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Patrick was Artistic Director of the Nuffield Theatre Southampton for 24 years. He won the TMA award for Best Director for THE WINTER WIFE, a new play by Claire Tomalin (transferred Lyric Hammersmith) and has been nominated for several other awards including for Best Production in Capetown, South Africa, for A MIDSUMMER NIGHTS DREAM just after the ending of apartheid. He has directed several times in the West End as well as at the Soho, Hampstead, Tricycle and Pleasance, and also in France, Germany and Australia. He was Artistic Director in Belfast during the 1980s producing many plays about the political situation. He recently directed BLOODSHOT by Douglas Post, and BULLY BOY by Sandi Toksvig both at the St James Theatre.
What first attracted you to the theatre?
Being taken to pantomime. I remember the shock of being picked by the Dame to go up on stage and I could see the bristles on his chin coming through the make-up. I could not believe Mother Goose was really a MAN! It was all PRETENDING! I was razzled and dazzled.
If you could pick any one person or theatre company to work with on your next project, who/which would it be?
Perhaps the Steppenwolf Theatre Company in Chicago – because they have such breathtakingly good actors and rigorous writers. I seem to be in a minority in liking the film of AUGUST, OSAGE COUNTY as much as their original stage production that came to the National here. I love the no-holds-barred gutsiness of the work. I also greatly admire Cardboard Citizens for their integrity and again, theatrical boldness.
What is your opinion of Off West End theatre, in general?
If I choose carefully I know I can go see something most of the time and be thrilled. What more can one ask?
What was the most inspiring production you have ever seen? Why?
It was THE DISPUTE a play about young lovers by Marivaux, directed by the great French director Patrice Chereau, that came to London. It was in the early 1970s. I had never seen such raw, savagely emotional acting combined with extraordinary theatrical imagery – giant architectural towers trundling across a real mud floor in front of a Caribbean plantation sky.......with nudity and live jazz. It sounds too much now, but it was unforgettable.
What piece of work are you the most proud of?
Always the one I am doing now. It has to be. But two productions I fondly remember are EXCHANGE by Michael Frayn that I did with Martin Jarvis and Rosalind Ayres in the West End, because it was such a happy company and the story of a modern Moscow family living in one tiny room was so moving. Also OEDIPUS REX, because it is probably the greatest play ever written and to do it in the ancient amphitheatre at Paphos, Cyprus, was fantastic. Oscar Pierce, Jessica Turner, Zena Walker – we did notes on the beach! Swimming in the daytime and tragedy at night.
What things in your personal life do you draw upon when you direct?
Everything. All my neuroses and anxieties come out in my directing – it would be too embarrassing to list them, but I hope some of my playfulness and curiosity is also there.
Are there any actors/actresses you would like to direct?
All the ones I have already mentioned. It is great working with actors again and again because the trust deepens on both sides and the work can become more daring and profound.
Which director do you respect most on OffWestEnd at the moment?
I am working for HighTide at the Soho right now and greatly respect their Director Stephen Atkinson, for his beautiful directing and vibrant choice of plays. I loved DUSK RINGS A BELL and NEIGHBORS, among others.
Can you tell our readers about what you’re doing now/next?
I am directing SMALLHOLDING a new play by Chris Dunkley at the Soho Theatre, with two really skilled actors Chris New and Matti Houghton. The writing is tight and fresh and the acting extraordinary. I feel very lucky. I am then starting HEDDA GABLER with a new company called Palimpsest, who perform in big houses in London…. Come and see them both!
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