My sleep patterns are completely out again. The dogs have no idea what I am up to. For three days this week we went for our morning walk at 6am. I have spent the week on set for the sequel to a lovely local series, soon to be on a streaming service near you.
And I feel like I have been brought back to life. Yes, we absolutely have been doing things differently. Yes, we wear masks and sanitise and use mouth spray. Yes the spectre of this dreaded disease hangs over us all. Our food packs are prepared for minimum contamination. Door handles are cleaned. Temperatures are taken. And then we go in front of camera and magic happens.
Not going to lie. Like everyone else, only more (my personal circumstances have been dealt a hideous and painful blow this year), we have all been held in a state of suffering suspended animation.
A couple of small and almost miraculous things have saved me from totally bleak darkness – the making of a fiercely independent movie in the deepest winter, the bits of improv we have managed to do on line, the revival of improv teaching in a course that was suddenly halted in lockdown, the release of The Big Bird Battle, and shooting this series have kept me alive.
Now I will be turning to the beautiful and original work of live performance. From the 2-5 December Louise Westerhout and I will be presenting/facilitating/holding our new ‘show’ Murmurations at Theatre Arts in Observatory. I think we will still only present to 15 people a night. Still, what a time to be allowed to create new ways of theatrical communion.
And then, the following week, I go into rehearsal with the gorgeous and talented Chantal Stanfield, for another sequel – this time From Koe’siestes to Kneidlach with Kids, which opens at The Baxter Studio on 22 December and runs through to January. Of course, COVID restrictions apply, but we are slowly creeping towards some kind of liveness in our theatres again, and I feel like I am coming back to life.