Arrows & Traps: What’s Next?

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.

Tickets are now on sale for One Giant Leap and The Strange Case of Jekyll & Hyde. And to keep up to date on all things Arrows, follow @arrowsandtraps on Twitter.

Arrows & Traps: The Story So Far

Over the last five years, thirteen-time Offie-nominated Arrows & Traps have become a regular fixture both on the London fringe scene and on this blog. And the good news is they’re not going anywhere; the future looks bright as they prepare to launch their Renegade season with a new comedy, One Giant Leap, opening next month at the Brockley Jack, followed later this year by a national tour of The Strange Case of Jekyll & Hyde.

The tour marks a new chapter for the company, and there’s a lot to talk about – but first, here’s what Arrows Artistic Director Ross McGregor had to say about where it all began…

Photo credit: Arrows & Traps

What was your vision when you established Arrows and Traps and how has that evolved over the years?

Originally, back in 2014, I was contacted by Simon James Collier, a writer/producer/director who was then based at the Lion & Unicorn Theatre, to produce a season of six Shakespeare shows over two years. Unfortunately we only got to perform two of these – Much Ado About Nothing and The Winter’s Tale – before there was a management change at the L&U, which left me with a half-finished set of ideas and four more plays that I was expecting to do, but then suddenly wasn’t. So rather than give up and go back to my day job with a sour taste in my mouth, I decided to take the rest of the season on as an independent venture. Thus Arrows & Traps was born, and this is also why in the first two years our focus was on Shakespeare – as we went on to do Taming of the Shrew, Macbeth, Twelfth Night and Othello, which completed the set I had planned, and then opened the door to that big question: “What next?”

Right from the beginning of the venture, even before Much Ado, even before we were called “Arrows & Traps”, I knew I wanted to work with Will Pinchin, our resident movement director, as we’d worked together before and I really appreciate what he brings to the room, and how devoted he is to taking my big ideas and making them a reality. One particular moment always sticks with me, that during the tech for Winter’s Tale, I brought in some fabric and some sticks and told him “Right so yeah, we need to build an airship” – and in six hours’ time Will had made one! This is such an over-used phrase in this industry, but Will is genuinely the kindest, most generous person I’ve ever met, and it’s been an honour to have him work with me on so many shows – and it’s such a privilege to have him now acting on stage in our current season of shows, after his Offie-nominated turn as the Creature in Frankenstein, and playing Hans Scholl in The White Rose.

As well as moving away from Shakespeare (for now), we’ve taken on more literary adaptation work, with Frankenstein, Dracula, Crime & Punishment and Anna Karenina – and started to make a series of historical new writing that has been female-led in terms of narratives, about the lives of Sophie Scholl, Anne Lister, and Gerda Taro. It is with these two strains in mind that we move into our new Renegade season.

As the various phases of company cast configurations have come and gone, we now have a full creative team in place that work on each show, and last year we were appointed as the official associate company of the Brockley Jack Theatre, which was a great honour. In terms of the dynamic and company ethos and staging approach, I think our style has remained constant throughout, although perhaps we’ve consolidated it over the years, and since 2017 I’ve been the lead writer for all productions, which has helped us to zone in on precisely what kind of theatre we want to make, what kind of stories we want to tell.

Frankenstein, 2017. Photo credit: Davor Tovarlaza @ The Ocular Creative

If you could do it all again would you do anything differently?

I’d think twice before working with a certain well-known theatre corporation again, that’s for certain. I’m sure they’re very good with their large spaces but with their studios, they’re all about the hire fees, and not at all about supporting or caring for the shows that they get into their spaces. On the other side of the spectrum, the Brockley Jack is run by Kate Bannister and Karl Swinyard, two creatives who care greatly about every show that’s on at the Jack, they go out of the way to help you and make you feel welcome. Having been at the Jack now since 2016, I can safely say they put some other venue managers to shame, they’re incredibly skilled at their jobs, know their audience and their space, there’s nothing they wouldn’t do for you, so we’re really happy there and feel like it’s a theatrical home for us. But that kind of relationship we have with them is rare, and we certainly kissed a few frogs before that, venue-wise.

Other than that, there’s been a few difficult moments, and at times I think I took on too much, or had too many projects on in too short a space of time, and there’s a couple of moments that I look back on and wish I’d been able to see the good from the bad, focused on the strengths of the work, and not dwelt on the stresses, and tiredness, and anxieties that go with self-producing your own fringe theatre work, but it’s often really hard to do that when you’re in the throes of a production.

I’m very proud of the work we’ve made, and the recognition that it’s got, particularly recently, and I do believe that most failures contain a lesson if you look hard enough. I’ve certainly made a fair few mistakes since I started in 2014, but I feel like I’ve learned from each of them, and am looking forward to what the future holds.

Oh, and I wouldn’t do Titus Andronicus again. That show was probably our weakest for many, many reasons, and I think Shakespeare has got better options in the canon. I think I was lured by the fun of the violence and madness and darkness, but lacked the resources to do it properly. But I think that’s the only production I would retract, if I had my time again.

Anna Karenina, 2016. Photo credit: Davor Tovarlaza @ The Ocular Creative

What have been the biggest highlights and challenges – for you as a director and writer, and for the company as a whole? Any favourite productions?

In terms of highlights, both as a director and writer, it would have to be The White Rose. That was the first original piece I wrote, that didn’t have a novel or source text behind it. Being based on a true story, I knew what characters I had to use, what the remit of the story was that I wanted to tell, and where it would ultimately end up – but the beats, scenes and characterisations were all original and written from scratch, which was quite challenging. I was really proud of that show and what it accomplished. To choose a story that not many people in England knew about (Scholl is incredibly well-known in Germany), and to produce it in a summer period (a natural low point in the year for most theatres), and to get 8 five-star reviews, and 4 four-star reviews, as well as an Off West End Award Nomination for Best Production and sell out 96% of the run – it was an incredible experience, and so gratifying. The cast for that one was phenomenal as well, absolutely no weak links, everyone was on their top game and cared so much about telling the story as best we could, and honouring the memories of the real people they were portraying.

Other favourite productions for me have to be Anna Karenina – that was so beautiful, such a good script by Helen Edmundson – and I enjoyed the scale, challenge and detail of Three Sisters, I loved the style and poetry of TARO, and the ferocity and scope of Frankenstein. A personal highlight for me was to get an Off West End Award Nomination for Best New Play, and another for Best Director, both for Gentleman Jack, which I wrote and directed. That was so lovely to hear, I was so honoured, as I’ve sort of fallen into writing plays almost by accident, mainly because I struggled so much with getting the rights to the things I wanted to direct, or found a distinct lack of scripts available on the subjects I wanted to focus on. I just started writing as a sort of solution to the problem of producing the work, not really thinking about what that meant, and how that sort of made me a writer. I sometimes struggle to consider myself as a playwright – but really – I’ve written six now, and nothing’s been dreadful yet, so maybe I should work on changing my self-perception a little.

In terms of challenges, one of the biggest recently was writing Gentleman Jack and TARO both at the same time in six weeks. That was a nightmare. Such a stupid amount of time pressure. I mean, I usually like time pressure, in moderation. I have an odd process for writing as I usually book the slot first, design the posters, write the copy, put the show on sale, then write the script. I know that’s probably sounding like an insane way to do it, but I have a problem with self-discipline, so if I know there’s a date by which I have to get the script done by, no excuses, otherwise I’m going to let my company and the venue down, then that forces me to write it in time. And once I get going, it’s normally quite a quick process, as the characters start to find their voices relatively early on. It’s normally just a case of getting a first draft done in a few weeks, realising where it’s overwritten, and then taking four or five runs at it to edit it down. Most of my stuff has the framework of an adaptation or a true story, so there’s always a narrative structure preset for me. It becomes largely about working out how to tell the story, rather than working out what the story is. So yes, that seems to work normally, but having to do two plays at once for our recent Female Firsts season was an absolute nightmare of a task, and not one I’d volunteer for again any time soon. You may have wondered why those two plays were a little shorter than our usual fare, it’s because there was literally no more time to add any more pages.

TARO, 2019. Photo credit: Davor Tovarlaza @ The Ocular Creative

In recent years Arrows have won critical acclaim for your portrayals of female figures from history. As an AD what made you decide to take the company in that direction, and why is it important to you to tell these stories?

Yes, I suppose it has worked out like that. For the most part, it was unintentional or based primarily on practical concerns. I always felt actresses got short shrift when it comes to drama, particularly in classical texts, which seems maddening to me, particularly when you consider the ratio of women to men working in the acting field is about ten to one. I’d done Frankenstein and Dracula, two novels largely about men, or where the women were sidelined to supporting roles, and whilst I did what I could to minimise that – making Renfield and De Lacey female or giving Mina, Elizabeth and Lucy a bit more agency, etc – I thought it was time to even the balance and make a season of shows that had female characters as the central focus.

Because whilst I appreciate those productions which take something like Richard II or Henry V and turn it all female – those sort of things just always seem like experiments to me, and always jar a little. Gender is wound into the writing for me, King Lear and Prospero react like fathers with daughters, not mothers with sons, Benedick and Mercutio’s immaturity seems inherently male, as does Othello’s jealousy, and Lord of the Flies is a depiction of what happens to a group of boys, not girls. Changing the gender would change the characters, and most likely alter the plotlines – if a plane of school girls crashed on an island and were left for an extended period of time unsupervised, of course there would be conflict and shocking behaviour and extreme actions, but not in the same way that it occurs with the boys in the novel. So I preferred to write all new original roles that favoured female casting. Sophie Scholl, Anne Lister and Gerda Taro took centre stage, and in the case of the latter, we even divided the roles between younger and older, present and past, to further the opportunities for casting more women, giving more opportunities.

I don’t necessarily see the fact that these heroines were female as a reason to tell their stories, in and of itself. I chose to tell these stories because they’re great stories. If they happen to be about women, then great, but that in and of itself isn’t a validation of their need to be told.  Certainly in terms of their time periods (1942, 1810 and 1935), the fact that the protagonists were female and trying to do something not readily expected of them raises the conflict and drama of the narratives, but what interested me more about Scholl, Lister and Taro was their strengths, their mistakes, their vulnerability, their stubbornness, their kindness, their sense of self, their passion, their ambitions, their cruelty, their moments of realisation. That’s the reason I told their stories.

Check back soon to hear more from Ross about what the future has in store for Arrows & Traps… but in the meantime, tickets are on sale now for One Giant Leap (2nd-27th July) and The Strange Case of Jekyll & Hyde (from 3rd September – check the website for full dates and venues).

Review: Frankenstein at the Jack Studio Theatre

It’s quite a feat to breathe new life into one of the world’s most popular and iconic novels – but there’s no doubt Arrows & Traps’ Ross McGregor has succeeded with his adaptation of Frankenstein. Like the novel, it tells both Frankenstein’s and the Creature’s story, but reframes these within a fascinating insight into the life of their creator, Mary Shelley. The result is thrilling, poignant, often surprisingly funny and – unsurprisingly – visually beautiful, and it allows us to consider the themes of the novel in a whole new way.

Photo credit: Davor Tovarlaza @ The Ocular Creative

In fact, this is much more Mary’s story than it is Frankenstein’s, and the always brilliant Cornelia Baumann leads the cast with a moving portrayal of the troubled writer, now older and suffering with ill health and bad memories. Drawn into a passionate romance with the poet Percy Bysshe Shelley when she was still a teenager, despite the disapproval of society and the attempts of her father William Godwin to keep them apart, she went on to face the tragic loss of three of her four children, a near-fatal miscarriage and then the death of her husband in a shipwreck not long afterwards. In light of all this, it makes sense that the adaptation of her novel focuses primarily on the relationship between parent and child, and invites us to question what it is that makes someone a parent in the first place.

A real highlight of the show is seeing Will Pinchin – the Arrows’ Movement Director – take to the stage for the first time as the Creature. Having admired his work in many previous productions, it’s great to see it in the flesh, and his performance proves to be worth the wait. Unlike the classic Hollywood portrayal of Frankenstein’s Monster who was “born” evil, this Creature starts out as a gentle soul, a frightened, child-like figure eager to learn and play. It’s the rejection of those he loves that creates the monster, and Pinchin’s cold fury and sharp intellect in the play’s later scenes are far more chilling than any lumbering movie depiction. Christopher Tester’s Frankenstein, meanwhile, undergoes a similar transformation from a likeable, earnest young geek to an obsessive genius, capable of creating life but not appreciating its true worth.

With three interwoven stories, all taking place at different times and in different locations and a lot of historical information to digest, there are occasions when it becomes a little hard to follow; some knowledge of the novel is also probably an advantage to help pinpoint where we are in the chain of events. But the skill of the actors (and a few swift wardrobe changes) ensures that despite some significant multi-roling – particularly from Oliver Brassell, who plays no fewer than four major characters – we can always identify who we’re looking at.

Photo credit: Davor Tovarlaza @ The Ocular Creative

Another bonus is the presence of some strong female characters. Shelley’s novel is dominated by men, but here we have not only Mary herself but also her two sisters Fanny and Claire – as well as Agatha, the young blind woman who teaches the Creature to speak and read. Played by Zoe Dales, she’s enjoyably feisty and sarcastic, but also a rare source of compassion in a world that’s far too quick to reject them both just because they’re different.

As in all Arrows productions, there’s also a lot going on visually – from Odin Corie’s steampunk-inspired costumes to Ben Jacobs’ lighting design, which combined with sound from Alistair Lax creates some striking moments. Most impressive is the sequence in which the Creature first comes to life; it never fails to amaze how this company can create such drama on such a small stage.

Frankenstein is the first Arrows show written by artistic director Ross McGregor, who must be feeling a certain sympathy for Mary Shelley seeing his baby come to life on stage every night. But I don’t think this ingenious creation will be turning on its parent any time soon.


Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Interview: Ross McGregor, Frankenstein

Arrows & Traps were last seen at the Brockley Jack Studio Theatre in February with their acclaimed production of Dostoevsky’s Crime and Punishment. Now they’ve turned their attention to another classic novel: Mary Shelley’s Frankenstein.

“It’s the 200 year anniversary of Mary Shelley’s original novel, so it seemed a great time to tackle the piece,” says director and writer Ross McGregor. “Frankenstein is so iconic as well, it’s ingrained in our literary and cinematic history, and there’s been over 100 different adaptations both on stage and screen. It’s such a flexible and deep piece of literature – I found the ideas that Shelley talks about in the novel to be fascinating and worthy of dramatic exploration. Plus, it’s just so much fun to do. There’s literally a scene when a monster made of dead people comes to life. You don’t get that in Alan Ayckbourn.”

Frankenstein is the eleventh show from Arrows & Traps, known for their innovative adaptations of literary classics – and it could be their most ambitious project yet. “In many ways, it has all the hallmarks of an Arrows show: the tight ensemble work, the physical pieces, the fluid staging and the excitement of seeing a classic story told in a new, and hopefully interesting, way,” says Ross. “What makes Frankenstein different from anything we’ve done before is that we’re telling three stories at once. Victor’s, The Creature’s, but also Mary Shelley’s. It’s a triple narrative all being told simultaneously, which makes for some exciting viewing.

“Also, this is the first production that I’ve actually written myself, as well as directing it, so rehearsals have been a voyage of discovery in terms of staging the piece, finding what works, what needs clarifying, and how best to tell the stories we want to tell. It’s been a fascinating and gruelling process of vision and revision. I’m slowly learning the importance of being able to kill your darlings.

“There are moments when it is as though the ghosts in my head are literally manifesting in front of me, which is very moving and humbling, and there is always a great relief when a particular bit or a specific scene is rehearsed and it ‘works’. So often what might look acceptable on paper doesn’t then work in performance, so it’s always lovely to see something that translates and makes the leap. The cast is bringing an awful lot to the roles though, and I’m constantly surprised by all the new layers they’re discovering. It’s been a joy to be involved in.”

Ross explains that in his research for the show, he became fascinated by the story of Mary Shelley: “Her world was filled with characters such as Lord Byron, Percy Shelley, her father William Godwin, her mother Mary Wollstonecraft, her sisters Jane and Fanny, Shelley’s wife Harriet – all of these people would have made a great play in their own right – but what principally struck me was the notion of all the strange parallels in her own life to Frankenstein. Now Mary Shelley wrote Frankenstein when she was nineteen, and although there were definitely things in her childhood that inspired her to write the book, her subsequent life after the novel’s publication shared many strange links to the book, almost as though she cursed herself by writing it. The more I delved into the real story around Frankenstein, the more I wanted to include it in the play.

“So yes, Mary is a main character in the show. And not just as a narrator, she has a part to play in it. She’s older now, suffering from a terminal brain tumour in fact, and is tormented by something that happened in her youth. Something that ties directly into Frankenstein. And so as we see the story of Victor and his Creature unfold, we also see Mary relive her past, with the cast playing roles in both worlds, leaping from one timeline to the other. It’s something of a rollercoaster to watch. I’m very excited about it.”

In adapting the novel, Ross encountered various challenges – one of which was sidestepping the traditional Hollywood image of Frankenstein’s monster. “Initially, I was very faithful,” he explains. “I had always seen the Creature as this lumbering, bolts in the neck, flat-headed lummox that groaned at people, but in the novel, he’s very graceful and agile. The Creature in the novel is very eloquent and possibly as smart as his creator. I wanted to try and mimic that, because I hadn’t found a version where that had ever been attempted.

“In the novel also, there’s no motivation for Victor’s need to create this monster – he just does it because he can. So I knew I wanted to humanise Victor and make him more sympathetic, more flawed, more human, more understandably motivated. So it’s been about balancing those two things. Also, the novel itself isn’t very dramatic and doesn’t lend itself easily to being dramatised. The iconic bits that you probably think of when you think of ‘Frankenstein’ are not from the novel. There’s no ‘IT’S ALIVE!’, there’s no character called Igor, there’s not even any mention of the Creature being scarred or covered in stitches or bolts. All of that is from the films.

“The novel concerns itself with ideas of nature versus nurture, of the perils of parenthood and the isolation caused by abandonment. The hubris of genius. So in adapting it, I have tried to stay true to Mary Shelley’s vision, whilst constructing something that stands on its own two feet as a piece of theatre. And from being in rehearsal, I can certainly tell you we’re making something inherently theatrical.”

The show’s cast includes a mix of Arrows veterans and new recruits: “The brilliant Christopher Tester plays Victor Frankenstein; Arrows fans may recall his recent performance as Raskolnikov in our last production Crime and Punishment, for which he was nominated for an Off West End Award for Best Male. We have the incredibly talented Cornelia Baumann returning to play Mary Shelley, after her recent turn as Olivia and Emilia in our repertory Shakespeare season of Twelfth Night and Othello last year, and we are honoured to have our resident movement director genius Will Pinchin playing the Creature, which I’m so excited about as I’ve wanted to get Will on stage in one of our shows for years. 

“We have Philip Ridout, of this year’s festival circuit hit Dogged fame, playing William Godwin, and recent Oxford School of Drama graduate Victoria Llewellyn playing Elizabeth Lavenza. I recently had the honour of directing for Fourth Monkey Theatre Company as part of their One Year Actor Training program so we’ve got three of their very talented graduates involved: Zoe Dales playing Agatha, Beatrice Vincent playing Fanny Imlay and Oliver Brassell playing Henry Clerval. It is an honour to have all these guys involved and the benefit of knowing who the cast were when the script was still under construction was that I could write it with them in mind and tailor it to them.”

With Halloween just around the corner, theatregoers in search of something a bit scary are likely to have plenty of options – so why should we book to see Frankenstein? Over to the writer: “It’s a gothic steampunk horror set in two different timelines, playing just before Halloween, in one of London’s most iconic and welcoming fringe venues, by a company that cares greatly for the source material and has spent the last three years working to hone their skills and push fringe theatre to the limit of what it can do in terms of ensemble, spectacle and excitement. Frankenstein is quite scary, quite funny, quite sad, and very very exciting. I’d definitely go, and I’m rubbish with scary things.”

Frankenstein opens at the Brockley Jack on 26th September, continuing until 21st October, followed by a brief run at Yvonne Arnaud Theatre in Guildford from 2nd-4th November.

Review: One Was Nude and One Wore Tails at the Hen and Chickens

Guest review by Ross McGregor

Dario Fo’s lesser known one act play One Was Nude and One Wore Tails bears all the trademark satirical prods and nods that you would expect from the mind that wrote Accidental Death of An Anarchist.  There’s some plot, some characterisation, and a few set pieces but it thankfully never really attempts naturalism or a cohesive narrative, and you can take what you want from it. Do you fancy a cutting social commentary on how the wealthy (personified here by a nude man in a bin) rely on the assistance of the working class (personified here by a roadsweeper and also caretaker of aforementioned bin) to get them out of messes of their own making (being stuck naked in this same bin)? This play has that for you. Fancy some Brechtian working class singalongs with comedy horns and innuendo? Job done. Do you desire Beckettian dialogues on the nature of existence? Yup, got that too. Dissection of religion’s intrinsic value and man’s relationship with the deity itself in reference to our own nothingness? Job’s a good’un. Copious nob gags and funny carrot-based prop moments? Consider it done. Find people being hit over the head repeatedly with bin lids absolutely hilarious? This play has you covered.

I don’t think it’s necessary to understand every moment of the play, and to be honest it goes at such a lick that it would be almost impossible to do so without studying it heavily first. But it’s not really important. Fo is throwaway, he’s anarchic, he revels in breaking fourth walls and sending up authority. He doesn’t so much care about making coherent and empathetic narratives as giving you a laugh and a social message. It’s fun, its clever and it’s filled with invention and absurdity. Is this production well-made with love and energy? Yes, clearly – the actors are having a wonderful time up there onstage and their enthusiasm is infectious. Am I glad it was only an hour long? Yes indeed.

This production was made by Theatre of Heaven & Hell, so let’s deal with their “heavenly” points first. Their Programme Notes state the company “began in a living room in Southend-on-Sea”, and the production honours this humble origin with a charming and roughshod design. Newspapers and other street detritus litter the floor with such prolific abandon that it doesn’t so much feel like a normal city street at night but the morning after a newspaper-based apocalypse. The rest of the set is simple and does the job. The acting is enthusiastic with special mention going to Darren Ruston as the Naked Man in the bin, as he completely stole the show and chewed the scenery, sometimes literally. He had a slightly unfair advantage over his cast-mates as his role was a country mile better than the others, to the extent that when he wasn’t visible onstage the action noticeably dipped in interest, but considering he was static (in a bin) and often only a talking head (in a bin), he worked moments of utter stage magic.

Nicholas Bright and Jake Francis do well as the Roadsweeper and Man in Evening Dress respectively, and their grasp of Commedia acting style is clearly apparent and deserving of praise. Bright leads the piece as an ingénue of sorts, or an idiot savant, and somehow that comes across as the clown-like love-child of Goofy and Rodney Trotter, but it’s endearing and those type of parts are always very hard to pitch right, so Bright deserves much praise for aiming his little roadsweeper dunce with such innocence and sparkle that I only wanted to kill him a little bit. Elena Clements plays Woman with a vice-like command of punchlines and timing, and Brian Eastty multi-roles as a philosophical lascivious roadsweeper and a nosy patrolman. The cast are good on the whole, their energy is always at the apex of what is needed for the piece, and they clearly relished playing archetypes of sex workers, and policemen and ambassadors – this is not Pinter, or Shakespeare, or Chekhov – there are no three-dimensional characters here, and you can see the cast are loving living life large.

Now to deal with the “hellish” elements, as unfortunately this production could do with some honing.  The set-pieces and clowning elements were a little off in their timing and are in need of some more practice. There were multiple line fluffs which would be fixed by the actors taking a breath and some time during the performance to just “sit” in their roles and get comfortable. Only Ruston allowed the scenes to truly breathe, and it is something the rest of the cast could benefit from.

Second, the actors were all over-dressed in terms of their heat management. Many of the actors were sweating so much that it became a distraction for me, as I couldn’t get past how uncomfortable they looked. Turn the lights down, and turn the air conditioning up higher. Let them lose the hats and gloves. Make them comfortable, and they’ll be more at ease onstage. And if you’re going to have a naked man run across the stage at the end, then, let him be actually naked. Don’t fudge it with white loincloths. If he doesn’t want to, or if you don’t want to, then cut it. It’s one of those things you either do properly or don’t do at all, and to have it as the last image of the play meant that the whole production ended on a whimper as opposed to the explosion that presumably was intended.

One Was Nude and One Wore Tails is a quintessential London Fringe story. It’s a forgotten gem brought back to life, with a talented and energised cast that produce some moments of utter brilliance, but is let down slightly by a lack of precision in rehearsal in terms of movement direction. With some time and work – it could be divine.

One Was Nude and One Wore Tails is at the Hen and Chickens until 18th March.


Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉