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'Let them misbehave," says Edward Hall. "Don't let them know to seal up,[link widoczny dla zalogowanych], or to stop texting." Hall may be the director of A Midsummer Night's Dream and also the Merchant of Venice at this year's Galway Arts Festival (from Wednesday), and that he wants his audience to "express themselves".
Hall's theatre company, Propeller, specialises in all-male productions of Shakespeare's plays, echoing how they were staged in Shakespeare's own time. But Hall has no time for fusty traditionalism: he believes the plays should be urgent and contemporary.
As if to prove it, he recently took his manufacture of A Midsummer Night's Dream, work right down to An hour along with a cast of six, and took it on the tour of so-called "problem schools" in the UK and US. Each and every school, the company told the teachers not to impose rules upon their student audience. "No one was saying 'Don't'," he recalls. "We were saying, 'Do! Express yourself!'"
The play was fast, clear and razor sharp. The children weren't obtaining a cast-off or perhaps a cobbled-together workshop piece: these were getting a top-class professional production, however in a stripped-down form. "The main thing was it was a version of a full production, therefore it was well-resourced, well-explored,[link widoczny dla zalogowanych], and well-rehearsed," says Hall.
In one school in Brooklyn, they played to 900 high-school kids -- and also got them singing along to an acapella version of Purple Haze which had somehow found its way into Hall's script.
"As soon as we exercised how you can hone in on people's energies, it became popular. The actors had a complete ball."
Much of the comment and publicity around Propeller targets their becoming an all-male company. For Hall, having men play women could make for provocative and illuminating insights in to the sexual politics of Shakespeare's plays, and reinforces their theatricality. But it is not crucial, he admits that, and might change in the future. Instead, he focuses on two core facets of his work with Shakespeare.
"The very first thing would be to crack how they speak the word what, so that it's crisp and clear and is sensible. It's just like a bit of blues music: you need to learn the chords; the way you play it is up to you,[link widoczny dla zalogowanych], however,[link widoczny dla zalogowanych], you need to remain in key. Once you have cracked it, it should and does sound quick, light, natural. It's riffy, like a street lingo; it's jive in it, like rapping.
"The second isn't to fall into the trap of presenting the play the way you think it had been intended to be presented. The doublet and hose and big costume items that is often used to set the play as Shakespeare set it -- that's actually a 19th-century idea. Am I supposed to create a 21st-century concept of a 16th- century idea of Venice, when Shakespeare had never been there?"
The concept is ridiculous, he suggests; and casting off this baggage liberates him to set the plays however they will best product. He proves absolute truths and then contradicts them. He's always telling you that the opposite is true."
This echoes what of another leading Shakespearian director,[link widoczny dla zalogowanych], Michael Boyd from the Royal Shakespeare Company, who explained last year the "defining characteristic" of Shakespeare's plays was "antithesis".
"Shakespeare was incapable of using a thought without simultaneously thinking its equal and opposite thought," said Boyd. "That's what makes the plays great; that's their DNA."
For Hall, this moral complexity teaches . him "not to judge a magazine by its cover, but to look at night surface of things".
Today's society and media is covered with the need for immediate,[link widoczny dla zalogowanych], and often extreme, opinion. There exists a "throwaway junk culture", one that's extremely judgmental. But life isn't that simple, and that we shouldn't judge things so quickly,[link widoczny dla zalogowanych], he admits that.
When confronted with that throwaway culture, where the junk is increasingly electronic, does he worry that theatre has been displaced by new media, and rendered irrelevant to a media-sated audience? "I'd like to think it wasn't. As modern life of today pulls us away from direct connections with others, the expertise of live performance becomes a more rarefied thing. People's response gets to be more precious and delightful."
And when, as theatre gets to be more rarefied, audiences don't come? "Then you have to go to them!" Hence the stripped-down version of A Midsummer Night's Dream, and the intends to do it again,[link widoczny dla zalogowanych], along with other productions.
This is an approach both elementary and visionary, also it speaks of a profound respect both for Shakespeare and for his audience. Galway audiences can sample it from Wednesday to Sunday (with matinees on both Friday and Saturday). Hall won't quite be encouraging these phones text throughout the show,[link widoczny dla zalogowanych], but they'll certainly be thanks for visiting go to town.
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