Director: Blythe Stewart on The Moor by Catherine Lucie.
Tuesday 6th February- Saturday 3rd March 2018.
Old Red Lion Theatre
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Can you explain the play and what you’d like our readers to know about it before they come?
It’s a new play, a psychological thriller about one woman who’s name is Bronagh and she has suspicions about a murder in her isolated small town. She lets her suspicions known to the local police man and becomes embroiled in the whole thing.
It’s an epic story, a crime story in a way but also about Bronagh getting to grips with the relationships in her life and gaining more agency in her own life.
What is the main thing you hope the audience takes away from seeing ‘The Moor’?
I’d like them to leave with a lot of questions in a positive way. When I first read it, I finished it confused and gripped yet I understood the play before I reached the end. I hope that when the metaphorical curtain drops, the audience goes to the pub below and ask themselves what happened; What is true? What is false? What is memory? Who are we in relation to other people? I look forward to overhearing those questions.
Would you want to answer those questions?
I don’t feel so strongly about answering those questions more about what their personal feelings are about it. I know friends will come and quiz me for the truth and I would offer them questions and provocations. I took away most from it, that it allowed me to reflect on my own world view; we think that we’re the hero in our own stories and that we’re on the right side and can judge other people quite fairly. How compassionate are we until we are faced with other kinds of stories?
Your specialty as a director is in new writing – what draws you most to new writing as opposed to the classics?
For me, the greatest joy when hearing a story and watching a play is that moment when you are so unsure and excited about what’s going to happen in the next moment; new writing offers that. Classics have lost that sense of urgency in that way. In terms of me as a director, it’s about how can we embolden people about what happens next. New writing provokes them and gets them to use their imaginations to ask those questions – it’s so rewarding if they’ve managed to ask that and use their imagination to ask ‘What will happen next?’. I got hooked on new plays – I was reading so much and thinking ‘how would they be put on stage?’ and it made me ask those same questions. I hope we can inspire an audience to ask too.
Can you describe the setting of the play?
It’s not a specific countryside or country or place in the play, the most important factor in terms of setting is she’s isolated in her community yet embedded in the land at the same time. We decided to set it in Yorkshire which felt right partially because the moors are such an expansive space but also (and I hope this doesn’t ruin anything for the audience in advance) but there’s some kinds of folklore in the play that feels well suited to Yorkshire to other kinds of places like Wales or Scotland.
‘The Moor’ is performing at the Old Red Lion theatre which is quite an intimate space – how did you use this to your advantage in terms of design and direction with the play and it’s setting?
I was sent the play about 4 years ago and the first two years on and off we work-shopped it. Once we got to the draft we were most satisfied with, the first place we went to was the Old Red Lion. I’ve directed there before so know the joys of the space and its shortcomings.
The thing about expanses of countryside are they are at first big and endless but leave you with claustrophobia. The space is so intimate and the audience is right there and being able to speak to them is integral to the piece. It’s perfect in its spatial relation to the audience. Purposefully the scenes are fluid and locations are fluid. Holly Pigot, our designer has been brilliant and created a useful kind of system helping us to achieve what it might be like for Bronagh fluidly moving through those spaces.
How involved was Catherine Lucie (the writer) in the rehearsal process? Do you like having the writer in the room?
I love it- having writers in rehearsals is such a wonderful resource. They are a like a best buddy and partner in crime to bounce ideas off in an immediate way. In the time of the play moving forward, Catherine’s life has changed and she’s moved to Wales and become a mother so she’s been able to participate in short terms ways. She came up on Monday, to speak to the actors and they were able to ask her questions which was beautiful as it highlighted how on board they are with her story. Writers are such a good resource. They know the play better than anyone. I love working with emerging or early career writers. It’s so important that they get to participate and see how the actors are taking that subtext and ideas on.
How do you work as a director?
I really value games and exercises to flush out subtext and objectives; physical acts of wants. We work from a system where we don’t have the scripts in hand. Every scene is an emotional transaction between two people. Some might see it as working in an usual way but we are up on our feet from day one. In my view its important to actualize stuff and we’re not stuck behind tables and pieces of paper. Even the simplest of plays could become academic and cerebral, so we are up on day one testing the ground.
So this is a question which has become a tradition for interviews with TheatreBox- what’s a book/ production/ piece of art/ film you think more people should see?
Oh … there are so many! Actually, this one works well. Opus No 7 by a Russian company called Dmitry Krymov lab. It’s recorded to watch online. I was fortunate to study in Russia when I was doing my degree and saw it there and and then again at the Barbican a few years go. It was the first time I left the theatre and my brain had expanded about what is possible on stage and what a joy it is to use my imagination. It set me off on a different path personally and creatively. Imagination is the greatest tool we have. The joy of theatre is engaging people’s minds in what is possible!
The Moor by Catherine Lucie
6th February-3rd March 2018
Old Red Lion Theatre