#emily mytton

[my-burnt-city]

THE 👏🏻 SHOW 👏🏻 IS 👏🏻 NOT 👏🏻 DIALOGUE 👏🏻 FREE 👏🏻 YOU 👏🏻 JUST 👏🏻 AREN'T 👏🏻 FOLLOWING 👏🏻 THE 👏🏻 RIGHT 👏🏻 CHARACTERS 👏🏻

(okay, a *lot* of 'em are pretty quiet but if you want a chatty show, follow hades, either hecuba but especially emily, jude's polymestor, miranda's anybody, and/or any zagreus/eurydice but especially if that day's zaggy is will or eury is stephanie; these are just my favourite chatty characters and by no means the complete and definitive list)

[myburntwritings]

Day 8: Fav Solo (dance / plot) I think, aside from Day 26, which is about fantasy roles of specific performers, this is the most performer specific question for me. There are so many factors to take into account when you look at the duets and group scenes. They are rehearsed with specific choreography to ensure that swings can step in with any partner in case of injury or absence. The spacing and timings are exact.

When looking at the solo work, I feel we got to see a lot more of the performers' personal preferences and styles coming into their portrayals.

This is why we only got the 'Kronos doesn't use stairs' with Milton Lopes. Seirian Griffiths' Apollo was the only one who danced through the backstreets of Troy at reset in such a way that was equally beautiful and heartbreaking as the last of his power is used and destroyed. Timothy Bartlett's Laocoön was the only one to do the stomping up the hotel stairs dance that I found so delightfully weird. A Kathryn McGarr Hecuba in Hesperides is entirely different to Emily Mytton in the same scene, and same again for every powerful, talented woman who took that role. So, I think it has be something that is entirely performer specific in order to pick a singular favourite from a multitude of incredible solo dances - as otherwise, I would spend my time picking one phrase from one dance, another from a different dance and character. Even thinking about the performer specific moments, there are far too many to choose from. Maybe it makes it worse. I don't know, because I'm so far down this rabbit hole now, I can't climb out.

So, I'm choosing Fania Grigoriou as Hecuba in Polymestor's Office for the gathering of Trojan women.

I love this scene regardless of performer, but there was a chaotic fury in Fania's portrayal that brought it even more to life for me. The fact she talks in Greek the entire time, and the majority of the audience don't know what she is chanting makes it feel mythical and mystical. Her creation of the blinding ritual dance feels entirely personal. Less like she has learned these motions and is now using them, but that she had made these motions and it is entirely at her will that the rest of the characters involved are now dancing to her drum.

She carries this power from the office and into the Klub, where she stalks behind the shades watching the ritual. Only a few of the shades even notice she is there before she enters the circle, but those who do are gifted with the most personal and emotionally encompassing of moments. I've talked before about how Fania's Hecuba held my gaze as she clicked her fingers and started the blinding ritual, and that is a perfect example of the power Fania held when she was in the space.

A true powerhouse of emotion and performance. She led the audience exactly how she wanted them, and I was constantly in awe of her talent.

[peterviney1]

My Brilliant Friend- review Review of Elena Ferrante's My Brilliant Friend Parts 1 & 2��(LINK TO FULL REVIEW), as adapted for the stage by April de Angelis.

[devanby]

Você é um merda que nunca fará nada de extraordinário.

Conheça 5º Duque de Portland – John Bentnick (1800-1879)

Bem, ele era meio doido varrido. Nos anos de 1800’s ele vivia em Welbeck Abbey. Ele era tão introvertido que as suas refeições lhes eram entregues em seu quarto através de um trem em miniatura. Empregando 15.000 funcionários, o Duque construiu, sob a sua casa, uma biblioteca de 76 metros, 24 quilômetros de túneis e o maior salão de baile da Inglaterra com capacidade para mais de 2.000 pessoas. Um tanto quanto irônico quando levado em conta que se alguém se aproximasse dele, ele esconder-se-ia atrás de um guarda-chuva.

O que eu quero dizer é que temos o hábito de confundir atitudes que beiram a insanidade com excentricidade charmosa. A história está cheia de nomes de pessoas assim e nenhuma delas é você. É triste.

O poeta Lord Byron, por exemplo, acabado de chegar à Universidade de Cambridge descobre que cães são proibidos na propriedade. “E então ursos?” – Perguntou. “Ehhhnnnnnnnnngggeeeeeee” – Respondeu a Universidade. Byron então arruma um urso, levando-o a passear pelo campus em uma coleira, como se fosse um cão. Sim, isso aconteceu.

Vários anos mais tarde, John Mytton, político inglês, que alegadamente vivia sob uma rigorosa dieta de oito garrafas de vinho do Porto por dia, certo dia convidou uma quantidade considerável de seus bem-intencionados vizinhos para um socialzinho de leve. Bem, John resolveu entrar no salão montando um urso. O urso não era muito amigável, pois após ter mordido o próprio Mytton, o animal acabou também atacando um dos funcionários que serviam a festa.

De qualquer forma. Só gente rica faz isso... Né? Qualquer um poderia ir à loucura se tivesse uma quantidade insana de dinheiro, certo?

E que tal histórias de pessoas não eram ricas, mas que ficaram ricas e que no processo ficaram também para a história?

Início dos 1800’s. Uma prostituta chinesa de nome Ching Shih acabou se casando com o pirata Zheng Yi. Os dois, juntos, fizeram a frota de 200 navios crescer para 1.800 com tripulação na ordem de 70.000 homens e mulheres. Quando Zheng Yi morreu em 1807, a sua viúva tomou o comando da frota e assim Ching Shih se tornou a Imperatriz de uma das maiores frotas navais do mundo. Aliás, uma frota PIRATA! Ching Shih introduziu contabilidade, impostos e leis à sua utopia pirata, toda a pilhagem teria que ser registrada antes de ser distribuída pela frota e se você desobedecesse a Ching Shih você era livre de pendurar o seu chapéu de pirata e ir embora desde que deixasse a sua cabeça para trás, é claro. Ela navegava entre Cantão e Macau surrando chineses, britânicos e portugueses; Yaaaarrrr!!!! Até que finalmente o governo ofereceu, a ela e seus piratas, amnistia. Que é tipo você roubar de todo mundo e no final eles responderem te chamando para tomar um café. O poder dela estava acabando mesmo, então ela aceitou. A ela foi permitida manter a sua fortuna desde que ela desmantelasse a frota, alguns de seus piratas de confiança obtiveram trabalhos no governo e à Ching Shih foi dado o título de Nobreza, transformando-a então em um membro da aristocracia chinesa. Ching Shih tirou um ano sabático da pirataria, manteve a sua fortuna, acabou montando uma casa de jogos e viveu o resto de sua vida numa boa.

Qual a moral da história aqui? Seja esperto. Seja esperto e um pirata. Seja esperto, um pirata e mate pessoas. Seja esperto, um pirata, mate pessoas e... fique de boas?

Ah, foda-se. Não tem moral da história.

O que interessa é que existem várias pessoas que ficaram para a história e que não foram necessariamente diferentes ou excêntricas. Algumas estavam apenas fazendo a coisa certa ou tentando fazer a coisa certa.

Tipo o Tenente Coronel Stanislav Petrov, que era um monitor do sistema Soviético de aviso nuclear. Ele viu no sistema que 5 mísseis nucleares haviam sido lançados pelos Estados Unidos e estavam em rota à Rússia. Petrov tem então a opção: ele pega o telefone e informa os seus superiores iniciando assim uma guerra nuclear que resultaria em milhões de mortos ou... ele não pega o telefone nem avisa ninguém. Petrov pensou que apenas 5 mísseis seria algo improvável visto os Estados Unidos terem  milhares de mísseis e que muito provavelmente o que ele estava vendo no sistema seria uma falha técnica . Como você já deve ter imaginado, foi mesmo uma falha técnica e o mundo como o conhecemos ainda está aqui.

E que tal este tal de Ignaz Semmelweis? Semmelweis foi um médico do século 19 que reparou que – espero que você esteja sentado ao ler isto – lavar as mãos antes de fazer um parto reduziria a taxa de morte das mulheres em relação ao que era chamado na altura de “febre pós-parto”. A humanidade só iria descobrir sobre germes e bactérias alguns (bastantes) anos depois, mas mesmo assim Semmelweis notou que algo mudava sempre que os médicos lavavam as mãos e então informou a comunidade médica. O que você acha que aconteceu? Que ele ganhou vários prêmios por isso e morreu feliz e respeitado? Não. Ele foi impiedosamente ridicularizado pela comunidade médica da altura e acabou morrendo 14 dias após ter sido internado em um hospício, muito provavelmente por ter sido espancado pelos guardas.

Legal, né?

Um século depois, temos este Sergei Korolev. Em 1933 ele criou o primeiro foguete de combustível líquido a descolar na União Soviética. Por esse feito, ele foi recompensado com encarceramento e uma bela estadia em um Gulag. Por algum milagre, ele acabou sendo solto e colocou o primeiro satélite no espaço, o primeiro cão no espaço e, claro, o primeiro homem no espaço: Yuri Gagarin. Que no dia 12 de Abril de 1961 se tornou no primeiro Homo sapiens a deixar o planeta terra, orbitando o planeta por 108 minutos a bordo da “Vostok 1”. Sergei acabou por morrer 5 anos depois, provavelmente graças a ferimentos obtidos em sua estadia no Gulag. O programa espacial soviético era extremamente secreto e Sergei passou como anônimo grande parte da sua vida.

Conforme a história marcha, muitos eventos serão esquecidos. Este não. Este continuará se destacando. Foi a primeira vez que a humanidade foi além dos limites do céu e, em sua grande parte, foi graças a um homem que fora tão maltratado em sua vida e que segue hoje como um desconhecido além dos círculos da ciência e engenharia. Hoje existe um retrato de Sergei Korolev a bordo da Estação Espacial Internacional e, se por algum milagre, a nossa espécie emergir vitoriosa desta nossa adolescência, existe uma grande chance de que esse retrato acompanhe os astronautas do futuro para cantos do espaço que Korolev jamais conseguiu imaginar. Nem nos seus sonhos mais loucos.

Então, à luz destes fatos... O que faz alguém se tornar uma Grande Personalidade da história?

Bem, eis a receita:

Começamos com dois ovos de “nascer em uma família minimamente estruturada que te proporcione possibilidade de crescimento “ – Sim, ótimo.

Duas colheres de açúcar de “nascer no tempo certo e local correto”. – Certo.

Duas e xícaras de farinha de “talento” e, por fim;

Meia colher de chá de “grandiosidade”.

Excelente. Agora, espera aí... Cadê a gran... Aqui não, neste armário também não. Uai, cadê?

Ah, pois é! Saporra não existe!!!

Durante muito tempo eu acreditei existirem apenas dois tipos de pessoas; Os Sabe-Tudo: que sabiam o que estavam fazendo da vida deles. E a Plebe Sem Valor - onde me encontrava - um bando de idiotas à deriva indo de plano de vida falhado em plano de vida falhado. No entanto, hoje, com os meus 30 e poucos, a parte mais traumatizante de ter saído dos meus 20s não tem nada a ver com as dívidas que hoje tenho a pagar, ou as partes do meu corpo que começam, de forma randômica, a falhar. Nem também é a o fato da possibilidade de morrer por curtir uma noitada ser real. A parte mais traumatizante é entender que a ideia que eu tinha sobre o mundo além de estar completamente errada, em parte alguma é real. Sim, expertise existe. Não confie em um barista para pilotar um avião comercial nem peça a um piloto de avião para fazer o seu Macchiato Duplo. No entanto, sobre como obter sabedoria, sobre como é que as coisas funcionam para que sejamos felizes ou até mesmo sobre o sentido da vida; absolutamente ninguém sabe o que estão a fazer. Seja aquele famoso que as pessoas idolatram, algum herói que você tenha, os seus pais ou as pessoas mais inteligentes da história da humanidade. – Ninguém tem a porra da ideia. E isso é ótimo.

É ótimo porque quer dizer que não interessa o quanto a sociedade, tecnologia, arte e filosofia evoluam, o mundo seguirá sendo o que sempre foi; anarquia. Quando o assunto é a essência da vida, está todo o mundo brincando de quarto escuro.

E enquanto a maioria de nós tenhamos nos convencido que de nada adianta criarmos algo inovador ou escrever um puta romance pois alguém sempre fará melhor - sejam quais forem os grandiosos do passado que você admire e respeite, lembre-se de que eles também tiveram essas mesmas dúvidas e ainda assim seguirem adiante. Eles eram profundamente interessados e devotos àquilo que mais amavam ao mesmo tempo que se sentiam perdidos durante todo o processo. Um longo período de confusão e de se sentir perdido não é um efeito colateral de tentar fazer algo radicalmente interessante e inovador – é o preço de admissão.

Parece que nos esquecemos que Van Gogh tinha 27 anos de idade quando resolveu pegar em um pincel pela primeira vez. Que Charles Darwin uma vez disse: “Eu era considerado um aluno com intelecto abaixo da média por todos os meus professores”; que à Emily Dickinson mal lhe foi dado o respeito e reconhecimento enquanto era viva;  que foi apenas cem anos depois da morte de Herman Melville que alguém começou a dar bola para Moby Dick. - Pelos colhões de Cthullu!  - Sei de professores de arte que no início do semestre começam por garantir aos alunos que eles jamais conseguirão ser grandes artistas e que é inútil sequer tentarem; de cartas de rejeição que instruem os candidatos a largar a caneta e a que nunca mais se atrevam a erguê-la; de velhas, vazias e inúteis críticas destrutivas com o intuito de fazerem jovens artistas desistirem.

 Por isso peço, por favor, que se algum dia te disserem que você é um merda que jamais fará algo de extraordinário em sua vida, em vez de você responder que “Sim, talvez você tenha razão”, responda com um “Vá para a puta que pariu. Vá se foder! Quem é você mesmo afinal? Porra nenhuma”.

Ó só as ideias desses filhos da puta. “Você já teve todas as suas ideias boas”; “Tudo já foi feito antes”; “Você é muito novo, muito velho, muito burro...”; “É impossível criar algo novo e original hoje em dia”;

Digamos que a sua expectativa de vida seja de 80 anos, isso são cerca de 29.000 dias. Se você tiver 18 anos, quer dizer que você já gastou 6.500 dias. 28 – 10.000 38 – 14.000 E independentemente de que se você acredite em vida após a morte ou não, esses são dias que você jamais terá de volta e não há tempo para darmos ouvidos a cínicos.

Pelos Poderes de Grayskull!!!!! Olhe a que ponto chegamos – história, tecnologia e sociedade. E foi tudo graças a pessoas que eram tão merda quanto você.

Por isso, aja sem expectativas. Crie coisas legais porque é legal criar coisas legais – ou ilegais também, se é que me faço entender. E não se esqueça de sempre, sempre, mas sempre mesmo... Sempre dê amor aos doguinhos!

E não menos importante, quando você resolver ser cauteloso ao seguir o caminho incomum, leve em consideração que todos os críticos serão esquecidos tão rapidamente como as vezes em que você falhar. Que nunca houve uma altura certa para que você possa fazer aquilo que sempre quis fazer. Que pelo fato da simples existência ser um conceito tão estranho e louco, ainda existem um montão de coisas que não foram feitas, que não foram criadas, vistas, curtidas.  

“Essas áreas ainda não foram exploradas, Eli”. (There Will Be Blood)

O mundo é feito de infinitas possibilidades. Sempre foi e sempre será. Os grandes nunca souberam que o eram, eles eram meros humanos mortais que recusaram a se curvar perante o cinismo alheio. E o que das vidas desses grandes podemos tirar como lição é: Nos seus projetos, nos seus interesses mais bobos, nos seus gostos mais incomuns, nas suas expedições ao abismo da alma, você se transformará em algo jamais visto antes. Desejamos-te a maior das sortes.

Agora vá se foder e seja extraordinário.

[whereinchelsea]

Made in Chelsea Ibiza - Episode 2

Interactive Map

1. Seasoul, 07849 S'Argamassa - Mytton teases Jamie about being on holiday with his girlfriend. Frankie, Olivia, and Emily gossip about Sam and Mimi. Emily laments shady Harry's behaviour.

2. Jockey Club, Playa Salinas, 07818 Sant Josep de sa Talaia - Sam and Harry imbibe tropical cocktails and rehash the night before. The boys decide that Frankie's been out of line in protecting her friend. Sam feeds into Harry's continued twisting of the situation. Sam admits that he'd be keen to hook up with Mimi on a drunken night out, as then he'd be less liable for his actions.

3. Cala Llenya - Mimi and Ella jog up to a scenic vista and discuss the pros and cons of pursuing something with Sam.

4. Aiyanna Ibiza, Carrer Vénda de Parada, 6 - Alex eggs on Sam and Mimi on a sun-drenched patio while Olivia and Ella look on. After an afternoon drinking champagne in the sun, the party continues. Sam makes it clear to Mimi that he'd really like to make moves with her. Mimi resists, as she doesn't want to create drama with Tiff and her mates. Wise Mimi. This won't last long...

5. Can Blay, Las Salinas - Daisy arms Sam Prince with some sexy Spanish phrases to improve his seduction abilities.

6. Gatzara Suites, Carrer Vénda de Parada, 6 - Emily meets Harry to hear out his silver tongued appeal for forgiveness. Harry accuses Frankie of meddling, and plants the idea that Frankie is obsessed with Harry. Harry has the gall to say that Frankie wants what Harry and Emily had, which was Emily really into Harry, and Harry lukewarm about her. Just what every girl wants. His twisting of the facts would make Kellyann Conway proud.

7. Bambuddha, San Juan, KM 8.5 - Jamie and Frankie go on a date to celebrate Frankie's birthday. Frankie hopes that Emily will stay strong and not get back with Harry. Jamie asks that they not discuss Harry anymore.

8. Casa Con Armat, Valverde - Emily gets back into bed with Harry, despite how obsessed Harry is with Frankie. Frankie and Olivie skype with Tiff who is blissful in Croatia and would like to remain blissfully unaware of Sam's dalliances. Harry tells Frankie that Emily doesn't think she's a good friend after all Harry's slagging off Frankie.

9. Can Rich, Camí de Sa Vorera - Jamie, Alex, Daisy, Ella, and Sam Rich trek through a vineyard before hitting the tasting room. Sam Prince admits to shagging another girl in Toff's bed.

10. Awa Yoga, Hotel Xereca, Carrer Torrent - Mimi gets Sam to do some yoga, one on one. Mimi talks herself around to snogging Sam.

11. Con Cosmi, Elvissa - Toff is back in Ibiza to celebrate Frankie's birthday. Jamie and Ella are leaving Ibiza for London, and Frankie hopes Tiff will make her way to Ibiza. Sam Prince comes clean about the sneaky bed situation. Toff can't even look at him after learning she slept in the soiled sheets. Harry is gleeful that Frankie knows Emily is back in his bed. Mimi tells Liv that she's really into Sam. Sam's quite keen to get emotionally invested in Mimi. Emily repeats Harry's bile to Frankie. Olivia confronts Sam for hooking up with Mimi. Sam admits he's doubtful about a future with Tiff.

[fashion-sight]

Leggy Lottie Moss looks ultra chic in an embroidered leather skirt for the Dior show at Paris Fashion Week - Daily Mail

Daily Mail

Leggy Lottie Moss looks ultra chic in an embroidered leather skirt for the Dior show at Paris Fashion Week Daily Mail ... 24, and Emily Blackwell, 21, for lunch at The Ivy, expressing her single status following a split from Alex Mytton, 26. Lottie has remained on the market since her split from Alex in July, although the pair sparked speculation of a reconciliation ... and more »

[coturesocial-blog]

Lottie Moss is a 19-year-old model and is the younger sister of Kate Moss. You know her as being the supermodel’s teenage sister that also comes from a very wealthy family! In addition to this, she lives in England’s capital city, London, where everything amazing is happening. Lottie has dreamy romances, famous friends and lots of unforgettable holidays. All of which are just a few astonishing aspects of her life.

So, do you want to find out how this undercover ‘Made in Chelsea’ star is living like royalty? Come with us and we will take a sneak peek into her amazing life together!

The Drama Behind Her Dream Relationship

Lottie Moss is a stunning young woman and everyone’s in shock that her that her and beau, Alex Mytton, may no longer be together. He was one lucky guy to have dated a girl as fantastic as her, that’s for sure! Recent rumours leaked that the MIC love-rat had cheated on her and we just can’t believe it.

The young couple seemed to have a very fun and loving relationship but maybe things just weren’t meant to be. Lottie is amazing and is already building such an incredible life for herself; we doubt she’ll be letting anything hold her back!

Despite this, we know that that this English princess has a whole load of eligible bachelors just waiting for her around the corner. So, we’re wondering who she’ll be spending her time with next. Life as a young, gorgeous model means that she’s meeting and working with beautiful people every day too!

Lottie Moss: Her Inner Circle

If you’ve been keeping up with MIC’s Ibiza, you might recognise everyone in the picture apart from that cute blonde girl at the back. Well, that’s because this chic keeps her personal life away from reality tv! And it’s no wonder because she’s got quite a reputation to fulfil.

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Besides being good friends with a lot of the cast including Emily Blackwell, Frankie Gaff, and Jessica Woodley, she’s pals with so many other beauties. She spends as much time as she can going on vacay with her besties as she has to balance a fast-paced lifestyle. However, she lives extremely glamorously at all times. So really, she’s got the best of every world!

Life As A Young Model

Lottie works with designers, brands and other amazing models on a daily basis. What a life she lives! Having a much older and experienced sister has evidently helped her in the fashion industry. She doesn’t let any drama stop her from looking drop dead gorgeous and she knows how to do business!

She’s recently been spending lots of time in Spain over the summer but she’s also been on a lush trip to Mykonos in Greece. For a young girl, she is incredibly wise and knows exactly what she’s doing. By regularly posting hand-picked content on Instagram she is able to showcase her amazing life. The luxurious lifestyle she continues to create is astonishing.

Some of us could only have dreamt to be traveling the world and meeting all the A-listers at the young age of 19! The competition is tough yet she just keeps on ticking all the right boxes for being famous and social. Lottie is at the top of her game right now and should definitely be rewriting the modeling handbook!

Whether she’s looking adorable in L.A. or fierce in high-fashion editorial shoots, she’s simply beautiful. We spotted her living it up at Coachella with her besties and we’re #MajorlyJealous she can pull off trainers and still look uber trendy. We’re rooting for you Lottie and along with many others, we can’t wait to see what her future holds!

Cr: Instagram @lottiemossxo

Lottie Moss: The London ‘It’ Girl Everyone Wants To Be Right Now Lottie Moss is a 19-year-old model and is the younger sister of Kate Moss. You know her as being the supermodel's teenage sister that also comes from a very wealthy family!

[slingshotheatre-blog]

R&D 3: Public sharing of work, Arcola Theatre, June 2017.

This sequence is the chase between the Secretary and the four uncovered undercover policemen/women!

Slingshot Theatre’s R&D of ‘The Man Who Was Thursday’ supported by Arts Council England and the Peggy Ramsay Foundation.

Directed by Marcello Magni Masks by Russell Dean Music composed & performed by Eamonn O'Dwyer Performed by Ruben Crow, Christopher Hawes, Emily Mytton, Daniel Hoffman-Gill and Dave Emmings.

[shuttersopen-blog]

My Time at Temple Studios, Part 27

Show #27 Wednesday, July 2: 7 pm

 I did a little better in the lift lottery with this show, owing to the fact that I didn't need to stop by the box office. I managed to make it into the second lift, manned by Luna (Kathryn McGarr), who patted my shoulder and gave me a “lovely to see you again” on my way in. I got off on the first floor and zipped across the arcade over to the studio back door, heading for Studio 5. My goal was to catch an old favorite, who I hadn't spent any extended time with since September: Emily Mytton's Alice Estee. Previous experience (with other Alices, a key fact that I didn't consider) told me that she should probably be in there with Claude and Frankie, just prior to heading downstairs for Frankie's initiation.

What I neglected to count on was the earlier weekday entrance times, as I explained in my previous post. I actually made it to Studio 5 mid-Bulldog – the middle of the song, anyway. The room itself was empty, save for a single black mask near the door. I slowly wandered, thinking I'd take the opportunity to finally check out the back side of the set, but when I got there I was met by the sight of the actors milling about, otherwise hidden from view. I quickly returned to the center of the room, feeling very self-conscious about it. I didn't even see how many of them were back there, although I did identify the iconic grey jacket of Claude (Omar Gordon). While I waited for them to emerge, I wandered over to the dressing area, where I found Faye (Sonya Cullingford) and Dwayne (Oliver Hornsby-Sayer) engaged in kind of a low-key, extended version of their post-Bulldog flirtation. Basically, filling the space until it was time to start in earnest. Still, I'm not one to pass up the opportunity to watch Faye do anything, so I stuck around until Claude wandered over to straighten up his costume in the mirror. A few intense glares and commanding strides later, and Claude and I were off to the basement, where I had to assume Alice was hiding. When we got there, he disappeared into a small locked chamber in the Masonic Temple, leaving me alone.

Everything felt off-kilter. Even the large openings between the Temple and the Antechamber were swung most of the way closed. The music droned on and on as I waited, seeming to last longer than it ever had before – but of course, that was impossible. Soon, I heard Frankie (Daniel Whiley) in the antechamber and slipped over there to watch him get creeped out by the effigies of Marshall and Mary. When we returned to the Temple, Claude had emerged, dressed in his initiation outfit. He opened the door between the Temple and Antechamber a little farther and took up a spot near the orgy table. Then. . . he stood in his spot, motionless. And continued to stand there. I feel certain that Claude never waited there for that long before, but there he was. Finally I heard a key in a lock, and Alice strode in, followed by Dolores (Bryony Perkins) from the other direction, and finally Stanford (Sam Booth) and his white masked companion. I took up my usual position and it was time to get the show on the road. It was nice, returning to the initiation after so long away. And nice to be enjoying some Studio creepiness, since my previous show had been almost entirely town-based.

After the initiation, Alice was the first to leave, and I zipped after her. She paused outside the changing room, then gestured inside with a snippy “well come in, then.” The door locked behind me and Alice's 1:1 began. When it was finished, unlike the last time I had it, she left the room with me, and we both headed to the Temple Anteroom for the rolling desk dance.

Last time I saw this dance, I commented that the magic had worn off, and my interest was waning. I'm not sure why, but this time felt a lot better. Perhaps it was the two month break, or perhaps it was just because it was Emily. I feel kind of bad saying this, because I do like both Laura and Pascale's performances as Alice (especially Laura), but it may be that the rolling desk dance just needs Emily. At any rate, it was much more enjoyable this time around, and I got a real kick out of her drunk/drugged style of walking at the end – which make all sorts of sense, because her walking style has always been the best thing about her Alice. She makes such a production of it that you can't help watching, and usually chuckling a bit. It's glorious.

I followed her out to the hall and around half of the basement to pick up the wheelchair, and then we were back in the Temple for the orgy, at which point I was surprised to find myself getting a little bit misty. I do so love that sexy line dance. . . but I also knew that this was certainly not the last time I would see it, so why was I getting worked up?  Emotions, man.  No figuring them.

Afterward, Alice gave Dolores the role of the grandmother (she makes the most horrible faces when she's mocking Dolores's labored breathing), and then we headed upstairs for the murder. This felt all kinds of wrong to me – we went up the back staircase near the anteroom, then crossed through the ornate bedroom and backstage nexus on the way to Studio 2. I could have sworn the last time I followed Alice at this point we used the staircase that comes out near Studio 5. Times change, I guess. Alice grabbed a white mask in the hallway outside of Studio 2 and took him/her (don't remember which) to the murder, which was actually quite nice to see up close and uncrowded again. I've taken to watching from the stage most nights at the end of the show, just to avoid dealing with the crowds, so it was almost a new experience.

Then we headed upstairs for the delightful casting dance in the secretary's office, though it seemed a bit more subdued than I remembered. Also, Claude's chair seemed to be broken, and he took a slight tumble in the middle of it – but he managed to get back into the groove with as much dignity as possible.

At this point, I knew it was about time to leave – I wanted to catch the Dust Witch, and I knew she would be emerging somewhere around scene 2 or 3. I stuck with Alice a bit longer and watched her berate the Gatekeeper (Paul O'Shea). Best part: mumbling “what is this, a god damned holiday camp?” when she found his hat not on his head. Then, when she headed back into the Studio, I took my leave.

But I didn't head up to the desert right away. Suddenly I heard the first strains of the Codfish Ball coming through the wall just a few feet away from me. Quick debate in my head – there's a common theme to all of my attempts to arrive at a particular scene: invariably, I am early. Thus, I can afford to wait one more scene, right? Right?

Sure. I slipped in the back door to the boardroom, taking up a spot right behind Mr. Stanford. Best seat in the house, really, and a trick that I would have to remember for the future (because rest assured, I would be seeing Faye again). It was absolutely lovely – I love that number as performed by any Faye, but Sonya has the perfect mix of innocence and aggression to turn it into pure magic. I was tempted to stick around, but the Dust Witch beckoned.

If you're wondering why I was so dead set on seeing the Dust Witch, it's because she was played by Marla Phelan, who was my favorite performer at Sleep No More. I was very excited when I heard she was joining the TDM cast, but to this point, she had not performed at any show that I attended. I would have preferred to see her play Wendy, or Dolores, or, you know, any role where I could see her face – but beggars can't be choosers.

Even with my one-scene delay, I got to the desert slightly early. I've really got to work on that. I wandered through the chapel for a bit, trying to commit it all to memory, than went back outside, where I found her approaching from the darkness. I also found her entourage, a terrifying swarm of white masks that emerged from the darkness behind her and then just kept emerging, one after another. How had she accumulated so many after emerging from a locked room mere seconds earlier?

Fortunately, since I was coming from the direction of the chapel, I was able to slip back in and get a good spot for the endless pouring of sand from the bible and the preparing of the paint for Miguel's anointing. Over the course of these two bits, I started to notice something she was doing – she kept reaching out to the white masks, as if she was about to take their hand. But then she'd just move past them. This led to masks sometimes neglecting or refusing to move out of her way at first, because they thought she had just chosen them for something (confession: I was one of those people. Just a single time). It wasn't until she left the chapel that I finally became clear on what she was doing – it was the blind act. She was feeling her way around. The moment of revelation was just as she passed through the doorway – for a second, she slipped into a shaft of light and I could see under her veil. She was staring straight ahead, with the dead, thousand yard-gaze of the blind. I have to give her a lot of credit for that – with the veil in place, there's no reason she would need to be performing with her face. It was a hundred to one shot that I saw it. But she did it anyway.

At Miguel's (Georges Hann) anointing, I found myself staring down at the ground for much of it. The Dust Witch was standing directly in a spotlight, and as she reached out to him, seeming to almost direct him with the contortions of her hand, the angle of the light turned her hand into a giant claw, emerging directly from her feet. It was fascinating to watch the changing shape of it in the sand, and I couldn't tear my eyes away.

Once the anointing was complete, she made her way to the wall and slowly felt her way around it until she got to her 1:1 room, and disappeared inside with a white mask. I took the opportunity to explore the back rooms of the factory, noting as many details as possible in order to update my model of the set. Then I heard “Catalina La O” start up and I knew I had no choice but to rush out and catch Faye's desert dance, about which there is almost nothing left for me to say – except that I loved it, of course.

Once the moonshine trio had departed, I wandered in the darkness for a bit, blissfully alone, until the Dust Witch finally re-emerged for the ritual of light. I took up my usual spot, right in the center at the end of the scarecrows and was, as usual, overwhelmed by just how beautiful it is. There are other scenes I prefer, of course, but from a purely aesthetic standpoint, nothing else can match this scene, from this position. Absolutely gorgeous. I found myself tearing up a bit again, and this time, it felt more justified. This truly would be my very last ritual of light.

When the light died down, the Dust Witch headed over toward the staircase and beckoned with her hand – for a moment, I thought she was trying to attract a white mask for some sort of interaction, but I should have known better. She was calling to Dwayne, well before he actually appeared. Kind of creepy, actually. Once he had come and gone, I followed her as she collected his clothes, catching my usual tail end of his dance at the murder mound, then followed them down to town. Marla's Dust Witch seemed much less kind than the others throughout this segment, at times seeming to outright chase down the clearly terrified man. It was less like she was supporting him and more like she was hunting him. After the cleansing, when she revealed her face to him, there was no relieved collapse into her arms like I had seen with Leslie and Luke.

At that point I slipped out of the room, assuming she would be leaving as well – that's how it's always gone in the past with Dust Witches. I thought I'd get out ahead and avoid the bottleneck. But then, as I waited, there was no sign of her. I stepped outside into the woods and saw a large crowd following someone through the Horse & Stars. Uh-oh. There is a back door in the side room with the bathtub. She must have slipped out of that while I was waiting in the center room, and was already on her way back upstairs. I rushed over to the crowd, which had come to a stop at the base of the stairs. This was odd – was it just a traffic jam? Was she performing something on the steps?

No. Have you figured out my mistake yet? It was actually Andy (TJ Lowe), who does climb the steps slowly, performing his breakdown all the way up. But then what the hell happened to the Dust Witch? I headed back to the chapel, only to find her midway through the trailer park, heading my way. I'll never know what happened while I was away, but apparently she just spends more time in the side room with Dwayne than any of the other Dust Witches. Bummer for me.

I slipped in with the crowd and followed her upstairs, where she stood around and watched Andy and Miguel's scene (already in progress). When they departed, she waited just long enough to see the newly resurrected Mary (Kate Jackson) arrive, and then. . . left. She just headed for the 1:1 room. No scene with Mary. No comforting. I don't feel especially good about that – the Dust Witch has so few scenes as it is, and that one in particular is really the only time (outside of the 1:1) that she feels sympathetic. It's important. Alas. At any rate, I had come full circle, so when she disappeared again with another white mask, I headed back downstairs.

I wasn't really sure what to do at this point. My first thought was to take a stab at a Barman loop, since I hadn't ever done one before – but when I got to the Horse & Stars, he was nowhere to be found. I headed out into town, where I found Carl Harrison's Tuttle returning to his shop. Ah-ha, let's try him again. I got to see him do an interesting scene with the clown doll, moving it around his shop window and drawing Lila (Kath Duggan) toward him as if entrancing her. Playful, in a very creepy way. He left the shop to sell her the doll, and I wound up standing right to the side of the door, between it and the sign. Once the doll was sold, he headed back for the shop, then turned back to her, standing right in front of me. They exchanged a few more words while he slowly stepped backward, squashing me against the wall. I flattened myself as much as possible (which is not that much, admittedly), but there was nowhere to go. On all four sides I had either the sign, the door frame, Tuttle himself, or a throng of white masks. Quite a relief when he finally slipped back inside and closed up shop.  Moving on.

Off to the side, Dwayne was beginning his solo dance for the Drugstore Girl, but eh, Dwayne. So I went back to the bar for round 2 of trying to find the Barman (Nico Migliorati). This time I found him, all right. I also found packs of clearly enamored women encircling the entire bar, leaving nowhere to stand. Sigh. Back out to town. By this time, Faye and Mary had arrived and I found myself much more interested in watching the dance. Since it was already underway, I decided not to try to exit the Saddlery, and watch from there. It was an interesting vantage point – I couldn't see as much of the dancing, but I had a much better view of everyone's faces, from closer up. I was struck by just how petulant Faye was, right from the get-go. There was never a point in that dance where she was unaware of what Dwayne was doing with Mary, and she was not happy about it at all.

After the dance ended, I headed back to the Horse & Stars one more time, and caught Conrad's (Ben Whybrow) Cabaret. By this time, I had had enough of drifting around, and decided that I should just do what I had clearly been subconsciously trying to do all night – a Faye loop. Rather than chase her down, though, I stuck around for Conrad's undressing (and Nico's Barman's hilariously over the top reaction to it), knowing that soon she would come to me – and as soon as Conrad left she did, which meant I had a perfect spot for her flirtatious dance with the barman. Afterward, we headed to Bulldog and I used my usual trick of cutting through the saddlery to catch up to her at the Studio back door ahead of the crowds.

I wound up watching Bulldog from a new position, right on the end of the bedroom set. Not bad – though I couldn't really see Faye and Drugstore Girl (Lily Ockwell) in the kitchen cupboard, which was a bit of a shame. It did leave me in a good position to catch Dwayne and Faye's backstage interaction after the song, where I was surprised to see Dwayne acting in a not-entirely dickish manner. He was bordering on respectful, even (the note was delivered with a “got something for you, ma'am.”)! Somewhere during this chain of events I was unsurprised to get a nudge in the ribs from my friend Alexis, also known to be a confirmed Faye/Sonya fan. Looks like this was going to be a buddy loop.

After Bulldog came one of Faye's most joyful scenes, as she finds all of the new goodies that the Seamstress (Annabeth Berkeley) had left out for her. It culminated in something I hadn't seen happen before – an actual scene between the two of them. Well, technically I'd seen it the night before during my loop with Miranda's Faye, but never prior to that. Previously they'd always only met in passing, or not at all. It left me with a bit of a question about the Seamstress. She was very pleased that Dwayne was making moves on Faye – was this just because that was part of the plan? Because the whole Faye situation is what gives him the confidence and drive to make his final move on Mary at the hoedown? Or does it indicate a bit of rebellion on the part of Miss Dove? Maybe she's pleased because she thinks Faye has a shot at disrupting the affair. She has seemed to become less and less satisfied with the whole studio conspiracy over the final months of the show, so. . .

But anyway, back to Faye. Things proceeded as usual – she witnessed the car dance, chugged some vodka (her gagging, coughing reaction stood in stark contrast to Miranda's drinking the night before), and then danced around Dwayne's trailer. One thing Sonya does here that I love – she actually pulls a cigarette out of the case on the table and uses it in her dance instead of miming, the way that the others do. And then the way she tosses it back with such disdain and disgust, letting it represent Dwayne – fantastic. Another interesting note is that she's much less flirtatious with Andy than any other Fayes – they didn't even reach the point of the near-kiss.

Then it was up to the desert for, yes, my second desert dance of the night. I found myself a good spot, peeking through the gap between one of the columns and a white mask, but then he shifted his weight and blocked my view. I moved to the other side of him and watched through the newly created gap – and then he shifted, blocking my view. This continued throughout the entire dance. Good thing I had already caught it once. I love the way Sonya plays the end of the scene – she runs away, laughing and singing, reveling in her dominance and victory – but then, once she is away and on her own, she lets loose with a venomous “gotcha,” revealing just how upset she still is underneath. It's the layers that really bring it to life. Speaking of being upset, prior to this loop I had never picked up on just how angry she was with Dwayne at the hoedown. Every time he came near, she would recoil and glare and on occasion, it was enough to make her break out of the choreography and completely stop dancing. So much anger – her revenge wasn't as satisfying as she had hoped.

The journey to the motel was much less steamy and aggressive than what I had seen the night before, but actually more in line with how I like it. I prefer to see Miguel pulled in two directions, and it was a little heartbreaking to hear Faye say “No, it's Faye” when he calls out for Mary, completely misunderstanding what's going on. Another nice touch that is unique to Sonya is that she starts undoing her bra before she turns around and finds Miguel gone. Obviously, she doesn't actually undress any more than any of the other Fayes, but the gesture implies a continuity of action, and makes it all feel less choreographed.

Once she did turn, she refused to believe that he was gone at first. She laughed, she searched – she even looked under the bed. It was only when she saw him going into Mary's house that she accepted what was going on. It's interesting – after having my four-quadrant Faye theory validated the night before, I found that Sonya's performance was kind of tearing it apart again. She still seems more worldly and understanding compared to Katie Lusby's version, but the difference is not nearly as stark as I had remembered. I almost wonder if she's deliberately started to play it a little younger, a little more girlish. Or perhaps it's just the contrast with Miranda's Faye. Either way, I was already a fan, but the performance was feeling much stronger than I remembered (ironically, in part because Faye herself was feeling weaker).

Accepting that Miguel was gone, Faye halfways-put herself back together, ending with an obligatory, useless spurt of hairspray that was clearly going to do nothing for her. I might have actually laughed out loud at it, had I not been so otherwise upset. She stumbled out to Dwayne's trailer, and then into the Horse & Stars, where she pulled up a stool, completely alone. After a few seconds, the Barman rushed inside, shoving me to the side and vaulting over the bar. He quickly dug around for a bottle of whiskey, but found nothing – then he pulled a flask from his pocket and poured her a shot from it – and at that moment, Nico became my favorite Barman, simply by virtue of how badly he seemed to want to comfort her. We are simpatico.

The whole sequence had a bit more dialogue than I was used to, and Faye even announced her arrival onstage (“I am a star! Ladies and gentlemen, Faye Greener!”). That extra touch right there just kills me. Eventually Harry (Edward Halsted) arrived to escort her down to the wrap party. He went with a variation on the “They invited me to the party but insisted I bring you even though I didn't want to” dialogue, which I think is my favorite version of it. I'm a sucker for playful teasing.

When we got down to Studio 2, Faye grabbed Alexis for the murder, but Harry stayed close. I'm really kind of fascinated by this ongoing evolution of degrees of Faye/Harry interaction at the murder. In this case, I was a little disappointed to see her go with a standard walkdown, rather than sticking with Harry.  Once Marshall was gone, though, I got a pleasant surprise – she released Alexis and turned back to Harry, and they danced together for a moment, cheering and smiling. There it is – that's what I wanted to see. And then, yet another pleasant surprise – she released him, grabbed my hand, and danced me across the stage, leaving me at the bottom of the steps with a kiss and an “enjoy the party”.

This left me positioned directly in front of Luna during the big stomping line dance portion of the finale, and I would definitely have to give the award for most intense and aggressive performance of that dance to her. I guess since she doesn't get to dance during the rest of the show, she has to get it all out of her system in those few seconds. It's almost scary.

And that was that.  Two shows down already, six to go. Tick-tock.

[my-burnt-city]

POV: you've stowed away on a time machine and it's dropped you off at Paddington, nearly a decade ago. This is the TDM cast board now facing you. Who are you following?

[Alt: a cast board, listing characters and the performers who are playing them.

William - Omar Gordon, Mary - Laure Bachelot, Dwayne - Oliver Hornsby-Sayer, Andy - James Finnemore, Harry Greener - James Sobol Kelly, Faye Greener - Katie Lusby, Miguel - Georges Hann, Conrad - Alex Mugnaioni, The Dust Witch - Katherine Cowie, Drugstore Girl - Sonya Cullingford, The Barman - Ygal Jerome Tsur, The Grocer - Monsur Ali, The Fool - Alistair Goldsmith, Wendy - Chihiro Kawasaki, Marshall - Jesse Kovarsky, Dolores Grey - Marla Phelan, Andrea - Kirsty Arnold, Claude Estée - Anwar Russell, Frankie - Daniel Whiley, Alice Estée - Emily Mytton, The Doctor - Sam Booth, Mr Stanford - James Traherne, Assistant to Ms Grey - Stephanie Nightingale, The Gatekeeper - Christian From, Romola - Sarah Sweeney, Lila - Kath Duggan, The Seamstress - Annabeth Berkeley, Phoebe - Mia Mountain, Mr Tuttle - Edward Halsted, The Executives - Matthew Blake + Kathryn McGarr, Band - William South, Pete Bennie, Graham Farnsworth + Jake Woodward]

[priceyc]

In which I meet Ms Estee, the doctor and Badlands Jack

Show 4 - 6 September

So it's the start of September, it's my fourth visit, just two weeks after the third, and I've been well and truly sucked into the world of Temple Studios. Some would say suckered, but they'd be wrong. I feel comfortable wandering its dark passages (apart from in the desert – which still scares me). I'm happy to just explore a bit, I feel less obliged to follow anyone specific but want to see where the mood takes me. I'm developing preferences for certain actors in certain roles – which has nothing to do with how talented or attractive they are (I'm not THAT shallow, and I think they're all amazing) and more to do with whoever I first saw playing a role. So by show 4, in my opinion, Paul Zivkovich is William, Kate Jackson is Mary, Sonya Cullingford is Faye, Rob McNeill is Andy, Fania Grigoriou is the PA, David Essing is Claude, Sam Booth is Mr Stanford and Emily Mytton is Alice Estee.

For this visit – a Friday early show – I've dragged along another newbie, Graham, and am going with a work colleague, Russell, and his husband, David, for whom this is also their fourth time. My newbie friend has had a stressful day at work and I'm not sure his stress levels will exactly reduce inside the studios, at least initially, although it'll certainly take his mind off work while he's in there as it's such a different world.

I go in with no real plan, and end up in the tent with Lila and the Fool. I've not seen much of Lila (Margarita Zafrilla Olaya) so I decide to follow her down to the basement. But I'm not really getting into her story, so once we've arrived at the orgy, I scan the room and realise that I really really want to follow either Emily Mytton's Alice or Fania's PA. What a choice. I'm really torn, but as I'd seen a little bit of the PA on my last time, tonight I decide I'm going to go for Alice – who I've barely even glimpsed on my three previous shows.

Emily Mytton – as is the case, I am only now gathering, with all the TDM actors – is just fantastic. Her Alice dominates a room, and is loud and brash, taking no prisoners. She frequently talks to white masks (or even, at one point, tickles them as she walks up behind them). She walks everywhere so slowly but so determinedly with such purpose, swaying from side to side, and touching things as she goes. She knows exactly where she's going and what she's doing. She's easy to follow if you're not terribly fit or mobile – such a contrast from Frankie, who I followed for a while on my last visit, and who runs everywhere.

Almost immediately after the orgy (and her moment with old-lady Dolores) I'm whisked off to watch the murder. We're following Alice upstairs, and just as we reach Dolores' bedroom, she takes me by the hand and excitedly whispers to me about how brilliant the scene is going to be, and how I'm just going to love it – 'this is the best bit!'. At this point I've never yet been taken to watch the murder at the end, but I didn't even know that you could be taken to watch the first murder, too. Alice grips my arm tightly as we watch, and her hold gets tighter and tighter as Wendy stabs Marshall. This is her domain, and she is in charge. Once it's over she's the vocal one, going over to congratulate an obviously upset Wendy, and take the scissors from her.

We head upstairs to the studio reception, Alice holding the bloodied scissors gingerly in one hand. As we pass the sign to Temple Studios by the stairwell door, she caresses it with her free hand. In the reception she's completely at home as she plots and plans and whizzes round on her chair with Claude (River Carmalt). She talks to the audience as she goes – ‘tidy desk, tidy mind’ – it all seems like such fun to her and involves playing with as many lives as possible... Conrad, Dolores, Marshall, Romola, the guard... Like Stanford and the PA she's a bit of a puppetmaster – everyone dances to her tune.

She picks up Wendy’s de-blooded scissors from the guard's room, where she's left them, and we walk downstairs to the main studio, passing Marshall (Fionn Cox-Davies), Frankie (Conor Doyle), who gets his Bobby script, and does an amazing dance which almost distracts me from following Alice, and Eugene (?), who has left the party tent and is already on his way upstairs, so she calls out and gives him his script (timing issues perhaps).

We go back upstairs via the doctor and spy on Wendy (Fernanda Prata), while Alice grabs a glass of champagne. She dances with Lila in the boardroom and then heads to Studio 5 to tell Frankie he's in and the boss wants to meet him. Luckily I know where they're heading (although I haven't yet worked out that I need to be at the back of the room to follow people out of Studio 5). There's a massive crowd of idiots in there, and I get stuck right at the back behind couples chatting away to each other, and completely lose the three actors as we walk downstairs. I know it's initiation time though so we follow Frankie in there and wait for Alice to arrive. After the initiation I just miss out on her 1:1 – and after shaking off my disappointment I head upstairs again – thinking I'll look out for the wig and dressing rooms up there, which I haven't seen yet.

As I pass Romola's shrine, the doctor (François Testory) walks past on his own. I make a spur-of-the-moment decision to follow him. We reach the shrine just as Dolores (Jane Leaney) arrives, very disturbed and he takes her off to his surgery, where she is literally trying to climb the walls.

After she's sent back downstairs to face her worst fears and play the grandma he injects himself too – tying a tourniquet around his arm first – then stares at me and tells me to come through to his consulting room for a check-up. The whole 1:1 he’s muttering away to himself – clearly high on whatever he’s just taken. And just as suddenly as it started, it's over, my mask is back on and he lets me out of the door, saying, ‘that’ll be all thanks’. I don’t feel I want to stay with him after that, so I decide to head up to the desert via the wig and dressing rooms next door.

But the desert is empty when I get there, so I head back down again. Then, just as I reach the stairs, Andy (Nicola Migliorati) comes running up looking panicked. I initially think he's Miguel as I've not seen the actor before and I about-turn and follow him as he dances manically in the sand and heads to the scarecrow shrine. I only realise he's Andy when the actual Miguel arrives. After Andy's woken up confused and disorentiated in Miguel's tent, he runs downstairs to the motel – I follow him at a lick and realise he's resetting for the next loop. I've determined that my first full Andy loop will be Rob McNeill, so I leave him to head to work with William.

So I wander down the street from Andy’s room and glance into the motel office. And Badlands Jack (Adam Burton) is in there, eating an apple and reading his book. He’s not doing much, but I lean against the wall and watch him for a while, not in any hurry to find anyone and intrigued by this character who I've only noticed in passing before. I love that I feel comfortable enough now to just stand alone in a room watching an actor do very little. He glances up and notices me there, tears a page out of his book, folds it up and looks at me. Stares for a while and I stare right back – he comes out from behind the desk and stares again before beckoning me over to take the page out of his hand. I don't think I've ever held eye contact with anyone for so long before.

Adam Burton's Badlands (a role he no longer plays) is a quiet, solitary person. He spends a lot of his time alone, fiddling with things, or just watching – usually women – from behind boxes, walls, through the saddlery opening. He seems to have a crush on Faye – she is often the object of his gaze. Although he does seem able to flirt with the drugstore girl – maybe she's just more approachable.

He's also a bit of an arsehole, although what I see of him this evening is less out-and-out mean than Julian Stolzenberg's Badlands. He looks as though he's about to help poor, crazy Romola, until he walks over to her caravan and starts chucking out her dresses and telling her she’s crazy. He points out a sign she hasn’t noticed, which says she has two days to clear out her stuff. OK, that's pretty mean.

At one point we end up in a motel room and he pulls me by the hand through the back door and we run to his caravan, where he locks the door, takes off my mask and sits me down on his bed for the 1:1. It's a strange one, this 1:1. I've had it again since Show 4 and it's still disturbing – in a very physical way. When I'm let out again, I'm not really sure what to do. Do I go to find him again, or should I look for someone else?

I decide to head upstairs to find the Dust Witch but she's just taking a white mask into a room for a 1:1 so I head back down and bump into Graham near Studio 5. We pop into the grocery store but get quickly hustled out of there, so we head to the drugstore where I find Badlands again, coming in to flirt with/tease Drugstore Girl. This is a much nicer BLJ than the only other time I've seen him on a previous visit (same scene, same actor, same loop). It's the first clue I see that the show is still constantly changing.

I follow him out of the drugstore and just miss out on another 1:1 (which doesn't upset me, as I've just left the last one). I wait in the bar, where I see yet another scene I've never seen before – Andy dancing on the bar before the hoedown. It's a beautiful scene and Nico is clearly a fantastic dancer. I'm mesmerised by him, until the hoedown starts in earnest. And then I'm taken by surprise when someone grabs my hand from behind and spins round under my arm – it's Badlands again, joining the dance.

I follow him out when he leaves, back through the saddlery and into the motel reception. He looks around to check no one's watching and takes some envelopes out of what were clearly other people’s mailboxes and sneaks through one of the bedrooms to the mattress outside the caravans, where he sits down and opens all three envelopes. The first two are filled with straw, and the final one is filled with feathers. What does this mean? Is it something from Miguel – someone who does actually seem to scare him? After all, he was terrified by the scarecrow in the church.

Jack is certainly disturbed by it, and keeps hold of a handful of feathers. We go back through Andy’s bedroom, where he tidies the suitcase, looking a bit sad, and goes to find DG. He shows her his handful of feathers, letting them fall to the ground, and they dance together. Then she grabs two roses from the bar, and the two of them head downstairs. On the landing he waits for me and leads me down to the murder – twice in one night! – where he holds my hand, and stands behind me, squeezing tight as Wendy stabs.

This time, after the finale, it's Ygal Tsur's barman who finds me in the crowd and leads me to the bar. It's a speedier goodbye than Omar's, but I get a 'gracias' from him before he leaves me there to find my friends. Graham is sitting by the bar looking a bit shaken with an ash mark on his head – he'd found Miguel within the first few minutes – while Russell and David have had a brilliant night.

It amazes me that on my fourth visit a good 90% of things that I've seen are completely new to me. I'd never seen any of Alice's loop apart from her moments in the orgy and initiation, and I'd barely even noticed Badlands Jack before. It's also been a night full of those special moments that have become my favourite bits of the show – the times when the characters suddenly notice you standing there and you're part of the story, rather than simply being an onlooker. Plus I've had my first girl crush of the show – Emily Mytton – more born out of fear than love but you have to fall in love with someone after every show...

[whereinchelsea]

Made in Chelsea Ibiza - Episode 4

Interactive Map

1. Can Cosmi - Louise continues to tell Sam to get a clue. Binky and JP skype in with baby India to inject a little cute family moment. Mimi prepares a meal to try and sweeten up Louise. Louise won't stop talking about Tiff, who texts to announce her arrival. Sam skips Mark Francis' party to have a deep chat with Mimi. Sam decides to end things with Mimi.

2. Lamuella, Central San Juan - Olivia and Emily go for a boozy brunch and chat about Olivia's awkward blind date and the way that Harry's been behaving towards Frankie. Olivia encourages Emily to forgive Frankie.

3. Babylon Beach Bar, Carrer Bartomea Tur Clapés 20 - Toff, Alex, and Sam Prince have lunch. Toff attempts to dissuade Sam from following in Mytton's footsteps.

4. Cala Llenya - Sam and Ryan kick a football around on the beach. Sam fills Ryan in on all the juicy goss.

5. Can Blay - Harry visits Emily to gaslight her into thinking that she's the unreasonable one in their situation. Rightly, she tells him to fuck off.

6. Balearic Sea - Tiff reunites with Frankie and Olivia on a boat. Frankie reveals that Sam is dating Mimi. Tiff is determined not to forgive and forget in this case.

7. Cala Olivera - Louise meets a tearful Tiff at a scenic viewpoint to lend a shoulder to cry on.

8. Nagai, Santa Eulària des Riu - Mytton, Mimi, and Harry get drinks and gossip. Harry lays down that he doesn't want to be in a relationship with Emily.

9. La Belle, Avinguda Isidor Macabich 6 - Frankie, Olivia, Harry, and Sem go out for drinks. Sem is awful, and Frankie isn't much better.

10. Casa Can Armat - Sam comes to see Tiff and make some sort of apology. Tiff tearfully ends their relationship, as he couldn't follow the rules of their break.

11. Can Bas - Mark Francis hosts a Spanish fiesta for the plebes. Sem is awkward, and Liv seems less than impressed by his grudging smooch. Harry flirts outrageously with Frankie. Emily decides she's done being made a fool, and will return to London. Mimi turns up tearful that Sam ended things with her. Tiff refuses to accept Mimi's apology.

[whereinchelsea]

Made in Chelsea Ibiza - Episode 3

Interactive Map

1. Horse Country Club, Santa Gertrudis - Harry drives Sam, Emily, and Mimi to a horse farm. Harry continues to disparage Frankie to Emily. Mimi indulges the child in Sam on a swing set, and brings up the sexual tension between them.

2. Casa Lakshmi - Alex, Olivia, and Sam Prince get out for a retreat. The guys give Olivia a hard time about not finding anyone to shag yet.

3. Cicale, Centra San Juan - Toff finally gets some solo time with Victoria. Victoria is satisfyingly shocked when Toff reveals how Sam Prince desecrated her bed.

4. Ceramica Sa Teulera, Can Negra - Frankie and Daisy mash clay into phallic shapes and talk about Emily and Harry.

5. ME Ibiza, Urbanizacion S'Argamassa 153 -

6. Casa Can Armat - Mytton swings by to show Liv the snap he took of the Spanish Fred look-a-like Sem who he thought Liv might fancy.

7. STK Ibiza, Carrer de s'Illa Plana - Alex, Toff, Harry, Emily, and Daisy go out for dinner. Harry flirts with Toff in front of Emily, who gets shirty with Frankie.

8. Jacaranda Lounge, Carretera Cana - Sam Prince lures Toff out for prosecco and an apology. Of course lovely Toff forgives him.

9. Can Cosmi - Sam and Mimi talk about their past relationships and astrology while stargazing. Louise and Ryan turn up to catch up on all the gossip.  Louise has a serious chat with Sam about getting with Mimi while on break with Tiff.

10. Cala Martina - Emily and Toff face off in a beach volleyball match against Frankie and Daisy with Mimi as judge. Toff tells Emily that she's forgiven Sam Prince and will work towards rebuilding their friendship. Emily moans about Frankie flirting with Harry. Mimi tells the girls about her night with Sam. Emily confronts Frankie for flirting, accusing her of being desperate for male attention.

11. Es Caliu, Carrer de Sant Joan - Alex and Sam Prince pre-game with Liv before Sem turns up. The guys leg it as Sem approaches. Liv immediately assures Sem that she can get her own dates.

12. Babylon Beach - The crowd go out to dance in the Instagram filter that is dusk in Ibiza. Sam and Harry sip rosé. Sam briefly laments the inevitable breaking of Tiff's heart. Frankie stops by to let Harry know that Emily's furious with her. Frankie laughs off Harry's blatant flirtation as she continues to reiterate that they are just friends. Which, why? Mimi seeks out Sam, and they agree to live in the moment, come what may. Frankie tried to clear things up with Emily. Harry says the right thing the get Emily's fury up. Mimi chats with Louise about Sam.

[slingshotheatre-blog]

R&D 3: Public sharing of work, Arcola Theatre, June 2017.

Slingshot Theatre's R&D of 'The Man Who Was Thursday' supported by Arts Council England and the Peggy Ramsay Foundation. 

Directed by Marcello Magni Masks by Russell Dean Music composed & performed by Eamonn O'Dwyer Performed by Ruben Crow, Christopher Hawes, Emily Mytton, Daniel Hoffman-Gill and Dave Emmings.