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GREG MCLAREN (1979 - ) |
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Nationality: British Email: Click here to contact Website: n/a |
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Literary Agent: n/a |
Studied Art and Drama at Lancaster University before completing a Post Grad year at East 15 Acting School. Since then he has established himself as one of the most versatile and impressive theatre artists working in London. As an actor and devisor he has won plaudits for his contributions to The Pink Bits (mapping4d), Napoleon In Exile and Weepie (Signal to Noise), Five In The Morning (Rotozaza) and most recently How To Build A Time Machine (Greg McLaren), which can be seen at the Soho Theatre later this year. As writer and director, Lost Pirates (GMPO), Time Machine and Riot Pilot (Hackney Empire) have destroyed boundaries and created impossible new worlds. Greg also works as a motivational consultant and is resident artist for the Edinburgh Science Festival.
Plays by Greg McLaren
Doris Day can F**k off | ||
| 1st Produced: | Camden People's Theatre, 58-60 Hampstead Road, London NW1 2PY >>> | 07 MaR 2011 | ||||
Company: | n/a | |||||
| 1st Published: | I don't think it has been published. Try emailing Playwright or Agent where listed at top of page. | ISBN/ASIN: | - | |||
| Music: | - | doollee no | #125766 | |||
To Buy This Play: | If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies | |||||
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Genre: | musical play | |||||
| Parts: | Male | - | Female | - | ||
Parts other: | - | |||||
Notes: | - | |||||
Synopsis: | What would happen if I sang my request for a book of first class stamps? I wanted to do a one man opera, and I wanted to set myself a challenge. I was looking for new ways of creating narrative, and I was interested in artists that impose harsh conditions upon themselves. So I thought that I would sing my way through a week, replacing all speech with song, no matter what, on the street, in meetings, on the phone, in court, up a tree, etc. but actually it went on for a lot longer than that, in a number of different cities. The position I put myself in is original and has lead to some very unusual material, and after the fact, I have tried to manipulate that in a way which reflects how I see the world, or rather, what I hear in it. The result is a strangely moving journey, constantly evolving, from place to place, voice to voice, slipping from one reality to another. It has an effect that I can't quite explain. There is music that seems to seep out from language, cut up recordings that reveal strange and beautiful maxims, humour of course, loud bits, quiet bits, and the thrill of an attempt. When language and humanity were young, vocal communication was probably entirely melodic. It's thought that gesture originated from need, and speech from passion. I contrast this primitive recognition of a voice in the throes of passion with the banality of our vocal interactions today. I'm drawing a line from early human communication, via opera and modern music to the streets of our lives. By singing to people I force the street audience (the first audience) to place me outside of the normal, yet I do not exhibit signs of madness or drunkenness, there is no visible recording devices, neither do I appear disruptive or dangerous. By denying the public an easy definition and reason for my behaviour they either get involved or become agitated and suspicious, even though what I sing is perfectly understandable as language. I am not necessarily altering sentence structure, or dramatising speech, (although this does sometimes occur as I sense a rhyme), and yet it seems to be subversive. (Don't worry, neither Doris nor any effigy or representation of her comes to harm during the show.) | |||||
Further Reference: | - | |||||
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Five In The Morning | ||
| 1st Produced: | Hackney Empire, Bullion, London | 2006 | ||||
Company: | Rotozaza Theatre Company | |||||
| 1st Published: | I don't think it has been published. Try emailing Playwright or Agent where listed at top of page. | ISBN/ASIN: | - | |||
| Music: | - | doollee no | #60786 | |||
To Buy This Play: | If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies | |||||
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Genre: | Piece | |||||
| Parts: | Male | 2 | Female | 1 | ||
Parts other: | - | |||||
Notes: | created by Ant Hampton, Greg McLaren, Silvia Mercuriali, Melanie Wilson | |||||
Synopsis: | The swimming pool of life is not all it appears to be. | |||||
Further Reference: | - | |||||
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How To Build A Time Machine | ||
| 1st Produced: | Chelsea theatre, Pleasance Edinburgh | 2005 | ||||
Company: | n/a | |||||
| 1st Published: | I don't think it has been published. Try emailing Playwright or Agent where listed at top of page. | ISBN/ASIN: | - | |||
| Music: | - | doollee no | #54481 | |||
To Buy This Play: | If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies | |||||
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Genre: | Lecture | |||||
| Parts: | Male | 1 | Female | - | ||
Parts other: | - | |||||
Notes: | - | |||||
Synopsis: | As he explains the connections in the cosmos, an astrophysicist accidentally builds a time machine. Through the lecture we learn about the desire to time travel and the personal catalyst at the centre of this hope-filled and selfish enterprise. Everything is connected. | |||||
Further Reference: | - | |||||
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