Location setbacks, time constraints and change of script notwithstanding, the MADC’s Shakespeare summer production is back home at San Anton Gardens with The Winter’s Tale. Martina Portelli interviews director Polly March.
Held every summer since 1938, the annual Shakespeare play organised by the Malta Amateur Dramatic Company (MADC) has long been regarded as a staple summer event on the Maltese cultural calendar.
Despite the fact that we’ve been going on quite a bit about the tight time-frames, I would go as far as to say that budget issues can present more of a problem
This year, the company will be staging William Shakespeare’s last play – The Winter’s Tale – back on familiar territory at San Anton Gardens. Directing this year’s production is seasoned actress and director Polly March, who explained the challenges that the company has had to overcome to make this production happen and what they have in store for the audience.
“Put very simply, the main hindrance to this year’s production was that it was impossible to get a venue,” March says, her tone somewhat aggrieved.
Unable to find a suitable and affordable venue for this year’s production, plans to stage Hamlet under the direction of Nanette Brimmer were shelved, and for the first time since the war years, MADC’s annual Shakespeare play was not to be.
The decision to go ahead with the annual Shakespeare play was taken following an intervention from the Ministry of Culture as well as MADC stalwart and Association for the Performing Arts Practitioners chairman Edward Mercieca, resulting in San Anton Gardens being made available for use by the company.
Though in possession of a venue, the MADC could no longer push on with the plans to stage Hamlet, as director Nanette Brimmer and the actor being considered for the lead had taken on other commitments.
March reveals that she was invited to direct the annual Shakespeare play for a second time only five weeks before opening night,a challenging task for even an experienced director.
“I took a deep breath and agreed,’” she says. “I had already had the opportunity to direct Shakespeare’s first play, Two Gentleman of Verona, for the MADC a couple of years ago and the idea of directing his last play as well tickled me.”
Directing one of Shakespeare’s meatiest plays in such a short time-span is no easy feat. March says that one major hurdle was putting together a good cast at short notice.
“I wanted to be true to the ethos of the MADC,” she explains.
“I wanted to work with a younger company and luckily I have succeeded in bringing together some of our youngest and most promising talent.”
Eight out of the 11 actors taking part in the production are aged under 25; the production offers a fantastic showcase for any budding performer’s CV. For March, the opportunity to work with such bright and intuitive young actors, some of who are experiencing Shakespeare for the first time, brings a freshness and enthusiasm to the piece.
But even when the cast was finalised, there was another hurdle to overcome: the limited amount of time available for rehearsals.
“I have a particular approach that I always keep to when I’m directing: typically, I spend the first two weeks of rehearsal focusing on the text. It is our job as storytellers to make sure that we are getting Shakespeare’s message across,” says March.
She adds that she would have been much happier devoting more time to this part. But in spite of the obvious pressure, the director remains positive.
“The most important thing is to remember not to panic, and that 80 per cent of the work is done in your head,” she says, divulging that the innate intensity of the script has impelled the cast to be highly focused.
“Somehow, you find the time,” March says. “Despite the fact that we’ve been going on quite a bit about the tight time-frames, I would go as far as to say that budget issues can present more of a problem. Nothing new there, I suppose,” she adds with a chuckle.
Nostalgia and sentimentality aside, just how appropriate are San Anton Gardens as a venue for such a production? The director’s reply is unhesitant: “Very!”
The script includes a number of scenes that take place in the gardens and forests of the two countries of Sicilia and Bohemia.
Still, noise must present an issue, particularly in the summer months. March professes herself unconcerned by disruptions from fireworks or planes passing overhead.
“We’ve come this far, I’m sure we can take a few fireworks,” she jokes, adding that few things can impinge on the tranquil nature of the gardens.
Though rarely performed, The Winter’s Tale is regarded as one of Shakespeare’s most remarkable, combining elements of tragedy, comedy, romance and even courtroom drama in one single play.
“The script also contains Shakespeare’s most famous stage direction,” March says, stopping just short of assuaging my curiosity.
“No, I won’t say what it is, but I can tell you that it involves a bear and that there will be one!”
Interestingly, March has decided on transposing the storyline to modern times. A hefty artistic liberty, particularly considering the particular plot of the play.
“It is set in modern times, but I have chosen not to include mobile technology or the internet. I felt that traditional forms of communication were so essential to the text that I did not want to impose on the play in that way,” she says.
Another novelty is that there won’t be a different actor for each of the 38 characters in the play; instead, the 11 actors share the various parts between them. Does this detract from the realism aspect?
“It does not matter if the audience knows that the actor playing the part of the king is now a shepherd. I want the audience to be part of the game.”
Rather ironically, given the before-mentioned time constraints, time also happens to be one of the major themes in The Winter’s Tale. Any thoughts on this from the director?
“Well... we should not be fighting time, but in reality we are,” says March “We have all learned to stay positive. As for the extra pressure, I revel in it.”
Maintaining that she sees other parallels between the play itself and the run-up to its production, March discloses that just as the play starts on a discordant note and ends on a harmonious one, she hopes that their own experience will also follow suit.
“The redemptive element in this play is so strong. Added to that is the thrill of the audience at seeing a rarely performed play being staged in this beautiful location,” March says.
“I do hope that people share the beautiful experience that the whole cast is going through.”
The Winter’s Tale is being staged between Thursday and Sunday. Tickets at €18 (discount of €5 for children and students), are available online or by calling 7979 6232.
www.madc.biz.