IN CONVERSATION WITH: Jemima Levick

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What inspired you to choose A View From The Bridge for your directorial debut at Tron Theatre, and how do you plan to bring a fresh perspective to this timeless classic?

I really wanted to make something that would carve out where the Tron is headed in the future, so I knew I needed a play that I loved, one that could feel reinvigorated for now and crucially, could stand on its own two feet.  I didn’t have time or resource to commission something new, and I want the Tron to feel like a place where you can expect really fresh theatre, so a new approach to a classic felt like a way to achieve that.  A View from the Bridge is a play I’ve wanted to make for a really long time, and when I came back to reading it, I was struck again by just how contemporary the themes are.  Somehow it sang out even more being here in Glasgow – another dockside community.  It all felt like a play that could have been written recently, and beautifully written at that.  So I went for it with the perspective of where we are now in mind. 

The play deals with themes of immigration, family loyalty, and suppressed desire. How do you see these themes resonating with contemporary audiences in Glasgow and beyond?

The themes around immigration, cultural integration and the right to remain were high on my list of why we should be doing this play now.  The central character has a low level right wing swell in attitude, because things aren’t going his way.  We were securing the rights while riots were breaking out all over the UK in the summer of last year, so how we manage and behave according to our own moral code vs the code of the law felt very resonant. They’re themes that are all around us, I can’t imagine how they won’t resonate. 

You mentioned re-visioning the play for a modern audience. Could you elaborate on the creative choices you’ve made in terms of set design, casting, or staging to reflect this modern reinterpretation?

The set design is very contemporary.  Alex (Set and Costume Designer) and I talked a lot about temporary accommodation that becomes permanent.  And for costume think early Soprano’s fashion.  Beyond that, I’ve always felt A View from the Bridge has been ill served by the casting.  The text describes Eddie as being ‘about 40’ but more often than not, he’s cast in his 50’s or even 60’s.  I was interested in honouring this description and finding someone who, still in his 40’s is virile and attractive.  What happens when he’s in a house with a young woman who is discovering her sexual self?  As a society, we are very quick to forgive people’s behaviour when they are sexy or good looking.  So what happens then if they’re a monster with it? I overheard some women on the bus talking about James Norton’s character in Happy Valley, who they were quick to defend because he was handsome.  That character was a murdering psychopath! 

This production boasts a strong cast with both seasoned performers and emerging talent. How did you approach the casting process, and what qualities were you looking for in the actors to bring these complex characters to life?

I feel incredibly lucky to have secured the cast we have.  Because I knew we were going to focus on the six central roles, we needed extraordinary actors who could go the whole journey.  I’ve worked with Mark and Michael before (at Leeds Playhouse and A Play, A Pie & A Pint respectively), but have been aware of Nicole, Nick and Reuben’s work for years.  I’ve always wanted to find something to work with them on.  It’s a great privilege to work with that level of talent, especially on a play like this that demands so much from every moment.  They bring a level of expertise (both instinctive and technical) that elevates the room.  For the role of Catherine we knew we wanted someone very early career to ensure we captured that moment where someone was coming of age.  We auditioned over 80 young actors graduating or recently graduated, and while there was stiff competition, Holly proved to be an unforgettable talent.  

Having directed over forty professional productions, how has your previous experience shaped your approach to this production, and how does it feel to debut as Artistic Director at Tron Theatre with such a powerful piece?

At the risk of sounding insufferable, I recently counted them for someone and it turns out I’ve directed over 50! But in spite of that, every show feels like the first the night before you begin.  I’d say that every experience contributes in some way, but directing All My Son’s in 2019 really helps.  You get a sense of his priorities and learn to search beneath the surface of the lines quicker.  He really is an exceptional writer.