Find me at: http://avanextdoor.tumblr.com/
Love,
Ava
xx
Tuesday, 30 July 2013
Monday, 31 December 2012
Not one to bitch about 2012...
It was a good year!
By no means has it been an easy year, but from kicking off the year at Southwark Playhouse; experiencing my professional big screen debut at BAFTA and ending the year with my first best actress nomination, I have a heaps to be thankful for.
Thank you to my 'Naked Poet' family - Jason Barrett, Petra Letang, Aml Ameen, Kyla Frye, Kelle Bryan, Babatunde Aleshe, Mo George, Aaron Fontaine, Emma Dennis-Edwards, Bella Turner, Jacqueline Williams, Fab Santino Michelle Harvey and Gabrielle Ryan. It was so jokes working with you all and can't wait to see what 2013 has in store for you gorgeous talented lot.
Thank you Suzette Coon and Anil Kumar for taking a journey into the future with me at Southwark Playhouse. We turned the script inside out and back again and made people smile. You are awesome people.
Thank you Sam Benjamin for trusting me with your words, it was such a treat to work on 'Hangman'. Thank you.
Kate McGregor, super chilled director of the year - can't believe how much we covered in 3 days! Thanks to you and Hester Kent for casting me and giving me my first (and probably last) experience of wearing flesh coloured leggings in public. Cheers to you my tea drinking friends.
Eddie Usher, Glenn Speers, Adrian Kabba, Felix Trench, Nina Moniri, Anita Gollschewsky, Chris Walsh. The joy was so short but undoubtedly sweet.
Thank you to Sam Brown, Roe Brooks and Terry Mills at BAM and Big Talent for what has been achieved in this short time and what is to come in 2013. I'm excited and hope you are too!
Dean Stalham, Dudley Sutton, Kane Sharpe, Les Wade, David Frederick and Sadie Kaye - You and Art Saves Lives are what the industry needs more of and I cannot wait to unleash 'Raw Vision' with you in 2013.
Thank you Trevor Melvin and RSA films - getting out of bed to go to work has never been easier than this! One of the loveliest production teams I have ever know. Cheers to you all.
Thank you to Laura Bellingham for making me cry. No really, thank you. You are an incredibly gifted film maker and it is only a matter of time before the rest of the world realises it.
Gemma Lloyd - you are one in a million and deserve the best of everything. Thank you.
Thank you Rae McKen for always thinking of me. We will work together, we will dammit!
Melissa Lambert, 2013 is yours. Fact.
John Setrice @ Macfarlane Chard for all your loveliness and wicked sense of humour.
Thank you Esta Charkham for always championing me - I appreciate it so much.
And aside from my family, there are some people whose support, advise and general presence throughout 2012 have to be noted including Kristle Williams, Marie Stower, Amanda Zendel, Jo Villa, Ishya Thompson, Vanessa Robinson, Louise Mulcahy, Joanna Vanderpuije, Stuart Chapman, Daren Montaque, Kirsty Sutton, Tom Starling, Joao Costa, Buki Fadipe, Kane Hulse, Alix and Lucas @ Lulix Films, Tailia Santo, Cynthia Bernard, Florence Ogunbowale, Nana Opoku, Yvie Mason, Jennifer Nicholas, Ben Cawley, Chris Chasseud, Stephen Oakes, Charley Jai, Nonso Anozie, Nathan Stewart- Jarrett, Shereen Jasmin-Philips, Bola Agbaje, Destiny Ekaragha, Lashana Lynch, Nuria Moregrega, Michael Grandage, Gemma Hutchinson, Suzanne Oremus, Sadia Mustufa, Jenny Bastet, Ben Sheridan, Amanda Wilkin, Demi Oyediran, Karl Donovan, Sam Way, Maggie Daniels, Kayleigh Llewellyn, Matthew Parker and Laura Harling, First Draft, Porcelain Films, Ian Grout, Scotch & Soda and Wonderland Magazine.
I hope 2013 brings much courage, love and success to you all.
I hope 2013 brings much courage, love and success to you all.
Ava
x
Sunday, 6 May 2012
Theatre Musings: What Are the Real Connotations of Identity?
I've been on another theatre frenzy this week. Here's the lowdown:
I've just seen the Custom/Practice production of 'As You Like It' at the Lion and Unicorn Theatre, directed by Rae Mcken. I emerged from the auditorium with a fully fatigued face after two and a half hours of intense grinning. Never compromising narrative clarity, Mcken's vivid directive choices are complimented by gutsy and imaginative performances from her cast. The lucid delivery of Shakespeare's words from this proficient company of actors make this production accessible to anyone who might have previously felt intimidated by Shakespeare's language.
A couple of days prior to this, I went along to see 'His Greatness' at The Finborough, directed by Che Walker. The standard of work here is exemplary. Russell Bentley, Toby Wharton and Matthew Marsh (who stepped into his role with just a week to prepare before the play opened), effortlessly held the audience with their buoyant delivery of Daniel Maclvor's words. Jean-Marc Puissant's naturalistic set design is very impressive too.
Which finally brings me to 'Belong' at the Royal Court Theatre, written by Bola Agbaje. What I like about Bola is that her work is invariably relatable to a generation who perhaps, thirty years ago wouldn't have felt that they had a voice in a theatre establishment such as this.
Whilst sat in the auditorium, I could hear the theme of "belonging" striking a cord with a number of audience members and the discussion of the matter proceeded the evening. I sat and chatted with the cast about their own feelings of "belonging" and found a number of parallels emerged from a spectrum of experiences. Itoya Osagiede plays a number of roles in 'Belong'. Upon asking him how important he felt it was to be able to define one's cultural belonging/nationality/identity, he expressed, "it seems to grow in importance when someone asks it of you". I am inclined to agree. I for one, would struggle to define myself in respect of such questioning without casually slipping into my life story, which isn't always appropriate in social situations. So what to do? Decline to answer when asked anything relative? Doesn't this suggest uncertainty or even, shame? Are we comforted to learn of the "foreign" associations of others because we all, however we choose (or not) to define ourselves have intermittent feelings of alienation and are inherently yearning to belong?
It seems that the main function of defining identity is to be understood by others.
At worst, associated aspects of identities can be easily misguided and/or manipulated to form the basis of reason or argument for or against an individual, culture or circumstance. Defining identity can unite and empower vulnerable individuals or communities in associating with others whom may have had relatable experiences or hold similar values.
Whilst the influence of identity can be both positive and negative, what cannot be denied is that the acknowledgement of identity is necessary in order to recognise diversity should we truly desire to nurture a culture that promotes equality.
I've just seen the Custom/Practice production of 'As You Like It' at the Lion and Unicorn Theatre, directed by Rae Mcken. I emerged from the auditorium with a fully fatigued face after two and a half hours of intense grinning. Never compromising narrative clarity, Mcken's vivid directive choices are complimented by gutsy and imaginative performances from her cast. The lucid delivery of Shakespeare's words from this proficient company of actors make this production accessible to anyone who might have previously felt intimidated by Shakespeare's language.
A couple of days prior to this, I went along to see 'His Greatness' at The Finborough, directed by Che Walker. The standard of work here is exemplary. Russell Bentley, Toby Wharton and Matthew Marsh (who stepped into his role with just a week to prepare before the play opened), effortlessly held the audience with their buoyant delivery of Daniel Maclvor's words. Jean-Marc Puissant's naturalistic set design is very impressive too.
Which finally brings me to 'Belong' at the Royal Court Theatre, written by Bola Agbaje. What I like about Bola is that her work is invariably relatable to a generation who perhaps, thirty years ago wouldn't have felt that they had a voice in a theatre establishment such as this.
Whilst sat in the auditorium, I could hear the theme of "belonging" striking a cord with a number of audience members and the discussion of the matter proceeded the evening. I sat and chatted with the cast about their own feelings of "belonging" and found a number of parallels emerged from a spectrum of experiences. Itoya Osagiede plays a number of roles in 'Belong'. Upon asking him how important he felt it was to be able to define one's cultural belonging/nationality/identity, he expressed, "it seems to grow in importance when someone asks it of you". I am inclined to agree. I for one, would struggle to define myself in respect of such questioning without casually slipping into my life story, which isn't always appropriate in social situations. So what to do? Decline to answer when asked anything relative? Doesn't this suggest uncertainty or even, shame? Are we comforted to learn of the "foreign" associations of others because we all, however we choose (or not) to define ourselves have intermittent feelings of alienation and are inherently yearning to belong?
It seems that the main function of defining identity is to be understood by others.
At worst, associated aspects of identities can be easily misguided and/or manipulated to form the basis of reason or argument for or against an individual, culture or circumstance. Defining identity can unite and empower vulnerable individuals or communities in associating with others whom may have had relatable experiences or hold similar values.
Whilst the influence of identity can be both positive and negative, what cannot be denied is that the acknowledgement of identity is necessary in order to recognise diversity should we truly desire to nurture a culture that promotes equality.
Sunday, 29 April 2012
Smackdown
I had a curious meeting this week. It was pretty personal on a level that I couldn't have anticipated.
It was the first casting I have attended that (I was to discover) didn't call for any acting, but the familiarity of the organised seating, magnolia walls and the sound of ball point pens tapping against clipboards confirmed that it definitely was a casting. I won't discuss the details, but perhaps I'll reference it in time.
A couple of hours after this appointment, I arrived at a workshop where I recognised a girl who had briefly occupied the waiting room in the time that I had.
Yesterday I had a boxing session with Marianne Marston. These sessions are held in a traditional no frills boxing gym, complete with free weights, old splattered blood stains, hanging bags and a number of boxing rings for sparring. As I warmed up, a young man armoured with a head guard, sparred with a more experienced, unguarded man. As the lesser experienced fighter began to tire, his opponent mercilessly advanced with fast, heavy blows. He raised his fists and guarded as best he could, as a stream of blood trickled down into his mouth from his right nostril. He fought on until his trainer, from outside of the ring called for it to stop.
It was the first casting I have attended that (I was to discover) didn't call for any acting, but the familiarity of the organised seating, magnolia walls and the sound of ball point pens tapping against clipboards confirmed that it definitely was a casting. I won't discuss the details, but perhaps I'll reference it in time.
A couple of hours after this appointment, I arrived at a workshop where I recognised a girl who had briefly occupied the waiting room in the time that I had.
"Were you just at that casting?"
"Yes I was", she said.
"How did you find it?" I asked.
Her eyes were suddenly awash with tears. She cast her eyes down to the floor, brushed her hands over her cheeks and apologised for getting upset as I awkwardly tried to reassure her, whilst not being overly familiar.
I've been thinking about it all week. The casting, the questions and the lead up to it all.
I wondered if I would have responded differently if I had known what to expect. Or was the real issue the suppression of my own and evidently, this distressed girl's own insecurities. I'm yet to decide, but this episode certainly supports the notion of actors commonly finding comfort in their portrayal of others, over publicly addressing themselves.
Yesterday I had a boxing session with Marianne Marston. These sessions are held in a traditional no frills boxing gym, complete with free weights, old splattered blood stains, hanging bags and a number of boxing rings for sparring. As I warmed up, a young man armoured with a head guard, sparred with a more experienced, unguarded man. As the lesser experienced fighter began to tire, his opponent mercilessly advanced with fast, heavy blows. He raised his fists and guarded as best he could, as a stream of blood trickled down into his mouth from his right nostril. He fought on until his trainer, from outside of the ring called for it to stop.
I admired this young man for his unwavering determination even though he may well have been afraid. He stood up to the punches and (almost) fearlessly came back for more.
Well, I did say that this spot would feature passages comparable to streams of consciousness, but if I must conclude for those who desire it, my closing thought for the week is this:
Expect the unexpected and when it does hit you, don't cry about it; take it on the chin and swing a mean left hook.
Expect the unexpected and when it does hit you, don't cry about it; take it on the chin and swing a mean left hook.
Friday, 20 April 2012
"Eloquence is a painting of the thoughts".
I succumbed. The lure of the blog was too powerful to desist. Seduced by the modifiable layouts, the ornate typefaces and the guarantee of winning an argument free from the fear of interjection from a quick-witted clever dick with an articulatory agility to match.
I've always thought myself too private to be a good blogger, but I've come to realise that actually, I have an inability to withhold information about myself when questioned. I wish that I could; I often say things that I probably shouldn't, pushing the boundaries of humour and talking myself deeper into honest, awkward ramblings whilst trying to cleverly prise myself out.
So I expect that this blog will comprise of a series of intricate, awkward ramblings akin to a stream of (frequently showbiz related) consciousness.
I am currently musing the words of Blaise Pascal. I could fill this entire blog with Pascal quotes for certainty of inspiring anyone who comes to read them. And so I have christened this blog "A painting of thoughts" in my wanting for eloquence. It seems right that he features in my first entry and because this journey will have no end of challenges, the following quote seemed like a fitting way to start. As much as we aspire to be great, we too often disregard our intrinsic, human nature and artists are prime targets for critique. Granted, we must be open to it, but we would also benefit from occasionally sparing ourselves this type of thought:
"What amazes me most is to see that everyone is not amazed at his own weakness. We behave seriously, and everyone follows his calling, not because it is really a good thing to do so, in accordance with fashion, but as if everyone knew for certain where reason and justice lie. We are constantly disappointed and an absurd humility makes us blame ourselves and not the skill we always boast of having. But it is a good thing for the reputation of scepticism that there are so many people about who are not sceptics, to show that man is quite capable of believing that he is not naturally and inevitably weak, but is on the contrary, naturally wise".
Ok. I am not infallible. Check. And so this journey begins...
I've always thought myself too private to be a good blogger, but I've come to realise that actually, I have an inability to withhold information about myself when questioned. I wish that I could; I often say things that I probably shouldn't, pushing the boundaries of humour and talking myself deeper into honest, awkward ramblings whilst trying to cleverly prise myself out.
So I expect that this blog will comprise of a series of intricate, awkward ramblings akin to a stream of (frequently showbiz related) consciousness.
I am currently musing the words of Blaise Pascal. I could fill this entire blog with Pascal quotes for certainty of inspiring anyone who comes to read them. And so I have christened this blog "A painting of thoughts" in my wanting for eloquence. It seems right that he features in my first entry and because this journey will have no end of challenges, the following quote seemed like a fitting way to start. As much as we aspire to be great, we too often disregard our intrinsic, human nature and artists are prime targets for critique. Granted, we must be open to it, but we would also benefit from occasionally sparing ourselves this type of thought:
"What amazes me most is to see that everyone is not amazed at his own weakness. We behave seriously, and everyone follows his calling, not because it is really a good thing to do so, in accordance with fashion, but as if everyone knew for certain where reason and justice lie. We are constantly disappointed and an absurd humility makes us blame ourselves and not the skill we always boast of having. But it is a good thing for the reputation of scepticism that there are so many people about who are not sceptics, to show that man is quite capable of believing that he is not naturally and inevitably weak, but is on the contrary, naturally wise".
Ok. I am not infallible. Check. And so this journey begins...
Subscribe to:
Posts (Atom)