Thursday, 27 April 2017

Phillip Breen's Insight Into Travels With My Aunt

Director, Phillip Breen, is a familiar face at the Citizens Theatre having previously directed A Day in the Death of Joe Egg, his own adaptation of The Resistible Rise of Arturo Ui, The Shadow of a Gunman, The Caretaker and True West.  Most recently, Phillip has directed Mark Addy and Caroline Quentin in The Hypocrite, a new co-production between The Royal Shakespeare Company and Hull Truck as part of the Hull 2017 UK City of Culture.

Here Phillip discusses what drew him to Giles Havergal’s adaptation of the Graham Greene novel, Travels with My Aunt.

Cast of Travels with My Aunt 3-20 May |

Travels with My Aunt is both very much a novel of its time and one that has taken on the status of a classic, in that it has something new to say to each passing generation. It’s funny, satirical, grotesque, dark, morally knotty and elusive; it’s almost as if P.G. Wodehouse had been tasked with rewriting Conrad’s Heart of Darkness. It’s rooted in the literary mileu of the ’60s while at the same time somehow sending it up. 

As in Camus’s great existentialist novel The Outsider, we meet our anti-hero at his mother’s graveside, (he’s “agreeably excited” by the prospect of the funeral), it also has aspects of Kerouac’s On the Road, complete with clouds of cannabis smoke. The political anger of Brecht and his contemporaries is captured by Henry’s belief that his Aunt’s crimes are “nothing so wrong as [working] thirty years in a bank”. Part of the genius of the novel is that unlike those angry young men protagonists, rebelling against the ‘greatest’ generation who fought fascism in World War II, this middle aged bank manager is shown the seedy underbelly of the swinging sixties by his septuagenarian aunt with flaming red hair, who happens to be having lashings of sex with an African drug dealer and lover of romantic poetry. 

It’s a passionate injunction to lead a ‘true’ life, but unlike many of his contemporaries’, Greene’s portrait of the ‘true’ life has troubling consequences: freedom costs. Henry leaves behind the stifling conformity of Southwood, where death inches inevitably closer to him day by day, for life in lawless Paraguay, where you’re as likely to get a life sentence for blowing your nose on the wrong coloured handkerchief, as you are to make your fortune as a dealer in stolen renaissance art, as you are to crash your plane somewhere over Argentina. Henry’s striking ambivalence to everything (including his own desires), hangs mysteriously over the narrative. 

It also feels like a novel for now. Never has the idea of Southwood - a little Englander’s fantasia of long shadows on county grounds, warm beer, invincible green suburbs, dog lovers and old maids bicycling to Holy Communion through the morning mist - and the desire to return to it, been so present in the national conversation. Greene describes it as “a little world of ageing people where one read of danger only in the newspaper”. Perhaps the novel has something to say to a generation of young people, made increasingly rootless as their geographical networks are superseded by digital ones.

Either way it’s a fascinating subject for a play and Giles Havergal’s adaptation has in itself taken on the status of the classic being performed regularly all over the world; its ingenious dramaturgy allowing the theater-goer to experience the full depth of Greene’s gloomy imagination while having a bloody good laugh. It is one of the finest flowerings of one of the greats of European theatre, and one of the most memorable moments in the Citizens’ recent history.

A full list of Phillip Breen's credits can be found at

Cast of Travels with My Aunt 3-20 May |

3 - 20 May

Monday, 24 April 2017

Giles Havergal: A Theatre for the Citizens

Blog post by Erika Rodríguez Horrillo. MLitt Theatre Studies student, on placement in Glasgow University's Archives and Special Collections department. 
Sir Ian McKellen and Giles Havergal in front of Citizens’ Theatre sign. 
Photographer Alan Crumlish. Ref: STA GHC 1/8
It’s 1969 in Glasgow. The city doesn’t know it yet but it’s about to witness a real theatrical revolution: Giles Havergal arrives at the Citizens Theatre as its new artistic director, and the scene is set for a showdown. Over his 33 years’ tenure, Havergal will make the Citizens a theatre not just for the people of Glasgow, but one that’s a reference to the world.
Over the past few months I’ve been going through countless boxes of material from the Giles Havergal and the Citizens Theatre Collections at the Scottish Theatre Archive (STA), as part of my Theatre Archive Placement for the MLitt Theatre Studies programme. I remember the excitement of the first day I arrived in the Archive and I was given a tour around it and introduced to the amazing people that work there. I remember the thrill that overcame me when I saw the huge room full of shelves containing books, documents, posters, and even costumes and objects related to shows and artists. I knew the Archive was big, but then I got a real notion of the magnitude of it. And it’s absolutely amazing to know that we have access to all those materials in our University Library!
I need to confess that when I first heard the name of Giles Havergal, while looking for a collection to explore in the STA, I had no idea of who he was or what he had done to have an entire collection dedicated to him there. I have to excuse myself here. I am Spanish and didn’t know much about Glaswegian/Scottish theatre when I first arrived here. But I had been to the Citizens Theatre on several occasions, in fact I had collaborated with them in social projects before, and couldn’t wait to learn more about the person who made that amazing theatre what it is today. And now I can share it all with you.

Hard beginning

The Citizens Theatre opened as such in 1945, when the Citizens’ Company, directed by James Bridie, moved into the former Royal Princess’s Theatre Gorbals Street. The Gorbals is an area in the city of Glasgow, on the south bank of the River Clyde not far away from the city centre. During the 20th century, and due to being massively populated, the area was subject to several remodelling plans that included the construction of multiple social housing tower blocks. Opening a theatre there may not sound like the greatest idea, and it has often been hard to attract audiences. When Havergal arrived in the late ‘60s, the Citizens had been through 7 different artistic directors in 9 years, the last of whom lasted less than a year. The theatre was under great threat: audience numbers were very low, and there were plans of taking the theatre to a new more central location. But Havergal was determined to stay and offer the people of Glasgow an entertainment that would defy that of the Palace Bingo next door. And so he did.

The Triumvirate

The Edinburgh-born director arrived in Glasgow straight from the Palace Theatre at Watford, and brought designer Philip Prowse with him. A year later Scottish writer and translator Robert David MacDonald would join them, and together they would direct the theatre for 33 years in what has been known as the Triumvirate, or as some referred to it, the ‘Unholy Trinity’. In a short time, they would transform the theatre in all ways possible, and make it one of the leading theatres in Britain, which contributed to Glasgow becoming European City of Culture in 1990.
STA GHC 4-49-4
Philip Prowse, Giles Havergal and Robert David MacDonald.
Ref: STA GHC 4/49/4


But how did Havergal succeed in a task where so many had struggled before? We could say that everything started with a very controversial production of a Shakespeare play: on the 4th of September 1970, Hamlet opened at the Citizens Theatre, and as theatre critic Michael Coveney would say years later, “all hell [broke] loose”. Prowse had the idea of gathering a bunch of young actors and creating innovative productions of classic plays. If nobody liked what they did, he said, they could do what they liked. Giles Havergal directed an all-male production of Hamlet that included representations of sex and partial nudity, which challenged 20th century morality. The production provoked an outburst of critics and the cancellation of bookings by lots of schools. That could had been the end of Havergal’s directorship. However, contrary to the predictions of newspaper critics, the immediate results of the controversy were packed houses and new young audiences that came to theatre attracted by the sense of rebellion and disinhibition experienced there. It was the beginning of a 33 year reign marked by socialism, provocation, and theatrical splendour.
STA GHC 2_11
‘Hamlet’ may indeed be going to Hell on a bicycle.
Ref: STA GHC 2/11

The Scottish matter

To the Hamlet debate others would follow. The Triumvirate was often criticised for the lack of Scottish plays in their programme. They would very rarely put on plays by Scottish authors, to which Havergal would argue that the company had a Scottish playwright in their team, Robert David MacDonald, and that the plays they received were often not good enough. Some of the board members would disagree with this claim, to which the Triumvirate would reply that the plays might read well, but not stage well.
STA GHC 8_38b
Death in Venice. Citizens’ Theatre, Glasgow. 
Photographer Alan Wylie. Ref: STA GHC 8/38
STA GHC8_38a
Death in Venice. Citizens’ Theatre, Glasgow. 
Photographer Alan Wylie Ref: STA GHC 8/38

Keys to success

On a visit to Waverly Secondary School in Glasgow at the beginning of his tenure, Havergal told the school magazine that he thought the problem with the Citizens was that it had never been anything for long enough, and that what the theatre needed was “a consistent policy over a few years” that he thought would help build up the audiences. He did give the theatre a consistency throughout the three decades of his tenure, and his policies proved to be very successful.
Some of his ideas were absolutely revolutionary. With Prowse’s aid, Havergal would introduce multiple socialist policies to the theatre, the most acclaimed of them being the low ticket-pricing. For many years, all tickets would be 50p, with senior citizens and the unemployed having free entrance to every show. The prices were increased with time, but they were always kept affordable to everybody. All actors in the company would be paid approximately the same (recently graduated actors would be paid slightly less), and they would be cast in leading and small parts interchangeably, giving them a chance to play big roles that they wouldn’t probably be offered elsewhere. They also introduced the alphabetically ordered staff-list that remains to this day, which gives an egalitarian status to every member of the staff.
The triumvirate was always faithful to their own beliefs and not to what audiences/critics expected from them. This refusal to patronise the public, together with an outstanding financial management (the theatre never ran up a deficit under Havergal’s tenure), were vital to the Citizens Theatre’s success under the Triumvirate’s reign.

New look for the Citz

In 1989, just in time for the 1990 double celebrations of the 21st anniversary of the new Citizens Theatre Company, and Glasgow being named European City of Culture, the theatre was given a complete makeover, giving birth to the Citizens as we know it now. The current design of the theatre was inspired by Glasgow’s shipbuilding past. The new foyer was covered by a glass and metallic structure, and it included new bar premises. A new studio theatre had been set up during the works so that the season could go on, and they decided to keep it going when the works were over. It wasn’t the first time The Citizens housed a studio theatre. In fact, until it burnt down in 1974, The Close Theatre cohabited with the Citizens for many years.
Whilst the main auditorium has remained the same since it’s construction in 1878, the theatre has been through renovation and expansion several times. The first big remodelling of the theatre would come in the ‘70s, when the neoclassical façade of the old Royal Princess’s Theatre, previously known as Her Majesty’s Theatre, comprising 6 columns topped by the four muses of theatre flanked by the two bards, Shakespeare and Burns, was demolished. The goddesses were kept safe until they were restored to the new foyer in 1989.

Giles Havergal’s Legacy

Giles Havergal gave up his directorship of the theatre on 2003, but he kept working as an actor with his one-man production of Death in Venice, this was highly acclaimed and was programmed oversees in San Francisco and New York.
Havergal lives in London and recently attended the rehearsals of a revival of his adaptation of Graham Greens Travels With my Aunt at the Citizens. The theatre keeps being the welcoming, socially concerned place he conceived alongside Prowse and MacDonald. He created a temple of creativity where some of the most acclaimed actors such as David HaymanPierce Brosnan, or Alan Rickman gave their first steps in theatre.
Havergal didn’t give the audience of Glasgow what they wanted, or rather, what they expected. But he did make theatre for the citizens of Glasgow. His European based repertoire was affordable to all social classes, and he brought to them plays that couldn’t be seen anywhere else in Scotland. Glasgow theatrical landscape wouldn’t be the same without the Citizens Theatre, and the Citizens would not be what it is today if it wasn’t for Giles Havergal.
If you want to learn more about him and his legacy, I genuinely encourage you to visit the Special Collections Department at Glasgow University Library, and have a look at the STA GHC collection that Giles Havergal himself has donated to the Scottish Theatre Archive. For more information about the topic, you can also turn to the Citizens Theatre Collection (STA CTC).

Thursday, 6 April 2017

In conversation with Dominic Hill, Director of Hay Fever

Citizens Theatre - Artistic Director Dominic Hill -
Artistic Director Dominic Hill in the Circle of the Citizens Theatre
Of the entire Noël Coward repertoire what drew you to directing Hay Fever?
It’s not that often performed in Scotland – I guess it has quite a large cast. But I have always loved the play - I think it is so funny, and the way it sends up, yet celebrates, a type of ‘bohemian’ character is still very relevant for today’s audience.
Hay Fever - Citizens Theatre 2017 -

Do you think Coward’s influence can be seen in modern day culture?
I think that you can see his influence on other writers. Who’s Afraid of Virginia Woolf by Edward Albee feels like a more modern, and more tragic, version of Hay Fever. And undoubtedly, Pinter, who on the surface seems to inhabit a world that is a million miles away from Coward, was influenced by his clipped and seemingly superficial dialogue. Pinter is Coward with menace.

Does your approach to directing change in any way when directing comedy instead of drama?
Not really. As a director you’re still interested in why the characters do what they do, and say the things they say. I guess there is a greater focus, with this play, on the style and rhythm of the dialogue. What feels different about Hay Fever, and I think it’s partly because he wrote it quickly, is that it has an improvisational feel - characters say things without necessarily knowing where they’re heading. This also suits the characters of the play, many of whom are ‘bored’, have money but little to do and who are just ‘making it up’ as they go along. After all, the plot of the play is rather thin.
Hay Fever - Citizens Theatre 2017 -

Noël Coward’s work is often associated with a particular ‘Englishness’ and a focus on a certain section of society, when you approach the piece is there anything you adapt for a Scottish audience?
I think one of the interesting things about Hay Fever is that there is less focus on the class of the people. The Blisses have money and status because they’ve been successful in what they do, not because they’re members of any particular class. I’ve tried to get away from a pre-conception of a bunch of posh people with cut-glass accents and examine who they are and what their relationships with each other are. Some of them are English, some of them are Scottish. I’m not making any comment on their nationality. I think it’s interesting that the family that Coward based the Blisses on were American. That makes sense to me. They don’t feel particularly English.
How much room does Coward’s script allow for stylistic choices from yourself?
 His scripts always seem so concise, as though no word is out of place. I hope we are just examining the characters and their actions with fresh eyes and no pre-conceptions. The set perhaps is not quite what one would expect – no French windows for example. We wanted with the design to emphasise the idea that the Blisses are a family who only exist or have meaning when they are ‘performing’. Life, to them, is a game.

Hay Fever - Citizens Theatre 2017 -

Do you have a favourite line in the play?
Not at the moment. But that might change. I don’t think it’s a text that is particularly aphoristic – unlike Wilde. Its humour comes from the situation, and the characters’ attitude to that situation. ‘This haddock is disgusting’ for instance – in itself it’s not funny but the situation and the delivery make it so.

You have brought together a brilliant cast and creative team can you tell us a little about that process?

What drew you to certain people or did you go into the piece with people already in mind? There are a number of people whom I had admired over the years and wanted to work with – Susan Wooldridge and Benny Baxter-Young, for instance. Others, I auditioned and seemed perfect for the parts. It’s a terrific company. The designer and lighting designer are people I’ve worked with many times – I find that helpful and creative.
Hay Fever - Citizens Theatre 2017 -

5 - 22 APR