So, today was the first day of rehearsals for the next stage of this project. Or if you prefer, absolutely the first ever day of rehearsals of ‘Orange Polar Bear’. Because that is what this evolving, remarkable play is now called, at least for the next two months, while we put on this all-korean version in Seoul.
Firstly, back in 2013, it was called ‘the teenager project’, an idea being discussed between Hanyong Theatre and the National Theatre Company of Korea for a major collaboration project. Then in the application to support research to get it going, it became simply ‘Hanyong 4’ – the fourth of these collaborative projects which have been such an exciting part of my life since 2005. As the research and discussion turned to exploration, and the two writers were engaged for the project, and research workshops took place with teenagers in Seoul and in Birmingham, and gradually ideas of a story emerged, the play in its first form was called ‘Chaos’ and then ‘Out of the Chaos’. ‘William and Jiyoung’ was the title as we worked together with Korean and British teenagers in creating their own first version, here at the Baek Jang Theatre opposite Seoul Station, in summer 2014. Then as the writers, Evan Placey and Ko Sun Duck each took their own half of the play on briefly it became ‘Jetlag’, and as the two threads were woven together, and the play was workshopped first in Seoul this April, and then in Birmingham for the ASSITEJ On The Edge Festival earlier this month, it was called ‘Nobody’. [Sorry, Hannah - it looks as if the whole blog will need to change!]
All this means I hesitate to say ‘finally’, but at least for now, the remarkable play is called ‘Orange Polar Bear’, in Korean, or ‘Orenji Pookgookom’. Polar bear, because it is an important image within the play, and endangered species, floating on melting ice, cold, powerful and reaching out for help. Orange because it is a symbol of warmth, of life and of hope.
So as is clear from the working titles, this is an evolving project, a project that began without knowing where it would end up or how. It has already been an exciting, fruitful and deeply valuable process for many people involved at the different stages, and to those who have watched it in its diverse forms. The latest audiences will be Junior High School students here in September, and they will see another interim version, all in Korean, performed by the National Theatre Company of Korea, and co-directed by Yeo Shin Dong, and by me. The roller-coaster takes another few twists and climbs and plunges, and I am going to do my best to take you with me at least on part of the ride.
Namdaemun, Seoul.