Interview with Mark Babych ...continued emerges at the end with a different view of the young people he works with and himself — there is also a contemporary relevance in the story about how we educate our young people and the role that creativity and culture plays in our society. The staging concept really came out of the need to keep the action active and fluid without the need for cumbersome scene changes which meant a certain simplicity in the way scenes are located and set up by our on-stage ensemble
What are the key stages in taking a script from first draft to final dress rehearsal on stage? Once I've read the first draft there is some discussion amongst the director and producers to gather initial responses to how the story is revealing itself through the choices the writer is initially making. I would then collate these in my mind and then work closely with the writer to tease out the next path towards the next draft. Because Ayub and I have worked together before this process is relatively straight forward as I think we were completely in tune with what needed to be developed, what the strengths were and what could be adapted and simplified; in this case the task was to condense the characters for the number of actors available and flesh out the character of Florian the headmaster. Once in rehearsal we'll take another look at how what's on the page is working in action and things will be revealed to us throughout the process that Ayub will want to respond to and adapt, so it really is a living and breathing organism that will grow as we work and fine tune — this might include changes of location and adapting lines to trimming certain section. There then comes the transition from the rehearsal room to the stage, which is always an exciting moment because then the choices you have made in a small room then have to stand up in a large auditorium, and we keep on refining. The process doesn't stop there because the one element we have never had up until the opening night is the audience, and they will tell us far more than anything if what we have dreamt up connects and has meaning and intelligence.
What advice would you give to anyone who is interested in pursuing directing as a profession?
and stops you resting on your laurels. Be interested in actors and other artists who you will form close working relationships with — it is they that will translate ideas into reality and a good understanding of what makes them tick and an appreciation of the skill and craft that goes into their area of specialism will make you a better director. Be well read — know what's been before and what is emerging and current. If you can, do some training at an established and respected course — there are many available now but look at who the alumni are — who's been on the course who is now making a successful career for themselves. Put high quality productions on where you can — be it in a pub/bar/shop/theatre anywhere you can demonstrate your commitment and creativity. Get to know the professional theatre makers in your orbit and make yourself interested and known to them — after a while, if you show initiative and talent, they will take notice. Be persistent!
Mark Babych in rehearsal for To Sir With Love
See as much theatre as you can — be diverse and adventurous in your choices and don't just stick to one particular palette — learn as much as you can and keep on absorbing and learning — this is a life long task and part of what makes this job exciting
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