Tag Archives: the history boys

To Take Arms Against A Sea Of Mobiles

cumberbatch hamlet

Once again, tonight at 7.15pm, the lights will go down and a certain Mr Cumberbatch will begin to intone the most famous words in theatrical history.

I haven’t landed a ticket for ‘Hamlet’, sadly, although plenty have (I’m looking at you, Naomi); the rest of us are awaiting the critical verdict in a couple of weeks’ time. But then, maybe we don’t need to wait – ‘Hamlet’ may be sold out, but it sounds like the whole thing will be up on YouTube soon.

Benedict Cumberbatch’s new show is the latest victim of the entertainment world’s most virulent blight: the unauthorised use of the mobile phone.

The theatre can offer many examples of device-based bad behaviour, and we frequently hear about actors stopping the show to complain.

Richard Griffiths in ‘The History Boys’ at the National

history boys richard griffiths

Kevin Spacey in ‘Clarence Darrow’ at the Old Vic

clarence darrow kevin spacey

and, famously, Daniel Craig and Hugh Jackman in ‘A Steady Rain’ on Broadway were filmed (in character) berating an audience member whose phone rang repeatedly:

And, like most actors these days, I have many of my own stories to tell.

me and julian in the woman in black

I spent a year in The Woman In Black in the West End, and we often had great hordes of school parties in the audience. Their theatre etiquette might not have been as fully-formed as the average play-goer, and we would often be troubled by phones going off, people texting, playing games and so on. I remember delivering one of my many direct-address speeches and seeing the ghostly blue face of a girl in the front row of the dress circle, illuminated in the dark by the screen of her smart phone. I was particularly proud of this speech, and I became infuriated that here was I, giving my all, and this child wasn’t paying the slightest attention. I delivered the entire speech to her – or rather, at her – determined to get her to look up, even just for a moment. But she gave me not so much as a flicker. Eventually I realised that there were a few hundred others who actually were listening to the speech and left her to her Angry Birds.

But the really modern problem – and Benedict’s main gripe – is not simply phones ringing in the auditorium, people actually taking the call or even the freak event of a dolt mounting the stage to try and charge his ‘device’ from a dummy plug socket:

The main event these days is the audience trying film the show. The Cumberbatch ‘Hamlet’ has been plagued in preview by super-fans attempting to record the proceedings, with the result that, when the actors look out into the darkness, they have been greeted with lots of little red dots winking back at them. Benedict himself paid a visit to his gaggle of stage-door Johnnies in an attempt to halt this sort of thing:

Of course, this isn’t just a theatre problem. The world of live music has become completely au fait with this troubling phenomenon over the past few years, and at any gig you choose to attend, a hefty chunk of the crowd will be holding their iPhones or Samsungs aloft, determined to capture every precious moment in perfect HD – wobbly, poorly-framed HD with bad sound.

cameras at a gig

Why is this? Have we become so wedded to screens that we can’t really experience anything, unless it is safely contained within a frame? Perhaps a live experience is just too unpredictable – after all, who knows what emotions might be stirred up in us if we surrender to the moment completely? At least when we watch it on the train later on there‘s no danger of our being surprised by anything.

Perhaps we should just accept that the creaking old tradition of live performance will have to adapt to survive. Maybe, when we visit the theatre in the future, we should expect our neighbour to be watching the whole thing on a screen the size of a packet of fags.

But then, maybe not. Last year’s hottest ticket – someone who had hardly been near a stage in 35 years – had other ideas.

Kate Bush

When Kate Bush announced her ‘Before The Dawn’ shows in Hammersmith, she made a specific request of her fans:

“It would mean a great deal to me if you would please refrain from taking photos or filming during the shows. I very much want to have contact with you as an audience, not with iPhones, iPads or cameras. I know it’s a lot to ask but it would allow us to all share in the experience together.”

I was delightfully lucky enough to be able to score a pair of tickets to the second night – cue unflattering photographic evidence of myself with my pal Lisa (from outside the venue):

Me and Lisa at Kate

and I don’t remember seeing a single phone, iPad or camera all night. But I know I shall never forget that extraordinary moment when Kate shimmied onto the stage, her backing singers conga-ing behind her. Or the thrill of recognition as the first chord of ‘Running Up That Hill’ began to grow. Or the breathtaking coup-de-theatre when her blackbird finally took flight. Those moments were all the more powerful because they were shared by everyone there, as they happened. That can’t be captured by a little electronic box.

As Kate Bush knows, performance, at its purest and most affecting, is about the artist communing with the audience. ‘Hamlet’ is the ultimate example – with those soliloquies, the Dane isn’t just talking to himself, he is asking for our help, our counsel. You can’t do that if your audience is just waiting to watch it when they get home.

cumberbatch hamlet 2

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Interview With The Director: Paul Miller – part one

Paul Miller Photo Mark Douet

Paul Miller was appointed Artistic Director of London’s Orange Tree Theatre in June 2014, as successor to founder Sam Walters. His first season has been tremendously varied and successful, with plays such as ‘The Distance’ by Deborah Bruce, George Bernard Shaw’s ‘Widowers’ Houses’ and ‘The Widowing of Mrs Holroyd’ by D H Lawrence garnering four-star-reviews and sold-out performances. The extraordinary ‘Pomona’ by Alastair McDowell recently won five Offies at the Off West End Awards, including Best New Play and Best Director (Ned Bennett), and will transfer to the National Theatre’s Temporary Theatre in September, followed by a run at the Royal Exchange Theatre in October. Paul Miller won Best Artistic Director at the Off West End Awards.

Paul was an Associate Director at Sheffield Crucible from 2009 to 2014, where his productions included ‘The Winter’s Tale’, ‘Democracy’ by Michael Frayn (which transferred to the Old Vic), and ‘Hamlet’ with John Simm.
For the National Theatre he has directed, amongst others, ‘The History Boys’ by Alan Bennett (a revival for the West End and UK tour), ‘Baby Girl’ by Roy Williams, ‘DNA’ by Dennis Kelly. He was Associate Artist at the Bush Theatre from 2005 – 2008.

When we met, Paul’s production of ‘Each His Own Wilderness’ by Doris Lessing was playing at the Orange Tree. Lessing’s powerful play is set in 1958, and sees Tony (Joel MacCormack), back from National Service disillusioned and dissatisfied, and clashing with his political activist mother Myra (Clare Holman).

Clare_Holman_in_Each_His_Own_Wilderness_Orange_Tree_Theatre_image__Richard_Hubert_Smith_press_image

CN Coming to see your show was very interesting, seeing somebody at the very beginning of their career and a number of actors who are quite established– from a director’s point of view, what difference do you notice between a young actor and a very established one – in terms of the way they approach rehearsals, for example?

Joel_MacCormack__in_Each_His_Own_Wilderness_Orange_Tree__Theatre_image_Richard_Hubert_Smith_press_image

PM Well it’s interesting, because there is a well-observed comedic thing that can happen, where the young actors arrive half an hour before rehearsals and do their warm-up and vocal exercise and they’re studiously attacking their parts, and the older, more senior actors appear to roll up without a warm-up, appear to be giving it less application. It’s easy to fall into the trap of thinking in a banal way that, ‘Oh, people get lazy as they get older’. In fact what I think happens is something much more interesting: the more you apply yourself when young, something happens, almost at a physical level, which means that, a bit like a dancer, you begin to do certain things, not exactly automatically but without having to consciously press that button –

CN – Like a runner might have a very developed muscle that is specific to the task –

PM Exactly. So the older actors who roll in going, ‘Oh, I don’t know why you’re bothering with all that’, making a joke of it all, are often concealing the fact – or indeed are unaware themselves – of what they can deploy, and it’s only in them because they were like that once.

Helen Baxendale The Distance rehearsal c Helen Warner

CN So in a show like this one, where there’s a tension between young and old anyway – that’s the point of the play, in many ways – you must find that in rehearsal too?

PM All the time. It’s very relatively unusual to find oneself in a rehearsal room with a group of people who all of similar age. That’s one of the attractive things about our business, that we routinely work with a lot of people of different backgrounds and ages – that’s not always true in the more ordinary world of work. But that is part of the job of directing: to create a room that will contain, without over-controlling, a lot of people with different approaches. I’ve noticed that some young actors come out of three years where they’ve spent all the time with people of their own age and at their own stage of development, and it can be disconcerting to find yourself in a rehearsal room where you’re doing your thing and other people appear to not be doing your thing. There can be some heavy duty grinding of gears as people have to try and work out how to work with an actor who’s a bit older than them, and who isn’t so actively engaged with the process.

Pomona

CN And similarly in the opposite direction, I’ve been in rehearsals where older actors have become quite frustrated with younger ones applying a method very deliberately, and which sometimes gets in the way of the work. But then that’s the director’s job isn’t it?

PM Yes, that is part of the director’s job, to hold that all together – hopefully in a creative tension, rather than simply a sort of deadlock.

CN So you have to find a different language to speak to each actor?

PM Yes, I think so, or help people to understand each other.

Ellie Piercy The Widowing of Mrs Holroyd photo Mark Douet

CN Do you try and get them to speak your language?

PM Well, I think some directors tackle this aspect of things by forcefully introducing a whole new dimension, which is them, their method, so the rehearsal room becomes about their artistic personality. That can solve the problem because both the young actor with his industrious process and the older actor with apparently no process at all are subsumed into this whole new thing. That’s not my thing, or at least I don’t feel that’s what I do. I think I tend to find myself doing plays where actually one wants to find the difference in people and somehow hold them together.

john dexter photo louis melancon

CN There’s the great John Dexter tradition that we all fear as actors – walking into the room and finding the despot, with the suggestion that often the director will isolate the weakest… There are many bad stories about directors that actors share. And I wonder where that comes from?

PM I wonder. Of course one of the weirdnesses about being a director is that, after a certain point in your working life, you have no idea what goes on really in anybody else’s rehearsal room, except by hearsay. So one can easily have a distorted impression of what’s going on out there, but I feel as if that John Dexter stuff has largely gone away – I think the culture doesn’t permit that stuff any more. I think that out-and-out, ‘Why are you f***ing doing that? You’re a hopeless actor!’ – I feel like that’s gone, and perhaps been replaced by more subtle problems.
I feel that, by and large, it’s a much more democratic process. If there are problems with a younger generation individually, it might not come from being tyrants in the old model, but maybe people going, ‘You’re not obeying the rules! My method’s not being followed and therefore it’s all wrong.’

CN It’s quite a different experience to an actor going from one rehearsal room to another, one director to another. You’re in isolation in your career – you don’t have the influences that actors have on your working method, so you have to develop your own. I suppose a lot of your method comes from people you assisted at the start of your career?

PM Yes, I think inevitably you see how a rehearsal room works from those people – or doesn’t work. I think a great danger is if you assist people you find very compelling when you’re at a formative stage, you try to work out who you are by imitating them, and that can be a rather an unhappy period to go though.

Patrick Drury as Sartorius with Simon Gregor as Lickcheese in Widowers' Houses

CN You didn’t act at all?

PM At school, but not in any way professionally.

CN But you didn’t feel the bite – you weren’t torn in two directions?

PM No. Somehow or other, I decided I wanted to direct at 17, which is probably unhealthily early…

CN A lot of actors give up and become directors, and a lot of them keep the two strands going at the same time; do you feel it’s useful?

PM Actors who direct?

CN Or for directors to have some experience at acting – or do you think it’s a very different discipline?

PM Well, one of the benefits to being an actor who then turns to directing after a certain amount of time is that, unlike my experience, they will have had years in a lot of different directors’ rehearsal rooms, and so have perspective on what directing can be. I’m often amused at how relatively unsentimental actors-turned-directors are about actors. They can often be the hardest taskmasters, in my experience.

CN When I spoke to Joe Harmston about this – he has never acted – he thinks it hinders actor-directors because they don’t have sympathy; if they can see how to do it, they can’t understand why another actor can’t.

PM I’m sure that’s possible, though someone like Daniel Evans has taken to directing brilliantly and is still acting – I don’t feel he has fallen into that trap. If you’re really good at it you don’t.

daniel evans

CN Do you remember performances that made you think, ‘Oh wow, I want to make that happen’ – specific actors?

PM I tell you a performance that really did always stick with me – I was lucky enough to be at the University of Ulster at Coleraine when Yvonne Bryceland came – the great South African actress who, with her husband Brian Astbury, had run a theatre in South Africa.

yvonne bryceland

She was a long-term collaborator with Athol Fugard, and she recreated a production of a play called ‘People Are Living There’ by Fugard. She played a woman running a shabby boarding house on the night of her 50th birthday, and – typical Fugard – the play had a very simple action to it, and revolved around one moment: she had this speech about turning 50, just as the clock was striking midnight, and her unhappiness and disappointment in life, this terrible boyfriend that we never see; remembering herself as a little girl and saying, ‘There were promises, there were promises’. It was highly realistic acting, yet also with a kind of magnetism and a sense of emotional size to it. I can still see and hear her, and I thought she was a remarkable creature.

CN Are there actors you would like to work with that you see on the stage today?

Penelope Wilton

PM I think Penelope Wilton has a lot of what I described about Yvonne Bryceland actually – everything always truthful and drawn from life, and yet with this sense of an enormous emotional landscape behind it. It would be wonderful to work with someone like that.

Coming in Part Two, Paul talks casting, London and Artistic Director’s Guilt…