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    Interview: Hanging Around in Ealing

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    Anne Neville on directing Hangmen for Questors Theatre

    Martin McDonagh‘s Hangmen first played at Royal Court in 2015. Richly praised for its writing, set and dark humour (including our own 5 star review), it tells the story of Harry, the 2nd best hangman in the country, at the time that hanging is abolished. The play would go on to a successful West End run as well as success in America.

    It’a a big play in so many ways, and so a very brave, yet exciting, one for Questors to decide to tackle. This lovely Community theatre in Ealing, with its auditorium main space, is an increcible place to have on your doorstep if you happen to live in West London, so here at ET we’re always happy to chat with them about their work.

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    It was our pleasure therefore to catch up with Anne Neville, the director tasked with the challenge of bringing this big budget play to their stage in June. (3 – 11 June, further info here.)

    The play was an incredible success when first performed, can we assume you saw the original production then?

    What made you decide you wanted to take on Hangmen?I had directed The Cripple of Inishmaan (another of McDonagh’s plays) in 2016 and loved it. I have seen many of McDonagh’s plays and being English born Irish like him, I know where he’s coming from.

    Yes, I was lucky enough to see the original production a Royal Court in 2015 and loved it!

    Hangmen feels a very daring play to take on, given it is only seven years old and widely lauded as something special at the time, do you find it daunting to be attempting it?Yes, especially the very demanding staging required for this production.

    How do you cast such a play, do you have a wide pool of actors wanted to take part in Questor productions?Well this is our second attempt at staging it. The first was cut short by Covid in March 2020. We lost several members of the cast due to other commitments but the main players are still with us. McDonagh is a real draw for actors . We do have a good pool of actors but some parts in this require very specific skills. And then there’s the accent!

    Rehearsal photo’s, courtesy of Evelina Plonytė

    The story revolves around the end of capital punishment, and whilst that may seem a dated concept, do you feel it still has plenty to say about 21st century attitudes towards punishment and retribution?Yes, I do. There are a minority of people who would have hanging back if they could,  but it is important to look at the effects on those who suffer it and who carry it out.

    The humour within Hangmen is rather dark, do you feel that’s easy to replicate?We find it very funny and in rehearsal it is a gift. It has aspects of Pinter and Joe Orton. PC it is not! It does require very precise timing and expression to get right and we hope we have achieved that.

    And is such dark humour something you think there is an audience for in Ealing?Yes, I do, especially in these dark times. Humour is often all we have to cling to.

    The play was highly praised for its amazing stage design, something we assume Questors budget can’t quite match? How do you get around such limitations with your production?We are fortunate in that our Artistic Director is a professional Set Designer. We have also had a professional set builder on board so the staging, we hope, will serve the play extremely well.

    Without giving too much away, there are also a couple of very graphic scenes in the original play (the title should give away what we’re referring to!), again, how do you replicate such scenes on your own stage without the recourse to all the technical equipment we assume was in use for Royal Court?We have had a professional flying company with us to set up and train us in its use.

    Our thanks to Anne for her time chatting with us. Hangmen plays at Questors Theatre 3 – 11 June. Further information and bookings can be found here. More

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      Interview: East Meets West In Ealing

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      India Gate comes to Questors Theatre

      Questors Theatre has only recently found its way onto our list of venues we’ve visited, and we do wonder just why it has taken us so long to do so. But now we know it’s there, we are overjoyed to share it with everyone. For an amateur theatre, they are still willing to be brave in their programming, and India Gate, coming to their stage at the end of April, certainly seems to evidence that bravery.

      India Gate marks the country’s 75 years of independence and is made in collaboration with the Punjabi Theatre Academy. The play follows Edwin and Emily Lutyens and their connection with the Indian community in London and Delhi during the construction of the All India War Memorial (India Gate). Their story is interwoven with that of the Sikh Martyr Udham Singh, whose extraordinary fight for India’s independence from the British Raj began in 1919 in Amritsar.

      So it was a pleasure to chat with Questors’ Howard Shepherdson and Punjabi Theatre’s Tajinder Sindra, who have worked together to bring the show to the stage.

      What has brought you together to make India Gate?

      Howard: I was involved in some outreach for the Questors looking at arts and community groups that we could get involved with and an ex colleague put me in tough with Tajinder. I remember looking at the Punjabi Theatre Academy website and thinking they would be interesting to get involved with in some way. We first met on Zoom, then face to face, and came up with the idea of a workshop production together to see how we got on. Alex Marker, the Questors Artistic Director, was keen on the idea and suggested a couple of performance nights in July las year.

      Tajinder: I had been thinking of doing something for the 75th anniversary of Indian independence and suggested it might be a good theme for the workshop. I had also directed a play in the past for the 50th anniversary of India Independence day in 1995.

      Since Howard and I started working together in May 2021 we have gripped the interest for both communities, British and Indian, to enjoy the production and provide an opportunity to see the India freedom movement and British support for them, such as Lady Emily.

      Also, it felt a great opportunity for Questors Theatre and Punjabi Theatre that working under their joint vision and mission to bring audiences in the Questors Theatre and generate a long term partnership between the two play groups.

      And what brought you to the story of Edwin and Emily Lutyens?

      Tanjinder: The play was never intended to be a documentary; it is about storytelling and real people. It is the human story behind the history and that makes it accessible. I have seen and meet people who were affected by the Amritsar massacre and now we can provide a wider platform for people who have less knowledge of the incident.

      Howard: Certain moments of history are revealed in the play but most are shown indirectly through their effects on people’s lives.  You could describe the play as a collection of personal stories.  and we have not tried to cover every complex detail, especially the political turmoil dominating events. There are clear signposts for the audience as to where a scene is set and during what dates. All designed to make the story telling easier.

      For many of us, thoughts of Indian culture on the stage and screen will be filled with bright colours, dancing and drums, are we going to be treated to any of these in India Gate?

      Howard: The play is set in the 1930s and 40s so dress codes were certainly not flamboyant amongst the British characters. However, the Indian roles are more colourfully costumed. And there are drums, even fireworks and a Punjabi song, but it is not a Bollywood style play by any means.

      Tajinder: Moreover we are trying to preserve the old Punjabi folk style; poetry, singing and highlight the values of our tradition.  Also, bringing Punjabi culture in the play for abundance and entertainment. Generally when people think of Indian culture they immediately think Bollywood, whereas Indian culture is made up of 50 separate states, each rich in their own traditions. With India gate, we are giving an insight into just one of these that is Punjabi culture.

      How has it been co-directing the play, when we assume you both come with very different styles and ideas?

      Tajinder: British theatrical culture is very different to that in the Punjab. For a start they rehearse for much longer and go deeper into the technical aspects of a play. My productions are perhaps more spontaneous, based on more historical sagas, and India Gate focuses on one of the richest, that is Punjabi cuture. It is cast from both our companies and my actors have enjoyed working with the people from Questors and with Howard as a director.

      Howard: For a full stage production at the Questors, someone had to take the lead and Tajinder let me take that role. He has been really valuable in helping keep a sense of authenticity, especially with the Punjabi characters. He has also given great advice on music and costume and what I have loved most is his passion for community and shared understanding. Although India Gate is a serious play, we have fun in the rehearsal room and our joint WhatApp group is busy day and night!

      Is it importantant bringing Indian culture to the stage?

      Howard: Absolutely, especially in a place like West London where there is a significant Indian population.  We have a unique shared cultural history, even if it has not always shown the British in a good light.  Theatre is a place where communites can have real dialogue and learning. Working with all different cultures is important and we need to see their lives on the stage. There are some brilliant Indian actors around now and we need to see more of them.

      Tajinder: This has been our mission of Punjabi Theatre Academy to keep Punjabi culture alive, and performance is a great way to achieve this.  Working with the Questors is a great opportunity to expose ourselves to a new audience and connect with mixed audiences.  More India production please everywhere. Put them on and people will come!

      And do you hope that it will bring in a very different audience to the theatre?

      Tajinder: From the two workshop productions last year over 50% of the audience came from an Indian background, which was so satisfying. We also had five West London MPs attending. All this goes to show that there is an audience out there hungry for this type of project.

      The play is in English and Punjabi, are you planning surtitles or will the language barrier not be a problem to understand what is happening?

      Howard: We are using some subtitles both in English and Punjabi but there will not be any simultaneous translation because the play speaks well for itself and the story telling is clear.

      There’s been lots of talk recently about reviewing our history books to better represent the less appealing sides of British occupation and the empire – is this something India Gate is likely to touch upon?

      Tajinder: Yes, both directly and indirectly. There is a line that Howard wrote for one of the characters who is being congratulated on the birth of India as a new country. She replies that it is not a birth, but regaining something that was taken away. We need to recognise that. It is not rewriting history but perhaps revisiting it from a different perspective.

      Howard:  I prefer to describe it as carefully stripping away ther layers of interpretation and discovering the truth. The history of the British in India is both complex and controversial and so are some of the events amongst a divided Indian population. It befits us all to understand that history properly. There is a lot we can celebrate even when we strip away the excesses of Empire.

      What do you hope audiences will take away from watching the play?

      Howard: One audience member spoke to me a few days after seeing a workshop performance last July and said “I learnt so much and wanted to carry on learning. So I went home and did hours of research on Google”.  But people also felt they had spent time listening to events unfolding in the lives of some fascinating characters. “I didn’t realise that these events happened” was another common reaction.

      Tajinder: We also want people to realise that our shared heritage has made both nations what we are today and that understanding can only bring us closer together.

      And after the run at Questors, what next?

      Howard: We will be touring the play to Birmingham Crescent Theatre and the Lacemarket Theare in Nottingham during July and also hope to perform at the Nehru Centre for the Indian High Commission.  If we can raise the money we have ambitions to take the play to India.

      Thanks to Howard and Tajinder for taking their time away from regersals to chat to us. India Gate opens at The Questors Theatre on 30 April. Further information and tickets can be found here. More

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      Interview: Two thousand years in one night at Questors

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      Director Richard Gallagher on bringing Loveplay to Questors Theatre

      We’re becoming quite good friends with the team at Questors Theatre now we’ve made their acquaintance. And what a great bunch they are, supporting the local community as well as being a place for students to learn more about theatre. So, we had no hesitation in spending some time chatting to Richard Gallagher, who as well as being a teacher in their academy turns his hand to directing his young charges in their upcoming revival of Moira Buffini‘s Loveplay, first performed in 2001.

      What is it that attracted you to Loveplay?

      Choosing a play for The Questors Student Group (acting students aged 18-30) is always a bit like doing a Rubik’s Cube. My first consideration is ‘Are there enough parts?’ The second ‘Are those parts all good enough to give everybody a fair crack of the whip?’ Plays with large casts are getting fewer and fewer so we frequently – not always – look for multiple-role plays that can be flexible. Loveplay is such a one. Then there are thoughts about artistic merit and ‘bums on seats’: happily, this play suits that as well. Frequently, we have to keep going back to square one, but Buffini’s play attracted me because of the superb writing, the humour, the observation and it has some really excellent parts for our cast to attack.

      The play spans 2,000 years and ten separate moments in that time; how difficult is it to direct a play like this, when your actors are asked to perform such varying roles?

      Our cast have worked extremely hard on varying their roles and finding the movement, vocal and personality differences that make them distinct. The two thousand years thing looked daunting at first but I decided to keep it very simple. There is almost no stage furniture and we are performing in traverse (audience both sides of a sort of ‘corridor’). Ant Griffiths (our Associate Director) and I have been working in conjunction with voice and movement tutors and also with The University of West London to find a shape for the production. In the end, each different era provides us with a neat one-act play and brilliantly drawn characters that kind of ‘act themselves’. It’s been a really rewarding rehearsal period and we haven’t found it difficult at all.

      Are there going to be some frantic costume changes going on as you flick from one scene to the next?

      When I cast the piece, I was very aware of costume changes. Although incredibly quick changes are doable where they first seem impossible, fortunately, there is ample room to change for each actor. Our wardrobe department have provided us with an impressive range of costumes and I am delighted with their, always excellent, work.

      And how easy it is to ensure the time frames are made clear to an audience? Are you going to be using any little tricks to tell us when we are?

      As I said, my motto has been ‘keep it simple’. Thames Valley University students are working on animation, which will be projected. I haven’t seen the results of their labours yet, but I’m confident they will give us something really exciting. The other marker for period is, of course, the varying costume styles.

      What is it that binds all these completely different moments together then? 

      Binding together the scenes is a rape that happens in Scene Two. The actor playing the woman who’s been raped plays other characters that keep hearing the sounds of this woman’s distress. ‘Is it a ghost?’ ‘Is it a reincarnation?’ We never know, but references are frequently made to the fact that this plot of land has changed over the years and ‘it might be haunted’. Overall, the ‘bond’ between different scenes is the human condition: that search for a partner and/or physical gratification that is in the DNA of most of us. Buffini is also at times quite scathing about the way men have treated women over the years. I think the women come off best in the piece, but it’s not a heavy-handed feminist message and she does give us same sex coupling and genuine love. The play builds to this and leaves us with an optimistic message.

      The play is performed by The Questors Student Group; can you tell us a little about that?

      This is the 75th year group of the Questors Academy (as we now call it). Group 75 are waiting in the wings and will be performing their productions next year. I believe it was set up all that time ago to give the then members some training and to expand their technique. Later, it became a unique part-time drama course, working in a similar way to most drama schools but giving people the opportunity to work at evenings and weekends and, therefore, hold a job down during the day. It’s very intensive and time-consuming (obviously), but it pretty much covers everything that any drama school course does. The first and second years can both be done together, but should anybody want to do the first year and leave it there, that is perfectly fine and we hope they still go forward with a range of transferable skills that may or may not lead them into theatrical careers.

      You’re acting tutor for Questors Academy, so are the performers people you have been working with for a while?

      I am the second year tutor. In the case of Group 74, I knew them in their first year but, because of COVID, it’s been a three year timeframe, rather than the usual two. I get to know them all when they’re in the first year but don’t start teaching them till the autumn/winter term, where we do short excerpts from a range of plays, punctuated by workshops. The winter/spring term is taken up with rehearsals for a studio play and then we have a short break before going into our summer production in the Judi Dench Playhouse.

      Are there any performers we should be looking out for as future stars of the stage? Of course, we’d perfectly understand if you didn’t want to single out any one in particular, so maybe, any past students we may have seen?

      One can never predict how students’ careers might unfold. We are not looking to necessarily push people into the profession: some ex-students are quite happy joining The Questors acting company and, of course, some want to go to a full-time drama school; others have, in the past, fallen into TV work, fringe theatre, film etc. I was very proud to see one of my past students in The Mousetrap a year or two ago and do sometimes see people on TV. Other students go into different jobs in theatre or screen such as one great friend of mine who has found her talent for direction and is currently working in the West End as an assistant director for Disney.

      Finally, why should we come and see Loveplay? What is it about the show and the venue that we should all be excited about?

      Loveplay is a beautifully written piece of drama that I found instantly engaging. As rehearsals have progressed, we’ve found more and more in it. It can be enjoyed on a superficial level, sure, but it can also give you something to think about. It’s funny, touching, accurate and unusual. I think it’s going to be a really enjoyable evening for our audiences.

      Thanks to Richard for taking time out from his teaching and directing to chat to us.

      Loveplay is on at Questors Theatre 25 March to 2 April. Further information and bookings via the below: More

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      Interview: We Consent to these questions

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      Director Paul Collins on bringing Consent to the stage at Questors Theatre

      Until recently, we weren’t aware of Questors Theatre (we apologise for that oversight on our part) but now it’s on our radar we are more than happy to see what amazing shows they are presenting us with. This community based theatre in Ealing are clearly not afraid to tackle the difficult subjects, as their next show, Consent, clearly proves. Nina Raine‘s play, first performed at the National Theatre, follows the two barristers on either side of the case and the turmoil of their lives away from the courtroom.

      We sat down with director, and former barrister himself, Paul Collins, to ask why this play appealed to him and whether being a former barrister is a help or hinderance to directing the play ahead of its opening night on 19 February.

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      What was it about Consent that made you want to bring it to Questor Theatre?

      This is a tautly written play raising issues about trust in personal relations and the contrasting demands of empathy and detachment, for lawyers and for us all. And it manages to be viciously funny from time to time, as well. 

      The play focuses on the two opposing barristers in a rape trial; as a former barrister were you able to bring personal experience to the play, and how realistic are the two based on your real-life experiences?

      The playwright, Nina Raine, acknowledged legal input and the legal side has an authentic ring. Some of the barristers’ chat is deliberately extreme for dramatic effect, but it’s not far off! But the real focus of the play is on the relationships between the characters.

      Did you ever need to stop yourself being too forensic and detailed in your approach to the legal moments of the play?

      No! There’s only one courtroom scene and we don’t attempt to set it realistically. I’ve used my personal experience to a limited extent, to help the actors, but the author has provided what’s really needed. The detailed work has been much more directed towards the ebb and flow of the characters’ emotional and sexual relationships.

      The play is only five years old, but in that time we’ve seen a lot of change, especially with the #MeToo movement and (hopefully) a changing attitude towards how we deal with sexual assaults. Has this affected your approach to the play at all?

      If the play were being written today I’m sure the author would think carefully about the implications of the binary approach to sexuality which it presents. But the central portrait of the law and its practitioners having a detached and sometimes callous attitude wouldn’t change. How can lawyers do their job without being detached? How can empathetic lawyers do their job objectively? These questions remain. And the audience may wish to think about fidelity, betrayal, disillusionment, revenge, and consolation.

      In 2021, only 1.6% of reported rapes lead to a suspect being charged. Does Consent try to give any reasons for such statistics.

      One word against another – in the absence of other evidence, prosecution is a lottery. The play demonstrates this clearly. Ways in which an alleged rape victim should be supported are highlighted in this play, but there’s no easy answer.

      What made you step away from the bar into directing? Was the attention to detail required as a barrister good training for directing?

      It was retirement from the circuit bench after 19 years (25 years at the bar previously) that gave me the time to direct. It’s stimulating, draws upon many different aspects of one’s abilities and highlights where they may be lacking! I love working in the the theatre with talented and dedicated people of all ages and backgrounds. You should ask the cast and stage team whether my background is a help, or a hindrance!

      What brought you to Questors Theatre, and what is it about the venue that should make people come and check it out?

      I’ve been an acting member of the Questors for over 40 years although for many years the demands of work prevented me from taking an active part in the life of the theatre. It’s a splendid place to have in a thriving, cosmopolitan community like Ealing. There’s much we can do to improve but we try to be a focus for young and old, wealthy and not, and for those of every race, colour, sexuality and for those with a disability. The Questors takes large numbers of young people under its wing for a wide range of classes. Anyone in West London who becomes involved, even just as an audience member, feels how important it is. Consent is the kind of play which can be raw, challenging and, to some, perhaps offensive in its language, but which doesn’t shrink from tackling real questions about human behaviour head on.

      Our thanks to Paul for giving up his time to chat to us about the play.

      Consent plays at Questors Theatre in Ealing between 19 and 26 February. Standard tickets are just £14, with concessions for members, under 16s and full time students. More information and bookings via the below link. More

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      Interview: Making ‘Apologia’s’ at Questors Theatre

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      Apologia first hit the stage at the Bush Theatre in 2009, before being revived in 2017 by Jamie Lloyd at Trafalgar Studios. We think those are big shoes to fill if you plan to bring the show back in 2022. But that is just what Ealing’s Questors Theatre are doing. So it seemed a great time to sit down with director Meneka Dass to find out more about the play, why they have decided to tackle it now, and why this theatre in Ealing should have been on ET’s radar much earlier!

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      What is it that drew you to this play?

      I saw the first production of Apologia in 2009 at the Bush Theatre in their studio, with an equally captivated audience in a shared experience; huddled together in the top gallery, we watched the story unfold. A tale of long-festering family resentments came to the surface, just as the sparkling wine loosens inhibitions at a celebratory birthday dinner.

      I laughed a lot but it left me with a lump in my throat: there was so much I could relate to. Like Kristin, my mother was not the best cook. A simple meal could take hours because she was more interested in running campaigns and helping change lives, which was not expected of a typical Indian mother in a small Indian village. Growing up, we the children had to burden that shame of having such an unconventional mother, so watching Kristin somehow helped me make peace with my own mum!

      One review called the play “a modern comedy of manners with a political, big heart, but also a black streak running through it”. On a more primal level, for me it is about family, failures and forgiveness. It is these universal themes that gives this play its timelessness, and why it will continue to connect with audiences, which is a testament to the writing.

      The play tackles the difficulties for a woman having to almost choose between family and career: do you think that this is still as much the case today as it was when it was originally written?

      Hmm…this is my subjective opinion, but I still think so. I see it in myself and my friends; these are choices we are facing even today.

      I feel especially in our industry we have a lot more pressure. Taking time to balance family and work as an actor/director doesn’t come easy, but thank God people are talking about it and it’s not such a taboo subject. Women have carried the guilt of wanting something more for themselves beyond just having children and this is beautifully represented in a recent film I watched, The Lost Daughter, directed by the extremely talented Maggie Gyllenhaal. More films, books and plays centred around this theme help to open up conversation, which is a good start. But there is no easy answer.

      Whilst it appears to be a very female orientated play, it was written by a man and previously directed by a male. Do you think you bring a different female perspective to the play?

      Well most of my training has been in acting, so when I do my character breakdowns I tend to play them all, including the men: I work through how they think, their behaviour, their why. It is fun and challenging at the same time. I discovered that when I was Peter and Simon (her sons), I did not like Kristin because I totally felt the suffering they endured from her absence. But when I play Kristin, with her ability and vision to look beyond herself, for me she always wins.

      This is definitely a learning curve for me as a director, so I chose to explore and bring both narratives up for consideration and let the audience decide – give them that freedom. Like the play, the approach is not preachy but intends to leave you with something to think/ponder on.

      Before he turned to being a full time writer, the play’s author Alexi was an amazing actor. I know because I worked with him on the RSC production of Salman Rushdie’s Midnight’s Children, directed by Tim Supple. I always said to him that if I ever directed for theatre I would really want to direct Apologia, and years later it has come to pass here at the Questors! This is the first play I’ve directed and I have a lot to learn. Alexi has been a huge support through these rehearsals, and I don’t think I would have had a different conversation if it was written by a woman because all the conversations I have had with Alexi come from a place of his personal/emotional truth.

      The play’s central character was an activist in the 1960s; was there any consideration of bringing the time period forward or do you think the 60s were a unique time for protest? Have you had to adjust ages to fit better?

      The play is actually set in 2008, but yes I do think that the 60s was a crucial time in our history for social change. There was a certain spirit of awareness – of wanting to make a better world. I grew up listening to the folk songs of Woody Guthrie, Joan Baez, Bob Dylan. At their heart they are protest songs, provoking and inspiring their generation to think beyond themselves. Kristin was there: she was one of them. When pushed to make a choice, she didn’t just talk the talk but walked the walk. To quote Kristin: “I mean you may laugh at this, you may find it sweet and hilarious, but an artist was someone whose voice could be the instigator of social change”. This makes me think about my own/our generation, our leaders, and that is what makes the play still so relevant for us today. Are we complacent? Are we ignorant? Are we naive? Those were the questions I found myself asking when I saw the play the first time and still do now.

      We’ve never been to Questors Theatre before, can you tell us a little about the venue?

      The Questors is London’s largest community theatre, in the heart of Ealing. They have been running for over 90 years, and they have a membership of over 1,000. They stage 18-20 inhouse productions a year, across their two theatre spaces, consisting of a studio theatre and their Judi Dench Playhouse (named after their president). They also host a range of visiting theatre companies, and deliver a variety of one-off and special events.

      They run acclaimed training courses; everything from short modular courses to a two-year part-time acting course for people intending to pursue an acting career. Not to mention their thriving youth theatre, attended by 500 children and young people every week!

      It’s an amateur theatre: do you think the ‘amateur’ tag can put people off from checking it out?

      It certainly hasn’t stopped many Questors shows selling out, that’s for sure! The calibre of talent and hard work that goes into each production is always of an incredibly high standard, from the programming and acting to the costume and set design. Artistic Director Alex Marker is in fact a professional set designer, and designs many of The Questors productions. They are inclusive and affordable, but always produced to a professional standard.

      And what have you got planned for the future?

      Next up at The Questors is the gripping, blisteringly funny Consent by internationally renowned playwright Nina Raine, which runs 19-26 February in the Studio theatre, and that’s followed by Whipping It Up, a hilarious (and extremely pertinent) satire set in a government whips’ office at Westminster. That’s certainly going to put our decision makers under the spotlight!

      As for me, I am currently working on my next feature film. You can check out my website for more news on that, and other projects.

      Apologia plays between 1-5 February at Questors Theatre. Further information and booking via the below link. More