So Alastair, what attracted you to the idea of producing OCG?
"Choosing a play to produce is never an exact science. Often it is a heady
combination of commercial foresight, artistic vision and pure luck and
timing that all seem to come together at approximately the right time. For
example there could at any one point be 4 or 5 plays in negotiation with
authors and their agents. Whether one of those come to fruition is never
certain and often down to more luck than judgement.
With Our Country's Good, it is a play that has been on my radar for a long
time. Although I had never seen it, I had read it and have been a great fan
of Timberlake's writing for many years. We had tried to make a production
happen back in 2009 without much success, but after the new coalition
government's cuts began to bite into the arts industry about this time last
year, the play never seemed more timely. The play is many things, but
perhaps above all it is a play that shows the value theatre can have, and
why it is crucial to our communities. I wanted to tour the play and get it
seen by areas that may never had access to it previously. Furthermore I knew
it would appeal strongly to schools and colleges where it is studied as part
of their curriculum.
...and of course it staging it is itself a massive challenge and one that I
rather relished the prospect of!"
Where do you get your inspiration from when directing? Do you usually have a
specific vision or concept for a piece or does it come gradually through
rehearsals and research?
"Often it comes from the play. I don't think that I could ever direct
something I didn't love and could get my teeth into. With Our Country's Good
it began with Timberlake's writing but then extended swiftly out into
mountains of research both of the period but also of the original production
back in 1988. Yet strangely with Our Country's Good I didn't have firm ideas
on the staging of it for some time. In fact I refused to tie down any design
ideas until after the 2nd week of rehearsals, which is very very late
indeed. Whilst this put great stress on the design team, it allowed work
from the rehearsals to inform the design of the show. Rather than imposing a
strong directorial concept, I hope we allowed the collective work of the
actors, the designers and myself to come together into something cohesive
and which served the play as a whole.
There are 22 scenes and nearly 30 characters in this play. Ensuring that the
story and characters were clear was always my priority, from there it was a
case of fleshing in the detail, the shade, and trying to shape and mould the
great work from the acting company into a fluid, exciting and clearly told
piece of theatre."
It's fascinating to hear how Original Theatre Company came about...can you
tell the story for our readers?
"The Original Theatre Company started life as an embryonic idea in the mind
of a certain rather too laid back undergraduate. In 2004 I pitched an idea
to stage a production of Twelfth Night for the University Drama Society, who
rather scoffed (and in retrospect rightly so) at my notion of how I might
stage the production. I was rather unsuccessful in my bid needless to say.
They suggested I might not be the most responsible in whom to trust the
University's precious money. Sensing an injustice I told them that I would
prove them wrong, made them a bet and began plotting revenge in a suitable
Malvolian style. Within three months I had booked a 22 venue national tour
with cast of professional actors playing everywhere from Accrington Stanley
football club to The Edinburgh Festival, a Welsh castle and The Lyric
Hammersmith- and so the Original Theatre Company was formed. Although that
particular tour remains a story that can only be told either as a book or
when set into the bar for a long night...it was shall we say a learning
experience..."
What's been the highlight of this production for you?
"Well South Hill Park is one of our close partners and they have had a tough
few years having lost their ACE funding. To arrive this week and play two
nearly sold out houses to rapt attention and the sound of laughter echoing
down the corridors backstage was a real pleasure. Every one of our 13
productions have played at South Hill Park and it was wonderful to bring
this show to them in spite of the myriad of obstacles in our way."
You've been producing for a number of years now and pulled out all stops to
make this show happen. What's the secret of success and what do you think
the future has in store for touring companies and regional theatre?
"I wish I only knew the secret of success. Sometimes playing a small house on
the other side of England you feel far from successful, but I suppose if
anything you need to learn to have a very strong constitution- and great
sense of purpose- and then it's probably best to be of the optimistic vain
and ideally slightly foolhardy. Put those components together and you have
the bare bones of what is required to produce regional touring theatre.
I do think that regional theatre is suffering at the moment, audiences are
being much more careful with their money and booking much later in the day-
if at all. There has been a noticeable downward shift in recent years with
venues passing on government cuts to the visiting companies making it much
more risky to take out any show - but particularly a show with a large cast
such as this. There are pockets of resistance and some great work that is
produced in the regions, but it is harder and harder to compete alongside
well funded subsidised companies and venues and also the larger commercial
venues. Yet I remain buoyed and assured that audiences do respond to quality
work and we are putting much effort into finding new audiences, as ever
where there remains a will there remains a way."
Do you have a favourite character in OCG, or one you relate to most?
"That question is a bit like asking to choose between your children. After
spending so much time in their company I really do love all of them - and
they all add up to create such a memorable experience on stage. But I might
confess under duress to have been taken in by Wisehammer a little, his
unrequited love for Mary and his self righteous passion for the theatre all
shine through wonderfully- he is surprisingly endearing, he is a character
that has really grown on me as the run has progressed.
In terms of who I relate to - well the obvious answer is Ralph, the young
director trying to control an unruly bunch of thespians! Often in rehearsals
it was hard to distinguish between life on stage and off stage...in fact I
think Chris even modelled some parts of Ralph on my own performance in the
rehearsal room!"
If you had to choose just one role would you rather produce, direct or act?
"Well I seem incapable of restricting myself to just one! I think if I had to
choose one, if you tied me down and shackled me and forced it out of me, I
might just about tell you that directing is probably the one I would plump
for. But really I love doing all three rather too equally, but it has been a
joy to keep (for the most part - see last weeks blog for details) my feet off
the stage and give way to the wonderful company of actors who have been
brilliant to watch night after night."
What advice would you give to other young entrepreneurs who aspire to
setting up a theatre company?
"I learnt everything by failing and mistakes. You learn never to repeat
those mistakes. Often it hurts and often it isn't pleasant and you must
strive not to make such errors - but the best way to learn
is by doing and learning these things for yourself. Start small, aim high
and work every hour you can spare. Don't let anything or anyone stand in
your way. I assure you where there is a will, there will be a way."
What's next for Original?
"Well in just a few weeks we start rehearsals for a brand new adaptation of
Three Men in A Boat which opens in Guildford in early August and then tours
until the end of the year. After which I can tell you that we will be
launching the first ever national tour of Sebastian Faulks' Birdsong which
has been adapted by Rachel Wagstaff. It is a massive project for us and we
have great ambitions for it - watch this space for more details in the near
future!"
If funding and commercial viability was no object, what would be your dream
project?
"Hmmm...well I would love to tackle another Brian Friel play, Freedom of the
City perhaps, or Making History even. I loved working on his Dancing at
Lughnasa last year and would relish a chance to tackle another Friel play.
But to be totally ambitious I would love to stage tour a cycle of
Shakespeare's History plays to non-traditional theatre spaces across the
length and breadth of the United Kingdom - following in the footsteps of what
the English Shakespeare Company did back in the 80's but re-creating them
for new audiences today.
In the mean time I remain truly excited about our already ambitious
programme for the next year and trust that we continue to produce plays that
appeal to audiences across the country."
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| Rachel helps pack away the show. |
Something About Mary: The Final Curtain!
The life of an actor can be turbulent, with the highest of highs and the lowest of lows. I don't know what's in store for me next. But whether I like it or not, for some reason acting in my blood. And I have just one plea for you, my lovely readers. PleaKeep supporting the theatre. We need you!
Emily x
