Interview with Palomar Theatre

We speak to Eleanor, the artistic director for Palomar Theatre, about their upcoming show Darlings

Interview with Palomar Theatre

Could you first introduce yourself to the reader?

I’m Eleanor Hope-Jones and I’m the artistic director of Palomar Theatre. I’m a theatre maker from Bristol who’s fascinated by the psychology behind people’s actions.

Tell us about your show?

Darlings is a piece of new writing thatuses three characters, two puppets, and moments of expressionistic symbolism to explore a toxic relationship and why a woman called Eve stays in it. Eve is an incredibly funny, self-destructive, intelligent woman so telling her story is a heart-breaking delight.  

Why do you want to perform at Edinburgh Festival Fringe, and is it different from other festivals?

The Edinburgh Fringe Festival is the third largest event in the world after the Football World Cup and the Olympics, and when you think about it, that’s crazy. I love the Fringe and have been attending it for the past three years, both as a member of the public, and working for venue groups and shows. There is beauty in artists urgent to share as many diverse stories as possible, and I think the world needs more of that now than ever before.

What first motivated you to enter the industry? Who were your inspirations?

I saw a production of Spring Awakening when I was 15 years old and thought, ‘I want to do that’. It was so beautiful and the most honest thing I’d ever seen. I threw myself into drama in school and did loads of research on different styles and companies. I love theatre that blends light and dark together; shows which are brooding and twisty but also laugh in the face of difficult situations. I think it’s so important that you can laugh even in bleak times.

My inspirations are female directors like Katie Mitchell, Emma Rice and Sally Cookson. When I first started directing I think I believed I had to be masculine and the person making all the decisions with absolute authority. I laugh at that quite a lot now. These female directors taught me how to be resolute and passionate with my ideas whilst still respecting the creativity and imaginations of others. Theatre is always a collaborative act. I see my work becoming more and more collaborative as I go on – though it’s hard to balance that against the control freak tendencies.

Do you ever feel any pressure to be a social commentator, or constantly update material to respond to events?

I feel a massive pressure! It’s hard to keep work relevant and up to date, while also staying true to yourself. Even when looking at an old text (which I rarely do), you want to find a way to bring it into the present. The Wardrobe Ensembles’ Education Education Education was set in the 90s, but it was entirely a comment on the present state of the Education system – that’s what made it so clever.

I think the priority is bringing bits of yourself to the work to make it truthful – people can spot dishonesty in stories a mile off, consciously or subconsciously. I did a workshop with Emma Rice and she explain that if you are actively aware of a theme or idea it will emerge in your work. Seeing as I am a person living in the world, affected by social issues, hopefully that will bubble through into Darlings.

Equally, do you feel there has been a shift in public sentiment that has affected your work?

I’m very happy there has been a shift in perception regarding sexism and gender issues. I love being able to tell stories from the female perspective and about the female experience, but without ignoring the struggles of men. I believe men and women, and thus masculinity and femininity, are inextricably linked. Until we find a way to balance and honour that connection, society will struggle.

It’s reassuring that there’s more people interested in these themes than there ever has been – not that it would have stopped me if there weren’t!

Describe the last year in 5 words or less?

Hectic, exciting, exhausting, learning, growing.

What advice would you give to someone who wants to take a show up to the fringe?

Do your research. Meet up with people who’ve gone before. Get a good solid team of hard working people around you. DELEGATE. Plan a long way in advance. Pay for a graphic designer.

The rest is literally a baptism of fire. You will make “mistakes” – but I’ve yet to ever see a production, professional or otherwise, that doesn’t. Sometimes the mistakes lead to the richest bits of the work; sometimes they are very stressful. Either way, they’ll make you grow as an artist and I think that’s what the Fringe is about.

And what advice do you wish you’d been given when entering the industry?

Stop comparing your work to other people’s. Admire their work and learn from it, but don’t try to change who you are as an artist. I spent ages comparing my character-based work with post-dramatic artists, and thinking ‘Why aren’t I as cool as them?’ I try to accept now that it’s just not the way my brain and heart work. I love stories and I want to tell them with compassion. I love watching post-dramatic theatre but it’s not my style to make. And that’s okay.

Remember what you believe in and what your goals are. If a piece of feedback/advice doesn’t help you achieve that, then don’t listen to it.

When and where can people see your show?

Darlings will be playing at C-Aquila (just off the Royal Mile) Aug 2-27 (no 14) at 1.20pm every day. See ya there!

And where can people find, follow and like you online?

Header Image Credit: DJE images

Author

Tom Inniss

Tom Inniss Voice Team

Tom is the Editor of Voice. He is a politics graduate and holds a masters in journalism, with particular interest in youth political engagement and technology. He is also a mentor to our Voice Contributors, and champions our festivals programme, including the reporter team at the Edinburgh Festival Fringe.

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