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    Interview: The Card-Bard Returneth

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    Sam Wilde on bringing The Fir Tree to Shakespeare’s Globe

    Sam Wilde is an amazing designer, renowned for creating incredible, imaginative theatre designs and puppets out of simple bits of cardboard. From achieving a global internet sensation with his puppet show of Jon Klassen’s Hat Back books in lockdown, to a run of sellout live shows making the same stories bigger and better, he has been involved in some very exciting projects in the last couple of years. This winter he’s elevating his work still further, now gracing the boards of Shakespeare’s Globe in their festive family fairy tale The Fir Tree.  We asked The Card-Bard about what he’ll be unboxing for us this Christmas in the glorious wooden O.

    Sam, it really has been a great few years for you (give or take a global pandemic): your online productions of the Hat Back books went viral, then the live show was a complete sell out at the Little Angel Theatre. What does it feel like to now have your cardboard craft starring at the world famous Shakespeare’s Globe?

    It certainly looks impressive when you give me an introduction like that! If you ask my daughter what I do for a living though she’ll tell you that her daddy “plays with cardboard”: that feels a little closer to the truth to me!

    But I have certainly been very lucky, and there are a lot of fantastic collaborators who are as responsible for that as I am, fantastic creatives like Ian Nicholson (who directed The Hat Trilogy) and Jim Whitcher (who did the music) just to start with. I always say that there are no talented people in theatre, just talented teams, and I’ve been very fortunate with the teams I’ve been in! The Fir Tree is another great example of that, it’s a world-beating group of creatives that I’m just happy to be in the same room as!

    None of that prepares you, though, for when you somehow find yourself in a position where you are suggesting to the Globe’s Artistic Director Michelle Terry (!!!) that you want to cut up some delivery boxes and put them on the Christmas stage of what is undoubtedly the world’s most important theatre! If the idea of that doesn’t terrify you then I want a little of what you have!

    This version of The Fir Tree is an adaptation of the Hans Christian Andersen classic, by the incredible Hannah Khalil, writer in residence at the Globe. How has it been working with her and all those Shakespearean types? Is it very highbrow?

    Hannah is great! I’ve been lucky enough to work with her on a couple of projects (and even luckier to have a couple more hopefully in the works) and I’d be hard pressed to think of a better, more generous collaborator. The scariest thing about working with Hannah is how astute and intuitive her daughter is! She’ll come into rehearsals or a dress rehearsal sometimes and that’s when I really get nervous, she’ll instantly see into the core of whatever the piece is! It’s uncanny!

    As for highbrow, I don’t really know about that, it’s certainly a piece with artistic integrity, but it doesn’t lack for warmth or joy either. I remember my first meeting with Michelle (Terry) where she said she wanted to make a show that felt like a hug: that really stuck with me (especially as it was a time where good hugs were in short supply). This year it feels slightly different, still a hug, but with more… truth… and hope… and kindness in it. It’s an incredible team at the Globe and the creative team on the production is an absolute dream. I can’t imagine this show could be made in a different theatre, without the staff of the Globe, without Props or Wardrobe or Production Management, without Hannah or Michelle. Each and every one of them are incredibly rich in those noblest of qualities, of truth, of hope and above all of kindness.

    I’m a very lucky designer to get to work alongside them!

    What kind of things have you created for the production? And are they all made of vellum and parchment, it being an Elizabethan-style theatre?

    Ha, I’m afraid not, I have just come off doing the puppetry design for The Book Thief Musical with The Octagon in Bolton, and that was much more of a parchment-focused job!

    With The Fir Tree though the story and the theatre might be old, but what Hannah and Michelle have done with it couldn’t be further from the past! It’s a very modern story that is really relevant and apt for our times!

    In terms of the design, I’ve tried to focus on how sustainably it can be made, but also as a real celebration of wood! Whether that be the forest of trees that were used to make the Globe itself or the actual potted fir trees that are ever present in the show. There are also a lot of lovely costumes and puppets, many of them I made myself, but it’s been a real team effort (shout out to the wonderful Emma Hughes at the Globe!). There’s a whole range of cardboard makes; large bird wings, rabbit ears, birds, vans, Beatrice and Benedict the mice, Ophelia the cat and Iago the rat…  and Death who makes a small appearance! All taking place under a starry cardboard sky and advertised with a poster which is developed from hand cut cardboard shapes!

    It must be a fairly risky business using cardboard props in an outdoor theatre. Is there waterproofing involved?

    Cardboard is a lot hardier than folk give it credit for! That being said, water is obviously a bit of an issue, so we do take steps in preparation.

    The main focus for me, and the entire reason I like to work with cardboard, is that it’s all destined for the recycling bin in the end. Some people get upset when I tell them that, but I really revel in it, so many puppets or set or materials are made for a specific show, and when that show is over, they’re never used again, but as they’re made of foam or plastic they just sit on a shelf, unused, forever. Yes, cardboard puppets have an expiration date, but so do I, and that is a wonderful, wonderful thing!

    But to answer your question, yes, there is waterproofing (and fireproofing) involved, which makes the material less recyclable in the end, so what we actually do is make the puppet from cardboard and then put another layer of cardboard on top, it’s this that is treated, which can then be removed when the time comes.

    Tell us a bit more about how you’ve worked sustainability and recycling into the production.

    Sustainability and recycling have been at the real core of this shows design, when you see it and what Hannah Khalil has written you can see that it really had to be that way. But even if it wasn’t a central theme it’s how all theatre should be made: it’s how everything should be made going forward. The Globe and the team there really get that and everything it means for a production.

    The simplest way to look at it is that every single thing in this show is considered: do we already have that? is that something that the Globe already has in storage?  And if not, do they have something similar or something we can make work (which is yes for most of the set, props, costume in the show)? If we need to get something new, why? And can we borrow it from somewhere? Can we source it locally second hand? How are we going to get it? Will we reuse it? Can we recycle it? What happens to it after the show? Is it really necessary to tell the story?

    It’s a lengthy process, but in the end we have made a show that has a really minimal environmental impact, that is a celebration of what sustainable theatre can be, and of all the other shows that came before us and allowed us to use a chair or a chest or the fabric to make a dress or whatever. It’s probably what I’m most proud of in this production.

    That, and cardboard: an awful lot of boxes get another life on the stage!

    One of the signature things about your work in the past is that the audience has been encouraged to join in and get creative themselves, even – if not especially! – with your online show. Will there be opportunities for that at the Globe? What activities might we expect?

    I am so happy you’ve said this! More than cardboard or sustainability or anything else that has changed in my work in the last few years, it’s this that I feel has defined my attitude and work as an artist! It’s absolutely at the core of what I want to do, opening the world of design and construction, of craft and of making, to the public.

    And yes, there is plenty to get involved with in this show. The Globe themselves are running puppetry-making and crafting workshops that I’ve had a hand in developing, and there will be plenty of other things that you can access digitally and make at home. I’d love to bring particular attention to The Sparrows; we’d would love it if you can access the online video (featuring me!) that shows you how to make the sparrow puppets and bring them along to the show. They are all made of cardboard and everyday household materials, and we need your help to fill the forest with as many more creatures than humans as we can muster, so if you don’t fancy a sparrow then why not make a pair of rabbit ears, or deer antlers or a squirrel tail or whatever you fancy! It’s your creativity that will make this show great!

    Many thanks to Sam for finding time to chat with us about this exciting project. Here’s hoping for not too much snow this season!

    The Fir Tree is a family show and runs from 15-31 December at Shakespeare’s Globe You can book tickets or learn how to make your own woodland creatures to bring to the show at the Globe website here. More

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      Interview: Can We Tempt You With Some Tempest?

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      Rachel Hannah Clarke on playing The Tempest’s Ariel

      What is summertime without a trip to Shakespeare’s Globe? Come rain, come shine (or helicopters), it’s always a magical experience. This season there’s an actual magician and his daughter on stage as The Tempest takes to the boards once again. We caught up with Rachel Hannah Clarke, who will be playing their spirit servant Ariel, to find out more about life on the magic isle.

      The Tempest is such a fantastic play, with such memorable figures. How does it feel to be playing one of Shakespeare’s most famous and enchanting characters?

      Playing Ariel is truly a dream. She is cheeky, playful, magical, loyal and sensitive and I have so much fun playing her. I love that she can be anything that she wants to be. She is invisible throughout most of the production, which is a huge part of the fun and magic. Being invisible also allows her to connect with the audience in a unique and beautiful way, which is very special.

      Ariel is a spirit, rather than a human. Can you relate to her in any way yourself?

      Yes. Ariel is a spirit that is full of hope. As a person of faith I try to live my life with the hope that nothing is impossible if you have faith. Ariel uses her magic to make anything possible and I love that about her.

      There’s music, singing and dancing throughout the play; will you get to do much of that?

      Definitely. There are lots of beautiful and wild moments of song and dance. Any opportunity to have a song and a dance – I’m here for it! These moments just bring the story to life. The band is incredible and the music really helps to release the magic of the island. It highlights the wonderful relationship and connections that the world has to offer.

      You’re working with director Sean Holmes, who has brought some really exciting productions to the Globe in recent years. Can you give us any hints as to how he’s shaping up The Tempest?

      I’ve had the honour of working with Sean Holmes on a few productions now at the Globe and it has always been such a joy, and forever a memorable and wonderful experience. The production is innovative, thought-provoking, colourful and full of magic at every turn. Another hit from Sean Holmes and one not to be missed.

      Can you tell us anything about the costumes for the show?

      The costumes are amazing. I love them. They are wacky and fabulous and really help to inform the world of magic, charm and desire. They are an array of beautiful fabrics, bold prints, pristine suits and dress up – definitely a feast for the eyes.

      This is an open air performance all the way through to October: might you be needing some of Prospero’s spells to ward off any hurricanes?

      The unpredictable weather is all a part of the magic and beauty of the Globe. Rain or shine the productions here always deliver and The Tempest surely is one that will not disappoint.

      Thanks very much to Rachel for taking the time out of her busy schedule to chat with us. The Tempest is playing at Shakespeare’s Globe until Saturday 22 October. Sounds like it’s going to go down a storm! More details and how to book can be found here. More

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      Interview: Going Underground with Richard II

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      Quandary Collective on Bringing Shakespeare’s Richard II to The Vaults

      We never grow tired of seeing new companies find new unique ways to present Shakespeare to us. For plays that are centuries old, it’s amazing how easily they seem to still hold relevance for us today.

      Quandary Collective are the next to bring something new to the table with their Vault-bound Richard II. Taking Shakespeare’s words, they promise a fushion of muscular movement, bloody violence and electronic beats, to bring you a gut-wrenching rendition of Shakespeare’s classic that’s somewhere between Mad Max: Fury Road, an episode of Game of Thrones and what it might have been like to stand in the pit at The Globe in 1595. This young company’s fearless adaptation looks at what it means to lead a country, the insidious effects of toxic masculinity, and why gender continually seems to matter in positions of power.

      With such ambitious sounding plans, it seemed a good time to sit down to ask them more, especially whether we were going to see Mad Max style vehicles screeching through the Vault’s dark damp tunnels.

      What do you bring that’s new to this version of Richard II?

      A thorough investigation of the text, shining a light on current politics and a possible outcome of the direction our world is heading in right now. Throw in a good dollop of muscular movement, and a sprinkling of electronic beats and you have our adaptation of Richard II.

      The Vaults have hosted some great promenade shows, is this another that is going to walk you through the tunnels with the action?

      No, the play is staged end on in the Vault’s main theatre space. Though the lines between the real and imagined blur, we in no way intend to convince anyone that this isn’t a play. 

      You’re taking the show to The Vaults, are those damp tunnels a perfect location for such treacherous tales?

      Oh, they so are. The atmosphere neatly settles the audience in to the near future were we are setting the play, with the trains at Waterloo running over us and becoming part of the world. Think Mad-Max meets the 13th century in a strange combination of renaissance, chivalry and religious fanaticism clashing with raw brutality and cave-man violence.

      And how do you keep Shakespeare relevant and fresh for new audiences?

      For one, by not using what we like to call the “Shakespeare-voice“. Of course verse isn’t the way we speak to each other day to day, but we still look to talk to each other as human beings. Plus we love regional accents, which often brings such beautiful roundedness to Shakespeare’s poetic language. We also use other devices like the movement and music to really bring the world to life and hopefully excite and delight audiences.

      The play is considered very political, can we draw any parallels to modern day then?

      It’s all about politics, and the parallels are baffling. How did Shakespeare know?! Couldn’t be more relevant. First, the clash of old and young, different generations, and their miscommunications are one major theme of the play. Also, the current situation in Europe means the importance of peace which lives very deeply in some of the characters is something Europe is just relearning. 

      You’ve changed Richard to be “a woman presented as a man”; how does change the play then?

      In the bones of it, it doesn’t change anything. The original version talks about the historical Richard being seen as a bad king for not being enough of a warrior, as his father and grandfather were, for which there is historical evidence such as a letter preserved from his uncle Gloucester essentially slagging him off for the very reasonable political decisions Richard made, as they were seen as weak and soft. Effectively calling him a wet bag! So the idea of a woman playing the part presenting as a man feels like it just highlights those elements. Though there may be a surprise or two in store for the audience still.

      There is mention of Mad Max in the show blurb – you aren’t going to drive futuristic cars around the tunnels are you? Or is the reference more to do with overall style?

      It’s about the style for sure, and a useful shared cultural reference to get an idea of the kind of world we are setting the play in. Although if we had the budget for futuristic cars, this might be a different answer…

      And you’re promising electronic beats, which suggests it’s going to be loud? Should we bring ear plugs?

      Ear plugs won’t be needed, but there is pumping beats and a lot of high-energy movement. We hope you’ll be feeling the beats with us rather than wanting to stop your ears up.

      The play clocks in at a daunting 2 hours 45 minutes (including interval), how do you keep an audience’s attention for such a long show, especially given what we know of the Vault’s seating! Were you not tempted to start making a few cuts here and there?

      Oh, we have cut the play! We have cut about 35 pages and reduced the character number from around 36 characters to 11. Still though, we are not worried about keeping the audiences’ attention. Firstly, the play is really funny – which isn’t always obvious in such a dark story, but it truly is. Secondly, the music, movement, violence and feel of the word brings the language and world alive. So really time will fly!

      You are on for a month at The Vaults, will you see daylight at all in April then?

      Hahahahaha, luckily we are only on in the evenings so we won’t turn into strange underground tunnel creatures ourselves, just our characters…

      Thanks to Quandary Collective for heading above ground to chat with us.

      Richard II plays at The Vaults 6 April to 8 May. Further information and bookings can be found here. More

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      The Reggies 2019: Deluxe Edition – Part Two

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      The tribute act was once looked upon with disdain: it was quietly restricted to holiday camps and cruise ships. Nowadays it has turned into an industry, with quality acts playing major theatre venues. This is a very different beast from the jukebox musical, which has a narrative built around the songs of a particular artist: it is a genuine impersonation featuring their greatest hits. I’ve seen half a dozen play this year, so it seems only right to introduce a new category of Best Tribute Act. In third place we have The Greatest Love of All; a Tribute to Whitney Houston at the London Palladium. Belinda Davids turned in a slick tuneful performance as one of the greatest divas in pop history. In the runner-up spot is The Bowie Experience: The Golden Years Tour at the Hackney Empire. Lawrence Knight on occasion looked and sounded spookily like David Bowie. But the winner by a country mile is George at the Eventim Apollo. Backed by members of his original band, Rob Lamberti pulls off a brilliant impersonation of George Michael.
      So ever onward to the works of William Shakespeare, a category we have dubbed Dear Old Will. No theatre reviewer can get through the year without the bard featuring at some point. In third place is Macbeth: The Musical at the White Bear Theatre, a refreshingly new approach to the story featuring Avenue Q style puppets. Second spot goes to Twelfth Night at the Rose Playhouse; an ultra-smart musical version set on a cruise liner in the 1920s. Great fun if you can stop shivering for long enough. This year, though, the fat cigar goes to the Iris Theatre for their brilliant production of Hamlet at St Paul’s Church. The masters of open air theatre just seem to get better and better.
      And now the fluffy, feel-good world of Best Musical. You know the type of show: switch your brain into neutral and have a good old sing song. In third place, winning its second nomination, is Ragtime at the Bridewell Theatre. Nothing more could be asked of cast and crew in this recreation of a Broadway classic. In second place is The Pirates of Penzance at Wilton’s Music Hall. Gilbert and Sullivan have always had a touch of Marmite about them, but there was no doubting the quality of this production. An all-male cast (some clad in basques!) were note perfect throughout. And the proud winner of this hotly competed category is Ain’t Misbehavin’ at the Southwark Playhouse. The Fats Waller musical has never sounded better than in this confident production featuring an excellent cast.
      I’ve saved the blue ribbon event for last. The award for Best Play is the most difficult category to cast with the volume, depth and quality of production in London theatre. My top three constantly changed even as I drafted. Finally I settled my troubled mind: in third place, The House of Yes at the Hope Theatre; a marvellously inventive play with strong characters and a tight script. In second place, Jesus Hopped The ‘A’ Train at the Young Vic; a great title, great script with cool acting in the coolest of venues. So why on earth didn’t it win? Death of a Salesman rose like a giant casting a shadow over everything in its wake. The play is a classic of 20th century theatre, but like so much of Arthur Miller’s work is still considered a writer’s play. Critics will love it but it will often garner a mixed reaction from the public. It may be long but in the hands of a great cast it becomes a moving, almost electric portrayal of life in all its pain and glory.
      I expect 2020 to be another outstanding year in the theatre.  We seem comfortable to continually raise the bar, and expect even greater things from our actors and creatives, but somehow you just know it’s going to get better. See you the other side of Brexmas! More