The Corona Diaries: Lee Proud

These recent times have been some of the hardest challenges we've faced and as a community, it hit us pretty hard. However during these difficult times, here at Pocket Size Theatre, we wanted to spread a little positivity and share some peoples experiences because we are all in this together. Each day we'll be speaking to our friends in the industry to share their experiences with you all so take a read and see how people are getting through these hard times.

Let's stick together, share the love and get through this as a community!

*Some information mentioned in this article may be out of date due to the progress of the current situation. Please keep that in mind when reading* 

Lee Proud is an international, award-winning choreographer. His credits include Ghost (Stuttgart, Germany); Fiddler on the Roof (Det nyt Teatre, Denmark); Once on this Island, Allegro, Grey Garden's, Grand Hotel, Victor Victoria and Mack and Mabel (Southwark Playhouse); Matilda, The Rocky Horror Show, Mamma Mia, Mary Poppins & Billy Elliot (Reykjavik); Ghost (Stage Entertainment); Elf The Musical (Tivoli, Copenhagen); Sunset Boulevard (UK Tour); Legally Blonde (Opéra Garnier, Monaco); The Braille Legacy (Charing Cross Theatre); RENT (UK tour); The Smallest Show on Earth (UK tour); The Wind in the Willows (Grosvenor Park Open Air Theatre); The Producers (UK tour); Ghost The Musical (English Theatre Frankfurt); Carousel (Arcola Theatre); The Revenge Of Sherlock Holmes (Hoxton Hall, London); Boy Meets Boy (Jermyn Street Theatre). 

On Monday 16th March 2020, The Society of London Theatre announced the closure of all Theatres in London. This followed suit with regional venues. Where were you when you found out and what was your initial reaction? 

Well, I’d just finished a 7 month period working abroad in Copenhagen, Stuttgart and Reykjavik. I had literally just opened a show in Reykjavik on the 13th March which closed on the 16th due to social gathering measures being adopted in Iceland. It was the same day that measures were also implemented in the UK so it wasn’t a surprise when this happened. You know, there’s something reassuring about the theatre: Even when you’re at home watching TV you just know that at 7.30, all those house lights are dimming and those orchestras are bursting into action. Thousands of people ready to be transported to a magical place by thousands of talented performers, musicians, stage management teams and front of house staff. There’s something very unnerving about all those beautiful empty spaces, all those empty seats. The heartbreaking and difficult thing to process is all those people with uncertain futures and opportunities which have been mercilessly taken away with no clear understanding of what the future holds, both financially and creatively. It's just unfathomably sad and confusing. 

INTERVIEW: Lee Proud, Choreographer of the 20th Anniversary production of RENT

Lee Proud choreographed the new 20th Anniversary production of RENT which is currently touring the UK, making a stop at the St. James Theatre in London over December. His other credits include The Producers (UK tour), The Smallest Show on Earth (UK tour), Billy Elliot (Victoria Palace), Allegro (Southwark Playhouse) and Grand Hotel (Southwark Playhouse). 

You’ve choreographed for many different types of spaces, which ones have been the most challenging?

I think most spaces offer some challenges, but there was one show I did two years ago Off- Broadway and there was only one entrance/exit on stage right as stage left was just a brick wall! It was hideous!!! I had to attempt to create patterns and illusions with the choreography which didn't look like everyone constantly marching off to one side after every number. It was awful!! People also often say to me that it must be hard choreographing in small spaces but I love the challenges and problem solving this involves. I also love the idea of the audience literally feeling the breeze on their face as a performer dances past. Traverse I like as it always offers an interesting perspective which you can keep moving and changing so no one misses out on the story telling. 

 

Do you prefer anyone of those?

I don't have a particular preference, I always try to play to the strengths of the space and rehearse things well so the actors feel comfortable.