CULTURE CLUB
EVERY YEAR, CAMBRIDGE SHAKESPEARE FESTIVAL TRANSFORMS ALL THE CITY INTO A STAGE – MIRIAM BALANESCU MEETS ARTISTIC DIRECTOR DAVID CRILLY AND STAR ANDREW STEPHEN HOUSE OF BARDS Midsummer Madness
heatre has long thrived in the city, but when things quieten down for the major establishments during the summer, the best place to
A fresh troupe of actors frequents the lush gardens of colleges the festival started small, it has grown beyond David’s expectations. “I’ve had people calling from California, saying they’re organising their vacation and always plan around the festival,” he says. “The loyalty we have from our audience is quite astonishing.” Bringing the bard outdoors has a long precedence, dating back even before the Globe Theatre’s opening in 1599, although Cambridge Shakespeare Festival was the first of its kind. “What we do is directly tell the story, as effectively, colourfully and dynamically as we can,” says David. “Our circumstances and the environment that we’re in dictate how we approach each production. I don’t feel that we’re performing in any kind of historical search for shows is not indoors, but out. The Cambridge Shakespeare Festival has been a magnet for theatregoers since its inception in 1988, founded by then-music student David Crilly. “It was almost accidental,” David laughs. “We actually started the festival in Oxford, then transferred to Cambridge when I started my PhD at Magdalene College. I had friends doing student shows and they asked if I would be musical director. I had no background in theatre, but didn’t really like what I was seeing. I thought I’d have a go and see if I could do a better job.” Such stuff as dreams are made on, across four weeks a fresh troupe of actors frequents the lush gardens of Cambridge colleges – usually closed to the public – to perform the troubadour’s greats. Although
ONCE MORE UNTO THE BREACH August sees renditions of Henry V, The Taming of the Shrew and A Midsummer Night’s Dream “But they’re all staying close by in three large Victorian houses in Lucy Cavendish College, living, working and socialising together. It’s a sudden, immediate and dynamic environment – it fires itself up.” Andrew is accustomed to switching between tragedy, comedy and farce. “A kind of musical rapport with your characters is more important in comedy, in order to let the laughs in,” he explains. “All characters are essentially you and, as an actor, you have certain tricks for making them different. It’s a matter of latching on to something that is unique or sufficiently specific. It is quite surprising when that grows and how suddenly you can feel like you’re a different person when you click into it.” Although this is his 15th Shakespeare Festival, Andrew doesn’t quite know the plays backwards yet. “It’s interesting what sticks with you and what doesn’t – and how it doesn’t necessarily relate to how much you enjoy playing the part. “Three weeks is not enough for anybody to get remotely jaded with what they’re doing,” enthuses Andrew. “Right from the beginning, you’re going to see something exciting.” Audience sizes range from eight to 700, shifting the approach that actors must take – from more intimate performances to energetic renderings, it’s certain that no show will be the same. Details for all performances and tickets can be found at cambridgeshakespeare.com
context. We’re independent in terms of our artistic mission.” This summer brings a veritable feast for the eyes, from forest frenzy in A Midsummer Night’s Dream to regal gallantry in Henry V . Andrew Stephen first joined the festival in 1994 – and following his thunderous portrayal of King Lear, will now take on Gremio in The Taming of the Shrew . “It’s a fantastic experience for actors who want to find out what they can do, because there’s little to hide behind,” Andrew says. “You’re on a beautiful lawn in front of an eager audience and have to deliver the goods.” The cast and crew have so far survived “a phenomenally intensive two-week rehearsal period”, followed by the first set of shows running every night for two weeks, interwoven with rehearsals for the next. Most don’t know the other people in the company to start,” says David.
18 AUGUST 2022 CAMBSEDITION.CO.UK
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