JEREMY HERRIN is the artistic director of Headlong. Here, in between a hectic working schedule, he directs his own, imaginary dinner party…
I’ve got to invite between six and eight people – some of whom have to be dead, some of whom have to be fictional. The others have to be alive, and presumably they need to be fairly tolerant about these arrangements. I’d cook calamari, roast a chicken or two with all the trimmings, followed by blackberry and apple crumble. Champagne and red wine and cocktails would be in plentiful supply. I’d aim for an indulgent and relaxed atmosphere. Soulful conversation and amused and interested engagement – like the best rehearsal room ever, only with much more booze.
First guest would be Clement Atlee. I’m not sure how fun he would be, but I’d be interested in how he engineered the welfare state. Having just directed The Absence of War on tour for Headlong, I’m fascinated by the Labour Party: it’s described in the play ‘as the only practical instrument we have in this country to change people’s lives for the better’. What challenges did he face in keeping such a fractious party unified and how does he reflect on the legacy of the NHS and how it fares today?
I’d invite Anne Boleyn. I think she might be quite hard work but I’d be interested in hearing the story from the woman herself. I’ve just directed adaptations of Wolf Hall and Bring up the Bodies and it’s shocking how this intelligent ideologue was demonised because she couldn’t provide a male heir to shore up the shaky Tudor dynasty.
Stan Laurel would be there to lighten the mood a little. I’m a massive fan of Laurel and Hardy and I’d love some insight into how this modest man expressed his genius. I’ve always assumed he’d be sweet and generous, and I hope he could keep us all entertained. I’ve also got a piano I could do with moving up some steps.
Anita Loos is a fascinating character who I’ve been interested in since I read ‘Gentlemen Prefer Blondes’, which is almost nothing like the banal Marilyn Monroe film. She was a writer of rare talent who came to fame in the 30s. She was whip smart and witty and cutting about the limitations placed on her because of her gender. She’ll be the subject of some project or other so I could call it research.
We’d need some music so I’d invite Tom Waits. He’d put on a good show after dinner. I’d ask him to play ‘Hold On’ and ‘What’s He Building In There?’ Later, he might play ‘The Piano’s Been Drinking’ if we were lucky.
I’d invite Stanley Townsend. He’s in my production of The Nether, blowing people away at The Duke of York’s Theatre in London. It’s a provocation about how we be live in increasingly virtual worlds. Stan plays someone who has perfected the art of sensation and has used it to create an on-line realm where users can indulge every destructive desire and proclivity. Sims is an enigmatic and intimidating presence, but Stanley is kind and talented – a generous soul and a lover of life. If anyone can charm Anne Boleyn and bring Clement Attlee out of his shell, Stan can.
I’d indulge myself and invite Masha, a character from Chekhov’s The Seagull. I’d ask her why she wore black all the time to see if she answered with her most favourite line: ‘‘I’m in mourning for my life.’’ If she was still talking like that at the end of the evening after all the Espresso Martinis and Montepulciano then I’d consider the evening a failure.
The Absence of War is a co-production by Headlong, Rose Theatre Kingston and Sheffield Theatres, and was part of Hare’s trilogy of state of the nation plays which includes Racing Demon and Murmuring Judges. The play runs until May 2.
For details of venues and to book tickets, please visit www.headlong.co.uk
And you are?
Training? Jeremy studied at the Royal Scottish Academy of Music and Drama. He trained at both the National Theatre and Royal Court.
Roles? He was deputy Artistic Director of the Royal Court from 2009-2012.
What about Headlong? Jeremy’s first production for Headlong was the European Premiere of Jennifer Haley’s Susan Smith Blackburn Prize winning play, The Nether, at the Royal Court.
RSC: He directed the world premiere of Hilary Mantel’s Man Booker prize-winning novels Wolf Hall and Bring Up the Bodies in two parts for the RSC, which transferred to the West End in May 2014.
Other projects? He was nominated for an Evening Standard Best Director Award for Polly Stenham’s second play Tusk Tusk in 2009. He directed Richard Bean’s The Heretic, Michael Wynne’s The Priory, which won an Olivier award for Best Comedy and David Hare’s The Vertical Hour.
Must-know: Jeremy was named as one of the Stage top 100 in 2014.