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Category : Articles

02 Aug 2016

Bouncers – In Conversation with David Carr, a Director’s View

Bouncers plays August 9 – 13 in the Upper Hall at Stanley Halls. Seasoned actor and first-time director David Carr talks about his debut production Bouncers is an infamous play, but for those that have not come across it, what’s the play about? Bouncers tells the tale of a night out in a northern nightclub as seen through the eyes of the four bouncers. The play describes the seemingly timeless shenanigans of punters who save their money all week and […]

14 Jul 2016

Around the World in Eighty Days : A View from the Cast

In a change to our usual feature, this time the trio who form the cast of our next production give their insight into what promises to be a rip-roaring show. All three members of the cast play several characters, but their principals are Phileas Fogg (Naomi Liddle), Passepartout (Audrey Lindsay) and Inspector Fix (Chris Vian Smith) Naomi – how has it been to work on an iconic literary character like Phileas Fogg? Well, to start with (spoiler alert), I’m not […]

09 Jun 2016

I Am A Camera : An Interview with Lisa Thomas

We talk with Lisa Thomas, director of next week’s production I Am A Camera and find out more about the play which inspired the musical Cabaret. Tell me more about the play? In the late 1920s and early 1930s, Christopher Isherwood was living in Berlin. He later wrote several short novels inspired by the people he encountered there. I Am a Camera is based primarily on Goodbye to Berlin and Sally Bowles, and the novels and the play eventually formed […]

20 May 2016

Many Moons : An Interview with Jason Salmon

First-time director Jason Salmon talks about directing Alice Birch’s challenging and affecting Many Moons. This isn’t a very well-known play – what made you decide to direct it? I chose this play because of the way it’s written and how I felt after reading it. The content is very challenging, yet because of how each character is developed and deals with it, I was hooked until the end. Each of the characters is very real and very honest, and despite what […]

28 Apr 2016

It’s A Total Farce! : An Interview with Simon Gleisner

Simon Gleisner talks about directing Ray Cooney’s Two Into One and the challenges staging a farce presents. What made you decide to direct this particular play? I chose this play because I love doing comedy, but I think it’s a real challenge to do well. And with farce, there’s no escape – there’s no underlying meaning, no hidden depths, no great social message. It’s about making people laugh. So the pressure is on! Your last SLT show as director was School for […]

29 Mar 2016

An Interview with Anton Krause, director of Stones in his Pockets

Anton Krause talks about Stones in his Pockets and the challenges the production presents. Why did you choose this particular play to direct? I was looking for a stripped-down show of this kind to direct. I saw the play when it was on in the West End in about 2000 and enjoyed it so much I went twice. I loved the fact that these two actors managed to tell this story with a cast of thousands (well, maybe not quite thousands!) […]

08 Mar 2016

When We Are Married, A Director’s View

Our March show is J.B. Priestley’s Edwardian comedy of manners, When We Are Married, set in 1908 and first performed in 1938. Director Anthony Campling gives us his take on this classic comedy. What is the play about? The main themes are class and marriage, and the latter’s being synonymous with respectability. It also touches on the pomposity and hypocrisy of the nouveau riche (self-made men and their wives), and the North-South divide. Other serious issues such as absurd aspects of […]

03 Feb 2016

Berkoff’s East, A Director’s View

Director Kelly-Kim Cranstoun talks about her SLT directorial debut East. Set in the East End in the late 1960s, the play features the London of Berkoff’s own adolescence. What are the play’s core themes? “East is at once a celebration and critique of the performance of masculinity. Berkoff acted in the film of Anthony Burgess’ A Clockwork Orange just before he wrote the play, and the language is certainly reminiscent of the film, with the same extreme metaphoric pressure, kinetic energy […]