The metaphor of Carving in Ice evokes the transience of theatre. Ice sculptures are crafted by artisans whose sculptures last only for a short while, then melt and disappear. Theatre too is ephemeral in its nature; once the season is completed, the existence of the play, the shapes, sounds, movement in space, the light on actors’ skin disappear from view – but as with ice sculptures the traces of the experience continue to live on in the minds of those who were present.
Carving in Ice Theatre’s commitment is to present meaningful contemporary theatre which deals with the sometimes murky, messy stuff of life and not to turn away from provocative or troubling material. Our rehearsal period tends to be extended to allow for a slow simmer and layering of performances rather than a quick fix to production issues. I believe that the work is richer for the patience.
So far our productions have featured relatively large casts and treated such material as mental illness; ageing, memory loss and sexuality; identity crises; psycho-sexual damage; post-natal depression; redundancy; gender identity; suburban dysfunction and violence; medical ethics; forgiveness and death.