In a couple of weeks, Arrows & Traps’ seventeenth production opens at the Brockley Jack – and for anyone who’s been to see them in action recently, it may come as a bit of a surprise. From 2nd July, the thirteen-time Offie-nominated company will be celebrating the 50th anniversary of the Moon Landings in their own unique style with One Giant Leap, a brand new comedy written and directed by Ross McGregor.
Last week, in the first part of our Q&A, Ross told us a bit about where Arrows & Traps came from and the journey so far. In Part 2, he’s looking to the future – and it turns out there’s plenty to see…
Your upcoming show is a bit different to most of your previous productions. What made you go for a comedy this time, and how have you approached it as a writer? It must be very different to the other plays you’ve written for Arrows?
Yes, absolutely! And what a relief it is. I’m so happy to be working on a play that doesn’t end with: “and then she was executed by the Third Reich,” or “and then she was hit by a tank,” or “and then she threw herself in front of a train,” or “and then her husband’s shot,” or “and then they both die on the ice,” or “and then everybody died”… Don’t get me wrong, it’s great that we got to tell so many stories over the last sixteen productions, but my goodness, haven’t the majority of the storylines been so f*cking depressing?!
I guess the exception, not sure if you remember this one, would be The Gospel According to Philip, which was a sketch show comedy we did back in 2016 about the last few weeks of the life of Jesus, basically the story of Easter, told as a satire. I didn’t write that one, but I had such fun directing it, and everyone loved it at the Jack, it was an absolute storm of a show – such a joy. I wanted to go back to that and spend a summer working on something lighter, where nobody is destroyed by fascism, but where we can also push the boundaries and try our hand at that rarest of all theatrical genres – the sci-fi comedy.
One Giant Leap is basically a “what if” kind of a story – set in July 1969, where a two-bit run-down shoddy little TV company is asked by the CIA to fake the moon landing. The idea is that whilst NASA can get to the moon, all the cameras they test just melt in the simulation of the extreme heat on the moon’s surface, so they need someone to fake the footage for them to prove they got there. Which would be fine, but the TV company they ask to do it has just had their sci-fi show Moonsaber cancelled after its first season, and everyone has fallen out with each other, and is leaving the show, so there’s a lot of confusion and misdirection as the producer has to basically con them all to come back, and somehow pull off the biggest conspiracy in history with these bunch of misfits.
It’s certainly different in terms of the fact that it’s wholly original, and obviously a complete fiction. All the characters are products of my imagination, and it has no basis in fact or adaptation whatsoever, which has been super fun to start from scratch. It is also the silliest, most chaotic and most ridiculous thing I’ve ever written – it’s Noises Off meets Space Balls, I guess, or Hail Caesar meets The Play That Goes Wrong. I just love it, and I just know the actors in the company are going to have a ball doing it.
My approach for One Giant Leap is to tell a fun spin on the greatest event in history since World War II, to give the audiences a hilarious night out, telling a story that some of the audience, certainly those of my parents’ generation, can get a little nostalgic over because it’s set in an era that they were part of. Most of all, I just want to stage the funniest thing South London will see all summer. It’s going to be great. Everything about that period is so iconic, the music, the clothing, the language, the political figures, the movies, the cars, the culture – it’s so vibrant and giddy – and we’re literally building the moon as part of the set, so that’s worth a look all by itself.
After that you’re heading off on tour with Jekyll and Hyde – what prompted you to head out of London and what are you most looking forward to about the tour?
After five years, sixteen shows and thirteen award nominations, I feel like we’ve found our USP, and developed a sense of the type of work that we want to produce. And whilst we’ve loved being at the Jack, there comes a point (and for me it came after our production of White Rose last year) where you have to consider what the next step would be in terms of the company, and in terms of our progression both creatively and financially. It seemed like there were two options, to either scale up or down. Either Arrows become a purely artistic venture, done for the love of the process, in which case it only really made sense to do a show a year, and also only in the summer as to not interfere with my day job as an English/Drama teacher, or to scale up and take the company further. As much as I love the Brockley Jack, we all know it’s not about to get 150 more seats added to it, so it’s about reformulating the model and making it work for more audience engagement, and a wider profile beyond SE London. So I decided I’d try touring.
The model is that we will retain the Brockley Jack as a home, always debut each show there, hold the press nights there, and have the 3-4 week run of 15-20 shows as we have in the past, but then to take the show on national tours that are produced and supported for a longer period of time, and run for an extended season of shows. So more shows, less productions, if that makes sense. We’re building a team to support the shows, a tour booker, a producer, a fundraiser, set designer, costume designer, etc – and the cast size has been streamlined to make it viable for a touring model. So in a sense this is the end of an era as the 8-15 person cast just won’t be possible anymore, but I’m excited about the possibilities that touring produces, and I’m very eager to instigate a paid model that edges away from the profit-share fringe structure that unsubsidised theatre often has to be done at. The most exciting part for me is to go to new places and debut our work there, to build new followings and to really work at making this a viable business model. Of course, I’m not expecting a six-figure salary for all, there’s no money in theatre, never has been, but the pride and justice involved in finally being able to pay every single person involved in the show properly for the vast amount of time they put in to each show will be very validating and satisfying when it at last happens.
Tell us a bit about your new Renegade season. How did you select the stories you wanted to tell and which are you most excited about?
The idea with the Renegade season is to continue the work we’ve already been doing, and just go further with it in new areas and new remits. For the last few years our work has been falling into one of two categories, the literary adaptation of classic novels, and the new writing about a historical figure. I want to continue this remit by bringing a conclusion to the Gothic Trilogy that we started with Frankenstein and Dracula, and write a modern political thriller adaptation of Jekyll & Hyde set in the 2020 US Presidential Race. I think, when reading the novella, you get the strong sense of the importance of reputation in Victorian society, and the hypocrisy that so many fell into when they tried to conceal a darker part of themselves, and only present the morally upright version of their personalities. To our modern audiences, and to students of the text, this is quite hard to find a parallel to in our society or see the importance of why something like a “Hyde persona” would need to be concealed, but I think politics still has that sense of moral rectitude and the threat of what a sudden scandal can do to your career – so the political arena seemed a good setting, particularly when you look at our current social climate. Oh and yes, I’m choosing to set it in the States mainly because I’m sick to death of hearing about Brexit, and I certainly don’t want to write a f*cking play about it.
We then plan to follow it up with a rewritten version of our 2017 hit Frankenstein, which was very popular at the time. I also want to continue our new historical writing slant, but obviously I’m aware that the viable choices for real-life figure is slightly more limited if you want to go outside of London, so I’ve chosen to tackle the origin stories of two of the most iconic figures of the 20th Century, Charlie Chaplin and Marilyn Monroe. In CHAPLIN, we’ll deal with how he becomes the Little Tramp, and cover his childhood and upbringing in Victorian London – his story is absolutely breath-taking and heart-breaking – it reads like something ripped out of a Charles Dickens novel. And in Making Marilyn we’re dealing with Norma Jean and her road to Hollywood. Hopefully, we’ll be able to tell you stories that you didn’t know about figures that you are familiar with, and with all prequels, there’s some fun to be there about how exactly the iconic images are created, and the reason behind them.
What made you decide to bring back Frankenstein, and can we expect any other revivals in the future…?
I think, with all of these shows, as the writer, you go through a process working on them. Frankenstein was the first show for Arrows & Traps that I wrote as well as directed, and I think that version was something of a scatter-gun, in terms of the fact that I threw everything that I found interesting about the book and its author onto the stage, it was stuffed with characters and plotlines, almost to confusion-levels, I found. Often, when you get to the last night, you have just worked out what story you wanted to tell, only to have it all be over. I think I’ve managed to refine that over the two years I’ve been writing for Arrows & Traps, but Frankenstein really stands out to me as one that I’d love a second go at writing. Hone and rein it in slightly, make it more about the absent mothers, and the uncaring fathers – less about the romances, and it’s an opportunity to bring back Will Pinchin’s phenomenal performance as the Creature, which really has to go down as a company highlight for me.
I certainly wouldn’t rule out other revivals in the future. I think White Rose and TARO have been my favourite productions so far, and I’d certainly like to bring both back at some point… we shall see what destiny holds. For the moment, there’s certainly a lot going on, and I’m looking forward to building a roster of great productions that are touring, reaching new audiences, and bringing the company to the next level of working that we’ve all been dreaming of since 2014.