Issue Sixteen Summer 2013
Hamish Glen on co-producing Sons Without Fathers Find out more about Sons Without Fathers and what it means to be working with London’s Arcola Theatre again in this interview with Artistic Director Hamish Glen. Why did you want to programme Sons Without Fathers and how does it fit in with the Belgrade’s artistic policy? Choices in a theatre’s programme are often pragmatic. We worked with the director, Helena Kaut-Howson, and Arcola Theatre in 2011 on a production of Chekhov’s Uncle Vanya. It was successful with critics and audiences and went on to collect a clutch of award nominations so it made sense for us to work together again. Helena suggested a new adaptation of Chekhov’s first play Platonov titled Sons Without Fathers. The play fitted well with our policy of producing rarely performed plays from an international repertoire, but also talks about family relationships and marital discord, which are subjects we have explored in a series of productions since our re-opening in 2007, such as Scenes from a Marriage, Nora, The Father and most recently in Gogol’s comedy Marriage.
What does ‘co-production’ mean and why do we sometimes do productions in this way? Co-producing has become increasingly important in the face of Arts Council and Local Authority funding cuts. Co-productions enable us to share the creation costs and extend the run of productions as they play two or more venues or go on tour. This ultimately extends ‘the reach’ of the play and the number of people that see and engage with the work. Are there any disadvantages of working with other theatres? Sometimes they can clutter the artistic policy as projects have to be agreed between various artistic leaders whose own passions and policies, dates, deadlines, images and designs, all have to be negotiated. This can be joyful, but it can also compromise a singular vision and a certain independence. Can you tell us a bit about Sons Without Fathers? This adaptation moves the action to a
contemporary setting in modern-day Russia, where a widowed landowner returns for the summer from Moscow. Her return is greeted by two elderly suitors, the district doctor and Platonov, the local teacher, and his wife. She and two other local women, one married wants to have an affair with Platonov. The play continues in a classic comedy of errors as the widow attempts one evening, to spirit Platonov to the summer house to make hay. This comedy of errors leads to Platonov’s wife leaving him. I’ll not give away the ending, which is both comic and sad, the heart of Chekhov’s dramatic genius.
Exclusive Friends of the Belgrade Theatre Events Friends performance of Sons Without Fathers
Season Launch with Hamish Glen
Date: Thursday 25 April Time: 7pm Meeting Place: Box Office
Date: Friday 28 June Time: 3pm Meeting Place: Box Office
Part of being a Friend of the Belgrade is having the opportunity to meet likeminded people, so the Belgrade will be holding a Friends evening before some shows. The first of these will be for Sons Without Fathers. Join us for a pre show drink and the performance, followed by a post show discussion.
Hamish Glen talks about the new season, what shows he has programmed and the reasons behind it. Join us for this event and get exclusive insight into the Belgrade’s artistic policy.
Tickets for the show need to be booked at Box Office, over the phone on 024 7655 3055 or online and are priced at £14.20 (£13.60 online) with your Friends discount.
To book a place on this event please contact Lexy Rooney on 024 7684 6758 or email friends@belgrade.co.uk.
Friends of the Belgrade Theatre benefit from receiving 20% off individual tickets. See back page for season diary.