Playwright Nina Atesh and Director Chloe Cattin talk about The Drought
A psychological horror in an original setting with a tight, smart script and performances to match.
That’s how we described The Drought in our review when it played at King’s Head Theatre. With the play now returning to Old Red Lion Theatre as part of Grimfest, we caught up with its writer Nina Atesh and director Chloe Cattin to talk about life on the seabed.
Tell us a little about The Drought, what can audiences expect?
Nina: The Drought is a story set on a Victorian British Navy ship, several months into an unexpected disaster where all the ocean all over the world has disappeared. The crew have left their ship, and the only two people remaining aboard are the Captain and his steward. I would say don’t expect your typical horror story. There are no jump scares – not a lot of graphic gore. What I tried to create with this play is a sense of desperation, a chilling dread in the wake of something terrible and unimaginable happening… and what that does to the human mind. Essentially it is a story about madness – but there are other major themes in there of colonialism, hierarchy and servitude.
Chloe: Nina has written a beautiful play – even on the second run of it, it still brings up questions and interpretations in the rehearsal room. I think audiences can be expected to be confronted with their own humanity. The pandemic is still quite recent – our lives were disrupted for a time and we entered into our own modes of survival. That’s where we meet the Captain and his Steward – in survival mode. They cling and claw onto what is familiar in the midst of this unspeakable happening.
How did you feel the run at King’s Head theatre last month went? Reviews, including ours, were quite positive, you must have been pleased? Have you made (m)any changes for this second run?
Nina: This is my first ever play – so to have it debut at the King’s Head was just an incredible experience! It’s a really hard time for Fringe theatre at the moment, so the support I had from the theatre and the audiences was so great. The feedback was really positive, I was certainly surprised considering we didn’t have the chance for previews or any R&D’s in the lead up. I just kind of threw the production in at the deep end! But I had faith in the story, and a lot of faith in the performers, who are all incredible – so I think it worked out well for us. As a writer, you’re always thinking of tweaks, or what could be done differently. I watched the show every night, and I knew we had another run coming up in November so I came away sort of buzzing to get back into the script again. There hasn’t been a great deal of time to make too many drastic changes, and you’re always limited by what you can do on a Fringe stage(!) but there are certainly some things I took away from that first run that we’re trying to inject into the upcoming one.
Chloe: Alex McCarthy and Nina did such a wonderful job for the run at the King’s Head. Alex – for his beautiful direction and sound design and Nina for her incredible script. It’s exciting to have another chance to work on the play in a different space because every performance is site specific in a way. It’s not a question of transposing the play from one venue to another but looking at what challenges and opportunities the space yields. So whilst the script has had a few tweaks, the staging has changed quite a bit.
The King’s Head Theatre was laid out in the traverse so the actors could be seen by the audience from all angles – there was nowhere to hide! The two sides of the audience were seeing two sides of the story. We performed on the set of another show as well so had a few elements we had to work with at the last minute.
In the Old Red Lion, there is a more traditional, end on, configuration and the space is ours for our entire run so we can really settle in! It feels more intimate and confrontational, almost claustrophobic. Walking up the stairs up to the theatre feels like a ship. It feels a bit more immersive.
Chloe, you are taking over as director in Old Red Lion, have the cast been welcoming or have you had to stamp your authority down immediately? Tell us a little about first working on the show in King’s Head and now moving to directing it in ORL?
They’re such a great group, it’s lovely to be working together again after the first run!
The creative team made it clear early on that I shouldn’t have a carbon copy of the show at the Old Red Lion but to use the second run as an opportunity to take on the feedback from the first run, and have another iteration of the show. Alex said he wasn’t ‘precious’ about the work but just to make it even better. Which is quite a unique position to be in as an associate director because usually the originating artist is very specific about what they want.
As the stage manager for the King’s Head run, I got to know the production on a technical level – doing pre-show checks, writing lists, giving the actors calls, operating sound and lights and generally holding the space for the cast and creative team. Whilst operating the sound and lights, you get a feel for how the piece breathes and moves with the performers. As a director I’ve still got all those elements in my head but I’m now in a position to influence the piece with feedback from the first iteration and my own understanding of the play.
Nina, take us a step further back in the development of the show: how did Andrew Callaghan, Jack Flammiger and Caleb O’Brien come together to become your naval trio?
We did group auditions and funnily enough, Andrew, Jack and Caleb all auditioned together. For me it was a thing of just seeing these performers instantly gel, and thinking to myself almost as soon as they walked through the door – oh my god. This is our cast. These are my characters! There was an instant dynamic there, and they brought things to the characters I hadn’t even thought of whilst writing it. I think that’s what you look for in a performer – someone who can see things between the lines. It was a fascinating process for me, someone who’s come from a performance background myself and being on the other side of it was just so thrilling. I remember loving that day – it was such a rewarding part of the process.
Listening to our recent podcast where we chatted with Nina and a couple of the cast, it sounded like The Drought became a very collaborative process once the script met the rehearsal room, can you expand a little on that?
Nina: Yes, it really was. Again it’s that thing of the actors finding so much in these characters, that you don’t want, or even need, to push them back and say – no he wouldn’t do that, or say that – because they understand the story and their characters so well, that it’s easy to make those edits in the rehearsal room because you know they work and make sense. I remember Andrew (who plays the Captain) coming in on one of our first rehearsals with this whole fleshed out background for the character, with a family and a career history and everything! And I just thought wow… this guy knows the character even better than I do!
What was great about the creative process too, is that the team weren’t afraid to question things in the script, maybe even things about the characters or their intentions that I had overlooked. So it was a really fun process. I think writers can have a tendency to be quite insular – can get stuck away in their own little world and then just shield themselves from the rehearsal room. I’m the complete opposite of that – I want to see it grow and take a shape. I think it makes you realise things about your own writing that you never would’ve thought of before. The Drought is one of those stories with lots of unreliable narrators… there’s a lot of deception – who is telling the truth? So it’s really important for a play like this to be worked through in a way that is collaborative.
Chloe: And it’s still a very collaborative process going into the Old Red Lion! It’s my favourite way to work as a theatre maker! Everyone takes an active part in the making of the work, the work is never done. The actors know these characters so well and are constantly interrogating the work. Nina’s encyclopaedic knowledge of the Navy is indispensable in staging the work too. It really is a very collaborative process.
You are back in rehearsals this week; we imagine it’s a somewhat different process when everyone knows each other already and has at least some familiarity with the script. How has it been going?
Nina: Honestly I couldn’t wait to get back into rehearsals, not just to get stuck into the play again, but also because I genuinely just enjoy everyone’s company! It sounds cliche – but they really are just a lovely bunch to work with. I think there’s been enough time since the first run that it feels a bit fresh, but not too long that it’s been easy to get back into the swing of it and immerse ourselves back into this world. It’s a different space so it’s interesting to think of the set up of the cabin (which is where the whole play takes place) and think about new things we can do with the set with the extra time we have.
Chloe: There’s a shorthand not only with the group but with the play itself so we have been able to dive right back in! It’s so rare to get the opportunity to work on a play again, to look at it with all the experience of the first run but with the novelty of a new space.
Moving on from The Drought, what is next for you both and for Pither Productions? Is there anything coming up you can tell us about?
Nina: The British Navy and Victorian expeditions really are enveloping my life at the moment! There’s some very very brief and early stage discussions about possibly adapting The Drought for TV but that really is dependent on some higher up the food chain powers that be! For now I’m just really enjoying it being on stage, and would love to take the show on tour next year if we can get the funding for it. But away from dried out earth and hairy sea captains… I’d love to bring more horror on to the stage. I’m really keen to promote more of these chilling, atmospheric tales that can have such an impact in small intimate venues like fringe theatres – and not just for the Halloween season(!) So I plan on spending this winter putting pen to paper again and maybe writing something new. So watch this space… 😉
Chloe: I’ve got a busy and varied season of work coming up! After The Drought, I am directing a rehearsed reading of The Prophet of Monto by JP Murphy which we have just cast. Then I’m directing a Christmas show Deck the Stalls, an anti-panto written by Lydia Brickland, for a mini London tour in December. I’m also prepping for Dead Positive by Hannah Kennedy which has a run in February next year. We’ve also just finished casting it so it’s wonderful to have it slowly come together.
Our thanks to Nina and Chloe for taking a break from rehearsals to chat with us. All photo credits: Bethany Monk-Lane
The Drought plays at Old Red Lion Theatre from 1 – 4 November . Tickets and further information can be found here.
