Isle Of Dogs floating arts centre continues collaboration with British Film Institute for free screenings and nights featuring live performance
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When I arrive at Theatreship to interview Natalie Hill, the sun is shining bright.
Swans are gliding on the glittering waters of South Dock and all is right with the world.
But then I see the venue’s doors are closed, a thick rope strung forbiddingly across the steps up to the vessel’s deck.
A cloud falls across the sun and a chill steals across the last day of summer. Have I come on the wrong day?
Has something terrible happened to my interviewee? Is she OK?
Will I hit my deadline or will it be blank pages, hair torn out in frustration, spilt cold coffee on the floor..?
But I’m being melodramatic.
The sun quickly pops out as Natalie casually scoots up on her bike, locks up her mount and guides me on board.
It’s an apt beginning, though, as we’re here to discuss Theatreship’s latest collaboration with the British Film Institute as a venue for its Too Much: Melodrama On Film season.
Natalie has a long history with the moving image.
Despite studying law, her love of film won out and she embarked on a career in the industry.
Her first job was on a UK comedy called Large.
“With my degree, I do have a factual focus and I realised that, by making documentaries, I could marry my two strengths – looking at real stories and doing something creative with them,” she said. “I’ve now worked in factual TV for about 25 years.
“I’m a producer and director and have made lots of different series like 24 Hours In A&E, Stacey Dooley Investigates and The Apprentice.
“Over the last four or five years, I’ve mainly focused on documentaries where I’m looking at the impact of something.
“The Man With 1,000 Kids is the biggest thing I’ve worked on and one of the most impactful because, although Dutch sperm donor Jonathan Meijer’s actions weren’t illegal when I started making the documentary, it was incredibly shocking to find out that he’d got away with lying on such a massive scale to people around the world.
“Professionally I have a focus on telling stories that people will find interesting but that could also help make changes.”
curating creativity at Theatreship
While Natalie originally approached Theatreship with the idea of making a documentary about the project to open a floating arts centre moored on the Isle Of Dogs, her involvement quickly became something else.
As a boat dweller on the Island herself, she became the vessel’s head of film programming – a creator turned curator.
“It’s lovely, because I normally produce stuff and here I’m exhibiting other people’s work – that’s an absolute joy,” she said.
“I’m loving it, whether it’s introducing the films, serving up drinks or picking up stray kernels of popcorn.”
She’s masterminded and programmed a successful and growing series of Free Mystery Cinema Screenings on Wednesday nights.
Audiences don’t know what they’ll be seeing, but clues are given out in the run-up to each event and prizes dispensed for correct guesses.
Under her direction, Theatreship has also – from day one – forged a partnership with the BFI screening films alongside live performances for its Creative Worlds of Powell And Pressburger and Art Of Action seasons.
The organisations have also collaborated on a showing of independent seafaring films.
a cargo of cinema
“One of the main things about Theatreship, is that when vessels came into this dock historically, they brought new things and that’s what we wanted to do from a cultural perspective,” said Natalie.
“We also wanted to showcase vintage cinema to a fresh audience and bring hidden gems from the various genres to people’s attention.
“I’m very passionate about it and feel like a proud parent for what we’ve done for our forthcoming season.
“We’re calling it Never Too Much Melodrama On Theatreship because, for me, melodrama is all about intense emotion and visuals in film.
“I think it gets a bit of a bad reputation because it’s seen as overacting, am-dram or prima donnas.
“It’s not about that at all, it’s about embracing that intensity.
“It could be as part of a psychological thriller or a war film or about love. It’s about really strong emotions playing out in front of you.
“Our completely Free Mystery Cinema Screenings from October 15 into December will form part of the season, although obviously I can’t tell you what we’ll be showing.
“I can say they’ll be new films, old films and films from all over the world – they’ll be dramatic and good.
“We’re also now doing Late Night Mystery Cinema on various dates.
“These are also free and start around 8.30pm, but will feature a slightly higher age rating and may be edgier, although they’ll still have warmth and integrity.”
The programme for the BFI season starts on October 13, complete with live performances alongside the named screenings.
“We’ll have three Sapphic Cinema nights in collaboration with Abi Asisa, starting with Benedetta (18) – the story of a 17th Century nun in Italy who develops a passionate and forbidden lesbian affair with a fellow novice – on October 13,” said Natalie.
“We’ll also be having a mini-season called All About Almodovar on Sundays, starting with Law Of Desire (18) on November 2.
“He is seen as a living legend of melodrama – Pedro Almodovar’s films are always so passionate, so intense.
“They’re rather like the juicy storylines you get in a soap opera, but on film and from a really revered director.
“Again, each screening will be paired with a live performance.
“Another highlight will be the The Umbrellas Of Cherbourg (U) on November 18, which recently celebrated its 60th anniversary.
“That’s a glorious Technicolor musical and we’ll be having live music from Naomi Banks, an incredible jazz singer who can perform in French, Spanish and English.
“That film – as a musical – might be seen as a bit cheesy and old-fashioned, but it’s really not. It’s got some really intense storylines in it.
“So many films have been influenced by it like La La Land and Barbie.
“We’ll also be showing Wong Kar-Wai’s 2046 (12A) alongside short film I Am Alive by Jun Chew on December 7.
“The former follows a cynical writer in 1960s Hong Kong who revisits his past through a series of fleeting romances, all the while weaving his memories into a sci-fi novel about a futuristic train that travels to the year 2046.”
For Natalie, the importance of film at Theatreship is in offering audiences a different way to enjoy the medium.
“Because there are so many ways to watch now, people are overwhelmed,” she said.
“Let us make the choice, so you don’t have to.
“Watching long films in a cinema setting is great – you’re not distracted by your phone, so you can just engage with what’s on screen.
“When I’m programming, it’s hard because there are just so many to choose from, but I’ll get round to all the ones I want to show eventually.
“I often look for films that have a bit of underdog to them – when there’s only a small budget and a small team but someone’s done something really special.
“Sometimes it’s about looking for films that might have won critical acclaim but been missed or approaching others from a different angle.
“For example, we screened Buster Keaton’s One Week but with an introduction looking at the part played by Sybil Seely in the film.”
key details: Too Much Melodrama On Film at Theatreship
Full information and booking details for all film shows at Theatreship during its Too Much: Melodrama On Film season, including the mystery screenings, can be found on the venue’s website.
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