A conversation with Michael Beh | Director of Vincent River and founder of The Curators Theatre.

Next up on my local artists interview segment is Michael Beh, the director of upcoming show Vincent River and the founder of The Curators Theatre. For those of you that don't know, The Curators Theatre creates new and re-imagined work. Our aesthetic combines text-based theatre with highly theatrical scenography to create visually dynamic live performance. Stylistically different, TCT strives for politically, artistically charged responses to the pressing themes underpinning our lives within twenty-first century, global culture. Described as evocative, unorthodox, innovative, outstanding, TCT works inter-generationally, bringing together emerging and senior artists to create performances that explore our shared humanity. We preference new works and existing dramatic works that address issues of marginalisation and under-representation in society. They value courage, boldness, collaboration, welcome, diversity, creativity and respect. Here's what Michael had to say...

VIRAG: As a result of co-vid lockdowns and restrictions a lot of companies, like the Curators, have had to be on 'hold' so to speak for a number of months. What's it been like to be working in a rehearsal space again? Does it come with a more profound appreciation for being able to do what you do?

MICHAEL: It really is amazing to all be in the same room together. Whilst we are being covid safe, we have that opportunity to engage with each other and not have the zoom barrier between us. Don't get me wrong, zoom was great during the darkest days of lockdown, but in a play like VINCENT RIVER, where the connection between the two characters is so emotionally intimate, being in the same room is essential and very, very rewarding. Every day in rehearsal I am overwhelmed about how lucky we are in Brisbane to be able to be making theatre again. Our work as artists is special. I am forever grateful.

VIRAG: Vincent Rivers is quite a thought-provoking play and interrogates a plethora of themes that some may find controversial. My question for you is, why this play now and how does it still hold its place in our contemporary world?

Whilst VINCENT RIVER was written by the incredible Philip Ridley in the late 1990s and is about the result of an LGBTQI hate crime, the play resonates now on many more levels. It's recent revival at the Trafalgar Studios on London's West End received an incredible response. The Curators planned to stage the play in May. Obviously that was delayed, by covid, and now, since covid, the play has refracted and grown to mean even more.

VINCENT RIVER is a play about love, loss and hope. It is about being very, very real. This is relevant and important for everyone. It is about the most intense, the most vital, the most important relationships in our lives - between a mother and a son, between a son and his most true love. It is about connection, more specifically the incredible depth of connection between people that we are most intimate with. I think that in this covid world where people have been isolated and fear human touch, exploring the power of inter-personal connection is even more powerful and important than ever before. It is a play for us all.

VIRAG: What would you like the audience to take away from seeing this show?

MICHAEL: That life is precious. That we should embrace our loved ones for all that they are and all that they want to be. That we should hold people close and listen, honour and value all the good things that they are. That when people die they leave a profound memory and legacy that can grow exponentially in magnitude and meaning. That in the end hope can flicker like the smallest flame on the horizon and start the journey to making you whole again.

VIRAG: I'd love to know a little bit about your directing process. What approach(s) do you use to creating the play's world on stage?

MICHAEL: Wow, that is a huge question. I studied directing as a Fulbright Fellow in the esteemed Drama Department at Carnegie Mellon University in the USA. I was so fortunate to have amazing teachers. I was especially fortunate to be selected to be part of a special program with the Moscow Art Theatre School who were in residence at the time. I learned about the real teachings of Staniskavsky there, about the concept of Fantastic Realism created by Yevgeny Vakhtangov, Stankislavsky's protege. The American teachers focused on the specifics of picturisation and composition. So, in short, I use all of this. I try to create super-real characters that blister in the moment, that celebrate the theatricality of the medium whilst being honest, profound, dangerous, gentle. I want to see the truth of life glimmer on stage, warts and all. As an audience member that is what I think we all want to see - theatre that brings us to the edge of our seat, makes us laugh, cry, get angry, frightened, want to shout out, jump up, rush onto the stage and exclaim "yes" or "no" or "I understand, thank you for expressing what makes me human and enables me to become more whole, more present, more me".

VIRAG: Lastly, what's next for the Curators? How can we support your company during co-vid?

We are currently working on so many new possibilities, most of all our exciting season of work for 2021 in our wonderful new home, Christ Church, 9 Chippendall St in Milton, smack up against Suncorp Stadium.

The best way you can support us is by buying a ticket to see VINCENT RIVER. The Curators' Theatre is an entirely unfunded company, working entirely off our box office. We have followed government protocols to ensure a fantastic, covid safe experience in our beautiful, wooden, iconic theatre. You can find out so much more about us on our website: www.curators.com.au

The rehearsal images of VINCENT RIVER attached are by Naz Mulla

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