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    Interview: Singing The Elephant Song

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    Jason Moore & Ian Nicholas on The Elephant Song

    OnBook Theatre are just about to bring Canadian playwright Nicolas Billon‘s The Elephant Song to Park Theatre for it’s UK premiere. The play follows the suddenly disappearance of a psychiatrist from a mental health unit and Michael, a young patient, is suspected to be involved.

    We are always excited to see new thrillers coming to the stage, so were delighted to be able to catch up with OnBook’s creative partnership of Jason Moore and Ian Nicholas to find out more.

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    Great to meet you both, shall we do introductions first then?

    We’re Jason Moore and Ian Nicholas and we created OnBook Theatre in the summer of 2021. Jason is a director, Ian is a set and costume designer. Together we produce plays that we feel passionate about. We seem to be attracted to plays that deal with human relationships, with a dark, comedic undertone. The Elephant Song is no exception. It’s a psychological thriller, with a surprise ending. It’s the kind of play that will haunt you afterwards.

    Are we right in thinking that there is also a lot of humour in The Elephant Song? The press material talks about ‘verbal tugs-of-war’ – does this lend itself to black/dark comedy?

    The playwright, Nicolas Billon, has peppered the script with lots of witty, intelligent dialogue and in that respect, it feels like dark comedy at times. But at its core, it’s an emotional story of a young man who is fighting to be heard.

    How did you first come across the play and what piqued your interest about it?

    Ian saw the movie some years ago and loved the story. After researching its background, he went on the hunt for rights, which led him to playwright Nicolas Billon and his agent in Canada. Finding out it had never been produced in the UK made him even more determined. Several emails and phone calls later, we were in business.

    Have you spoken with Nicolas directly then, and has he been involved in the process so far?

    Absolutely. We reached out to Nicolas and were thrilled to hear from him. After a zoom meeting and several emails, we feel very lucky to have his blessing and involvement in the process. Even better, he’s flying to London to see our production, and he’s agreed to participate in a Q&A after the performance on 24 January. It’s a rare privilege when a theatre company gets to work closely with the writer so we are extremely lucky.

    You’ve brought together three very experienced actors, how was the casting process?

    The casting process was a little unusual. We both saw Gwithian Evans perform last year and were immediately impressed. He was the first person we cast. Louise Faulkner and Jason went to drama school together. Ian was talking to her about another production altogether. While he didn’t think she was right for that part, Ian instinctively felt she was perfect for Miss Peterson. He sent her the script and her marvelous audition proved she was perfect. We never auditioned anyone else. Similarly, in casting for Dr. Greenberg, we reached out to friends at CDM Talent Agency. They sent Jon Osbaldeston over and again, same story. Wonderful audition and never auditioned anyone else. So, all three actors were our first and only choices. How lucky can you get?

    How have rehearsals been going? Did you take a break for the festive period or has it been all go?

    Rehearsals have been going great. We had Christmas Day off but that was it. As producers, we work 24/7, always checking emails, always putting out fires. That’s what theatre producing is about. Managing everything. It’s not for the faint of heart.

    Park Theatre is a lovely venue and PARK90 can be configured in so many ways, can you give us an idea of what you have planned?

    We’re performing in the thrust, so we’ll have audience seating on three sides. It’s a modern, intimate space and just the right size for this play. The last two plays we produced were in the thrust too, it’s a ‘fly on the wall’ approach that we really enjoy. Firstly, there’s not a bad seat in the house. Secondly, there’s no distraction, you’re just a few feet from the stage, immersed in the action.

    What is next for you after The Elephant Song?

    We are producing Neil Simon’s classic comedy California Suite at OSO Arts Centre in Barnes. That opens February 21. And we are currently piloting OSO’s Youth Theatre project, working with young people interested in Theatre. After that, we’ll be working on two brand new plays, one’s a comedy, the other a courtroom drama based on true events. But we’re also passionate about musicals and produced two sell out cabarets in 2022, a format that we want to expand upon in 2023. We are blessed.

    Our thanks to OnBook Theatre for taking some time out of rehearsals to chat with us.

    The Elephant Song plays at Park Theatre from 18 January until 11 February. Further information and tickets can be found here. More

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      Interview: Going 12 Rounds With On The Ropes

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      Director Anastasia Osei-Kuffour on bringing Vernon Vanriel’s story to the stage

      Boxing and theatre might not seem the most obvious of bedfellows, but we reckon there have been some wonderful plays that bring the two together. And we hope that On The Ropes, which is playing at Park Theatre right now, will add to that list.

      So we were delighted that director Anatasia Osei-Kuffour found some time out of her busy schdule to chat with us about bringing this real life boxer’s story to life.

      Photo credit @ Dujonna Gift-Simms

      What can you tell us about the play?

      It’s a dynamic musical drama set in a boxing ring with a twist, telling the story of the pioneering Lightweight boxer Vernon Vanriel. We see his highs, his lows and how he kept on fighting despite the challenges he faced in his life, not least the challenge of being caught up in the Windrush Scandal and being prevented from coming back home to the UK after visiting family in Jamaica.

      Was Vernon someone you were aware of prior to getting involved with the play?

      I wasn’t aware of him unfortunately. Realising that when I read the script, I immediately felt the draw to join the effort to bring him back into mainstream consciousness because his story is so inspirational.

      Did you get along to any boxing matches as part of your research/ prep for this?

      Zahra Mansouri, our designer, and I went to Wembley to see a set of matches and some of the actors and I went to a second boxing event at Alexandra Palace, both visits were very informative and useful for the process of working out how to put the show together.

      It’s a musical drama about a boxer – which sounds different! How does the rhythm and structure of a boxing match lend itself to music?

      Having visited a modern-day boxing match, I was struck by the many similarities there are to theatre, from the announcer who theatrically announces the boxers, the boxers entering the hall and then the ring to thumping music in performance mode, portraying the character they know the crowd have come to recognise them. At one match there was even a live professional singer performing for one of the boxer’s entrances. I was mostly struck by the thumping music played during breaks in the action and how the crowd sung along to anthemic songs and waived country flags in support of the boxers. It felt celebratory and animated, much like the style of our play.

      What musical styles can we expect then?

      The music in the play is the soundtrack to Vernon’s life and includes Reggae, Blues and Gospel.

      The play’s blurb promises us “12 metaphorical rounds featuring key moments in Vernon’s life” – how has it been working with that kind of structure as a director, what different challenges does it raise?

      It has felt right for the story to be presented in this way because the writing is so clear, Vernon and Dougie Blaxland, the co-writers have set out the story so clearly that we are easily guided by the script. Artistically the main challenge has been working out how we can take the staging of a boxing ring and make it say something more, communicate something theatrical and metaphorical about the story. Working with Zahra Mansouri was a great joy and really helped in figuring this out.

      It’s co-written by Vernon himself, have you spent time with him to discuss his vision for the play, or is he more hands off at this stage of things?

      In summer 2022, we had a research and development week where Vernon communicated his hopes and desires for this production. It was inspirational to have him in the room, have him talk about his life and even take the actors through some boxing training!

      The play is of course also about Windrush, is it important to keep making sure we talk about what has, and is in some cases, still happening with this less than flattering part of British history?

      It is important. The headlines have disappeared from news outlets, so we need to highlight the fact that there are still thousands of families still dealing with the repercussions of the injustice that happened to them. It’s important that the government stick to their promises of compensation and reversing some of the chaos they caused.

      On The Ropes is playing for a month at the Park Theatre, are there other plans to take it elsewhere afterwards? 

      There is hope that it will have a further life. What that will be will be determined by how the run at the Park Theatre goes.

      Our thanks to Anastasia for chatting about On The Ropes. The play is on right now at Park Theatre until 4 February. Further information and bookings can be found here. More

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      Interview: Shining A Light(house) on Wickies

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      Graeme Dalling on Wickies: The Vanishing Men of Eilean Mor

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      We all love a good ghost story, and better yet, one that has a foot firmly in true life events. Which is just what Wickies: The Vanishing Men of Eilean Mor promises us. It’s based on the the disappearance of three lighthouse keepers stationed on a deserted island in the Outer Hebrides in 1900. No trace of any of the men was ever found, which has lead to a century of speculation and folklore.

      And now the story is coming to Park Theatre this December. Billed as a haunting ghost story, which does suggest which way writer Paul Morrissey is taking his twist on the tale. Wanting to know more, we grabbed some time with one of its stars, Graeme Dalling, who we will soon be seeing as one of the lighthouse keepers, Donald MacArthur.

      What can you tell us about Wickies then?

      The play explores one of Scotland’s most enduring mysteries… what on earth happened to three men stationed on a lighthouse in the Outer Hebrides who seem to vanish without a trace?? I think that’s all I’ll say. The less you know the better!

      The play is based on true events, were you aware of the story before you auditioned?

      Yes, absolutely, and its weirdly so present in the public psyche. So many books, songs and films have been inspired by these events. It’s captured people’s imaginations for over 120 years!

      Have you done much background research into the story and your character? Or is it best not to delve too deep into such things in case it clouds how your director wants you to present the character?

      I like to do a bit of reading, yes. I gathered quite a few books on lighthouses and lighthouse keepers to get into the world of the play. I also tried to get out to a lighthouse, but they are very hard to get to! I try and not get too bogged down in research and instead spend a lot of time with the script. All the answers tend to be in there!

      How much of the play is based on what’s really known about the men and the events surrounding their disappearance, and how much is based on the folklore that has evolved over the years?

      I would say it’s a bit of both. There are lots of written documentation from the time from the inquest and initial interviews into the disappearance, so quite a bit of the script is word for word what those people actually said. And obviously we will never know truly what happened on that lighthouse in December 1900, so Paul Morrissey does draw on folklore and superstition and ghost stories to fill in the gaps!

      You’re playing Donald MacArthur, what do we need to know about him then?

      That a lighthouse is the perfect place for him. He’s a stoic, brooding, quiet man who just wants to put his head down and do the work. Initially the isolation and loneliness fit him perfectly but ultimately becomes his undoing. There is an unpredictability to him, a lot of repressed rage and pent-up aggression which one character seems to unlock, unluckily for him….!  

      And we need to ask, will you be growing (or gluing on) a nice big bushy beard for the play because surely all lighthouse keepers should have wonderfully unkempt beards? And a pipe permanently in the corner of your mouth maybe?

      It’s all about moustaches in 1900! And I’m steadily cultivating a beautiful one.

      Is there a different approach when playing a true-life character, do you feel a need to be honest to whatever you may know about them?

      I haven’t thought too much about it to be honest, it’s so long ago, and not a lot is known about these men. Like I said before, when a script is this good, everything you need is there on the page.

      The show opens 30 November, so still a couple of weeks away, but have you had the opportunity to see the set yet – how are you bringing the feel of a remote lighthouse on a deserted Outer Hebrides Island to Finsbury Park?

      We’ve seen the model box and the set looks incredible, Zoe Hurwitz has really captured the essence of being in a lighthouse, it’s almost like we’ll be performing in the round, which kind of makes sense! There’s going to be a lot done with sound and lighting and costume which will hopefully make the audience feel like they are on the lighthouse with us!

      Why do you feel ghost stories seem to be part of Christmas theatre tradition then? And is there much difference to acting in a ghost story like this as opposed to more normal dramas? Do you have to bring a different attitude to the rehearsal room to get into the right mood?

      It’s about the night’s drawing in, the cold and the dark and us all gathering in together to tell stories of the past, which inevitably become ghost stories. I think A Christmas Carol has a lot to do with it also. It’s a time for reflection and looking back at the past and perhaps trying to make sense of things that don’t make sense! And we’ve just tried to keep the truth of each moment and scene. We can’t over play the scariness of moments because it then becomes too knowing. The characters don’t know they are in a ghost story, so you have to play it straight!

      And now you’ve some time to delve into the story and your character, have you developed any of your own theories as to what happened to the three men? Or are we to believe they just vanished into the thin air on that cold night?

      My mind keeps changing. My logical side of my brain accepts the most obvious answer, which is that they all got taken out by a storm, but my imagination wants it to be something else. Ask me again at the end of the run!

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      Our thanks to Graeme for his time out from rehearsals to chat with us.

      Wickies: The Vanishing Men of Eilean Mor plays at Park Theatre 30 November – 31 December. Further information and bookings can be found here. More

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      Interview: Sarah Milton on ‘4’

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      Playing at Park Theatre’s Come What May Festival

      Playing as part of Park Theatre’s Come What May Festival, Bruised Sky’s 4 tells the story of one woman’s response to a sexual assault. Writer and performer Sarah Milton approaches the topic by looking not just at sexual assault but at the effects of a toxic friendship, as well as crisis of identity. 

      It’s a subject that feels never far from the news right now, but as the statistics show, it’s also something that is still seriously under-reported and certainly one where the perpetrators are more often than not never held accountable for their actions.

      We sat down with Sarah to find out more about the play, why such stories are so vital and what her hopes are for the play and its audiences.

      (Trigger warning: This interview contains references to sexual assault and rape.)

      What was the starting point for you to write 4?

      I was sexually assaulted myself in my early twenties, but I didn’t really acknowledge it until I read the #MeToo hashtag in 2017. That movement was a period of awakening for me; not only did my behaviours and experiences that had followed the assault make a lot more sense, but I reflected heavily on how powerful denial had played into my survival. I was alarmed at how ingrained the expectation of assault and inappropriate behaviour was from men by women pre #MeToo and how easy it was to excuse; how the patriarchal systems in place had made it seem almost forgivable. Denial as a survival mechanism was certainly the starting place for writing 4.

      It’s clearly a very personal play, how easy is it to address this in front of an audience?

      I never write a play initially with the intention of it being read or watched – I try to write with truth and wildness of thought and then edit heavily before it’s sent to others. It began as a cathartic release of writing before it becomes more structured and less personalised, but the truth of it for me is still very much in the bones of the play. I was expecting it to be a very difficult process, but so far it’s felt empowering more than anything – like I’ve taken back the control that was taken from me all those years ago.

      Is there a risk that by examining toxic friendships alongside this story that the focus moves away from the actual perpetrators? Are we at risk of blaming the wrong people about what happens?

      I think because we live in a patriarchal society, we’re always at risk for blaming the wrong people for the wrong things. However, this play isn’t about perpetrators, it’s about survival. In the play, the friend of the survivor very much represents the expectation of the behaviour from men and how, as younger women pre #MeToo, we were almost encouraged to feed in to that behaviour in order to successfully attract them, which we are frequently told throughout our lives that we’re unsuccessful or undesirable if we don’t manage to attract a man. This is obviously ludicrous. I imagine the audience may want to blame her at times, but really we should be blaming the system that’s been built for her and led her to justify becoming a bystander to herself.

      Reported sexual assaults are just a fraction of how many are believed to actually occur each year, do you feel plays such as 4 can help empower women to report crimes with more confidence?

      Unfortunately, I think it’s going to take a lot more than a play to encourage women to report a sexual assault. It’s going to take a stronger judiciary system, an immense increase of faith and trust in the police and the law and more funded, professional, appropriate and timely support for survivors. That said, I do hope that the play will help add to the mounting voices highlighting the need for those things to change.

      The play was originally meant to play at the VAULT Festival, and was long listed for the VAULT FIVE mentoring programme, how vital are such festivals and programmes for emerging artists and those looking to test new work?

      VAULT and models like it are vital for artists like myself. They’re relatively affordable, lower-risk and allow voices a well-marketed platform that may otherwise remain unheard. It was devastating when VAULT was cancelled again this year, but a decision that was ultimately necessary. Audiences understand VAULT now and are more likely to take a risk on what they book for and see too. It was amazing to see how theatres attempted to rally round and house lost shows, proving that the industry recognises the value and importance of the festival and programmes like it. However, there’s a fear of taking on new voices in bigger theatres generally… But, audiences want them and with the right marketing support and authentic investment in those voices from the bigger buildings and producing houses, they will come. I think the financial losses from the pandemic are going to affect theatre’s ability to do that for a while though.

      What do you want people to leave 4 thinking about?

      I want people to leave 4 with a sense of how immediately a sexual assault can change your life, how denial can play a strong role in surviving but ultimately how resilient survivors can be. So often victims of sexual assault on television or film are either portrayed as overly hysterical and/or physically shaking, or the character’s assault also results in their death and the detectives (often male) talk about them and focus on finding the perpetrator, whilst also battling a deep, personal trauma of their own. Now, the former can of course be a person’s response – every reaction is different for every survivor but 4 is displaying a less publicly explored reaction; one very similar to what I experienced. 4 shows a woman functioning and going about her life immediately afterward, at times with humour, as I did and navigating her world with a changed and shifted understanding of it. But through it all comes the hope, and ultimately the joy, the protagonist realises she can find again.

      And after the Park Theatre run, do you have plans in place or are you waiting to see how the show is received first?

      We’d love the show to have further life, but there’s nothing solidly in place just yet. So, watch this space…

      Photo credit @ Lauren Mabbett Photography

      Our thanks to Sarah for her time to chat to us in such an honest way. 4 plays as part of Park Theatre’s Come What May Festival between 16 to 21 May. DIscounts are available for booking for more than one show in the festival.

      Further information and bookings can be found here. More

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      The Reggies 2019: Deluxe Edition – Part One

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      Well I really wasn’t sure what to call this latest instalment of the Reggies; I considered Roman numerals: The Reggies III in true Hollywood style, or maybe Reggification – the saga continues. But then I settled on The Deluxe Edition; simply because it’s now expanded to a sumptuous eight categories. It doesn’t seem possible that twelve months have passed since the Reggies were last awarded. As we hurtle towards 2020 I can happily report that London theatre has enjoyed another bumper year. But exactly who has done enough to earn a much coveted Reggie? Who will just have to make do with a runners-up spot? This task gets more difficult as the quality of shows moves inexorably into overdrive.
      Best Venue is always a loaded question especially as theatre has now morphed into four distinct tiers: West End, Off West End, Provincial and Fringe theatre. As before, I’ve excluded West End theatres from this category in the interests of a fair fight. So in third place, winning its third consecutive nomination, is the Old Red Lion in Islington. A lovely pub with a great atmosphere and rich history, its theatre has maintained consistency of output throughout the year. A brand new entry at number two is the Hope Theatre in Islington. With live bands playing in the basement and a brilliant theatre upstairs, the Hope & Anchor (as it’s popularly known) is now the complete entertainment venue. But the winner, another new entry, is Wilton’s Music Hall in Whitechapel. So cleverly concealed is Wilton’s that even Google Maps struggles to find it.  Once inside, the Music Hall, with its authentic Victorian decor, is a truly magical place.
      Best Actor is a devil to pin down as there are so many fine performers out there, and my field of vision is limited to the shows I’ve seen. Taking third place is David Schaal in the disturbing but compulsive Weatherman at the Park Theatre. Schaal delivered a chilling performance as the boss of a human trafficking operation. In second place is Miles Jupp in The Life I Lead at the Wyndhams Theatre, a delightful one man show charting the life of journeyman actor David Tomlinson. But the undoubted winner is Wendell Pierce in the turbo-charged Death of a Salesman at the Piccadilly Theatre. So good was Pierce’s performance as Willy Loman everyone else was bidding for second place; a performer of rare distinction and ability.
      Similarly Best Actress is difficult to call, but in third place is Fiona Skinner in The Sweet Science of Bruising at Wilton’s Music Hall. Playing tomboy Polly, Fiona stole every scene in which she appeared. In second place we have Sharon D Clarke as Linda in Death of a Salesman. It’s no easy task playing opposite a powerhouse like Wendell Pierce, but Sharon was in many respects his equal as family matriarch. Just pipping her for first place is Collette Eaton for her brilliant turn in House of Yes at the Hope Theatre. She was in dazzling form as the psychotic middle class girl with a fixation on her twin brother.
      Best Set Design/Special Effects was a category introduced last year to highlight ingenuity in small venues. So in third place we have Last Orders: the Haunting of the Old Red, strangely enough at the Old Red Lion. In a production that drew on the pub’s rich history to create a ghostly story of times past, by using a simple sound and lighting system they created a highly effective atmosphere. In second place is Dracula at London Library. Here the producers simply used what was already there: a beautifully designed reading room was transformed into a stage with carefully placed screens projecting images around the room. The effect was amazing.
      But taking gold is the excellent Ragtime at the Bridewell Theatre. It was a remarkable production, not only because Sedos are an amateur theatre company with a professional edge, but the set was a stroke of genius in a cramped performance area; a wooden facade stretched across the stage. With the addition of simple props it became the bow of a ship bringing immigrants into Ellis Island, then the suburban home of a wealthy New York family and finally the city library. It was brilliantly conceived and executed and even managed to conceal an orchestra behind the set.
      OK that’s the first half done. Stay in the moment and we’ll be back shortly to reveal the Best Tribute Act, best Shakespeare production, Best Musical and Best Play. More