Before rehearsals began Sheffield Theatre’s Executive Producer, Mark Feakins, chatted to Nikolai Foster, director of Amadeus, about the Crucible, the play and the work of a director. This is a transcript of part of that conversation:
Mark:
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Firstly, welcome back to the Crucible, Nikolai! |
Nikolai:
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Thank you . It's a real honour to be here. It always feels like coming home when I work at the Crucible. |
Mark:
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I didn’t work here when you were Resident Director, so tell me how you came to come to the Crucible the first time around, and what you did here? |
Nikolai:
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I initially trained as an actor at Drama Centre London. It was during my training I saw an advert for the Channel Four Theatre Director's Scheme. I applied, and was successful and worked at the Theatres for three years. During my time at the Crucible as Resident Director, I did just about everything. I was determined to learn about every aspect of theatre and knew there was no better place to drink in all of this information. My main role was assisting guest directors and did just about every other job in the theatre, from working with the Marketing Department to joining the crew, helping with get-outs and building sets, which is where I learnt the most and had the most fun! |
Mark:
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I have learnt very quickly since I joined Sheffield Theatres that this theatre means an awful lot to a great many people. What does the Crucible mean to you? |
Nikolai:
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So many things on so many levels, it is difficult to know where to start. I first came to Sheffield during a remarkable period in the Theatres' development. Working alongside Michael, Grahame and the exceptionally gifted technical team here, I learnt my craft and began to understand what regional theatre is all about. Personally therefore, it is a place I will be forever grateful to...The Crucible is an amazing stage, where there is no better space for an audience to experience how exhilarating live theatre is and where the actor never feels more free or uncensored. Other things making this an extra special place include the front of house staff, those who work in box office and the restaurant, who always make me smile and have so much generosity of spirit and enthusiasm to offer. Then there's the audience. So supportive, so daring and brave, who seem to have as much love for the place as I do. |
Mark:
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Why do you think so many directors and artists find the Crucible so special? |
Nikolai:
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Without question, it's the stage that makes it so special. The arena affords actors and audience an intense, deeply personal relationship second to none. The stage is like a movie camera; it offers epic, wide shots, bursting with dynamism and dramatic imagery and can just as easily cut to extreme close-up, where rich detail and intimate lives come into the foreground, the world fading into the distance. Because there is no room for gratuitous scenery, the director is forced to tell the story with the words afforded them by the playwright and spoken by the actor. Nothing more. This certainly electrifies every nerve in my soul. |
Mark:
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What was your first memory of coming to the Crucible?
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Nikolai:
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I remember seeing Deborah Paige's production of The Merchant Of Venice. I'd never seen a theatre space like it, and I have a vague memory of lots of piece of wood crisscrossing over the space, which was flooded with water. I thought this was extraordinary - looking down on a space, like a gladiatorial match. The room was full and seemed to embody a spirit and anarchy I hadn't felt in the theatre up until that point. I think I was quite overwhelmed by the experience and my memory of that day is fractured. |
Mark:
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Deborah was certainly one of the directors that really understood the space, but that is not the case with everyone. What do you think are the particular challenges that the Crucible's thrust stage gives to a director? |
Nikolai:
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The room simply demands one serves the play and demands you ensure the actors are given free-rein to access the heart of the play and transmit this to an audience. This may sound straight forward, however, if it doesn't happen, everything and everyone is exposed in the most unhelpful way. As long as the space is respected, the challenges are simply those of producing the play. |
Mark:
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Sheffield Theatres has a proud history of helping emerging directors at the beginnings of their careers, and many have gone on to exciting careers, such as Michael Grandage (now at the Donmar Warehouse), Josie Rourke who’s running the Bush Theatre in London, and recently Ellie Jones was appointed Artistic Director of the Southwark Playhouse. And trying to find time in your schedule to get you to come back here was tricky for us you are so much in demand! I see from your biography that you credit Sheffield as providing your key training for your career? |
Nikolai:
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Yes, I was fortunate to be selected for a place on the Channel Four Theatre Director's Scheme. As I got further down the selection process, we learnt which theatres were part of the scheme that year. When I heard Sheffield was up for grabs, I almost jeopardized my chances of securing a place at one of the other venues, marking Sheffield for first, second and third choice on my application form! I couldn't believe I was successful, and coming straight from the relative safety of drama school, had no concept of the rigorous world I was entering. |
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We discussed a few projects for this slot, but when I suggested Amadeus you jumped at it. Why do you think it is so right to do now at the Crucible?
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Nikolai:
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Amadeus is an epic story, told with exceptional characters. It veers, with great majesty, between theatrical flourishes which leave you on a high to great depth and intimacy. Great stories, be they modern or classical will always work on the Crucible stage. |
Mark:
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I’d agree with that, it is probably the best space in the country for telling stories, and this play is one of the greatest theatrical stories, so it feels like a fitting way to end this chapter in the Crucible’s life it is refurbished. But you've come straight from directing the first major revival of Aspects of Love with Andrew Lloyd Webber and David Essex, this must be a very different challenge, working on a serious drama? |
Nikolai:
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Yes, that's a common misconception with Aspects and musicals in general. Audiences and critics come along expecting to see demented cats skating around old rail stations, dodging the occasional suicidal chandelier! Aspects is Andrew's most personal, serious and complex work - not to be taken lightly! Many of the themes (in Amadeus) are similar, and the demands of working on a omplex psychological drama are very similar to a piece of mature, intelligent musical theatre. I have been fortunate over the years to work on new plays, musicals of many different styles, Shakespeare and classic drama. So, although Amadeus is daunting, challenging and in some ways, terrifying, as a theatre director, this is what I do. |
Mark:
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So, this play doesn’t really require different skills as a director? |
Nikolai:
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Every play requires different skills. As I do more and more varied work, I keep (naively) thinking things will settle, and certain aspects of my job will begin to feel common-place and familiar. This is nonsense! Each play requires many different muscles - some you never thought you had, some you never will. I hope it never feels familiar or normal. I like challenging myself and learning and scaring myself with each new project. |
Mark:
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Had you seen the play before or the film? Does that help or not? |
Nikolai:
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I saw Sir Peter Hall's splendid production at the Old Vic and then saw Forman's film when I was beginning my research for this production. The film was helpful for two reasons. Firstly, it is an astonishing movie, so this is inspiring and fuels one's passion. Secondly, as it is so good, it gives us all something to aspire to. |
Mark:
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Now, rehearsals haven’t started yet, but the first day with the cast is very soon. What is the dreaded first day of rehearsals like for you as a director?
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Nikolai:
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There are lots of myths and misconceptions about first days. Although they can be fraught with nerves and uncontrollable excitement, I enjoy them. One works in solitude during pre-production, battling through’ the challenges the play presents. There are design meetings, budget meetings, auditions, et al, but essentially its a lonely process. I thank the first day, when we all come together and I can share my work with my collaborators and actors. |
Mark:
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The other big test of nerves for directors is the first night of a production. What’s it like for you? Do you watch it or do you pace nervously outside? |
Nikolai:
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Of course I watch! I would feel ashamed not to watch! I love first nights, when my family and friends come and see the work. Through previews one has to write extensive notes. On the first night, I can simply watch the play, have a few too many bottles of wine and be challenged (and hopefully inspired) by the work like any other punter. |
Mark:
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So, tell me how do you first approach a new project, like Amadeus?
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Nikolai:
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When presented with any play, all I want to do is read it as many times as I can and fall in love with it in a thousand different ways, before one is forced to start "directing" and making choices. Once that honeymoon period is over, I guess the important thing with a play like this is to start to think about how the play can work physically and how this is clearly communicated to an audience. There are many different locations, and the playwright makes many demands on the director and designer, so I guess the environment in which the play exists has been the starting point with this adventure. Also, hearing the voices of the actors is helpful. Often plays don't make such extreme demands on the leading actors, so once I knew who was playing Salieri, the title role and the girl, I felt more equipped to storyboard and invent a production, based entirely around the supremely talented actors I would be working alongside. |
Mark:
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Talking of the cast, you’ve brought back many old Crucible friends back to us, including Gerard Murphy as Salieri, and a rapidly rising star, Bryan Dick, as Mozart. Tell me why you chose them and what makes them right for this production? |
Nikolai:
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I wanted to present a version of the play where the performances were real, raw and visceral. Gerard is an actor I have long admired, respected and been terrified by due to his monumental talents. He has an enormous gravitas onstage and his connection to the words and a character's heart is always absolute and electrifying. I wasn't sure how we would find a young actor to play the title role. How does one represent genius onstage? When Bryan walked in, I didn't think there was any point in asking him to read. Simply observing him and speaking to him about the role and his ideas for it, I was certain we'd found him. It was an astonishing moment. I was convinced if Bryan said no, I would have to leave the project! |
Mark:
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So, in a great production how much of the skill of a good director is really about good casting, rather than good directing? |
Nikolai:
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I think it's both. You can have the best actor in the world, most suited to the role, but if you aren't able to help steer them thru the play, and guide those around them, sculpting the thing with them, finding the rhythm and melody of the language and scenes, then all will fail. Especially with a play this size. It's a big beast, and it takes a lot of strength to steer it in the right direction. It can easily falter, and although casting great actors makes the job much easier, in some ways, the stakes go up and it becomes harder, as the place you are falling from is that much higher and more dangerous. |
Mark:
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In addition to the professional actors, you have chosen to work with members of the local community as an ensemble in the play. What made you suggest this, and what do you think it brings to the production |
Nikolai:
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Some of my happiest times have been working with community companies. I feel very strongly theatre should engage with a local community on many levels and offer as many opportunities to people who want to become involved as possible; not just as an audience. A community company enriches a rehearsal room with an energy which is very difficult to define. They offer so very much, constantly giving, and taking very little. I've worked with community performers who could barely string a sentence together on the first day of rehearsals, and by opening night are so erudite and enthusive, it is hard to shut them up. I am interested in theatre with many different textures, colours, voices, bringing them together. I hope that doesn't sound naff, as it's hard work and commitment all the way. |
Mark:
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In addition to the professional actors, you have chosen to work with members of the local community as an ensemble in the play. What made you suggest this, and what do you think it brings to the production |
Nikolai:
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Some of my happiest times have been working with community companies. I feel very strongly theatre should engage with a local community on many levels and offer as many opportunities to people who want to become involved as possible; not just as an audience. A community company enriches a rehearsal room with an energy which is very difficult to define. They offer so very much, constantly giving, and taking very little. I've worked with community performers who could barely string a sentence together on the first day of rehearsals, and by opening night are so erudite and enthusive, it is hard to shut them up. I am interested in theatre with many different textures, colours, voices, bringing them together. I hope that doesn't sound naff, as it's hard work and commitment all the way. |
Mark:
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In addition to the professional actors, you have chosen to work with members of the local community as an ensemble in the play. What made you suggest this, and what do you think it brings to the production? |
Nikolai:
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Some of my happiest times have been working with community companies. I feel very strongly theatre should engage with a local community on many levels and offer as many opportunities to people who want to become involved as possible; not just as an audience. A community company enriches a rehearsal room with an energy which is very difficult to define. They offer so very much, constantly giving, and taking very little. I've worked with community performers who could barely string a sentence together on the first day of rehearsals, and by opening night are so erudite and enthusive, it is hard to shut them up. I am interested in theatre with many different textures, colours, voices, bringing them together. I hope that doesn't sound naff, as it's hard work and commitment all the way. |
Mark:
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You met with Sir Peter Shaffer early on in the pre-production process. What was that like, and was it useful? |
Nikolai:
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Working with Sir Peter has been immensely helpful and heartening. As a young man interested in the theatre, his plays inspired me and were incredibly forceful in my understanding of theatre and development. I think my greatest concern (with the play) meeting Mr Shaffer was his prescriptive stage directions. I eventually found the courage to challenge him about this. With the devil twinkling in his eyes, the genius said (of his stage directions): " Don't worry dear, when you find one you like, use it. Ignore the rest!" |
Mark:
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Sometimes some directors find it limiting to have the writer around and trying to present them with a version of their play to please them, rather than creating it a-fresh for a new audience. Do you ever find that a problem? |
Nikolai:
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No. Never. The play's the thing and the writer created that special thing. Therefore, they deserve the utmost respect at all times. As with any creative collaboration, there can be differences of opinion, however, with calm, articulate reasoning one either wins the argument, or is forced to look at things in a new way. The new way is often the most productive and invigorating for the play. Playwrights aren't stupid and know many of the many challenges a director is faced with, and is often sympathetic to the process. |
Mark:
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The play has caused some controversy in its time about it’s portrayal of real events and people. Does it matter what is fact and what is fiction in the play? |
Nikolai:
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Fact matters enormously. I feel a tremendous responsibility to the characters - more-so than fictional characters - because they were real men and women, and with the actors want to ensure this is an accurate, detailed reading of their lives. Of course we will never know what they were really like, however, there is sufficient research material to form a well-balanced view. It matters what is fiction, as this is where the imagination can really fly, and one can really indulge the senses! |
Mark:
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In the play I sometimes find it hard to sympathise with Mozart, despite his genius. Do you think that's a problem? |
Nikolai:
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I don't think it is hard to sympathize with him. As a director I have to recognize the positive in each character, I can't ask an actor to play negatives, as even the most risible people think they are doing the right thing. I read Mozart's letters as a religious man might read his bible. Mozart, it seems to me, was such a generous, sensitive soul. Brimming with life and love, passion and anarchy. When they compose those daft lists of people you wished you could meet, I suspect Wolfgang would be near the top of mine. |
Mark:
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You think the play celebrates Mozart then, rather thank debunks the myth around him? |
Nikolai:
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I think it celebrates both men. Without question. I am bored of people telling me how bitter Salieri is and how spoilt Mozart is...such banal descriptions of two exceptional men! Can you imagine what it must have felt like to have so many ideas in your head, for the most part - on a good day - it feels like your head is going to explode and you are going mad? Both men were hugely talented - one was a genius. They had great, awe-inspiring things to offer there generation, and indeed many, many, many generations to come. Of course they had flaws - these we all have in abundance. The play presents them in an ultra-realistic light. Warts and all. If I had a fraction of the talent inherent in young Mozart, I think I would be doing more than blowing the occasional raspberry in my partner's face! |
Mark:
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I am going to be chatting to Colin, your designer, next - why did you suggest to me that Colin was the right man for the job? |
Nikolai:
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Colin is one of the few young designers I have worked with who I completely trust and want to invest in. He is sensitive to the play and his collaborators, detailed and subtle. He always unnerves me, as he always tells me he knows what I mean, and I always think how on earth can he know what is going on in my jumbled brainbox, and inevitably, he does, and there it is in model form! |
Mark:
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Amadeus has been such a huge hit, and has triumphed all over the world. What is its extraordinary appeal? |
Nikolai:
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I suspect it has something to do with the old fashion notions of plot and character. The plot is thrilling and the characters richly drawn. When mixed together, this leads to a heady mix, which grabs an audience and fires up there imaginations, releasing dangerous thoughts. Added to this the music of perhaps one of the greatest composers of all time, and "there it is" as Joe II might say. |
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