We sat down for an exclusive interview with Jack Herlihy, actor, musician and theatre-maker.
In this provocative new play with striking parallels to our own age of digital watchfulness, Regarding Shelley explores the paranoia surrounding Percy Shelley’s early years of political activism and the chilling impact of state scrutiny.
Performing from 20th – 25th May at Upstairs at the Gatehouse, Highgate, London. Tickets and more info below: https://upstairsatthegatehouse.ticketsolve.com/ticketbooth/shows/1173662750/events/428717700
How does directing Shelley challenge modern audiences to rethink the impact of surveillance in their own lives?
Surveillance, to me, had always felt like a relatively modern invention tied to the rise in technological advancement such as radio, recording devices, cameras and the internet. Although I suspect my unhealthy consumption of espionage films in childhood had some part to play. Therefore, it is hard to imagine that in the early 1800s there was a sophisticated surveillance network operating throughout the United Kingdom and Ireland when they were still using quills and parchment. In 1812 Shelley was labelled a ‘dangerous radical’ by the Home Secretary and measures were set up to suppress his political activism against religion and the ruling government. Within the UK today, surveillance is frequently used as an arbitrary measurement of safety with London having the greatest number of CCTV cameras compared to any other world capital – however it is unclear if surveillance and safety are directly correlated. I think looking back to 1812 and seeing how Shelley’s life was monitored and manipulated reminds us to rethink the parts of our lives where we perhaps allow governments and multinationals to use our data and information to control us. Surveillance is not new – we’ve been in bed together for centuries.
What drew you to this project, and how do you see Shelley’s struggle echoing in today’s world?
Initially, I was actually invited to read for the role of Dan Healy by an actor I had trained with at drama school. Once I had read Richard Bradbury’s script I was fascinated with Shelley’s time in Ireland and Lynmouth and thankfully Riversmeet asked me to direct. Having grown up with Irish parents during the 90s I suspect my interest was framed towards the troubles and the Good Friday Agreement without really considering the position of Ireland 200 years earlier. I loved Shelley’s poetry and knew of his time in Italy and his marriage to Mary Shelley but had never considered him directly interested in the Irish cause at such an early point in his life. In Dublin, Shelley connected with the brave United Irishmen and attempted to use his position to create ‘associations’ whereby working people could meet regularly and discuss political issues. Sadly despite all our modern technological capacity to connect we seem to live in a time of utter polarity and Shelley’s struggles were similar, at every turn the British government would enter Shelley’s life and change the narrative preventing his revolutionary attempts. But he didn’t stop. Looking around our world today I see similarities everywhere and am grateful to the campaigners and activists fighting for truth.
How do you balance historical authenticity with contemporary relevance in your direction of the play?
It is probably the greatest challenge in directing this piece – to angle the period qualities of Shelley’s time through modern technology such as cameras and recorded footage. Attempting to get an audience immersed in the political struggles of 1812 is difficult when it feels so distant and in some ways insignificant. It was important to me when looking back at this period of history to amplify the untold stories of Shelley’s first wife Harriet and Dan Healy. Biographers have regretfully neglected Harriet’s influence over Shelley’s political activities and frequently described Dan Healy as just a ‘man-servant’ when in fact he was connected to the Irish revolutionaries. The personal sacrifices and risks of these ‘peripheral’ historical figures to Shelley are important landmarks for us today.
Did Orwell’s 1984 influence your approach to Shelley, given the shared themes of state surveillance?
100%. I have been sitting with Orwell’s 1984 for almost two years from the initial phases of devising in Munich with TNT to performing it across Europe, particularly in the post Soviet states. The simplicity of direction that I learnt from Paul Stebbings in Germany is something I have tried to continue in my work here. Condensing 1984 into a manageable stage show is a difficult task and we are seeing some great productions popping up around Europe but focusing on the importance of his text alone brings more clarity. And with Shelley we only have his documented letters, poetry and the Home Secretary’s observations. Their lives in some way were quite similar – using their writing to express their frustrations at the new world orders. Sadly, both Shelley and Orwell’s vision of the future is tangible in everything we do today.
What emotions or ideas do you hope audiences take away from experiencing this play?
I never really try to impose any emotions or ideas onto an audience when directing – my job is hopefully to create something that triggers questions. The comparison of Shelley’s life with our modern world should hopefully create a forum for audiences to explore a fairly unknown part of his political activity in regards to Ireland – what they choose to take from that is entirely up to them. Just placing Shelley in Dublin and then on-the-run is already an interesting comparison to the stereotypical image of the ‘romantic poet’.
If Shelley were alive today, how do you think he would respond to modern surveillance culture?
Sadly, I don’t think he would be surprised. Having experienced it first hand in the 1800s I think he would be shocked at how much greater influence surveillance has on our daily lives and probably question what we have achieved in the last two centuries since his death. That being said I am sure he would be over the moon with modern printing techniques instead of having to handwrite copies of his Declaration of Rights.