Interview With The Director
Just two words to describe Heroes?’ repeated Paul Hart director of The Watermill’s first drama of 2010. ‘How about hugely uplifting, life affirming or situation comedy? They all fit this lovely play about three retired French soldiers living in a home for veterans. These old WW1 soldiers find themselves living life day to day but still dreaming about achieving the impossible.’ And in a nutshell that’s what the play is; a delightful entertainment about hopes and dreams translated by playwright Tom Stoppard.
Paul is no stranger to working on successful productions at The Watermill. His last two stints at the theatre were as Assistant Director to Edward Hall on Propeller’s A Midsummer Night’s Dream and The Merchant of Venice. ‘Since then I’ve been Assistant Director at the Donmar Warehouse working with the most amazing casts, with some of the biggest names in the film world. There was Gillian Anderson in The Doll’s House, Rachel Weisz in A Street Car Named Desire and of course, the one that grabbed all the headlines Jude Law in Hamlet. However it’s a bit of a luxury being back here and working with three actors in the relative calm of The Watermill.’
And what a company he has selected for Heroes. ‘Although I hadn’t worked with these actors I’d seen them on stage and admired their versatility. They have very impressive CV’s which read like a Who’s Who of British theatre, RSC, The National, Royal Court and Shared Experience, I could go on. And this play has cracking parts which really need to be played by great actors. Not only are these guys really up for it but they love the play. Sometimes I wonder if we are in rehearsals or in a coffee break as they seem to be taking the play to the next level, it’s like life imitating art.’
Being a relatively young director working with actors with decades of experience I wondered if Paul found it intimidating. ‘No not at all. Someone has to have the vision and that’s my job. I have been working on this production since last autumn, have done a lot of research and given the play a lot of thought. That doesn’t mean that the actors don’t go off on wonderful digressions sometimes and being so experienced they can add to the vision but the heart always stays the same. But do I have to take into account the brilliant instincts these man have. It is great working with actors who are confident to try new ideas and run with them. It can only benefit the production.’