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Appreciation: Max Stafford-Clark on William Gaskill Appreciation: Max Stafford-Clark on William Gaskill
(about 20 hours later)
In Russia, whether in formal post-show discussions or in dinner-table conversations, the first question one is often asked is: “What masters did you study under?” It has been my good fortune to work with a number of mentors who seemed to have come from another planet, with greater wisdom, superior theatrical acumen, and a more highly developed theatrical radar that can discern problems at a great distance. The most influential was unquestionably Bill Gaskill.In Russia, whether in formal post-show discussions or in dinner-table conversations, the first question one is often asked is: “What masters did you study under?” It has been my good fortune to work with a number of mentors who seemed to have come from another planet, with greater wisdom, superior theatrical acumen, and a more highly developed theatrical radar that can discern problems at a great distance. The most influential was unquestionably Bill Gaskill.
I first worked at the Royal Court in 1981 at Anthony Page’s invitation to direct David Hare’s Slag. I had a stellar cast and rehearsals were enjoyable, but far more alarming than any critical response was the opinion of the artistic director, the enigmatic and inscrutable William Gaskill. Bill’s chief focus of discontent was a slow sunset over the final 20 minutes of the play, devised by the Royal Court’s lighting maestro Andy Phillips. I thought it was very beautiful, but Bill found it sentimental and superfluous. I first worked at the Royal Court in 1971 at Anthony Page’s invitation to direct David Hare’s Slag. I had a stellar cast and rehearsals were enjoyable, but far more alarming than any critical response was the opinion of the artistic director, the enigmatic and inscrutable William Gaskill. Bill’s chief focus of discontent was a slow sunset over the final 20 minutes of the play, devised by the Royal Court’s lighting maestro Andy Phillips. I thought it was very beautiful, but Bill found it sentimental and superfluous.
Phillips was pretty frightening, too, and the next day I approached him with some trepidation. I told him Bill wanted us to cut the sunset. Andy looked at me with the disdain the Royal Court staff reserved in those days for arrivistes like me and carefully placed his fourth vodka and tonic of the day down on the lighting desk. “Well,” he said, “you can cut it now in which case he’ll be banging on to you about something else tonight or you can leave it until after the last preview, in which case he may leave you alone.” I followed this advice to the letter and stubbornly clung to the sunset till after the final preview. Bill congratulated me on the wisdom of the decision.Phillips was pretty frightening, too, and the next day I approached him with some trepidation. I told him Bill wanted us to cut the sunset. Andy looked at me with the disdain the Royal Court staff reserved in those days for arrivistes like me and carefully placed his fourth vodka and tonic of the day down on the lighting desk. “Well,” he said, “you can cut it now in which case he’ll be banging on to you about something else tonight or you can leave it until after the last preview, in which case he may leave you alone.” I followed this advice to the letter and stubbornly clung to the sunset till after the final preview. Bill congratulated me on the wisdom of the decision.
We went on to co-direct the first four productions for Joint Stock together. He had been much inspired by Brecht, whereas my influences had been the wild American companies such as La Mama, the Open Theater and the Living Theatre. I had been directing at the Traverse for six years but thankfully accumulated sufficient self-knowledge to know that I didn’t know very much. It was an unequal and lopsided partnership but, strangely, it worked very well. If I directed a scene poorly, he would correct it and if I directed a scene well, he commended it enthusiastically.We went on to co-direct the first four productions for Joint Stock together. He had been much inspired by Brecht, whereas my influences had been the wild American companies such as La Mama, the Open Theater and the Living Theatre. I had been directing at the Traverse for six years but thankfully accumulated sufficient self-knowledge to know that I didn’t know very much. It was an unequal and lopsided partnership but, strangely, it worked very well. If I directed a scene poorly, he would correct it and if I directed a scene well, he commended it enthusiastically.
The second play we did together was Fanshen, Hare’s adaptation of William Hinton’s huge account of the advent of communism in a small Chinese village. From Bill, I learned to move from a Stanislavskyish approach (what is the actors’ motivation and intention in this scene?) to a more actively Brechtian approach (what is the writer’s purpose in this scene and how should the actor achieve this?). We went on to be friends for more than 40 years and after Fanshen we went on holiday together on a canal boat. With a group of friends, we explored the beauties of England’s rivers and canal systems together. I organised the trip and acted as captain, whereas Bill was the admiral who occasionally took the tiller and cooked excellent breakfasts for us all.The second play we did together was Fanshen, Hare’s adaptation of William Hinton’s huge account of the advent of communism in a small Chinese village. From Bill, I learned to move from a Stanislavskyish approach (what is the actors’ motivation and intention in this scene?) to a more actively Brechtian approach (what is the writer’s purpose in this scene and how should the actor achieve this?). We went on to be friends for more than 40 years and after Fanshen we went on holiday together on a canal boat. With a group of friends, we explored the beauties of England’s rivers and canal systems together. I organised the trip and acted as captain, whereas Bill was the admiral who occasionally took the tiller and cooked excellent breakfasts for us all.
But our friendship did not involve unconditional approval and Bill regularly left my productions at the Court in the interval. The front of house staff were puzzled. Bill was completely unabashed: “I had seen the actors and I knew how the story was going to end so there didn’t seem a lot of point in staying.” Indeed.But our friendship did not involve unconditional approval and Bill regularly left my productions at the Court in the interval. The front of house staff were puzzled. Bill was completely unabashed: “I had seen the actors and I knew how the story was going to end so there didn’t seem a lot of point in staying.” Indeed.
“I don’t think we had so much in common,” he said, “but we thought we did and it led to some excellent work.” He was probably right about that, as he had been about the sunset.“I don’t think we had so much in common,” he said, “but we thought we did and it led to some excellent work.” He was probably right about that, as he had been about the sunset.
He was the great high admiral in whose fleet so many of us have been privileged to serve. He will surely be seen as a major figure of 20th-century culture.He was the great high admiral in whose fleet so many of us have been privileged to serve. He will surely be seen as a major figure of 20th-century culture.