Saskia Wesnigk-Wood

Theatre and Opera Director, Writer, Translator

Directing

Battle – A Modern Mystery Play

                                                                  Olivia Post, Jon Terry, Claire Coull and Martina Greenwood (photo by Paul Seaby)

 in

BATTLE – a Modern Mystery Play

by

Saskia Wesnigk-Wood,
SwanWing Productions

Performed in Battle and at the Edinburgh Fringe August 2022
and

at the Curzon Theatre, Brighton, November 13th 2022

 

 4 star review: www.Broadwaybaby.com By Rebecca Vines  @life_arts_lane

https://broadwaybaby.com/shows/battle-a-modern-mystery-play/760556

Battle describes itself as a modern mystery play, and takes the audience on an intricately-plotted historical journey from 1066 to the present day: exploring how women just gather up their skirts and carry on as the men around them love… fight… die.

The imaginative script has shades of Mother Courage, a whiff of Christopher Fry and a hearty, dollopy nod to Euripides

Written by Saskia Wesnigk, the imaginative script has shades of Mother Courage, a whiff of Christopher Fry and a hearty, dollopy nod to Euripides. It shuttles forwards and backwards again from the French invasion of England, when William the Bastard so unceremoniously walloped Harold II with an arrow and snatched the infant country of England for himself. But they are just the first pair of toxic Williams and Harrys we are invited to explore: the Conqueror’s own sons, Shakespeare’s Prince Hal, the currently warring Cambridges and Sussexes are all encompassed in a piece which largely bypasses the more well-known antics of men and focuses instead on the women left to clean-up, cope and chorus about the chaos unfolding around them.

SwanWing Productions have created a neat little piece with a lot of heart and humanity. As the Fates snip snip snip at the strings tying these men to their little lives, the womenfolk plod on… smoking, baking, sewing, passing comment with a weary and cyclical inevitability conducted by Old Father Time himself. The four actors present with care and commitment and are so invested in their characterisations that it is impossible not to be infected by their passion for the subject material and those they are breathing life into.

Review by Paul Bryan, historian:  This is a gem of a show, beautifully presented. Occasionally at the Fringe it is possible to stumble across work of the highest quality just by taking a chance. This happened to me when I watched this show. Give it a go, you won’t be disappointed.

Emma Kemp, performer of Artorigus, the story of King Arthur: This play is a must see for those with an interest in Early Modern Theatre. Taking inspiration from the medieval mystery cycles, this piece of new writing moves between 1066 and the present day, telling stories through the eyes of the women. War, marriage, family, fate and loss are all explored in a moving and thought provoking way.  The production utilises multi-role, puppetry and music to great effect. Having a wagon as the focal point on stage harks back to the medieval tradition of telling stories, as well as the travelling wagons that followed armies in times of war. It is very reminiscent of Brecht’s Mother Courage. Don’t miss this hidden gem of a play.

++++++++++++++++++++

BATTLE, A Modern Mystery Play.
Review by Imogen White: “This fabulous group of actors kept us entertained in Battle last night. A great play based around William & Harry through the ages with nods to the Battle of Hastings throughout. It was funny and moving and wonderfully acted and written. Go see them if you get a chance, they are ace!”
“We knit the patterns large and small
Observe the people short and tall
We see the fighting, see the peace
We see that they will never cease
So on we spin and weave our wool
Observing ev’ry human fool – SNIP!”
With Martina Greenwood, Claire Coull, Olivia Post, and Jon Terry

The year is 1066, William fights Harry! How do mothers, queens, wives and daughters cope? They gather their skirts and they soldier on. Telling stories in plays and songs, cooking, praying, working, gazing at Halley’s Comet in awe.

Old Father Time takes us through the centuries as three women and one man tell the stories of what happened before and after the many battles between quite a few Williams and Harrys. Sometimes they are the kings of 1066, other times just two men disagreeing, and then they are the sons of Princess Diana. It is mostly the women looking at their situation, how will they cope when the men and the boys are gone? “Who foots the bill but us women and our hungry children/If we can not stop this feud between Harry and William?“ We also meet magical women, the Fates who see everything the mortals do from a much loftier point of view, and three naughty witches who have their own nasty agenda, sending a hapless modern archer into the shocking past.

Available for touring, and school performances. Duration 1 hour.
Please contact saskiawesnigk @ gmail.com for further info.

Love never stops, not even during Lockdown, but it gets so much harder. These 17 characters have been lonely, alone or had not a moment of privacy. They have been brave or resigned, they’ve run away or stayed put and some had hallucinations – or did they?
In a number of scenes six actors portray acutely observed people from all walks of life: illegitimate lovers, the patient who suddenly fancies the doctor, those who call a helpline just to have someone to talk to, and those who quietly get on with their incredibly difficult lives. A young woman talks to her car, an old woman almost cries when her budgie kisses her on the cheek. Actors miss the limelight but still have each other. This hour will have you laughing and crying and talking about how it was for you, for your neighbour and your friends. Everyone has a different story, everyone needs to be heard.
Cast:
Claire Coull
Gillian Fischer (not taking part in the 2022 Edinburgh perfomances)
Martina Greenwood
Olivia Post
Jon Terry

Written and directed by: Saskia Wesnigk-Wood

Find out more about how ‘Love in the Time of Lockdown’ first came to be: https://www.breadandrosestheatre.co.uk/news

Tim Wilcock – EdFringe Review: “Subtly peppered with dark, dry humour, both brilliantly written and consummately delivered.”

Broadway Baby, Isla Whateley: These relatable stories were lovely to experience. The scenes blend serious, sometimes sad moments with comedy and light-heartedness in an effortless manner, which is important giving the dismalness of the overall subject matter. 

The Times, Friday August 13. 2021: Clive Davis: “...there was a mixture of pathos and humour in Love in the Time of Lockdown, a series of gently comic sketches by Saskia Wesnigk-Wood that reassembled memories of a period when some of us really did say such things as, “I really can’t wait to go on a bus again.” One of the funniest episodes found two would-be lovers [Martina Greenwood and Jon Terry] meeting on a date in a park and trying to square the demands of love and lust with the rules on social distancing. Did we really put ourselves through all that? Yes, indeed.”

Photos from the Brighton run by Strat Mastoris:

        

 

2021, June, August, September – Love in the Time of Lockdown, performed at the Brighton and Edinburgh Fringe and at Seaford Little Theatre. 

 

November 2019 and January 2020: The Feast of Fools – part of the Brighton Early Music Festival: 

.
2019-2020 Brighton Early Music Festival (BREMF) The Feast of Fools “Where medieval and modern times meet”, with Leah Stuttart (harp), Ian Harrison (winds), Clare Salaman (bowed strings), Jeremy Avis (tenor), Andrew Robinson (baritone), Miranda Mufema (actor),
two choirs, school children, Streetfunk dancers.

2018: Brighton Festival Fringe, The Manifestation of Trim Tab Jim, a rock opera written by James Mannion. ‘A powerful and enjoyable piece of theatre!’

Very thought provoking, and not only did the music pair up well with the theatrics but it also sounded great! Eye opening, professionally crafted, and it left a sense of hope for change.’

 

2017-18 With Ensemble Resonet from Santiago de Compostela and BREMF Community Choir: The Music of Lewes Priory, Life and Martyrdom of Thomas Becket, performed in la Charité, France , Lewes and Brighton.

 

2018 BREMF CC: Venice Concert, The Story of Columbina, a taste of Commedia Dell’ Arte

2016 Opera Alumnus, Brighton: Alcina, opera by GF Händel in a new English translation, conducted by Joe Paxton

Cast: Alcina: Christine Cunnold, Morgana: Jessica Wise, Mary-Betsy: Emma Lewis, Bernard: Alexander Pullinger, Hubert: Lindsay Thompson, Professor Ross: Andrew Robinson, Oronte: Paul Doling

‘The singing was of a very high quality indeed and it was a delight to listen to such accomplished young voices. What I hadn’t expected was such a creative and professional production that matched the singing on every level. Saskia Wesnigk-Wood’s imaginative re-working of the plot and libretto was a treat while the music under Joe Paxton’s direction was the real thing for Handel aficionados.’

‘…the two things that made it such a joyful experience were the singing and the acting. There was not a second when some “business” was not in play, (…) and the changes in relationships between the characters handled with humour and pathos as required.’

‘I know many of Handel’s operas well including Alcina, so was very interested to see how you adapted it to Mexico whilst preserving the whole spirit of the piece. This you did very successfully and your concept and staging worked like a dream.

 

2015 BREMF CC: Dido and Aeneas, opera by Henry Purcell, conducted by Joe Paxton.

with Catrin Woodruff, Andrew Robinson, Kat Carson

2012 The Vagina Monologues by Eve Enssler with Students, Professors and Staff of Women’s Studies at Brighton University

2002-2012 – Drama for Fun, community theatre, 8 pantos, 2 plays and 3 sketch shows

 

2004 – The Gooseberry Fools, “Munchbox” – a play for children

2002 – Brighton Festival Fringe – Germa Cornelissen sings

2000 – Smiles and Tears: ‘Fings ain’t what they used to be’ – a history of Portslade, and other shows

1999 – Ray Tindle Theatre, “Mavis and Sandra save the World”

1998 – Portslade Festival – Drama for Fun “Playtime”

1996 Brighton Festival Fringe: The New Marlborough Theatre group: “La Ronde” by Arthur Schnitzler, in a new English translation