Performing plays as if they were written yesterday

The Time Out review of our 2^nd production, The Revenger’s Tragedy began “Present Moment take plays written centuries ago and perform them as if they were written yesterday”. Which was fantastic because it captures the essence of the brand (to borrow from advertising-speak). So how do we do that?

We don’t change the language (although we have been known to edit). We don’t dress everyone in early 21^st century fashion. . But we do try to find a context in which the play comes to life. Because you have to create a world in which the action of the drama makes sense. And to build a bridge from our world to that world.

Elsewhere on this web site you can see me talking about inspiration and starting points. You may not know where an idea comes from. I often don’t, at first. The process works backwards. So it took me a while to realise that the notion of Mephistopheles first appearance evoking Arnie’s first appearance in The Terminator is – apart from being very dramatic – is because of the effect that Mephistopheles has on Faustus world and the action of the play, in the same way that the Terminator effects Sarah Connor’s world. (Mind you, Faustus isn’t Sarah Connor – she’s far more practical. And she can sprint. Faustus isn’t comfortable in his body. He lives in his head.

When you’re looking for ways to contextualise and interpret a piece, ask yourself what the place you’re performing suggests. Stratford Circus is a modern space. There’s wood, but there’s metal. It’s in a neighbourhood that is being rebuilt and revealed and transformed (the Olympic site is just across the road). All that has, I begin to realise, informed our interpretation.

Before and during rehearsals keep asking, “Who is this person like? What does this scene remind me of? What’s the equivalent today?” So – in no particular order:

• I’m playing with the idea of Valdes and Cornelius as undertakers. That’s partly because, for me, Faustus’ study is a state of mind as well as an actual place. I want him out of there. It’s also a practical decision – if you’re a necromancer, you need access to dead bodies. Who has access to dead bodies? Undertakers!

• What happens to people, like Robin and Rafe, with no money and big dreams when they strike it lucky? Maybe their second scene is like a moment from MTV cribs

• The Emperor reminds me of some spoilt rich kid, needing a new thrill, like someone off Gossip Girl. (Hmm. Maybe I watch too much trashy TV)

• Faustus wouldn’t have done normal kid things. He’d have been indoors, learning calculus and Latin. So Mephistopheles becomes the best mate he never had. And what a relief it must be to hang out with and talk to someone as clever as he is.

The process is about honouring the original and its spirit while finding what's there that the audience can recognise and connect with. Creating clarity. That's the point of interpretation.