 BILL BRAY introduces David Hare
David Hare might himself be a suitable subject for a play. His life has had enough twists to make an interesting plot.
It begins after university, in 1972, with a group of firebrand theatre practitioners known as Portable Theatre, trundling along the minor roads of Britain taking revolutionary political theatre to "The People", who may have preferred a farce or a musical.
It was here that he wrote his first play out of desperation, when a promised script had not been delivered and the next date was just four days away. He has since described it as a naîve political satire but it showed sufficient promise to bring a commission for another play, which went on to win an Evening Standard award for Most Promising New Playwright.
Portable Theatre lasted for only three years, but David Hare persevered and he took the surprising route to millionaire wealth and a knighthood. Whoever would have thought it of the author of Fanshen, which he adapted from William Hinton's book about the Chinese revolution for another of his theatre companies, Joint Stock, in 1975, and thought by many to be his best play?
Of course, he hadn't begun poor, coming from a wealthy family and being educated at Lancing. His marriage to dress designer Nicole Farhi cemented his social position. Plays like Skylight, Amy's View and The Blue Room might have suggested be had become less political, but there are his highly-charged examinations of particular issues such as The Permanent Way (Britain's railways) and Stuff Happens (the origins of the Iraq invasion). He has been an Associate Director of the National Theatre, and resident dramatist at both the Nottingham Playhouse and the Royal Court. Now turned 60 he has collected a number of awards for his plays.
Breath of Life is from his recent more mellow period and attracted two Dames, Maggie Smith and Judi Dench, for its London premiere.
CLAIRE KINSHOTT, director, introduces her cast
Some of you may recall that The Breath of Life was originally scheduled to be performed last season. Due to unforeseen circumstances, the theatre was unable to present it, so when the Drama Committee asked me to consider directing it this year I knew immediately that this was an opportunity to breathe life into this delightful script.
I had not seen it performed, but was immediately drawn by the richness of David Hare's text, which takes the audience through 24 hours with two women who have shared the same man for over 20 years, although only one of them knew about the other and this is the first time they have met.
At auditions, I was blessed with a wealth of talent from the female population of the GWT, which didn't make my task an easy one in deciding who to cast. Finally, I chose Eileen Brookes, who plays Frances and Eleanor McEnery, who plays Madeline. Luckily, for me, they accepted.
Below is a short interview with the cast. I hope it whets your appetite to come to see the play and two very special performances from two very talented actresses.
Why did you want to play the parts of Frances & Madeline?
Eileen: The new and challenging experience of being in a two-hander
Eleanor: There are aspects of Madeline that I recognise as being quite like me, some that I admire, and much that I feel lucky to have avoided! All in all a great play to get one's teeth into.
What are the challenges of the play for each of you?
Eileen: To portray the complex character of Frances and her range of emotions.
Eleanor: Quite apart from the sheer quatity of words to be memorised; the text is often nuanced and multi-layered. You need your wits about you!
What was the last time you worked together?
Under the Stars by Richard Crane, December 1998
What was the last play you were in at the GWT?
Eileen: The Real Inspector Hound, January 2008 and The Winslow Boy, April 2008
Eleanor: Wyrd Sisters, April 1999.
What is the most difficult element of the play?
Eileen: Interweaving their story of the past with their present developing relationship.
Eleanor: Doing justice to a script so well-crafted
What will people enjoy most about the production when they come to see it?
Eileen: The constantly changing relationship between Frances and Madeline. Where will it lead?
Eleanor: A stimulating, touching and funny play presented by two senior ladies thrashing it out in bouts of mental and emotional arm wrestling. |
