In this week’s issue of The Stage, Matthew Hemley talks to screenwriter Andrew Davies. Known for his exemplary adaptations of literary classics for television, including Bleak House, Northanger Abbey and Pride and Prejudice, hopes are high for his next project, Little Dorrit, for BBC1. Davis explains why he picked one of Dickens’ lesser known tales and talks about the challenges of streamlining a novel for the screen.
This was a tremendous opportunity to take a novel that not many people have read and introduce it to them. It’s not an inferior Dickens in the slightest - in fact, quite the contrary. It’s a great book… If Dickens has not done it to my satisfaction, I do try and organise the plot a little more. The problem with Little Dorrit is that he writes long, introductory chapters and keeps starting the story over and over again without ever getting the action going… I decided we have to start with Little Dorrit and stay with her and make everything else relate to that.
Also in this week’s issue:
Alan Ayckbourn may be handing over the reins of the Stephen Joseph Theatre to Chris Monks, but he’s hardly slowing down. He tells Nick Smurthwaite about the current revival of the Norman Conquests at the Old Vic and new works on the horizon, including musical Awaking Beauty
Live entertainment finally returned to the historic London Hippodrome with La Clique, but it is already under threat as plans to turn the venue into a casino move forward. Alistair Smith reports
Insight: There is a wide range of schools to cater for children interested in the performing arts, including the private sector and a growing number of specialist academies within the state system. Susan Elkin looks at some of the pros and cons of the types of provision on offer
It’s time the government freed circuses from bureaucratic and expensive licensing laws which have had a damaging impacts on the sector, argues Conservative MP Peter Luff
Ian Herbert on The International Association of Theatre Critics’ plans for a world history of theatre criticism
Nataylia Roni on celebrating black British talent at the Music Video and Screen Awards
Dear John: “A friend of mine is gtting some very nice work as a singer in disguise and has suggested I try it - but I have only ever performed in theatres. What skills do I need to perform in other types of venues?”
Jo Franks and Sandy Mullins tell Lisa Martland how trying to organise a dance party for their daughters five years ago resulted in the creation of Popstars Academy, a performing school franchise that is branching out nationwide
Former artistic director of the RSC Terry Hands has spent the last decade in charge at Clwyd Theatr Cymru in North Wales, but he’s now making a return to London with a “modest” venture, a new play called Memory. He tells Al Senter why producing theatre in London is so important for Welsh writing.
From tips on style and narrative to securing an agent, James Barry gives the inside track on how to get your play past the script reader when sending it to a theatre for production
Backstage Focus: On a recent tour with the Stage Management Association, Barbara Eifler, its executive director, visited the New Empire Theatre in Southend to see how the venue is faring a decade after being rejuvenated by volunteers
There’s only room in the world for one Jess Conrad, but somehow the new film Telstar has two, with Nigel Harman (EastEnders, Guys and Dolls) playing the young Conrad. Douglas McPherson asks the actor and singer all about it - if he can get a word in edgeways…
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Picture shows Claire Foy as Amy Dorrit. Image: BBC Pictures
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