From actor Pearce Bunting: I shout but nowt is comin’ out

Posted Wednesday, February 20, 2013 - 5:42pm

I shout but nowt is comin’ out

I love to explode. It’s easy for me. It’s in my wheelhouse. I can’t resist it. BOOM! Show it! Prove it! Demonstrate it! ANNIHILATE IT!  Anger, rage, frustration - all the vexed vomitings of a little kid (who’s still alive and well inside me- thank you very much!), the man-child, screaming, “I DIDN’T SAY THIS 45 YEARS AGO BUT I’M SAYING IT NOW, MOTHERFUCKERS!”

Ain’t I dangerous? Ooooooo!

Alright, we’ve all got our baggage, our sore spots, our go tos. And I don’t walk down the street screaming at the world, but when I’m on stage it comes really easy.

We just finished our 2nd week of rehearsals and spent a large chunk of it exploring our voices with Jean-René Toussaint. Jean-René is a theatre artist and therapist who has worked with deaf children for many years, exploring with them the sounds they make – sounds that the modern world often thinks of as inappropriate and even offensive – “Can you please quiet your child down?”, “He’s making me feel uncomfortable!”, “Did you hear that kid???”– Why do we respond that way? Is it because it doesn’t make sense to us? Is it too intimate? Too inhuman?  Jean-René believes that these sounds are more “human” and expressive in their unblocked, vertical journey from deep in the body than most of the sounds we make horizontally with our talking heads as we shuffle through our practical lives. And in letting our bodies and voices truly express our humanity, all the many things we feel, sometimes all at once, we also become better listeners, to ourselves and everyone and everything around us. I’ve heard him call it “spontaneous humanity”  and to hear it, to witness it in our cast as we work, is something so rich, so unpredictable, so dangerously beautiful, we realize how little of ourselves we’ve been using in our work.

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Hull and Distant Water Fishing, Part Two: A Trawlerman’s Life

Posted Tuesday, February 19, 2013 - 1:36pm

Before you set foot onto the deck of the Kingston Jet, the James Joyce, and the Arctic Kestrel Museum in our North American Premiere of Under the Whaleback, check out this five-part series by Dramaturg Walter Bilderback about the rich history, maritime culture, and world-wide impact of Cod Fishing.

 A Trawlerman’s Life

As a result of this fishing boom, Hull and Grimsby prospered. They built the ships, their fishermen - skippers, mates, and deckies - sailed the ships and caught the fish, bobbers or lumpers (depending on the town) unloaded the fish for merchants who sold the fish to points south.

Communities centered on the fish trade grew up "down dock.” In Hull, this was Hessle Road, near St. Andrews Dock; in Grimsby, Freeman Street. In the oral history Fishermen: The Rise and Fall of Deep Water Trawling, Ken Robinson of Hull describes Hessle Road:

Hessle Road was marvelous. Nobody had anything but it was a wonderful place to live. There was nowhere else in the world like it. They were all fishing families, from one end of Hessle Road to the other. Maybe two and a half mile, from Osborne Street to Dee Street, it was almost completely fishing families, fishing or connected with fishing. There were that many pubs you could have a drink in each one and by the time you got to the other end you'd be blind drunk. The pubs were always crowded. There was either a pub or a club [private social clubs requiring membership and with longer hours than pubs] for nearly every street.

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Hull and Distant Water Fishing, Part One: The Rise of the Sidewinders

Posted Thursday, February 14, 2013 - 4:04pm

Before you set foot onto the deck of the Kingston Jet, the James Joyce, and the Arctic Kestrel Museum in our North American Premiere of Under the Whaleback, check out this five-part series by Dramaturg Walter Bilderback about the rich history, maritime culture, and world-wide impact of Cod Fishing.


In the 16th Century, Europe fishing entered a “Cod Rush” after John Cabot’s discovery of the Grand Banks fishing grounds off Newfoundland. The only nation that didn't join in was England, although cod may be the origin of Britain as a maritime nation. "It was cod that had first lure Englishmen from the safety of their coastline in pre-Roman times," Mark Kurlansky writes. But the British fishermen could ignore the Grand Banks. The North and Irish Seas brimmed with cod. In addition, adventurous British fishermen had found good hunting further afield. "By the early fifteenth century, two- and three-masted ketches with rudders were going to Iceland and the Faeroes. Not only were these some of the best fishing vessels of the day , but not until the twentieth century would Icelanders have vessels of an equal quality for fishing their own waters." The British left Icelandic waters at the end of the 16th century after a brief confrontation with Norway, which controlled Iceland, but would return 3 centuries later with repercussions directly connected to the story of Under the Whaleback. Fishing remained a local industry until the 19th century, when a series of events would make the East Yorkshire towns of Hull and Grimsby the fishing capitals of the world.

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After the first week of rehearsals - thoughts from actor Pearce Bunting

Posted Tuesday, February 12, 2013 - 11:09am

Throwing  ourselves in, heaving our selves out, remembering

Just finished our 1st week of rehearsal. The space we rehearse in is an empty restaurant across the street from the theater. It’s got wooden floors and wooden booths and it feels strangely like a ship. Every day starts with a warm-up- stretching with staccato exhalations- fire breaths, every inch of our bodies from the head down or from the feet up- waking up the outside and the inside, making sound, sometimes into each other’s backs, chests, heads, and ears, the floor, the world, sound from breathing out, sound from breathing in, reaching for impossible things. Blanka is right in the middle of it with us, rolling around in the shit, getting messy, taking and being taken.

A little background- it’s been 17 years since Blanka and I worked on a play together- Quartet, by Heiner Muller- Merteuil and Valmont from Les Liaisons Dangereux (Janis Dardaris and I), fighting for power, playing nasty games in and around a big, deep bathtub. The Wilma was still on Sansom St. and I was a little too young to fully understand that part.

A year before, in 1995, we did Road, by Jim Cartwright. A play, set in Lancashire, England, in the remains of a decrepit, forgotten neighborhood, full of desperate, brutal, funny, completely human characters trying to hang on to their humanity. It was presented as a kind of circus and I played Scullery, the drunken, homeless, clown who was the ringmaster, your tour guide through the streets and lives littered with blood, piss, shit, and broken glass.

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Preparing for Under the Whaleback

Posted Wednesday, February 6, 2013 - 3:47pm

For our inaugural Under the Whaleblog post,  Whaleback actor Pearce Bunting shares a few pre-rehearsal thoughts.


Well, here we go.

I’ve never done a blog before and I’m not sure I want to. Something about the me that’s diving inside not wanting to inform the outside of what I’m up to…

That said, 4 days till I leave for Philly to begin rehearsals for Under The Whaleback and I’m in my man cave, my little subterranean deckie quarters, with the sound of the ocean playing on the computer, and surrounded by pictures, scripts, notes, dvd’s of Hull fishermen, cd’s of music to inspire me and a pocket digital recorder full of dialect sounds, (theh’s gorra be sumthin’ dodge-eh about thaht, an’t theh?). I’m wondering what my future deck mates are up to- are they huddled up in their own little holes like me, tired of all the reading and listening and watching and speaking and anticipating (don’t pronounce the “ing”), and ready to get to work? With some other human beings?

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