THEN dramaturgy: Laura Lindow @ Ovalhouse

LAURA LINDOW, THE LOWRY AND OVALHOUSE PRESENT

then LEAP by Laura Lindow


The clock ticks, the years pass, and 39 year old Ottilie Dundee finally goes home to unearth some long-buried truths. There she meets the largest obstacle of all, and true to form, this old friend never forgot.

Wed 25 Nov – Sat 28 Nov, 7:30pm
£12.00 (£7.00)
RUNNING TIME: 50 MINUTES
VENUE: DOWNSTAIRS, OVALHOUSE 
BOOK /  BOX OFFICE: 020 7582 7680


What was the inspiration for this performance?

Credit: Alex Brennar

Laura Lindow: This is the first of my work that I have performed. I wanted to explore the impact of sharing my own actual words with actual people in a shared space. The impact on the room. On the tone and quality of the communication.

I was also interested in developing a landscape which felt quite personal (although Ottilie’s story is not my own). I call it a shonky

love song to family life. And that is what it feels like. A slightly misshapen tribute to the foundations upon which we build. The hurt that we build around. That we ALL build around.

How did you go about the gathering a team for the show?
I was lucky to work with a fantastic team of makers, both in the development and in the realization of this stage of the work. All felt very organic. And such a joyful opportunity to grow in understanding of different practitioners’ styles and interests. This process has had many champions.

What made you decide to work with Ovalhouse?
I heard so many wonderful things about Ovalhouse. Their ethos of supporting work in its developmental stages very much chimed with where this project is at. Additionally they made me feel so completely welcome throughout the time I have been with them. It’s also worth saying that I also have huge admiration for some of the artists with whom they collaborate regularly.

I'm aware that this may answer the previous question, but contact with audiences, both in the rural settings where we toured, but also around Lambeth, felt like a key collaboration, absorbing reactions, questions, concerns. It meant that we could make informed decisions in response. That Ovalhouse views this as an important element of progressing work that is engaged and engaging felt like a shared value.

I'm aware that this may answer the previous question, but contact with audiences, both in the rural settings where we toured, but also around Lambeth, felt like a key collaboration, absorbing reactions, questions, concerns. It meant that we could make informed decisions in response. That Ovalhouse views this as an important

element of progressing work that is engaged and engaging felt like a shared value.

Was your process typical of the way you make a performance?
I'm not sure that I have identified a typical process in my work. What is always present is a feeling of exploration. And play. I always start with play at the very heart, whether this is through words or action. This piece was commissioned as an attempt to create work which could play in both studio theatres and in less formal rural venues. 

I think this is reflected in the voice of the piece. It’s not just ‘can we move the set with 2 people’, it’s the heart and soul of what you hear and see. The temperature of our room if you will.

What do you hope the audience will experience?
Landscapes. Emotional and physical landscapes. I equip everyone with a travel sweet as a welcome present and/or to bribe them to come with me. I want them to travel in their mind’s eye.

Do you see your work within any particular tradition?
I suppose the piece falls within the storytelling tradition. Although I'm looking for a word/phrase which communicates something that sounds a little less… chair-based.  Think Horlicks with a Malt whiskey trim. Story-jazzle? Leave it with me!

Are there any other questions that might help me to understand the meaning of dramaturgy to you in your work?

Erm… I wonder about my sense of your definition of ‘dramaturgy’. I wonder if I'm going to answer this question adequately. In fact.. do you know… I wonder that a lot when it comes to discussing work! Is that common do you think? The fear of revealing one’s idiocy? 

I can tell you where I have stumbled! I can tell you where the analysis of the term autobiographical has led me to steer away from narrative directions as though they were wrapped in electric fencing! 

I can tell you about the beautiful truths that have revealed themselves through arming the piece with fiction. And how physical interventions have unleashed words from the page with ambition and roar. But the meaning of dramaturgy… let me think on.


The clock ticks, the years pass, and 39 year old Ottilie Dundee finally goes home to unearth some long-buried truths. There she meets the largest obstacle of all, and true to form this old friend never forgot.

Join writer/performer Laura Lindow as she

takes us on a fantastical journey into the bizarre world of Ottilie Dundee, part-time disappointment, unintentional heroine. 

This is a world where the smallest sound becomes a symphony. Where what you thought was trash becomes true-life treasure. Watch as this buttoned up heroine gets ready to cut loose…. and then LEAP!

Including originally composed sound and music, this is a shadowy tale with a contemporary sting.