Interview with Sarah Mann, co-artistic director of Discombobulated and Me
Biography
Sarah studied Drama at Royal Holloway, University of London. Shortly after leaving she decided that she disliked theatre immensely and tried other jobs. Lots of them. Finding herself thoroughly miserable, Sarah caved in and found herself working as any combination of director, designer or skivvy for various fringe theatre companies. She is now co-artistic director of Discombobulated and Me.
What first attracted you to the theatre?
It’s the pact between the people on stage and the people sitting watching. It’s still something which fascinates me. Everyone in the room is in some sort of weird agreement. It’s about suspending enough disbelief and incredulity at how ridiculous the whole process is that simply anything becomes possible. That’s when it gets magical, that’s when it becomes worthwhile and that’s what attracted me to the theatre… And the Mr Men Live… I think actually it might have been more the Mr Men Live… Particularly a song about muck spreading…
If you could pick any one person or theatre company to work with on your next project, who/which would it be?
Improbable Theatre. I love their stuff. They have a rough quality to them which makes me smile but they also have an irreverence to them which is awesome. As a young theatre maker, you’re always being told what you can and can’t do. They just kinda stick two fingers up at everyone else and do what they feel passionate about, which seems to be entertaining, audience-driven live performance.
What is your opinion of Off West End theatre, in general?
I love the fact that it allows people to take risks artistically that they wouldn’t be allowed to even contemplate in mainstream British theatre. And yeah – it does mean that you will see shows that make something inside you die, just a little bit. But then you can see something that is beautiful or inventive or witty or just out-and-out brilliant and you forget who, what and where you are. I rarely get that in West End theatre.
What was the most inspiring production you have ever seen? Why?
I saw Oh What A Lovely War at the Roundhouse when I was about sixteen. It started a fixation with Joan Littlewood which I still haven’t shaken off. I think she was spot on – her belief that theatre should be for the masses, tickets should be reasonable, her approaches to directing and building a company. The woman was a genius. Though I’m not really sure how I feel about her obsession with building a funfair.
What piece of work are you the most proud of?
That’s a tricky question for me. To be honest, as a director, I can always see what could or should have been done. I have a dreadful propensity to want to tinker with stuff well into the run. I think Discombobulated and Me’s first production, Utter Bellocs. As co-writer and director, it was a strange experiment. I clearly liked the results enough to follow it up though, because we’re doing it all again with a new show!
What things in your personal life do you draw upon when you direct?
I live in a weird dichotomy between traditional and modern culture. My dad is a massive folk fan (both literary and musically) and my mum is passionate about certain areas of classical theatre. She’s an utter Elizabethan buff among other things. I grew up surrounded by Morris dancers and visits to watch Shakespeare in the park. On the other hand, I was growing up with Brit pop and the Fast Show. It’s a weird combination which, despite much resistance, I think is beginning to show in the work I choose to do. It gives everything a bizarre anachronistic gloss, which seems to have the ‘marmite’ effect on audiences – they either love it or hate it.
Are there any actors/actresses you would like to direct?
William Kemp. He was the clown in many of Shakespeare’s plays. Dogberry in Much Ado About Nothing was created for him. He was a performer and a comedian. He danced from Norwich to London in nine days (over a period of weeks) followed by massive cheering hordes and then published a book about it. He was clearly barking. But he knew how to work a crowd and that is an incredibly appealing trait for me in any performer.
Which director do you respect most on OffWestEnd at the moment?
I really admire Vicky Ireland. I had an incredibly far-sighted drama teacher at school who took us to see loads of children’s shows at the Polka Theatre when she was artistic director. I remember doing work experience and seeing her shows for toddlers several times. You would sit in a small room with a man dressed as a blue dog and everyone, totally regardless of age, was transfixed. Everything she touches is just breathtaking as far as I’m concerned. She really understands theatre and doesn’t talk down to any of her audience.
Can you tell our readers about what you’re doing now/next?
Discombobulated and Me are currently in rehearsals for The Cabinet of Doctor Caligari. The idea muddled its way out of a slightly blurry and excitable late night discussion, when we decided it would make a great stage show. It’s a massive challenge and people have said that it’s an impossible task but we’ve made the jump and, by-gum, we’re going to make sure everyone involved has fun… Maybe even the audience.
The Cabinet of Doctor Caligari runs at the White Bear Theatre, Kennington, from 22 April to 11 May.
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