The Wordless Angel
by Christian Baines
Because Necessary Angel is not a large company, it runs in more of an independent fashion than a lot of institutions. It’s not an ‘institutional’ kind of company, which is one of the things that attracted me. For example, we don’t have a venue. There’s no venue to manage or rent out. We also historically have not followed set seasons of plays. So the activities and productions of Necessary Angel are more dictated by development cycles and the time that it organically takes to create new work. Another thing that attracted me was the flexibility and the freedom of the company. Those aspects of it are geared to creation of original work and the requirements of what artists need in order to do that in terms of space and collaboration and resources and not being rigidly tied to structures of seasons.
the projects I’m looking to develop and produce, a lot of them are driven or co-driven by musicians or choreographers
CHARPO: So it’s that sort of free form style that ties into your own aesthetic and style as director?
CHARPO: You mentioned your own freelancing, and particularly Stratford, before. You’ll be taking over Waiting for Godot with them a little later in the year. That’s quite a departure from what you’re describing. Can you tell us a bit about your take on that play and what kind of direction you’re looking at for it?
Necessary Angel website