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Interview with Andy Eathorne

Andy Eathorne

Judy Caine [00:00:01] We’re in business, OK. Morning, Andy.


Andy Eathorne [00:00:06] Morning.


Judy Caine [00:00:06] My name is Judy Caine. I’m one of the researchers for the ‘Shouting for 20 Years’ project and Andy Eathorne is very kindly giving up his time for an hour or so this morning, just to talk about his involvement in Shout, I’ll let Andy tell me what he did rather than introduce him. Andy, easy question to kick off with. Could you give me your full name and your age, please?


Andy Eathorne [00:00:29] Yes. Andrew John Eathorne, 64.


Judy Caine [00:00:36] 21 and a bit then, like me?


Andy Eathorne [00:00:36] Yeah, (laughs).


Judy Caine [00:00:40] Andy, can you remember when you first worked with Shout?


Andy Eathorne [00:00:49] No, not really. To be honest, I can’t remember which one it was I first started with to be quite honest.


Judy Caine [00:00:57] Was it one at East Carlton Park or was it in a …?


Andy Eathorne [00:01:00] I didn’t do an East Carlton Park one. Erm, I don’t know whether it was the Labour Club, was at the Labour Club?


Judy Caine [00:01:09] Yeah, they did quite a lot at the Labour Club.


Andy Eathorne [00:01:14] Yeah, there was a war type one, I think, was it war? Yeah, I think.


Judy Caine [00:01:22] OK


Andy Eathorne [00:01:24] I can’t remember.


Judy Caine [00:01:25] Not to worry, did you film, one they called ‘Heritage’ at the core?


Andy Eathorne [00:01:30] No, no, – I didn’t do that one.


Judy Caine [00:01:32] Ah, I know what the war one was.


Andy Eathorne [00:01:36] Yeah …


Judy Caine [00:01:37] ‘Letters Home’, wasn’t it?


Andy Eathorne [00:01:38] Yeah, that’s the one.


Judy Caine [00:01:41] Was that at the core?


Andy Eathorne [00:01:42] Now, that was at the Labour Club.


Judy Caine [00:01:48] So, tell me about that. How did you get involved?


Andy Eathorne [00:01:52] Well, Paula always seems to ask me to come and do any techie stuff and filming or whatever, and, erm, yeah, just through that, really. So not knowing what it was going to be or anything, I think I went along to a few practices or whatever of course, and all I remembered really is the, erm, it was a bit, it was like bits of play all over the place in the room.


[00:02:27] So it was it was really off the cuff filming sort of thing, you know, not not knowing exactly where the next thing was going to happen. So it was all sort of off the tripod type of thing …


Judy Caine [00:02:41] so handheld, if it moves, shoot it.


Andy Eathorne [00:02:43] Yeah. Yeah, that’s right. And then and any reactions as well I had to sort of capture, along with you know, along the way, you know, the reactions to the actors or people or that sort of worked with the gist of the play I guess really. So, so cutaways and things I think that’s what I was doing as well. All ‘live’ sort of thing.


Judy Caine [00:03:14] Did you have much interaction with the kids? Did you get a feeling for how they felt about what they were doing?


Andy Eathorne [00:03:19] No, not at all, don’t think. No, no, not on that one. Sorry.


Judy Caine [00:03:25] That’s all right. Not a problem at all. I know. You know, this was a long time ago.


Andy Eathorne [00:03:30] Yeah, yeah, (laughs).


Judy Caine [00:03:30] I mean, it started in 1998 and it went on to ninety, two thousand eighteen. It was 20 years, and the retrospective project is called ‘Shouting for 20 Years’. And I’m just trying to piece together what happened.


Andy Eathorne [00:03:46] Yeah.


Judy Caine [00:03:47] You said then “no, not that one”, when I asked you if you had any interaction with the kids. Does that imply interaction with the kids on the plays?


Andy Eathorne [00:03:56] Not really. I don’t know why I said that. I can’t think of anything. I can’t think of anything because I, yeah, they were all into doing this. I’d just come along a certain time. So I wasn’t involved in the complete, complete thing, if you get what I mean.


Judy Caine [00:04:13] Yeah, I see you just came in at the end and recorded …


Andy Eathorne [00:04:18] … did the job.


Judy Caine [00:04:19] Yeah. OK. So, something you will know a lot about Andy. Erm, how did the technology that you used to record them change over the years?


Andy Eathorne [00:04:32] The, erm gosh, I think I used to like old, like Hi-8 camera that Ros [Stoddard] bought years ago for the Fermynwoods, so I was using that. I think I used that for a start. Yeah, must of done, because Paula borrowed the the camera back to play or copy some of the old films back over like, you know, but obviously she needed the camera to to to play it back.


Judy Caine [00:05:09] And that was recently, was it.


Andy Eathorne [00:05:12] Erm, probably think, probably two or three years ago maybe.


Judy Caine [00:05:17] So relatively recently then.


Andy Eathorne [00:05:19] Yeah. Yeah, yeah. But and then yeah I think, I think for the newer stuff I was using the little digital cameras that I’ve had for years and years …


Judy Caine [00:05:32] DV or DV-Cam?


Andy Eathorne [00:05:33] Yeah, yeah, DV, what was, it … yeah, yeah, it’s it’s got a built in hard drive in it, so, but it was digital. Yeah.


Judy Caine [00:05:48] What did you do with the stuff when you shot it? Did you sort of load it up to YouTube? Did you edit it, did Paula edit it?


Andy Eathorne [00:05:56] I think I must have edited it, I think. Yeah, I must have edited it. And we, one of them we tried to put onto YouTube, which was quite erm, I found it quite hard because of the size I think it was well over an hour or something so, we tried.


Judy Caine [00:06:16] You have to compress it all don’t you?


Andy Eathorne [00:06:16] Yeah, so it would be, it was quite a, quite a hard job to try. Because I didn’t know much about it either sort of thing, I was sort of workig, just playing along with it sort of thing just seeing, you know, what we could do.


Judy Caine [00:06:35] So did Paula ever come round to yours to give assistance to do the editing?


Andy Eathorne [00:06:39] Yeah, yeah, I think she did. I think I remember Paula and erm, you know, you mentioned a minute ago, I can’t remember.


Judy Caine [00:06:53] Sami?


Andy Eathorne [00:06:53] Sami, yeah, sorry. Erm Sami came round a few times. I think she must have sat with us and we edited and something like that. I can’t remember that. That’s yonks ago.


Judy Caine [00:07:05] Yeah, gosh.


Andy Eathorne [00:07:06] I think that’s when I first met Sami actually, through that, you know, cos, she’s their techie, sort of thing …


Judy Caine [00:07:14] Yeah, yeah, yeah. She used to work with Banner Theatre I think and did their tech at Banner Theatre, if I remember right, it might not be Banner, but I think it was.


Andy Eathorne [00:07:23] Right.


Judy Caine [00:07:24] Now from what I gather, I mean, Paula is very driven and very passionate about ‘Shout’. Did you get a feeling from what she was doing, as to whether it was, whether the kids were getting stuff out of it, did you think what they were doing was a good thing to be doing?


Andy Eathorne [00:07:44] Yeah, I think she’s always very much, well a very organised person. Erm, and yeah, puts a lot in it for the kids to, to get something out of it, sort of thing, so she’s always she es always doing that.


Judy Caine [00:08:02] Did the audiences get anything out of it at the end, because I understand …  erm … did you ever film final performances as well as going round to the rehearsals?


Andy Eathorne [00:08:13] Erm, yeah, yeah, yeah, the final. I must have done some of the final ones, yeah. But I don’t think we did any, any sort of audience things or anything. I don’t think that was part of my thing.


Judy Caine [00:08:26] No, there was no feedback?


Andy Eathorne [00:08:30] No, there was no feedback sort of thing. So yeah, I don’t know whether PauIa did that somehow or other, but that wasn’t part of the film or whatever, sort of thing.


Judy Caine [00:08:41] OK, what was Paula like to work with on these projects?


Andy Eathorne [00:08:46] Yes, she’s you know, she’s very organised, she knows what she wants. Yes, and she’s yes, very helpful, very calm. Yeah. Easy to work with I’d say.


Judy Caine [00:09:05] She described you as unflappable.


Andy Eathorne [00:09:09] Oh, yeah. Laughs.


Judy Caine [00:09:11] It’s the ‘swan syndrome’ isn’t it in our business.


Andy Eathorne [00:09:12] Laughs.


Judy Caine [00:09:18] Feet are going but calm on top. Yeah, I know where you’re coming from there.


[00:09:20] Women of Steel – do you remember that one – it was her big one, wasn’t it?


Andy Eathorne [00:09:27] Yeah. I don’t think, I can’t remember if I had anything to do with that one.


Judy Caine [00:09:31] Somebody did slides and images that they played at the back, was that you?


Andy Eathorne [00:09:35] Oh, yeah, it might have been actually. Yeah, I think we, I think I put the slides together. Yeah. I think I did actually, put all the slides together, but I think that was. Yeah. I think she wanted a way of erm being able to to, do just things, little things coming back, I can’t quite remember. Erm, I think she asked what ways she could do it. I don’t know whether we did it on, just on a slide-show thing or whether we were using, oh, I can’t think of the …


Judy Caine [00:10:18] Back projection video?


Andy Eathorne [00:10:18] Yeah, well yeah, I think it was just slides, but I can’t remember whether it was media as well. I think I was, I was into or slightly into it because I did work at the Cube and found out a bit about, oh, I can’t even remember the software now, that they use in the, in theatres to to trigger, erm, you know, slides or music or whatever, that could trigger it off, I can’t remember the name of it.


Judy Caine [00:10:53] I don’t know unfortunately, sorry.


Andy Eathorne [00:10:55] No, it’s alright, but, yeah, it’s just like a bit like just a slide show thing. But you could trigger it and make it to, you know, time it or whatever, sort of thing and bring in music , erm, all with a press of a kinda thing, you know, linking everything together, basically.


Judy Caine [00:11:15] Sure.


Andy Eathorne [00:11:15] Yeah, I can’t for the life of me think what it was called.


Judy Caine [00:11:20] Did any of the kids get involved in the videoing? Did you have any assistance?


Andy Eathorne [00:11:26] No, no. Because they all had, they all had things to do in the plays, I suppose. But no, just me as much as I can remember.


Judy Caine [00:11:36] No, no, OK. Let’s come a little bit further up to date then. Shout about Stroke at the Labour Club, do you remember that one – the last one they did in 2018.


Andy Eathorne [00:11:41] Um, no, I can’t think which one it is? Erm.


Judy Caine [00:11:50]  It was, erm, they were looking at a lady from Corby who’s had a stroke. She’d got three kids, I think,  maybe two?


Andy Eathorne [00:12:03] Right.


Judy Caine [00:12:03] And she’d had a stoke, and she’d also been studying at the same time, running the house, looking after the kids.


Andy Eathorne [00:12:09] Yeah, OK.


Judy Caine [00:12:10] It was pretty much the last thing that was done at the Labour Club.


Andy Eathorne [00:12:14] Right. I can’t honestly remember if I had anything to do with that one.


Judy Caine [00:12:18] What about Sounds of Home? Do you remember that one?


Andy Eathorne [00:12:23] Yeah, yeah, I remember that one. But, um, at the school wasn’t it?


Judy Caine [00:12:30] At the Core.


Andy Eathorne [00:12:37] Brooke Weston, wasn’t it?


Judy Caine [00:12:37] Yeah, yeah, we did a performance at the Core Theatre and then we did another one at Brooke Weston.


Andy Eathorne [00:12:41] Oh. Oh, yeah, yeah that was, that’s right.


Judy Caine [00:12:43] Which one did you get involved in Andy?


Andy Eathorne [00:12:50] Oh, well, definitely the the Brooke Western one. I’m trying to think, if I, I think, I think I might have recorded the one at the Core.


Judy Caine [00:13:01] I think you did because I remember Elio was conducting it and the remember seeing you at the back.


Andy Eathorne [00:13:08] Right, yeah, yeah, I think, I think I did. Pretty sure I did.


Judy Caine [00:13:11] Or was it HD Media who did it? D’ya know what my memory’s going. I think HD Media, I think recorded sound.


[00:13:23] OK, I think we did a sound recording for her.


Andy Eathorne [00:13:26] Right. OK.


Judy Caine [00:13:28] I remember having my sound trainee put a pair of, erm, they might have been Rodes, pretend Neumanns. Could have just been the Tascam.


Andy Eathorne [00:13:35] Right.


Judy Caine [00:13:35] You know the new little Tascams, they’ve got really good stereo mics built in.


Andy Eathorne [00:13:42] Oh, yeah, OK.


Judy Caine [00:13:42] It could have been those. But remember them running cables and sticking them to the floor and sitting off at the side recording the sound?


Andy Eathorne [00:13:51] Yeah, I think there was actually. Yeah, I remember the, yeah, really good that.


Judy Caine [00:14:04] Yeah, what did you like about that?


Andy Eathorne [00:14:10] Just the, yeah, how she put it all together, I suppose, and erm, how she brought it, yeah, she brought it all together, all the different aspects of it, or the, you know, put it into music kind of thing, I suppose.


[00:14:27] I can’t remember too much of it but I know what it was sort of thing, but I can’t remember to say anything creative about it, sort of thing, but just remember it being very high, high quality, sort of thing, you know.


Judy Caine [00:14:44] Yeah, it was as good, we did a lot of rehearsals, I played flute in that one.


Andy Eathorne [00:14:47] Yeah.


Judy Caine [00:14:48] Lovely project to be involved in.


Andy Eathorne [00:14:50] Yeah, and that was, I think it was for that one I did some of the, at the church, some of the rehearsals?


Judy Caine [00:15:00] Oh, yeah.


Andy Eathorne [00:15:03] Yeah, I remember recording a little bit for that as well I think.


Judy Caine [00:15:07] I remember it being flipping cold!


Andy Eathorne [00:15:07] Laughs, yes, that’s it.


Judy Caine [00:15:09] Yeah, that was good.


[00:15:14] Now you’ve lived in Corby all your life? Most of your life Andy?


Andy Eathorne [00:15:18] Erm, 44 years, I think.


Judy Caine [00:15:23] That’s got a lot. Shout was very much, Paula, giving young people a platform to shout about issues that they felt strongly about, that’s why it was called ‘Shout Youth Theatre’.


Andy Eathorne [00:15:36] Okay.


Judy Caine [00:15:36] And they did really hard hitting stuff. Teenage pregnancy, drugs, alcoholism, domestic abuse. Oh, they did, racism, really hard hitting stuff, and the plays were there to give the kids a voice and to make the audience aware of how they felt, very much that sort of thing.


[00:15:56] Do you have any thoughts as to, erm, it seemed to work, and from what I’ve been told, it did make a difference in the town. I’m just wondering if you, what your thoughts are about it? Do you think that what they did made a difference in the town? Can you remember any particular play that you thought, wow, that was amazing? Or did you only really see the ones that you went to film?


Andy Eathorne [00:16:27] Yes, I got to go, I only just saw the ones that, there was there was another one, I remember, slightly. It was about people coming from, you know, like Poland or whatever, whatever.


Judy Caine [00:16:44] Oh, ‘Foreigners Bloody Foreigners’.


Andy Eathorne [00:16:47] Was it?


Judy Caine [00:16:48] Yeah, at the Labour Club, BNP.


Andy Eathorne [00:16:52] No, I think it was at the Cube. No, it was, it was at the Cube right down the bottom in the Lab.


Judy Caine [00:17:01] Yeah, yeah. What do you remember about it?


Andy Eathorne [00:17:07] Um, not a lot to be quite honest, just that. I just remember filming that. Can’t remember much else, but just, just bringing back things, but nothing much, because it’s long ago sort of thing.


Judy Caine [00:17:26] Yes, it is quite a wee while ago.


Andy Eathorne [00:17:29] Yeah, sorry.


Judy Caine [00:17:31] Did you do any training with Sami? Either training both together to do something or did you train her in anything?


Andy Eathorne [00:17:39] No, I don’t think so. Not that I can remember. I don’t know whether I showed her any video editing or anything. I don’t think so, because I did it, I supppose I must have done it all sort of thing.


Judy Caine [00:17:59] I understand you went with Paula at one point to film or rather to photograph bits of the Labour Club, which she then projected as backdrops for …


Andy Eathorne [00:18:09] Oh yeah.


Judy Caine [00:18:10] What was that like? That must have been coming to the end of the Labour Club years, I guess.


Andy Eathorne [00:18:15] Okay. I just I only remember going in certain bits and and photographing areas of it. I can’t remember what it was for to be quite honest. But yeah, I remember going in different areas, sort of thing, and photographing. But …


Judy Caine [00:18:36] What photographes, do you remember?


Andy Eathorne [00:18:38] Erm, well, I remember going up in the top room. I suppose it was just like you say for backdrops.


Judy Caine [00:18:49] Oh yeah, up the stairs there was a bar on the left, wasn’t there?


Andy Eathorne [00:18:53] Yeah, I think so, yeah. It was just photographing the whole room and then in the boardroom had to photograph in the boardroom …


Judy Caine [00:19:04] that’s exciting …


Andy Eathorne [00:19:04] laughs, yeah, or committee room or whatever.


Judy Caine [00:19:08] I’ve sat in there many times.


Andy Eathorne [00:19:10] All right. Uh yeah. I can’t remember. That’s about the only 2 I can remember, photos I remember doing for some reason, but uh. Yeah. Sorry.


Judy Caine [00:19:21] No, no. You don’t have to keep apologising, I appreciate your time. Um, I think I’ve only got one other question, really, to be honest Andy, see, I told you this wasn’t going to be excruciating.


Andy Eathorne [00:19:33] Yeah, laughs.


Judy Caine [00:19:33] Erm, the idea of giving young people a theatre group to give them a voice, to give them a space where they can shout about things.


Andy Eathorne [00:19:42] Yeah.


Judy Caine [00:19:44] Seems a very good thing to be doing,.


Andy Eathorne [00:19:48] Huh huh.


Judy Caine [00:19:48] It’s now stopped, it stopped in 2018. Do you think it’s a good thing? Is it something that you would like to see come back?


Andy Eathorne [00:20:02] Yeah. I think definitely for, you know, involving kids in this sort of thing. I think it means a lot to ’em doesn’t it. And some of them might start them off into, you know, a career or whatever.


[00:20:18] They might see something that they never going to experience if it hadn’t been there and working together, working with other people, and it’s going to, you know, imagine the missing quite a lot, really. I think if it was me, I’d feel lost without it sort of thing, you know, doing that. So I think yeah, and, you know, the friendships that must have been made as well, I imagine, and I think it’s sad that its disappeared, yeah, definitely.


Judy Caine [00:21:00] Do you know of any ways, did it have any impact on Corby at all? Do you know, of any plays people talked about, sort of at the bus stop the next day?


Andy Eathorne [00:21:09] Nothing comes to mind I’m afraid. Not that I know, of, that I can think of. Can’t think of anything, sorry.


Judy Caine [00:21:13] OK well look, if you think of anything like, Oh, I must tell Judy that, you’ve got my number.


Andy Eathorne [00:21:26] Yeah, yeah,.


Judy Caine [00:21:27] You can always give me a bell.


Andy Eathorne [00:21:31] Yeah.


Judy Caine [00:21:32] Is there anything else you want to tell me about ?


Andy Eathorne [00:21:39] Erm, now, but yes, just that it’s a shame that it’s, it stopped sort of thing. I think it should be something that carries on, but that’s the Arts for you, init, I suppose. It’s always the last thing in and the first thing that goes or whatever, the last thing to come back. But yeah, I think it’s important for the kids to have something like that. So, to keep them involved. Yeah. And, you know, learn, learn from it as well I suppose in different ways. Learn, learn the whatever the, whatever the play’s about, plus learning to be, work together and friendships.


Judy Caine [00:22:29] Yeah, that can’t be underestimated actually, can it, thank you.


[00:22:38] Hmmm, well, I’m getting the impression that a lot of your involvement was, Paula, would ask you to go somewhere, you turn up, you’d be in the middle of some crisis and you’d be there with your camera. You just have to get on with it. Did you have any sort of shorthand with Paula or did you just do your thing and then gave you what you had at the end?


Andy Eathorne [00:22:59] Yeah, we’d always have, she’d give me a sort of criteria or whatever the word is, the plan of what she wanted and then I try and predict what she wanted and put it into, you know, what, whatever was happening, sort of thing really. I had an idea of what was going to happen next or whatever, and then I was asked to be ready for it when it happened, on you know, some of the ones. The spontaneous ones, sort of you thing, you know.


Judy Caine [00:23:35] The usual thing isn’t wanting to go … now.


[00:23:36] I want it good and I want it now, if not yesterday!


Andy Eathorne [00:23:44] That’s it, yeah, laughs.


Judy Caine [00:23:44] Been there.


Andy Eathorne [00:23:44] Yeah, last minute, last minute things.


Judy Caine [00:23:51] Well, do you know, what …


Andy Eathorne [00:23:53] what’s that about?


Judy Caine [00:23:54] I haven’t got anything else I wan’t to ask you about.


Andy Eathorne [00:23:57] No, I can’t think of anything else, I’m sorry. It’s, as I say a long time ago.


Judy Caine [00:24:03]  Well, I’m going to stop this recording.


Andy Eathorne [00:24:07] OK.


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