Below, a select few of the production team and writers answer some questions about their work with the theatre company, and how they got there!
Zahra Mansouri, Designer (Set and Costume)
First of all a bit of bio/profile?
I studied at Central Saint Martins, and since then am very fortunate to have done a variety of work assisting National Theatre designer, Mark Friend - from Opera at the Ifford festival, to work at the BAC . I have also done a range of theatre design work in fringe venues and on some short films. As well as a designer, I am a dancer - I have danced and played assistant choreographer on high profile films with renowned movement director, Jack Murphy and have also devised my own pieces, mixing my choreography and performance with my designs. I pride myself on versatility and the ability to adapt. I won't ramble on too much at this stage, so for a CV and more information visit www.zahramansouri.com
How would you best describe your role? And what does it entail?
I am the costume and set designer for Blackshaw's Gormenghast: Titus Groan . As designer I have to use varying skills throughout the process of the production as it evolves. First of all, a lot of reading and research - for this project it included Blackshaw's script as well as the original novel Titus Groan , Peake's other work, and various historical sources - as the costumes are influenced by many eras. This research was alongside meetings with Ellie, the Director, so that I could shape my design around the direction and feel of the piece. I then put all of my findings together in order to create lovely drawings of what it all might look like. From these drawings, I work with the production team to make it real. This involves making a lot of lists - like a big shopping list (with some items that are nearly impossible to find, and others that you can find easily on the shelves of Sainsburys) - it's important, especially in fringe theatre, to source at low cost, so we look into where we might buy something like the moon on a stick for not that much dollar (which is where my hands-on approach often comes in handy). As we near the opening of the show, I will roll up my sleeves and make things. As a dressmaker I tend to get involved with my sewing machine and create the costumes that would be too expensive to buy or hire, then once in the theatre, get involved with our fabulous team to make to venue look like my initial set drawings.
What is the most challenging/difficult aspect?
I would never describe any of the work as difficult as I have been blessed with some very useful skills, such as dressmaking and painting, and the art of haggling in order to come in on budget (being half Scottish I hate parting with cash, being half Algerian I love to barter). But challenging, yes...and the most challenging would be the late nights of repetitive jobs; once we are in the space part of my Titus Groan design is to make the Actors' church look overgrown - I am surmising that wiring thousands of leaves is going to be very time consuming, but so long as the team remain bright and chirpy, and there are plenty of sugar-based snacks and good music, the positivity plus sugar rush should get the job done!
What is the most rewarding aspect of your role?
Once the lists are compiled, the running around is done, and the late nights behind sewing machines is finished, the most rewarding part is sitting in the auditorium with a cup of tea and the rest of the team watching the dress run. Though there may still be little odds and sods left to do, looking at it all and breathing a mutual sigh of relief is bliss.
How did it all begin for you?
Well I have to admit there are several points that led to sitting here and answering this question. The first was my extensive training with my Nan when I was young, without knowing it she planted a seed. I used to get dragged to jumble sales as a kid, given £3 and challenged to get as much for my money as possible. In the beginning it was just crap for Barbie, but I became adept at finding (what I considered to be) cool accessories, so I developed a love for finding stuff. Nan was also a great film goer and would tell me what days I needed to be ill to get off school so I could join her at the pictures and we would sit and enjoy brilliant films, which is where I came to love the magic of storytelling. I also have an amazing mother who made a lot of my dance dresses; she would give me scraps of fabric to play with and I would make entire collections for my dolls. When I got bored of this, aged 11, I wanted to make bigger things for me (as Barbie's wardrobe had become much more exciting then my own), so she would supervise me making god awful crap for myself out of cheap fabric. This was all a build up for the clincher when I learned you could actually do this as a job - funnily enough it was when I was watching a 3-part BBC drama called Gormenghast ; I looked in awe at how beautiful it all was and researched the designers. I wanted to make pretty things and tell stories, so from the age of 12 I worked my arse off knowing that I was going to go to Saint Martins and do the same.
What would you recommend to young theatre graduates looking for a breakthrough?
Success in the industry is based on your lucky break. But you have to make your own luck, so don't stop till you die. Always look forward, if you look sideways at what your peers are doing you will never be satisfied and it will drag you down, you have your own path. The big one is passion first money later, we know what it is like in theatre, the hours spent on a job that if you sit and work out exactly what your hourly rate was it might cause you to get a real job and that's no fun, so don't be driven by this, let your passion and instincts drive you.
What is your best piece of advice to stand out as an artist in an increasingly competitive business?
Act naturally, so long as you believe in yourself and your work others will too. So long as you do the best job you can do, people will work with you time and time again. Never compare yourself to others - it's just a waste of energy that could be used productively in working hard and achieving your own goals.
As this is a for a theatre reviewing blog; what is your favourite piece of theatre you have seen and why?
Pleasure's Progress at the Opera House Studio in September last year. It was a smaller budget show that was in the same venue as the big operas in the building next door. They achieved a most beautiful aesthetic with great all-round singers, actors, and dancers, and as an ensemble were so inspiring on all levels. You could tell they all worked closely both front stage and back, to create an original piece. In terms of design, it reminded you that the most simple of changes and clever twists can make something magical. The show had also originally been staged at Latitude Festival, so coming from that was very inspirational.
Richard Stratton – one of four writers of Gormenghast: Titus Groan and Blackshaw’s IT and Literary Manager
First of all a bit of bio/profile?
I studied Theatre and Drama at Royal Holloway, University of London where I focused on playwriting, adapting fiction and devising techniques. Since leaving university I've worked with various youth theatres, writing and directing for them, and have been working with Blackshaw as their Literary and IT Manager.
How would you best describe your role? And what does it entail?
As one of the writers for Gormenghast I worked with three other writers and Vikki, our editor, to adapt Titus Groan for the stage. The process entailed working alone on specific scenes and group editing sessions with the rest of the writing team.
What is the most challenging/difficult aspect?
The sheer scale of the text. We had to cut a lot out to condense everything down into a 2 hour play and we had to be quite ruthless at times with what we cut. But I think we've done a great job at limiting the length of the play whilst retaining everything that made the original novel the classic it is.
What is the most rewarding aspect of your role?
I think the most rewarding moment was the day we staged a public reading of extracts of the completed play at St Pancras Church. It was incredible to hear what we'd worked so hard on being spoken aloud by actors for the first time.
How did it all begin for you?
When Ellie Pitkin, Blackshaw's Artistic Director, asked me to be part of the writing team.
What would you recommend to young theatre graduates looking for a breakthrough?
To not wait for something to come along, you have to make something happen yourself. That's my general advice. For writers specifically, I'd say to write as much as you can as often as you can. Look for new writing nights (there's plenty about; Blackshaw runs one every month), they're a great way to test your work out in front of an audience and make contacts with the theatre companies that run them.
As this is for a theatre reviewing blog; what is your favourite piece of theatre you have seen and why?
I don't have a favourite ever piece of theatre, but the best thing I've seen recently is Matilda at the Cambridge Theatre. It's a perfect example of how to adapt fiction for the stage and an utter joy to watch. If you have a chance to see it, go!
Prudence Chamberlain, one of four writers for Gormenghast: Titus Groan
First of all a bit of bio/profile?
I've just finished an MA in experimental poetry and am now in my first year of Phd, focusing on a poetics of flippancy as a means by which to document contemporary feminism. In addition to Blackshaw work, I'm an associate for an Avant-Garde series of events, POLYply, which enables cross-disciplinary practitioners to show their work and encourages dialogue between different genres.
How would you best describe your role? And what does it entail?
I was on the writing team, and primarily worked on the twins. The twins are meant to be completely interchangeable, and so I attempted to reflect that by writing them with a series of internal rhymes, so that it appeared as if there were a rhythm entirely unique to those characters.
What is the most challenging/difficult aspect?
The most difficult aspect was integrating Steerpike into the twins own 'rhythm' or 'language'. As an insidious sycophant, Steerpike is able to echo all types of dialogue and cater his representation of self perfectly to his audience. As a result, when conversing with the twins, Steerpike was also forced to take on the rhyme, which was difficult - for me - as he felt like an unwelcome intruder.
What is the most rewarding aspect of your role?
I think the most rewarding moment was when the writers collectively edited together. By the end of the day, everyone was so thoroughly in tune with one another that there were no disagreements about what needed to be cut.
How did it all begin for you?
I was actually involved with Blackshaw Director, Ellie, in another production. I had acted for her previously, and expressed an interest in writing for them and then the possibility arose.
What would you recommend to young theatre graduates looking for a breakthrough?
Apply for absolutely everything, and resolutely send off work, even if you anticipate rejection.
What is your best piece of advice to stand out as an artist in an increasingly competitive business?
I think demonstrating engagement is hugely important. Lots of people seem to operate at continuous performance level, and so it is rare to meet someone who listens and then implements.
As this is a for a theatre reviewing blog; what is your favourite piece of theatre you have seen and why?
I think Tender Napalm - most recently - is my favourite piece of theatre. Philip Ridley is just an unrivalled writer and the Southwark Playhouse production of it was incredible. It's got a second run towards the Summer, so I encourage everyone to go and see it.
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