BWW Interviews: Michael Cabot on the 15th Anniversary of London Classic Theatre

As one of the busiest touring theatre companies in the UK, it is a rare treat to hear from London Classic Theatre's Artistic Director Michael Cabot in the midst of their Anniversary season. BWW:UK talks to Cabot about the company's progression over the years and some of his personal highlights along the way.

London Classic Theatre is currently celebrating its 15th touring anniversary. Are you happy with the journey the company has taken over this period?

It's an exciting time for us. In August, the second leg of our Absent Friends tour started at Malvern Festival Theatre and last week we opened Waiting for Godot at Theatre Severn, Shrewsbury. We briefly had two shows on the road at the same time in 2011, but this time it's a much bigger enterprise. By the end of November, the two productions will have toured for a total of 38 weeks, visiting 64 venues along the way. I wanted our 15th anniversary to reflect both the progress we have made since 2000, but also to maintain our commitment to bringing challenging, accessible drama to a wide spectrum of regional theatres. The last fifteen years have been a huge adventure. When I decided to take the work on tour towards the end of 1999, I had no regional contacts at all. We were an unknown quantity, so it was a case of cold calling venues and persuading programmers and artistic directors to give us a chance to show what we could do. We have never received any funding for the work we do, so it has been a perilous journey at times! But I've been fortunate to work with some fantastic people, who have often gone way beyond the call of duty to maintain the high standards I have wanted the company to achieve. In the early days, we often worked on a shoestring budget, but over the last few years, as things have become more financially stable, we've been able to be more ambitious with the scale of productions we offer. We have toured to over 200 venues in the last fifteen years and I believe made many friends along the way.

You have directed all 31 of the LCT productions since its conception in 1993. Do you have a particular show highlight?

Too many highlights to mention but, if I had to pick one production, it would be Equus which we toured in 2011/12. It's a play I'd always wanted to direct. It was the first large cast show we sent out and the first time I'd been able to put something really ambitious out there under the London Classic touring banner. Kerry Bradley's design was extraordinary, and the cast were phenomenal - committed and passionate about the work in equal measure. It was a very special time and I was immensely proud of the result.

The company offers classic drama productions to venues of varying scale - how heavily does this impact on the flexibility of the shows you provide?

We have always tried to make ourselves available to the widest constituency of venues, from No. 1 theatres to smaller arts centres and intimate studio spaces. As things have progressed and the production values and scale of shows has increased, we have found that balance progressively more difficult, but it's something I'm determined to hold on to whenever possible. There is still a disheartening lack of touring drama in the regions. Theatregoers in many towns and cities rarely get an opportunity to see good, classic plays produced well, so it's vital we maintain contact with that audience. In terms of flexibility, I have been fortunate to work with some very inventive designers over the years, most of whom have faced the challenge of making a given show workin some very different spaces. Also, I cannot stress enough the importance of the sheer hard work and stamina of the stage managers I've had the pleasure and privilege of working with. They are the unsung heroes of touring theatre.

Is there a venue you love returning to on tour?

There are so many great regional venues, it's virtually impossible to choose! I think the most important thing about any venue is the people who run it. Strong management is crucial in maintaining a successful theatre. I've had the good fortune to build relationships with some excellent Artistic Directors, programmers and venue managers. Kevin Shaw and David Martin at Oldham Coliseum have been loyal supporters of our work. Caroline Richardson at Norwich Playhouse is an amazing lady, frank and fearless. Jeremy Lewis at the Riverside, Coleraine and Tom Johnson at Chelmsford Theatres have a passion for bringing touring drama to their audiences. All of them have supported the full repertoire of our work, both the more commercial choices and the challenging. We've built productive, long-standing relationships with the Coventry Belgrade, Cork Everyman and New Wolsey, Ipswich, all run by excellent teams. Recent visits to Richmond Theatre and Dundee Rep have been exciting milestones and excellent for raising our profile, but if I had to single one venue out, it would be the New Vic in Newcastle-under-Lyme. It's a favourite with our actors, as there is such a warm, family atmosphere in the building. It's run by a dedicated, talented team. Fiona Wallace and Teresa Heskins, along with John Morton, Head of Marketing, have a clear vision, a passion for the community they serve and a strong connection with their audience. As a theatre-in-the-round, it's always a pleasure to go there and re-stage our work for the space. We're back there with Waiting for Godot in November and I'm looking forward to translating the very specific blocking of our production into the round!

Alan Ayckbourn's comedy Absent Friends is your latest touring show. How do approach directing a show that has been performed fairly frequently since the mid 1970's?

The first real step on the road to bringing Absent Friends to life was a conversation with my designer, Simon Kenny. I worked with Simon last year on another modern classic, Joe Orton's Entertaining Mr Sloane, and we established an excellent rapport. Starting to discuss Absent Friends, a play very much of its time, it was important to clarify at a very early stage that we were going to set the play exactly in period and what that would mean for the design and the general creative direction of the show. Simon arrived for our first meeting carrying a huge pile of magazines from 1974, each full of fashion ideas and the wider cultural landscape of the time. We talked about the kind of home our hostess Diana might have - Ayckbourn refers to it as a 'modern executive-style house' - and what that might say about her as a person. For me, the starting point with any play is understanding the characters and what makes them tick. With Absent Friends, we are presented with six people, most of whom have known each other for the best part of 15 years. Old friendships, with their scars and hidden resentments, are fascinating territory. Before the comedy can come to life, it is vital to understand what lies beneath the characters, their motives, needs and desires.

Do you feel pressure directing such classic texts?

Not at all. I try and approach every classic as if it were a new play, questioning the text at every opportunity and taking nothing for granted. If I have seen another production, I try to put it as far from my mind as possible. With Absent Friends, I'd seen Jeremy Herrin's magnificent West End revival in 2012, but once I started work on the show, I didn't really give that production a second thought. I think it's important to trust your own instincts as a director. Any pressure comes from wanting the work to be as good as it can be.

The full schedule for LCT's current tours: Absent Friends and Waiting For Godot can be seen on the company's website: www.londonclassictheatre.co.uk.

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