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Why do we laugh? Why do we love? Why do all lonely-hearts ads demand a ‘Good Sense Of Humour’?
In the near future, an android called Jacie develops emotions and an aspiring writer falls in love with her. But where he sees potential, others see malfunction.
Winner of Olivier, Evening Standard and London Critics' Circle awards when it premiered in 1999, Alan Ayckbourn’s Comic Potential is a hilarious and moving story by the master of theatrical comedy. Set in the future where everything is different except human nature, the play is a satire on television, a discourse on comedy and a story dealing with the nature of love.
Now, the play described by the Daily Telegraph as “one of Ayckbourn’s sharpest and most topical satires” is being revived by Tower Theatre Company at premier fringe venue Theatro Technis, near King’s Cross, from 21st May. To buy tickets, go to: http://www.towertheatre.org.uk/comic.htm.
Multi-award-winning actress Janie Dee – who originated the role of Jacie – will be attending the Friday 24th May performance and will be giving a Q&A with director Victor Craven after the show.
A week before opening night, I spoke with Craven about his excitement at meeting Dee, the enduring appeal of Ayckbourn’s work and the relationship between theatre and laughter.
What appealed to you about directing Comic Potential?
Well, the history of my love for theatre started when I was 14 and saw the premiere of A Small Family Business at the National Theatre. Until then it had been the usual RSC trips or to see something at the Open Air Theatre in Regent’s Park – Shakespeare, basically. Seeing Ayckbourn, I realised you could see plays at the theatre with people who talked in a modern language – and starred actors such as Michael Gambon, who I knew from The Singing Detective on TV. It also had an amazing huge set and was all too much to cope with, to be frank! It lit something in me that has never gone out.
I directed a show called On Religion with Tower Theatre Company last year and they asked me to direct another. I was thinking of choosing something broader and bigger and more fun after such an intense piece, and Ayckbourn came immediately to mind. Comic Potential is such a brilliant, funny and dark play, but light at the same time.
Does its future scenario have arguably even more resonance now than when it was first staged?
That’s been something that’s been a continual discussion in rehearsals in terms of both the acting and the design side of the production. I think at its heart, the play is a look at love and comedy from a post-modernistic Ayckbourn perspective in terms of what he’s learnt about both.
The play is set in the world of TV production of the future. When the play was first staged it had that sense of being a clever swipe at what was going on and what it would lead to. What’s interesting now is that we’re looking at it in the past in terms of what it’s bringing up. Fox News is still ‘advising’ the USA on what and how to think! And those heady days of dramas such as The Singing Detective are pretty much over in terms of TV production. So it’s nice to look back at it and go, ‘Yes he was right’ and look at how exposed everything has become. Even though it’s a play set in the future it has huge resonances for our past. I saw the original production and remember thinking that it had thate sense even then. The future concept is really a device to throw up all the issues Ayckbourn wants to discuss.
How have you approached staging the play?
With our show I’ve always been clear that although I want it set in the future, I want nostalgia – so no flashy lights or Star Trek-style design. The future-ness comes from the text rather than walking into some futuristic set. That’s what we’re trying to achieve on this production. As I said, it’s really about love and comedy and that’s what I want the audience to come away thinking about. What is comedy? How do we laugh? What makes us laugh?
To what would you attribute Alan Ayckbourn’s enduring popularity?
That’s a whole book! I think he’s a master at being able to make 99% of an audience respond to a single moment. He has the right balance to cater for a very wide section of people’s intelligence. In some respects he has that real sitcom sensibility, which is very mainstream. He just knows what the best thing is to put in front of a big room of people to get them on side. But, at the same time, he has an incredible ability to make people laugh at something that is profoundly disturbing and dark. The whole premise of this play is that a young human writer falls in love with a robot actress. It’s not AI or Bladerunner but at the end of the day it’s quite dark and disturbing!
What is the relationship between laughter and theatre in its most exciting form?
The laughter aspect is part of what, for me, makes theatre so wonderful – a room full of audience members directly relating to a cast. There’s the atmosphere and the danger level of the situation, with so many things that could go wrong. Audience members may not be consciously thinking about that, but it’s always there. And whether it’s a tragic or funny moment, you have a whole body of people profoundly moved by someone speaking text. Generally, the whole notion of sharing a moment, comedy or otherwise, is great. It’s different to watching TV and laughing alone. There’s research that suggests a possible reason we laugh out loud with other people is connected to instinctive responses evolved over thousands of years about the power of expressing your mood when you’re in a collective. The situation of being in a group and laughing makes you feel better than if you’re smirking by yourself in front of the TV!
Your background is in projection design. How does this enhance a theatre audience’s experience when it is done properly?
Using it well is the key! I think, as with everything, the cheaper things technology becomes – and the more accessible – people get very excited and do anything and everything with it. I‘ve sat in meetings and just cringed at the ‘Oh, we can do this’ approach. Personally, I use projections to create another dimension to the overall theatrical experience. To me, it’s absolutely essential that anything created is a) totally supported by the script and the story and b) is part of a collaborative process with the entire design team. My aim really is to create something that people aren’t ultimately even necessarily aware of. Obviously, the huge benefit of projection design is that you can create whole worlds instantly, which is great. But, again, it’s not just a case of doing that for the sake of it – it has to be supported by the script. With These Shining Lives, which I've just designed for the new Park Theatre, the actual content is about supporting naturalistic and non-naturalistic moments. So we’ve used projection design as both a location pointer and to give those moments of magic their charm and beauty.
How have you found the difference between projection designing and directing?
I’m one of a group of practitioners when I’m projection designing; I become a creative collaborator rather than the ultimate decision-maker. But because I’ve directed many productions I have a real sensibility and understanding of that process and am able to fill the Projection Designer role without stepping on anyone’s toes.
What has it been like to collaborate with Tower Theatre Company?
It’s astonishing – it’s a huge, massively resourced set-up. We produce 18 shows a year and the spirit, dedication and sheer bloody-minded work that everyone puts into the productions is breathtaking. Having such a large group of committed people to work with really enables you to play and create and to try things out. There are some 300 permanent members. It’s such an amazing family.
As well as Comic Potential, you have, as you mentioned, just finished the projection design for These Shining Lives – the inaugural production of the brand new Park Theatre in Finsbury Park. What is the venue like?
For Finsbury Park, as a community, the whole area outside the station has been transformed, and I think the theatre has had a huge impact on the positivity of developing the area. It’s going to be a shining beacon in the area. It’s a great place with a Donmar-like main space and a really cool studio. It’ll be interesting to watch its journey. The next step is for it to achieve a reputation for putting on great shows – which it already is and will continue to do so. The buzz is phenomenal. During the end-of-day commuter rush time, people are literally stopping, mouths wide open, not actually able to believe that it’s there. Artistic director Jez Bond’s enthusiasm and general positivity is infectious. Having someone like him at the helm, along with executive producer Miranda Bertram, just fuels everybody.
What do off-West End theatres offer in contrast to more mainstream venues and companies?
As a regular theatre-goer, I think off-West End venues have a real family feeling to them, both in terms of the audiences and the staff, as well as the creatives. When you go to those venues, it isn’t just about seeing a show. Park Theatre, for example, has a really great cafe and a great vibe to the building. Production-wise, the money off-West End productions attract isn’t always as great as it could be, but I think that can really produce flair. The most creative work can come out of these kinds of restrictions.
Janie Dee, who originated the part of Jacie in Comic Potential, is doing a post-show Q&A on Friday 24 May, isn’t she? Has she had any input in this production?
No, but she’s absolutely thrilled and excited to see it. She hasn’t seen the play since she performed it herself! I was stunned to learn that. I’m very much looking forward to talking with her about creating the part of Jacie and what it was like working with Ayckbourn on it. At the time it was originally staged in Scarborough he was experimenting with producing a series of ten plays with the same ten actors. Comic Potential was his new play for that year written for those same ten actors. So it’ll be interesting to talk to her about that year. I hope she enjoys our show!
And what is up next for you, after this show?
Next? Well, I’m doing the projection design for Enron at the Bridewell Theatre in July and I’m talking to people about various projects, which I can’t discuss for the obvious, usual boring reasons! All I’ve really been doing of late is focusing on the projections for These Shining Lives and – what feels like two seconds later – getting ready for Comic Potential!
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