" I have learnt that theatre can be big, ambitious, expansive, absurd, grotesque and even completely ridiculous”
Today we chat with Kasey Barratt (she/her) about preparing for and performing in the upcoming production of The VOLITION Project, directed by Belle Hansen and created by Jasper and the fellow Early Career Artists Cohort of 2024. Playing at Theatre Works Explosives Factory from 29th August to 7th September.
Can you describe a typical day of rehearsals for THE VOLITION PROJECT? What is the energy like behind the scenes?
A: The show we’ve created requires each actor has to learn every track in the show. So, rehearsals involve a lot of swapping around of characters. Each time we run the show or rehearse a scene it’s a completely different experience for each of us. We have a really wonderful ensemble of ten performers, who all bring a unique energy and playfulness to the room. I have really enjoyed devising this work with this group of people.
What has been the most challenging aspect of devising and bringing his production to life?
A: This show is in many ways the biggest and most ambitious thing I have ever done. It has been a lot of work as a performer but also as part of ECAP, I have really started to understand just how much work it takes to put on a show. From finding your production team to trying to get a very tall umpire chair up the stairs of Explosives Factory. Making theatre involves a lot of problem solving and requires you to take on multiple roles to make it happen.
Do you have a favourite line or scene from the play? What makes it stand out to you?
A: My favourite line is “Your aura is a beige flag. I’m uncertain”. For me it really encapsulates the ridiculousness and absurdity of the world we have built.
How has working with director, Belle Hansen been?
A: It has been wonderful to work with someone with such a clear focus on creating a space that is both positive and playful but also accessible as possible for all performers. From the audition room to the rehearsal space. As someone who intends to make my own work, I have learnt a lot from her about how to run a room and an audition space.
In what ways has this role challenged you compared to other roles you've undertaken?
A: I like to describe this process as ‘ultimate swing training’. Usually in the rehearsal process you have the luxury of devoting all your time immersing yourself in a specific role. In the case of this show with ten tracks to learn, it is an entirely different process. You have to work very quickly and make strong and specific choices about each character, so that they are each distinct. While also memorising different blocking and choreography for each track. As someone who tends towards sentiment in my work, there was no time for that in this process. It has pushed me to find new ways of working and rehearsing.
Looking back at your journey through this production, what moment or aspect will you carry forward into your future projects?
A: This whole process has expanded how I think about theatre and what theatre can be. It has given me clarity about what excites me as a theatre maker and the type of work I want to create in the future. I have learnt that theatre can be big, ambitious, expansive, absurd, grotesque and even completely ridiculous. I hope to carry these qualities into all my future projects and continue to push the boundaries of what theatre can be.
THE VOLITION PROJECT IS THE FIRST PART OF VOLITION - A DOUBLE FEATURE OF NEW, EXPERIMENTAL THEATRE PLAYING AT EXPLOSIVES FACTORY THIS WEEK!
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