April Wiseman

Statement

April Wiseman is a performer specialising in physical theatre, devising and experimental theatre but also has a diverse range of experience across creative outlets such as working on radio dramas, podcasts, backstage roles, filmmaking, scriptwriting, directing for stage and screen, immersive character performances and stage acting.

In her debut solo performance, ‘Welcome H.O.M.E.’, April explored early 20th Century inhumane mental health treatments and healthcare’s technological future to generate this multimedia stage play. Creatively influenced Antonin Artaud, Marilyn Manson and In-Yer-Face theatre, April shaped this intense subject matter through symbolist imagery, physical theatre, extreme theatrical effects and provoking audiences through shocking narratives.

April hopes to continue using her personal experiences and taste for the obscure to explore relevant issues through an extreme and bold performance style that transcends tradition or expectations. April is currently collaborating to collate an online gallery of lockdown creative exploration and will unveil this project soon.

Achievements & Experience

The Halfling Laws 2019:
April performed as ‘Hamish Lynes’ alongside Transparent Theatre in the original play written and directed by Axel Carlsson, performed at the Alma Tavern. ‘The Halfling Laws’ explores the fight for New Zealand actor’s rights during the filming of The Hobbit, showing the nitty gritty politics behind show business.

UWE New Performance Festival 2018 and 2019 (Actor):
April has collaborated as a performer in two experimental theatre performances.
2019: April performed in ‘Balloon Buildings’, a devised performance about love, loss and regret featuring writing from multiple students. Directed by Amanda Penlington.
2018: April performed in ‘Fact or Fiction’, another piece featuring writing by multiple students, exploring unreliable narrators and tales we convince ourselves to believe. Directed by Amanda Penlington.

UWE New Performance Festival 2017 (DSM):
April worked closely with professional technical staff and used her previous backstage experience to help run and call a seamless performance.

Contact

Personal professional email

Featured Projects:

Welcome H.O.M.E. - Scene One: Welcome to the Asylum

“Welcome to the Asylum” opens the play using physical theatre and voice over to explore life at H.O.M.E. under the strict care of artificial intelligence, K.A.R.E.N. The audience are forced to watch the control K.A.R.E.N. holds over Rebecca as she begins to wake up from her sedated and compliant state.

Welcome H.O.M.E. - “Doctor Fink always knows what’s best.”

Naming the sadistic creator of H.O.M.E. was big challenge, until my research took me to Doctor Max Fink. Doctor Fink is an American neurologist and psychiatrist most well-known for his work developing Electroconvulsive Therapy. His witty name and contextual background made him the perfect fit for H.O.M.E.’s resident Doctor.

Welcome H.O.M.E. - "We hope you enjoy your stay.”

It was vital in this performance that the audience are let into Rebecca’s world just enough to establish an emotional self-recognition whilst feeling her suffering, but also be detached enough that they cannot help her, leaving the theatre wishing somehow that they could have saved her.

Welcome H.O.M.E. - "My mind is a game."

Using life experiences, true accounts and medical research of mental health to build the well-rounded walls of Rebecca’s mind was crucial. This performance is bigger than Rebecca, mental health is universal. Rebecca’s journey should show the audience the complexity of the human mind but also how easily it is destroyed.

Welcome H.O.M.E. - Therapy

Electroconvulsive Therapy was one of the biggest influences in the research and development of this performance. Translating theatrical strobe lighting, staging and audio effects to screen through physical theatre and editing allowed the darkest moments of Rebecca’s story to become powerful symbolic images of the dehumanisation of her existence