Director's
Note
This
is my third encounter with Martin McDonagh. In
1999, I directed The Cripple of Inishmaan. A
year later, I produced The Beauty Queen of Leenane. Both
works, set on the ravaged west coast of Ireland,
appalled and appealed in equal measure. His
characters, so richly drawn, were mad or murderous
or both. Most importantly, they revelled in
their predicament (perhaps a trait unique to the
Irish). Even as their hopes and dreams evaporated,
they never lost gusto, well and truly putting the
fun back into dysfunction. The worse things
got, the funnier they were to behold. This
inverse correlation is McDonagh's signature. Anyone
can do violence and invective. To have an audience
rolling in the aisles whilst viewing the same: now
that's a world-class talent at work. And that
is Mr McDonagh, arguably the leading playwright of
his generation.
His
latest work is vivid, visceral and hilarious. To
a cast and creative team, all is provided: an ominous
world, idiosyncratically inhabited, and disturbingly
littered with unspeakable implements of death and
destruction. As with Pinter or Stoppard or
Albee, it is bravura writing. Nothing on the
page is accidental, incidental or without specific
purpose. Precision punctuation must be rigorously
honoured for the script to make sense. Such
precision also releases the script's vast mine of
comedy, allowing it to soar and identifying it as
a modern classic.
Directing
The Pillowman, I have adhered to McDonagh's
'road map' as closely as I could. Blessed with
a world-class cast, the most and best I could offer
was constant reference back to the script. It
is all there on the page. We learn scripts
swiftly but not always accurately and can be masters
of the paraphrase (when acting, I am the guiltiest). The
Pillowman is a complex and confronting tale
that demands absolute accuracy in its delivery. The
cast never once cowered from the task at hand and
rehearsals were a joyful workout of mind, body and
soul. A
pure pleasure.
The
story you are about to witness conjures highly demanding
images which, if we have done our job right, will
not leave you in a hurry. It takes no prisoners. The
musicality and muscularity of its writing, its blasphemous
wit, its integrity and intelligence take you seriously
as human beings. In dangerous times, the 'resensitisation'
is the greatest gift theatre can give an audince. On
behalf of all The Pillowman cast and crew,
we hope you enjoy the ride.
And
be kind to your children!
-Simon
Prast |