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Susannah Harris-Wilson, the producer of Pakistani adaptation of ‘Taming of the Shrew’ in Urdu, which is all set to be showcased at ‘The Globe’ for the London Olympics 2012, talks to Daily Times about her love for theatre, why it is important and productive for Pakistan to participate in the international festival and the monetary challenges the cast and crew have to face while preparing for this prestigious event.
Q. Why are you more interested in theatre than films, TV or other media?
A. Theatre is alive. The rehearsal process is an organic one in which the actors are on a journey of discovery as to who their characters are. So every performance is new and anchored in the real world of human relationships. I am also fascinated by the inter-dependence of actors and director and even the audience. I suppose, I would say that I am more intrigued by literature than journalism and that the analogy holds for live theatre compared to media presentations; one is like instant coffee compared to the real thing.
Q. You lived here at one time. So, what do you think about the tradition of theatre in Pakistan – past and present?
A. I find it very discouraging that virtual media seems to have replaced the interest and appetite for live theatre. I first learned to love theatre by watching young Pakistanis on the stage and witnessing the free reign it gave to their imaginations. Brecht, Shakespeare, Pinter and Urdu sketches literally sizzled with young Pakistani energy. Those staged dramas were slightly wild creations by comparison with the contrived TV dramas so popular today. At least, college drama still exists and some of it is very good. I just wish that there was audience required to nourish and encourage those young would-be actors.
Q. What exactly is the cultural Olympiad and what is Pakistan’s relation to that international event?
A. When London proposed itself as a venue for the Olympics, it suggested that it would mount a cultural Olympiad to precede the athletic games. This is a nod to the original Greek concept of a competition among playwrights, which was the first Olympic competition in the fifth century, BC. And as a way of focusing on the Olympiad they have chosen the plays of William Shakespeare to be shown throughout England by troupes from around the world.
Q. What other countries are bringing Shakespeare plays in their own languages to The Globe?
A. At Shakespeare’s Globe, his 37 plays will be presented, each by a different country in its own language. But there will be many other venues also producing Shakespeare’s plays, some in English and some in other languages. Some examples are Cymbeline, performed by the very new country of South Sudan, Merchant of Venice, performed by Israel, and a hip-hop version of Othello, presented by the United States.
Q. Why did you think it was important for Pakistan to participate in this international festival of Shakespearean plays?
A. Because the West hears so many negative reports about Pakistan that I wanted this to be a showcase on an international platform for its young talent. Pakistan does get positive news coverage for some of its sports events. Why not culturally when it has such a rich heritage of music, dance and performance in general?
Q. How have you found working with the cast and crew preparing for their UK tour?
A. I think this experience has required a lot of stamina and faith on the part of everyone involved. We’ve had more than our share of illness, accidents, absences and heartache. And there is hardly any pay for the actors and none for any of the directors. But I think the bonding and the humour and the growing understanding of the play have sustained us.
Q. In what venues will this play be performed?
A. In Lahore, at Alhamra, two venues in Oxford, UK, Shakespeare’s Globe Theatre in London, two venues in Rotherham, South Yorkshire, and one venue in Bradford.
Q. It must be quite expensive to have to prepare a play to travel to England. Are you finding the financing difficult to manage?
A. Exceedingly. Particularly when the local culture seems more inclined to give to fashion show and musical events than to serious drama. ‘Taming of the Shrew’ is a very funny play but it requires money to bring out its humour. The other proper theatre companies have had the financial backing of their governments or other administrative bodies. We have struggled on a shoestring budget and some of the actors have had to take on additional duties, such as processing travel and visa matters. We don’t want to look shabby for Pakistan along the glitz of – say – the two companies from India or the stunning National Theatre of China or the Palestinian Theatre Company whose sponsorship has allowed them to rehearse ahead of performance in the UK!***
Daily Times - Leading News Resource of Pakistan
Q. Why are you more interested in theatre than films, TV or other media?
A. Theatre is alive. The rehearsal process is an organic one in which the actors are on a journey of discovery as to who their characters are. So every performance is new and anchored in the real world of human relationships. I am also fascinated by the inter-dependence of actors and director and even the audience. I suppose, I would say that I am more intrigued by literature than journalism and that the analogy holds for live theatre compared to media presentations; one is like instant coffee compared to the real thing.
Q. You lived here at one time. So, what do you think about the tradition of theatre in Pakistan – past and present?
A. I find it very discouraging that virtual media seems to have replaced the interest and appetite for live theatre. I first learned to love theatre by watching young Pakistanis on the stage and witnessing the free reign it gave to their imaginations. Brecht, Shakespeare, Pinter and Urdu sketches literally sizzled with young Pakistani energy. Those staged dramas were slightly wild creations by comparison with the contrived TV dramas so popular today. At least, college drama still exists and some of it is very good. I just wish that there was audience required to nourish and encourage those young would-be actors.
Q. What exactly is the cultural Olympiad and what is Pakistan’s relation to that international event?
A. When London proposed itself as a venue for the Olympics, it suggested that it would mount a cultural Olympiad to precede the athletic games. This is a nod to the original Greek concept of a competition among playwrights, which was the first Olympic competition in the fifth century, BC. And as a way of focusing on the Olympiad they have chosen the plays of William Shakespeare to be shown throughout England by troupes from around the world.
Q. What other countries are bringing Shakespeare plays in their own languages to The Globe?
A. At Shakespeare’s Globe, his 37 plays will be presented, each by a different country in its own language. But there will be many other venues also producing Shakespeare’s plays, some in English and some in other languages. Some examples are Cymbeline, performed by the very new country of South Sudan, Merchant of Venice, performed by Israel, and a hip-hop version of Othello, presented by the United States.
Q. Why did you think it was important for Pakistan to participate in this international festival of Shakespearean plays?
A. Because the West hears so many negative reports about Pakistan that I wanted this to be a showcase on an international platform for its young talent. Pakistan does get positive news coverage for some of its sports events. Why not culturally when it has such a rich heritage of music, dance and performance in general?
Q. How have you found working with the cast and crew preparing for their UK tour?
A. I think this experience has required a lot of stamina and faith on the part of everyone involved. We’ve had more than our share of illness, accidents, absences and heartache. And there is hardly any pay for the actors and none for any of the directors. But I think the bonding and the humour and the growing understanding of the play have sustained us.
Q. In what venues will this play be performed?
A. In Lahore, at Alhamra, two venues in Oxford, UK, Shakespeare’s Globe Theatre in London, two venues in Rotherham, South Yorkshire, and one venue in Bradford.
Q. It must be quite expensive to have to prepare a play to travel to England. Are you finding the financing difficult to manage?
A. Exceedingly. Particularly when the local culture seems more inclined to give to fashion show and musical events than to serious drama. ‘Taming of the Shrew’ is a very funny play but it requires money to bring out its humour. The other proper theatre companies have had the financial backing of their governments or other administrative bodies. We have struggled on a shoestring budget and some of the actors have had to take on additional duties, such as processing travel and visa matters. We don’t want to look shabby for Pakistan along the glitz of – say – the two companies from India or the stunning National Theatre of China or the Palestinian Theatre Company whose sponsorship has allowed them to rehearse ahead of performance in the UK!***
Daily Times - Leading News Resource of Pakistan
