Directing

Sometimes in the theatre the director of a play is seen as an isolated, even an aloof figure, carrying as s/he does ultimate responsibility for the success (or otherwise) of the creative work of many people. In the case of Coram Boy Melly Still, the director, despite bearing responsibility for a very big project, was never isolated. From the earliest discussion about the novel and how it could be made into a play and staged in the Oliver theatre, she worked in close cooperation with a group of key figures: Helen Edmundson, who was responsible for the adaptation, Ti Green, who, with Melly, was the co-designer, Adrian Sutton, the composer, and Tom Morris of the National Theatre. Tom acted as an additional pair of eyes and ears and contributed to the on-going development of the script from the first draft that was explored in the workshops at the National Studio in the summer, right through until the final draft was in performance in the November previews.

Co-operating with another person on designing the production required a good deal of trust on both sides as well as a clear understanding on the division of responsibilities and Melly and Ti worked together as a team. Although the production was in some ways lavish – a spectacular set, a cast of 21, an on-stage band of six, plus a 20-strong off stage amateur choir – Melly always had to work within the budget that had been agreed with the production manager, Diane Willmott.

Melly Still’s previous work as a director and designer included Beasts and Beauties (details of which can be found elsewhere on Stagework), an adaptation of eight European folk and fairy tales for the Bristol Old Vic. In many ways these often dark and frightening stories involving children, often in distress, served as a useful introduction to the disturbing portrait of childhood vulnerability displayed in Jamila Gavin’s novel Coram Boy. Jamila’s book and the writing of child psychologist Bruno Bettleheim, were, as Melly readily acknowledged, influential in helping develop pre-production ideas .

The 14 preview performances prior to the play’s opening night were very useful to the director and she used the time to edit both the text and the production. However good the imagination of a director may be, nothing can actually prepare them for the actual response to their work by a live audience. Melly learned a lot from those first preview audiences and was pleased by their reaction, and especially the reaction of young audiences to what Melly called “a fairy tale for adolescents”.

To be a successful director you need not just talent and skill, but also courage. Jack Tarlton, who played Meshak Gardiner, admired Melly Still’s physical theatre approach, her creation of a genuine ensemble, and above all the bold choices she made in allowing the display of raw emotion in performance.