – with the note that Ibsen, the observations were so intense that they were funny.

The adaptation of the Norwegian writer’s 1889 play looks, the action moved to the 1950s Caribbean, where the sweltering heat, to feel, to unravel, trapped as relations, and are knotted together again in Elinor Cook’s adaptation.

The story focuses on Ellida and her longing for the sea, while the arrival of an old friend, (to throw her step-daughter’s former tutor) and a mysterious stranger who threatens to pursue your dream, your home life is in disarray.

Manuel Harlan

Kwei-Armah says he wanted to.the themes of freedom and the sea capsules, in the play, which he read for the first time, 20 years ago

“But I’m a bit of a Mama’s boy and I really love the ideas in the piece about the female emancipation – the meaning of marriage and the reason why we marry, how we marry, and over the sea.

“I have a complex relationship with the sea. The sea makes me scream and makes me happy.

“And then I saw that in Ellida, and it has me really touched.

“If I I thought the thoughts about the sea, about my personal relationship with the sea in the Caribbean and in West Africa. I played a bit with doing it in West Africa, and then I thought – I want to do it in the Caribbean.”

He said Ibsen and the investigation of the cold weather and the sea was and thought: “let’s see, what is heat, and a sense of how it makes you feel trapped and fighting and wanted to get away from him, and to rip your clothes off”.

Manuel Harlan

Koch describes the piece as “a collision of two worlds – the spiritual, otherworldly world, and these beautiful, funny, ironic, gender-political Comedy”.

The story of Ellida and the stranger, “the subject of every pop-song – of- the-lovers you can’t forget who comes back from the past,” she says.

Nikki Amuka-Bird, who plays Ellida, adds: “The other side, your man, your husband.”

She says about the game: “It feels like there is a lightness there. It’s summer, and even if it’s tragic moments, it is also a game about love.” ‘Feeling good’

Amuka-Bird and cook you say, it was a “lot of fun” working with Kwei-Armah, and that he thus creates a “beautiful” atmosphere in the rehearsal room.

Amuka-Bird says: “Kwame is very much about the people feel good about themselves, and brave.”

She adds: “Kwame has this gift, that every day is really fun and I think that is something that we can definitely expect that he is going to bring to the young Vic, the energy and the dance parties!”

Kwei-Armah speaks to the press before it admits in the after-party, and that he has not heard that any of the audience reaction (“I’m not very good with the audience at the end of the first night”), but it is preferred to disappear, to speak to his apartment, to the family in America, after the occupation of your bow.

He says he simply loves the fact that he feels “blessed”.

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