Loosely based on H.G. Wells’s classic novel, Creation Theatre’s The Time Machine: A Virtual Reality is a piece of theatre that has 2020 written all over it. A zany and thought-provoking eleganzoom extravaganzoom, the show is simultaneously set in your own living room or kitchen, and in a vast, strange multiverse where “the present is endlessly shifting and the future is strange and uncertain,” and where time travellers “tinker with timelines causing people’s names, faces and indeed the colour of their socks to change without warning.”
We were lucky enough to be joined by director Natasha Rickman for a deep dive into the process of creation and re-creation. Beyond the original site-specific production of The Time Machine, and this new version reimagined for the digital stage, Natasha’s directing credits also include Twelfth Night (Rose Bankside), Rhino (Kings Head), Hilda and Virginia (Jermyn Street), Honour (The Royal Court), and as associate director, A Little Night Music (Storyhouse), Shirley Valentine (Bury St Edmunds), Comedy of Errors (RSC), and Romeo and Juliet (The Globe). Natasha is also an artistic associate at Jermyn Street Theatre and co-founder of Women@RADA.
You may also like to check out an earlier guest post by Time Machine playwright Jonathan Holloway, and Vector’s review of the original production of The Time Machine at the London Library. The Time Machine: A Virtual Reality is playing till 21 June.
Hi Natasha, thanks so much for speaking with Vector. Are you hearing me OK? My internet’s been a bit funny recently.
Yeah, hopefully we’ll be lucky. My internet’s been actually great the whole time I’ve been making the show, and then just recently it’s like it knows the show is open and it’s just doing its own thing now …
So I guess that’s my first question! When you’re creating a remote theatrical experience like The Time Machine … how do you deal with people’s internets being a bit funny?
It’s definitely one of the challenges of the show. All of the performers are in their living rooms or bedrooms, performing in a variety of locations around the country with varying levels of wi-fi reliability. And yes, performers do sometimes get thrown out of the call. They’ll break up, or their microphone will go. We’ve literally had them be chucked out of a call for a couple of minutes before.
So we’ve had to create a variety of back-up plans. For example, we’ve got some pre-recorded video which only gets shown if people are having sound issues. We’ve also got a thing called parallel reality. The part of the Time Traveller is played by multiple people. That means if one actor needs to jump and take over, they can shout “Parallel reality!” and do that. We actually had a version of that in the original show as well.
Perhaps the material lends itself somewhat to the uncertainties of the medium? The Time Machine is already about a kind of glitching, melting reality.
Yes, definitely. Jonathan has imagined this world where suddenly you can change where you are, or you can change who you are. Another thing we use is what we call elastic content. That’s content that only happens if it’s needed in the show. We have a piece of elastic content in case someone gets thrown out of a call. It’s a scene that could happen at any time. Basically, there’s a whole load of backup material that only makes it into the show if something goes wrong.
It must be challenging to create scene that can happen at any point. Continue reading ““Can we do this thing?”: An interview with Natasha Rickman”