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      Interview: Diving into The Drought

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      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. More

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      Feature: Shaftesbury Theatre: Dramatic Transformation

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      How Shaftesbury Theatre’s exciting renovations are helping put heart into the art of the West End

      The Shaftesbury Theatre, currently home to & Juliet, this week revealed the latest stage of its £10 million ‘Dramatic Transformation’ programme, and Everything Theatre was invited along to see what they’ve been up to. It’s an impressive project; but the tour revealed that what’s unique about the theatre is more than just the building itself.

      The Shaftesbury is the largest independent theatre in the West End. A gloriously ornate Edwardian structure, built in 1911, it has withstood two world wars and a more recent global pandemic. Our host, Executive Director James Williams, explained not only how the Grade II listed building has been carefully future-proofed with a massive investment in its infrastructure, but spoke with passion of community connections, networks and wellbeing.

      In 2013 a series of building improvements began, including installation of offices and an impressive £5 million flytower, which are visible from the roof. The foundations and steel legs for this were installed during just two eight week dark periods back then, and the top section followed, in 2015. The theatre remained open throughout, with construction work during the day and performances of Memphis and The Illusionists each evening. In 2016 a lift was fitted down to stage level, where there is an accessible dressing room and toilet for performers with mobility issues.

      The seed for further improvements began when Camden Council announced its intention to develop Princes Circus, including pedestrianising areas around the site. Realising that the theatre owned the land beneath the road, they seized on the opportunity to extend their basement premises. This week sees the launch of the beautiful 1911 stalls bar, constructed 3.5 metres underground. The renovation process revealed layers of the past, such as the bare bricks of the bar, which have been kept. The white tiles of the former heating plant also remain, but the space is now innovatively reinvented as a cosy hospitality area: the new Taffner Suite, named in honour of the late Don Taffner Sr (former Chairman of the Shaftesbury’s Theatre of Comedy Company and father of the current Chairman, Donald Taffner Jnr).

      The theatre’s beautiful historic ceilings have now been renovated, allowing for working platforms in the technical void above the dome ceiling. Formerly technical staff would be unable to stand when working above stage.

      Further refurbished public spaces have also been unveiled, including over fifty new toilets, a state of the art air-conditioning system and reconfigured seating in the auditorium. Access needs have been enhanced with the fitting of a public lift from street level to the stalls, along with thirteen new wheelchair spaces and removeable seats, which will eventually be installed throughout.

      All of these improvements set the theatre up for a great future. But clearly there is more to it than bricks and mortar. James spoke of the Shaftesbury as above all a space for people; a place to “feed the soul”. Wellbeing is at the heart of many of the changes. A flat space set back from the steels of the flytower offers a peaceful rooftop recreation area for staff, whilst the stylish entertainment spaces open the building to new visitors by day, for meetings and creative events. And it’s good relationships in the industry, at the council and in the local community that forge the distinctive, independent personality of the Shaftesbury, making it unique.

      This is a fabulous West End theatre that truly has a beating heart beneath its art. Its new features will allow it to welcome customers new and old to fabulous shows for many years to come.

      & Juliet is booking at the Shaftesbury Theatre until Saturday 25 March 2023. Details are available at https://www.shaftesburytheatre.com/events/juliet/ More

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      Interview: Now with Not Now

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      Max Elton and Matthew Blaney talk Not Now

      Finborough Theatre 1 – 26 November.

      In advance of David Ireland’s Not Now opening at Finborough Theatre in November, we chatted with Director Max Elton and actor Matthew Blaney about the play, playwright and bringing the show to London audiences.

      What can you tell us about the show.

      Max: The show is about a young man, Matthew, who is about to travel to London for an audition at RADA. The timing is not good, his father has just died, and in his place, his Uncle Ray emerges as confidant. The question is, is Ray able to help him navigate this difficult time, or is he a bit useless? David Ireland writes two types of plays. In one type babies are brutally murdered and dogs are romanced. This is the other type – though I think giving away anything more at this stage would be a bit of a spoiler and we wouldn’t be caught dead doing that. I think people will laugh a lot and feel like they’ve been treated to a deeply satisfying evening at the theatre – all in about 50 minutes. 

      Matthew: The play takes place in real time, in Ballybeen, East Belfast, where my character Matthew (an aspiring actor) prepares for his RADA audition that afternoon in London. It’s the day after his father’s funeral. He’s rehearsing the opening soliloquy from Richard III when his Uncle Ray interrupts him. Matthew is naturally feeling underprepared and is having second thoughts about going at all, and what unfolds is an examination on grief, identity, loyalty and love between the two men. It’s also feckin hilarious. 

      Ballybeen is where David’s from originally and listening to interviews he’s done in the past, and discussions in rehearsal, Matthew feels alot like how he may have been as a youngster; Matthew’s a very sweet kid: angry and awkward, but also very sincere. There’s a decency that slowly reveals itself in him I also find very touching.

      Max, you directed the very successful Yes So I Said Yes at Finborough last year, what was your first exposure to David Ireland and what made you want to direct his plays?

      Before Yes So I Said Yes, I’d directed The End of Hope at Soho Theatre which was a lovely show. I had come across it after seeing Cyprus Avenue at the Royal Court Upstairs. My response to David’s writing was completely different to anything else I’d ever seen. His characters get pissed off about the same sort of things that I get angry about. I don’t come from Northern Ireland and I don’t share the same history as many of David’s characters but on some level I strongly identify with them.

      Matthew, were you familiar with David Ireland?
      He’s the best! I’m delighted he’s known now in London and that his work has travelled successfully. He was writing for the Lyric Theatre in Belfast when I was taking classes at the Drama Studio nearly ten years ago. I was hooked right away – I distinctly remember Can’t Forget About You was a breath of fresh air.

      David Ireland has previously said that he thinks he is only ever writing for a Belfast audience but his work clearly has wider resonance and success. In London, Not Now will be his third play at Finborough and the Royal Court staged Cyprus Avenue to great success. What do you think is behind his success?

      Max: David’s flair and insight are on a different level to the vast majority of playwrights working today. He’s a one off and that quality resonates with people, wherever they’re from. 

      Matthew: He doesn’t shy away from the darkness. Certainly with Cyprus Avenue. I think audiences everywhere crave a safe space to be challenged, and seeing the horrors we are capable of doing to each other. Not Now is a quieter piece, but the anger is similar.

      Did you know each other before coming together for Not Now, had you crossed paths socially or worked together previously?

      Max: They had not but I was aware of both Matthew and Stephen. I’m thrilled to be working with both of them.

      Matthew: Unfortunately not. Stephen’s brilliant to watch and learn from, and I’m excited for audiences to see what he’ll bring to Uncle Ray.

      How has the first week of rehearsals gone, are you discovering anything new about the text or characters now that you are together in the room?

      Max: Rehearsals have been very exciting. Reading Not Now only gives you a glimpse of the iceberg with regards to its depth. We’re several feet under sea level now. 

      Matthew: It stops being funny very quickly! For us I mean – the jokes are class but it’s all coming from a painful place. You’ve got to really go there a little to find the truth behind the words, which Max has been encouraging us to do. By the time we get it up and running, the audiences should be reminding us we’re in a comedy again.

      Matthew, as a Northern Irish actor and given some of the plays themes of identity, how does it feel to bring this to London? Is there a little extra joy or satisfaction in taking on a role where you are playing a Northern Irish character in a play by a Northern Irish playwright? 

      I think it’d be difficult to tackle this without the lived experience, which David obviously has. I’m excited for people’s response to the play. The identity question is clearly a frustrating one (as the text explores) which hit me hard personally at Drama School. I’m delighted to bring some of that into my performance, and for audiences to see the complexities unfold in a very immediate and intimate way.

      Many of our ET team list The Finborough as one of our favourite London venues, tell us a little about working with the team? Max, we believe this is your third production here, you must enjoy working with Finborough?

      Max: I think Neil (McPherson – Artistic Director, Finborough Theatre) is brave enough to program work that other Artistic Directors shy away from. It is heartening to know that Neil prioritises excellent writing above all other factors when programming the space. 

      Matthew: Everyone’s been fantastic. I’m very chuffed to be a part of the team, and to get onto the stage pronto. 

      Max, originally you were due to bring back Yes So I Said Yes after its successful run last year but some scheduling issues got in the way. Was there a sudden ‘oh s**t’ moment when you realised you won’t be able to go ahead?

      Yes there was an ‘oh shit’ moment. It was very sad and it made me want to run away and start applying for jobs in the civil service. 
      There are many good days working in theatre and those of us able to do it should consider ourselves very lucky but the bad days can be really very miserable. That said, out of the ashes has come the opportunity to work on a play that I loved the first time I read it so the Department of Digital, Culture, Media and Sport will have to wait until at least the new year.

      Tell us what you each have coming up after Not Now finishes? 

      Max: I’m directing a version of The Government Inspector by Nikolai Gogol at St Mary’s University, which I’m very excited about. Gogol characters can be truly repulsive but there’s something very clear and true about the way they act that I find very funny. 

      Beyond this I’ll be returning to my day job of repeatedly emailing Artistic Directors and Producers to assure them that I do indeed “hope they’re well” and am available for coffee at 1 hours notice.

      Matthew: I’m going to be doing a few nights at The Hope Theatre next year in January with a new play called The Best Pints by Jack Gallagher. He’s also a brilliant writer from back home and that’ll be nice to kick start the new year for sure.

      You can follow Not Now Play on Twitter. Our thanks to Max and Matt for taking the time to talk to us. Our thanks also to 19th Street Productions and credit to Lidia Crisafulli for the rehearsal photos.

      Not Now plays at Finborough Theatre from 1 November to 26 November. Tickets and further information can be found here. More

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      Feature: Singing Along at Musical Con

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      Excel Centre 22 – 23 October

      We sent Lily Middleton along to the first ever Musical Con to find out just what it is all about, and whether it could become an annual event for the legions of musical theatre fans.

      I think we’ve found the place where we belong

      [embedded content]

      Strolling from Custom House station up to the ExCel Centre and it’s easy to spot my fellow musical theatre fans. Whilst I’m sporting a “The show must go on” charity t-shirt, there are also a plethora of Queens from Six, residents of Oz, students of Westerberg High and much more. We’re all heading to the first ever Musical Con – a convention for fans of musical theatre.

      The convention is a mix of performances, panel discussions and opportunities to meet the stars as well as workshops for budding performers. There is a small selection of stalls with musical theatre themed gifts, temptingly charming embroidery kits and the newly launched Musicals magazine. If you’re looking to train in the industry, there are plenty of theatre schools on hand to offer advice and guidance. I met Sam Rowe, a musical theatre student at Trinity Laban with dreams of being Javert in Les Mis, who is there to inspire prospective students. He stresses how everyone in the industry must be a fan to start with, and there’s no shortage of them in this hall today.

      There’s a lot going on at Musical Con. And sadly, this is slightly to the detriment of the event. It’s very loud. Very, very loud. When watching the incredible Jenna Russell, she caveats her performance of one of Sondheim’s most exquisite songs, by saying “This is gonna be hilarious. It’s such a quiet little song.”, and she comically wonders what her friend, Sondheim himself, would have made of the situation.

      The whole event is in just one hall at ExCel, so the music and shouting from the workshops easily carries across to the main stage. It’s distracting at best, but at worst it completely spoils the performances on stage. In the ‘Backstage’ area, home to many fascinating talks, there are headphones on each chair (the type you’d have at a silent disco) but again it’s quite hard to focus. You can’t help but feel sorry for the stars on stage, battling with the general volume of the event. We had to keep leaving the event space every now and then to give our ears a break.

      Musical Con has also received some criticism online around accessibility issues, from not being clear in advance of the event for fans who were trying to work out if it would be possible and safe for them to attend, to issues on the day for those that did go. There is very little seating around the main stage; as a result you either have to stand for long periods of time, hope you can find a chair or just sit on the floor – not an option for all attendees.

      Having said that, when this event is good, it’s fantastic. The opening performance on the main stage featured six West End icons performing a real mix of classic show tunes and more recent hits. Highlights were Ben Forster with his goosebump-inducing performance of ‘The Music of the Night’, Alice Fearn charming us with ‘Into the Unknown’ and Trevor Dion Nicholas thrilling the crowd with ’Friend Like Me’. And it was an absolute treat to hear the crowd erupt when Layton Williams burst onto the stage in his icon-making role from Everybody’s Talking About Jamie.

      But my personal highlight was witnessing four past Elphabas, Alice Fearn, Louise Dearman, Laura Pick and Nikki Bentley, discuss their experiences of playing this iconic role in Wicked and performing some of Elphaba’s showstopping songs. Watching them perform ‘Defying Gravity’ together was an overwhelming experience, a real treat for the fans in the room.

      A new event will always have issues, but Musical Con has some work to do for next year to make the event more accessible and find a way of controlling the noise levels. It’s also an expensive day, at £45 for the most basic day ticket and up to £195 for a weekend VIP ticket. At first, I questioned whether the event felt worth the money, and when you can’t get a seat at the Backstage talks stage to hear the panel discussions, or need to leave the event space just to avoid a headache, it feels hard to justify.

      However, most of the visitors I spoke to were flying high on the buzz of the day. A sibling pair had travelled from Glasgow and said they hope it happens every year whilst friends who’d travelled for 2½ hours to be there loved the variety of things to see. A group of Phantom cosplayers told me about their “stand-off with Les Mis” with glee, before explaining how they felt the event was a safe space, where they can be whoever they want to be without judgement. It’s a place for musical theatre fans to come together and freely share their passion.

      Hopefully Musical Con will iron out its teething problems and address the communication and accessibility issues to make this event a safe and welcoming staple in the musical theatre calendar, for all its audiences.

      Musical Con took place on 22 and 23 October 2022. Check the website here for future announcements for 2023. More

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      Interview: Chanel Waddock on playing Desdemona in Frantic Assembly’s Othello

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      This autumn, Frantic Assembly Theatre Company set off on a ten date tour with their version of Shakespeare’s masterpiece, Othello. This production began its life back in 2008, was revised for 2014 and has now been updated once more for 2022. We had a chat with Chanel Waddock, who is playing Desdemona, to find out a bit about how a 400 year-old text fits in to our 21st century world.

      [embedded content]

      Hi Chanel. I think the last time I saw your work was on a TV screen in This Is Going to Hurt with the fabulous Ben Whishaw. It must be such a completely different challenge working with Frantic Assembly, who are renowned for their amazing physical theatre and precision choreography. How are you finding it?

      Hey! This is my first time working with Frantic Assembly and it has been magic! I first encountered Frantic’s work when one of my secondary school drama teachers showed me some YouTube videos of chair duets (Big up Sandhurst Secondary school and the gem that is Jason Hanlan) I then saw Lovesong, at the Lyric Hammersmith on a school trip, and still to this day it’s one of my favourite pieces of storytelling!  From then on I’ve followed all their work, and to now be in a production of theirs is very special, from being the wide-eyed teenager sat in the stalls of the Lyric Hammersmith.

      Yes, I guess TV and theatre demand different things and the process is very different. I love how Frantic concentrates on the physical just as much as the vocal. I think the stat is 70-93% of communication is non verbal. Focusing on the physical to enhance, to match and to do justice to the written word of the work has been super exciting. It has been such fun exploring how we conduct ourselves in this world of the pub.

      The legend that is Scott Graham [Artistic Director of Frantic Assembly] talks about the three universes of touch; before the touch, the touch and after the touch, an approach to character and storytelling I will definitely be nicking going forward – thanks boss man 😉 . The team really is filled with masters in movement.

      Othello is such a classic, respected play, but it has been around for ages – written in 1603! This being a Frantic Assembly production, I take it it’s not a dusty, fusty interpretation? Are you even using Shakespeare’s original text? Tell us a bit about how the production makes the story relevant in a contemporary context.

      Yes, we are speaking in Shakespeare’s original text, although I’m sure it may not feel like it to the ear and eye of the audiences sometimes.

      I personally enjoy work that reflects the world today socially, politically and undeniably emotionally. As much as Othello was written hundreds of years ago, the story transcends time and Frantic’s version of Othello, set in this claustrophobic pub riddled with hierarchy and the value of reputation, seems to have no expiry date. So many current issues and events feel present in the text and in this production. Thinking about Desdemona – especially in Frantic’s setting, this world of machismo and toxicmasculinity – it got me thinking about the spike in domestic abuse cases being reported during the pandemic; cases of sexual assault and violence against women; records within our monarchy of sexual misconduct and the rank abuse of power within Westminster; the US Supreme Court’s decision to overturn Roe V Wade and the ramifications that has on women’s bodily autonomy today. I think a play that tackles universal and immortal topics will always have as much life as it once did when it was originally written.

      You’re playing Desdemona, one of Shakespeare’s most loved tragic heroines. Is it a big responsibility playing her? And how does it feel to be the woman at the centre of this very masculine story?

      I love watching the endurance of people – people coping, people being wobbly, people being misunderstood and how that all manifests. That’s exactly what Frantic’s Othello is, especially for Desdemona – a woman in a man’s world filled with misinformation. I knew I wanted my Desdemona to be bold, bright, brave and ballsy. She is an active fighter and I wanted her fight to be felt.

      Of course I needed to honour what the story demanded and required (even though, at moments Chanel the actor didn’t want certain destinies for Desdemona). I think when playing a well known character of Shakespeare’s you have the weight and ghost of people’s ‘interpretations’ that have been done before. I wanted to purge myself of that and put my print and stamp on Desdemona that is bubbling with my authenticity as an artist. The responsibility I felt the most was to represent a strong, multifaceted woman, which felt current and truthful for audiences and specifically young woman watching.

      I believe there’s exciting music in the show too; can you tell us a bit about that?

      Frantic are a big fan of the musicians Hybrid. Frantic worked with them when they originally did the production in 2008 and the music stayed for the production in 2014 and our current show in 2022. 

      And you’re going to be touring until February; is this a production that will travel well around different parts of the country?

      Yes, we kick started the tour in Leicester, we have now done Liverpool and I’m currently talking to you from Plymouth. We go all over, up and down.

      Many thanks to Chanel for taking the time to tell us about this exciting new production, and we wish her and the company well!

      Othello is now touring until February 2023. Full toud dates can be found here.

      It completes its run at the Lyric Hammersmith from Thursday 19 January – Saturday 11 February. Bookings and further information for Lyric dates can be found here. More

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      Feature: Curtain’s Up on Theatre Café Diner

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      When we got an invite to check out the new Theatre Café Diner, an invite that included some free food, we knew just the musical fanatic member of our team who would relish the chance. And so we sent Sidonie along to sample the food, sip a little drink or two and marvel at the musical themed decor before reporting back about this new venture that is already looking like the place to go for any diehard musical fan.

      Tucked away on Shaftesbury Avenue between Cambridge Circus and the Shaftesbury Theatre is a hidden gem of wonders perfect for any musical theatre fan. Daytime passers-by could be forgiven for not noticing what’s inside 154 Shaftesbury Avenue, with its musical theatre poster windows hiding the magic that only becomes fully visible as the sun sets, and the lights inside the Diner brighten the street, drawing in passers-by to find out what excitement lies within.

      The concept is simple; great food, musical theatre themed décor, and waiting staff who regularly grab a microphone and belt out a number or two. Cheesy? Potentially. But it works. The vibe is great. The staff clearly love a musical just as much as the customers, and it shows as they dance around, singing along to whatever’s playing on the jukebox while serving and chatting away with customers.

      The menu is a nice mix of diner food, with some fantastic names to boot – whoever came up with them is a genius – I can highly recommend the La Vegan Boheme (Burger) and Bruce Bogtrotter’s Chocolate Cake. The cake tastes just as I always imagined it would. There is also as a great selection of drinks, both alcoholic and non, to suit everyone’s taste. My dining companion was a big fan of the Long Island Iced Tea-nage Dream.

      A lot of thought has clearly gone into the Diner’s design. The décor is a lovely mix of iconic pieces from a both current and older musicals, including some costume pieces that fans will love getting so close to. I personally loved the Kinky Boots red boot stall seats. There are three bookable booths, which are surely going to prove extremely popular. Two are dedicated to specific shows – Six and Heathers (although both are downstairs with no lift access which is a shame) and the ‘Royal Box’ which overlooks the ground floor, although this also requires navigating a few steps to enter.

      Saluting older shows there are table areas dedicated to Cats and Joseph, both with a little extra pizazz to them, while every tabletop has a production photo from a different show. You never know whose face you will be dining off! And let’s not forget the loos, they are just as much a work of art, and whoever’s idea the back of cubicle doors was, I salute you! #IfYouKnowYouKnow and if you don’t, you must go and find out!

      If you are looking for a meal pre- or post-show, or just a good place for a cocktail or two before a night out and you love musical theatre then this IS the place for you. You can’t help but leave with a smile on your face. I’d also go as far as saying it’d make a great venue for Hen, Stag, Birthday and Christmas parties – but make sure you enquire early. I suspect the Theatre Cafe Diner is going to find itself a very busy place once word spreads.

      These, plus Kinky Boots seating photos by Sidonie Ferguson. All other images by Theatre Cafe Diner

      Location: 154 Shaftesbury Avenue, London WC2H 8HL

      Opening Hours: Mon & Tues: 3:30pm to 11:30pm, Wed – Sat: 12pm – 11:30pm, Sun: 12pm – 10:30pm

      Website: https://thetheatrecafediner.co.uk/

      Pre-booking is advised, walk-up spaces are not guarenteed. More

    • 88 Shares99 Views

      in Theater

      Interview: Fury By Name, Not By Nature

      by

      Fury Entertainment’s Rachel Harley and Gabrielle Silvestre on new play, Des Fleurs

      The Space 25 – 29 October.

      We’ve said it plenty of times before, but it’s worth repeating. We absolutely love The Space. It is what fringe theatre should all be about, taking risks, offering support to new and emerging artists and putting on shows that can at times be wonderfully different and exciting. So it’s easy to see why Fury Entertainment were invited along with their show Des Fleurs.

      Fury Entertainment is made up of Rachel Harley and Gabrielle Silvestre, and cite their roots as feminism, queer culture, devising and fringe theatre. It sounds a perfect fit for The Space. And more than enough to make us what to find out more.

      Let’s dive straight to Des Fleurs, what can you tell us about it then?

      Des Fleurs is a new play about choice, queerness and identity. It follows Judith, an old woman facing early onset Alzheimer’s and the death of her husband John. As she argues with her children about whether or not she should move to a care home, memories from where she was a young wife and mother replay in front of her eyes. Those two time lines collide with each other and create a fuller picture of Judith, revealing what Judith was like as a young woman, the history of her relationship to her husband and to her long lost friend Georgia, and the roots of her attachment to her house.

      The play looks at the effects of early-onset Alzheimer’s, what made you want to tell a story about this subject?

      Well, long story short but I (Gabrielle) trained as a doctor before going into theatre, and when I was at Uni I studied Medical Ethics for quite a while, which remains a life-long interest for me.

      One of the four pillars of medical ethics is the respect of a person’s choice over their body, their life and their treatment; and choice is one of the big themes I wanted to explore with the play. However, when a person develops a pathology such as Alzheimer’s, sometimes their ability to make informed decision is called into question. Thing is, there will be a grey area when a person can still make informed decisions but their carers will also start making decision for them. I don’t remember seeing a play about this particular period of time so I was keen to write about it and explore the implications of it.

      And it became quite clear very early on that Alzheimer’s or dementia is an issue that affects, directly or indirectly, so many people, yet you don’t see it that often represented on stage. That was quite a big motivation as well.

      Did you have to do lots of research into the subject to ensure you portrayed it accurately?

      I referred back to my old lectures to make sure to get the medical aspect of it as close to reality as possible. We also made the choice to place ourselves relatively early in the Alzheimer’s, when symptoms are not too severe yet, so we could focus on Judith as a person and her relationship with her family. It was also a case of discussing with people around us who had been in a similar situation and getting their feedback on the successive drafts of the play.

      The play also looks at identity and queerness, how do these tie in with the central Alzheimer’s theme then?

      Actually, the queer theme came first! I identify as a queer woman, and when I started to write Des Fleurs it started with the story of a queer woman like myself. Then the story became one of a queer woman looking back on her life and this is where this Alzheimer’s theme came in.

      The queer theme is very close to my heart, and this feeds in the theme of identity a lot as well, as Judith’s queerness is a big part of who she is. And once again having as a main character a queer woman in her sixties gives me the opportunity to experiment with things I don’t often see on stage, like someone coming out to their grown-up children. I’m really passionate about queer theatre and I think one of the most important thing about it is that it’s a way for the queer community to share and pass down our stories. It seemed very appropriate to have a character literally reliving her life and passing this history to her family.

      We see you’ve got a cast of seven for this play, which is quite a number for fringe shows, how easy is it to create a show with such numbers and stick to your principle of “equal pay for equal work” – something that really should surely be the aim for all theatre companies though?

      It is quite a big cast yeah! For obvious reasons it takes more organisational efforts the bigger your cast is. Des Fleurs is built around two colliding time lines, so although they overlap not all characters interact with one another, which in turns means that we can rehearse both timelines separately. It’s a balancing act really. It’s about being able to rehearse things individually whilst also allowing the two halves of our cast to feed from what the other is doing.

      Funding has proven very difficult for everyone lately and unfortunately we didn’t get funding for this play this time around. So we’re doing everything on the basis of a profit share. It’s going to seem a bit cliché, but you’ve got to be the change you want to be in the industry. So it was a question of being absolutely transparent and straightforward with our cast, to let them know exactly what was happening and to always keep the conversation open. Everyone will be paid equally for this project, and it’s always been the case from the very start.

      To be honest we’ve also hit the lottery with our cast. The guys are really extraordinary. They’re all incredible actors and very dedicated making the play the best it can be. And very supportive as well! They’ve been a dream to work with really.

      How did you get involved with The Space then to bring this play to their stage?

      We first started to work on the production side of this play about a year ago maybe? We did an R&D on the memory scenes, then a few months later we did a development tableread of the entire play curated by FlairboxUK. Then we applied to be part of the Autumn season at the Space theatre and we got accepted! It’s really great to have the opportunity to work with them. As you’ve said, they’re a champion of new writing and they’re incredibly supportive of young companies. Plus you get to meet and link up with all the other companies of the season. It’s really a great environment to make theatre.

      Is this Fury Entertainment’s first play then?

      It is yeah! Though it’s been a long time in the making. It feels really great to finally get to share it with an audience.

      You’re putting on some workshops entitled “I can’t think straight”, what are they all about then?

      They are queer theatre workshops, free and accessible to all, and created so that queer theatre makers and allies can experiment specifically with queer characters and narratives.

      The idea came from my own experience of being in drama school. Because I identified as queer yet always got cast in straight part. I think I got to play a Lesbian for like five minutes in two years, and that’s not exaggerating, it was a five minute scene. And I had a problem connecting with my characters sometimes and just thought it was about me. Then when I started to work professionally and got to work with queer characters for the first time I noticed a massive difference because they instantly made so much sense to me. It was a Eureka moment. And that’s probably what happens all the time to straight actors playing straight characters, but for us the opportunity to play someone like us isn’t necessarily something that comes very often. So we really wanted to create a space where we could do that and play queer people.

      We’ve got three workshops lined up with the Space, on the 26, 27 and 28 October. All three of them are free and open to all. On the 27 October we’re doing a workshop on making queer theatre and putting on a queer play, coming from our experience with this show. We also want this one to be an opportunity for queer theatre makers to be able to network. On the 26 and 28 we’ll be doing queer play studies: the first one on ‘The Normal Heart’ by Larry Kramer and the second on ‘Neaptide’ by Sarah Daniels. They’re both incredible plays and they both have very strong links to queer history, so they should be very cool to play with.

      And what would you say is going to be Fury’s focus in the future then, is it just theatre you’re going to focus on, or have you got eyes on other mediums as well?

      We both trained in theatre and that’s where our first love is, but we definitely want to play with other mediums as well, and that’s always been one of our goals for Fury. Not to say too much, but we already have a short film project in the pipeline.

      As you’ve said, this play was written by one of you, is Fury’s focus going to be on your own writing, or do you envisage making works by other writers as well?

      Probably both to be honest! For our first project it definitely made sense for us to work on a play that one of us had written, and we’re both writers and we’ve got no intention to stop writing. So we’ll very likely keep making our own work over the years. But supporting emerging artists is something we’re also committed to as a company, whether they are actors, theatre makers, directors or writers. Hopefully we’ll be able to work with someone else’s words before long.

      The show plays between 25 to 29 October, are you already looking at where it goes after this run then? What are you ambitions for the play?

      Definitely! We’d love to transfer the play to another venue for a longer run, and maybe tour it later down the line. This is not the last you’re going to hear from Des Fleurs, or from Fury Entertainment for that matter!

      Our thanks to Rachel and Gabrielle of Fury Entertainment for finding time out of rehearsals to chat with us.

      Des Fleurs plays at The Space between 25 and 29 October at 7.30, plus a 2.30 matinee on the Saturday. The show will also be livestreamed on 27 October, and then be available on-demand for two weeks. Further information and bookings can be found here. More

    • 75 Shares159 Views

      in Theater

      Interview: When Willows Turn to Wilton’s

      by

      Piers Torday on adadpting Wind In The Willows

      This winter the wonderful Wilton’s Music Hall is hosting a family production of The Wind in the Willows – wait! No, it’s actually The Wind in the Willows WILTON’S! So maybe a slightly different revival of Kenneth Grahame’s classic novel? We thought we’d better have a chat with award-winning writer Piers Torday to find out what we might expect from his adaptation.

      Piers, you’ve got a bit of a history with Wilton’s: The Box of Delights was a big hit recently, and now you’re back with another classic story. What is it about the place that appeals to you?

       It’s the oldest working music hall in Britain, and you can tell the moment you step through the door. Theatre history is literally coming out of the walls, and the place casts this incredible spell over audiences. The distressed walls and stone floors make them feel like they are watching a show in the past – even if it’s super contemporary, which is a gift for staging classic and period pieces like Box or Willows.

      The hall is always a character in your show, whether you like it or not. It’s a challenge, but give me that any time over a black box…

      Many adults know The Wind in the Willows from their childhood, but is it a story that is still fun for today’s young audiences?

      I think so. The heart of the story is about friendship, with this quartet of buddies who are the archetypes of so many friendship groups – Mole, the fussy introvert, Rat, the outgoing new friend who is also eager for change, grumpy Badger and of course, the irrepressible, self-obsessed Toad whom they love, despite his faults.

      But at the same time, we have brought the story up to date. We’ve relocated it to modern London, mixed up the genders a bit, and dropped all the jolly good Edwardian chaps in waistcoats stuff. (I loved that as a kid, but it was a long time ago, and it’s been adapted in that way so many times.)

      These are real animals who live today, with human characteristics and back stories that I think a contemporary, young, diverse London audience will recognise and enjoy watching.

      Your novel The Last Wild was published in 14 different countries, so obviously offered a globally resonant story. Are there themes in The Wind in the Willows Wilton’s that will similarly interest a wide family audience?

      We can’t escape it. The tragedy is that the animals in Wind in the Willows are under threat, from water voles (Ratty) to various breeds of toads which are going extinct. Not to mention the horrific pollution in our rivers we have seen this year. This is a Christmas show, and we want to entertain people and take them out of their lives, so there will be no doom and gloom but – it’s not a spoiler to say that UK wildlife, countryside and waterways are under threat in our story just as much as they are in reality.

      I’m most proud of the fact though that the actual production will be following the Theatre Green Book and will be super sustainable. We are trying to recycle and reuse and use as little new stuff as we possibly can.

      There’s an exciting team of cast and creatives on board for this show (I’m looking forward to seeing Corey Montague-Sholay as Mole!), including some actors who’ve done Shakespearean work in the past – no dumbing down for the younger attendees then?

      It’s a completely phenomenal cast and creative team, with some very impressive credits. I feel like Christmas has come early!

      Making good work for young people, and Christmas shows that whole families – from little children to their grandparents, can all enjoy together, is a serious business in my opinion. I would never condescend to or patronise young audiences, we want to serve them the very best theatre we can make, that is as ambitious and entertaining for all as it is accessible, inclusive and age-appropriate.

      And I’m very impressed to see the amazing Samuel Wyer has designed the puppets! I take it these puppets are quite different from those he created for The Ocean at the End of the Lane?

      We are so lucky to have Sam! He’s a genius and created amazing puppets for our production of Box of Delights, so I’m really glad he’s come back for this. I think it’s safe to say that these puppets might be a tad less scary than the monsters he made for Ocean, but they are no less spectacular or ingenious. Come and see!

      Can you tell us a bit about the music and songs in the show? Have you turned your dexterous hand to songwriting too?

      I have, and it’s been a joyful new challenge. Luckily, I’ve had the privilege of working with composer Chris Warner who is so generous and has held my hand on this one… we’re really excited about what we’ve come up with.

      It’s not a full-blown musical, but more a play with songs – the original book is actually studded with songs throughout and we wanted to honour that creative choice of the author, Kenneth Grahame. He may even have written a few of the lyrics we’re using himself too…

      Thanks very much to Piers for taking the time out of his busy schedule to chat with us.

      The Wind in the Willows Wilton’s is playing at Wilton’s Music Hall from Thursday 24 November until Saturday 31 December. If you want to get yourself down to the riverbank you can find out more details and how to book here. More