THE GOD OF SOHO Special: with director Raz Shaw

Raz Shaw, director of The God of Soho

Raz Shaw, director of The God of Soho

In part two of our special feature on The God of Soho, director Raz Shaw tells us what it was like bringing Chris Hannan’s wild and raucous script to life for Shakespeare’s Globe.

You have previously directed productions of A Midsummer Night’s Dream and Romeo and Juliet for the Shakespeare’s Globe, but this is your first contemporary play. How did you come to direct The God of Soho for the Globe’s distinctive space?

Dominic Dromgoole, Artistic Director of Shakespeare’s Globe phoned me up in November last year. He sent me Chris’s treatment version, which was gloriously mad – it made wonderful sense and at the same time didn’t make any sense. It was brave and courageous and rude, and funny and moving – and yet, in some ways, indecipherable. I thought there was so much in it, it was bursting at the seams. I had no idea what the end result might be, but there was something about it that was intriguing, exciting, unique and scary. And I only like to do work that scares me or there’s no point, I think.

'The God of Soho' Rehearsal Shot

Iris Roberts (Clem). Photo: Simon Kane

What has proven the biggest challenge, or surprise, in bringing the script to life for the first time?

I’ve discovered that doing a new play at the Globe means two things. One, you have to be very respectful to the author’s words. And two, you have to embrace the Globe in all its forms. Sometimes that means you need to direct a scene in a slightly different way, from how you might have done had it been indoors in a ‘conventional’ theatre. I think that what the Globe gives any play, especially a new play, is an extra resonance and relevance because it reaches out immediately to the audience, and the audience responds right there in the moment. In a really positive way, we hear the words more, we feel the emotions more and we listen to the story of the play more. So for me, the biggest challenge has been to imagine where it needs to sit – how it can resonate best in the Globe. I think the biggest surprise to me is that despite its huge moments – very funny moments, rude moments, very sexy moments – it’s actually about tiny emotional details. The story of the play is very real, it has three very real love stories; the biggest challenge is to make sure we focus on that and at the same time allow it to breathe in a theatre the size and style of the Globe.

With its large cast, sharp topicality and brash language, do you imagine that The God of Soho will be a popular choice for amateur performance in the future?

I do! It’ll be a fun journey to take. There are eleven actors in our cast, with two what are called ‘supernumerary actors’, who only come in for the final rehearsals and do simple, non-acting things, like opening doors and all that kind of stuff – but still feel part of the cast. With thirteen actors, and seven in the band, there are over 120 costumes in this show, as there are actually loads of characters.

The God of Soho: trailer image

Click to view The God of Soho trailer

Part of the fun of doing a play with loads of roles is that all the actors can have a main character, and then they can all kind of let go and have mini-characters too. For instance, there’s a song in the play called ‘Sexier than Sex’, which is very rude. It’s about the Goddess of Love’s journey into King’s Cross and Soho for the first time, and she’s looking for something to hold onto because she’s been rejected by her lover in heaven. One of the things she is hoping to find out is what sex is on Earth. The song is quite vulgar, and requires an assortment of characters from the sex trade, from prostitutes onwards, and would certainly be lots of fun for amateur performers.  Almost every single one of those little parts has something about it that would make it unique and fun to play. Even if those parts don’t have many lines, they certainly have some memorable moments.

Chris Hannan’s new playThe God of Soho – opens tonight (27 August) at Shakespeare’s Globe, running till 30 September. Click here to purchase tickets. NHB are proud to publish the playscript alongside this production – to order your copy with free UK P&P click here and add ‘Blog Offer’ in the comments field at checkout (to ensure your discount is applied when the order is processed).

The God of Soho: jacket

The God of Soho by Chris Hannan (£9.99)

*The God of Soho ticket + drink offer!*
A Yard ticket & a Post-Show Cocktail for just £10 when booking directly through the venue. Use the code ‘pcdsftw’ or quote ‘Something for the Weekend’ when calling the Shakespeare’s Globe box office on 020 7401 9919. Cannot be claimed retrospectively. Usual terms and conditions apply. Purchasers must be over the age of 18. Please note Yard tickets are standing only, but have the best view of the stage.

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THE GOD OF SOHO Special: with author Chris Hannan

Chris Hannan

Chris Hannan, author of The God of Soho (photo: Carol Gordon)

Chris Hannan’s new play for Shakespeare’s Globe, The God of Soho, is a wickedly funny morality tale for the modern world. Sexy, feisty and real, it is a story about love at its dirtiest, maddest and most bittersweet. Here, the author talks about writing the play specifically for the Globe’s unique stage.

When the Artistic Director of Shakespeare’s Globe, Dominic Dromgoole, asked me to write a new play for his wonderful theatre, I spent a couple of years finding polite ways to say no.

It seemed too odd to put contemporary characters in contemporary clothes onto an authentic reproduction of an Elizabethan stage. Wouldn’t it just look like some ropey time-travel story?

Clearly, this was a space that called for big characters and big emotions and I began to sketch out the idea for The God of Soho, setting the story in a celebrity world where my celebrity couple fought each other in the front pages of the tabloids, hoovered up cocaine in celebrity nightspots and rocked up to the funerals of celebrity friends in dark sunglasses.

Where the Elizabethans had put kings and courtiers on stage, I thought I would put their contemporary equivalents – stars and their publicists. The inherent theatricality of the celebrity world – the constant performing in public – had an irresistible attraction. And of course celebrity worship is now at the core of our culture and economy, so it seemed an ideal topic for such a public space.

Celebrities could not have become the gods and goddesses of our mags and the staple of our news and gossip unless they answered some core need in all of us and The God of Soho is about what that is. It’s about what we worship and do we even know.

The God of Soho: jacket

The God of Soho by Chris Hannan (£9.99)

I kept going to see shows at the Globe to learn about the space and how it works. And, whether it was The Merry Wives of Windsor or Henry IV, I was struck by the magical relationship which exists between the actor and the audience – a frankness, an ease, an equality. Time and again it is a relationship which throws up unrepeatable moments of ‘liveness’.

It happened again during a recent performance of The Mysteries. The actors were telling the story of the Crucifixion – the episode where Judas repents of his betrayal and returns the blood money to Pontius Pilate. 

In the Globe production, the thirty pieces of silver is represented by thirty pence, and the actor playing Pontius Pilate – Matthew Pidgeon – joked amenably with the audience that he didn’t need thirty pence and would be happy to give it to a groundling. But when he placed the coins under the nose of a woman leaning on the front stage she viscerally recoiled, wanting nothing to do with the money or the betrayal.

The actor almost rocked back in amazement, and for me – looking on – the two of them created a moment that was deeply touching because I felt the emotional power of the story and understood that it mattered.

Other playwrights will see it differently, but to me the Globe stage requires a non-realistic story that has grand scale. It is not interested in minor details; it gobbles up narrative at considerable speed and you have to keep feeding it more. It wants movement, sweep. Because there is no stage lighting, you cannot get actors on and off in blackout – they need to be driven by some inner urgency

I enjoyed that. The God of Soho starts out in a heaven which is losing its sense of reality, plunges into a fetishistic Soho and heads out to celebrity Essex. The characters are gods and homeless people and rock stars; and the stage allows those disparate worlds to coexist because the characters are motored by the same story and the same needs. There can be realistic elements, yes, but only so long as they don’t distract from the sense of storyness.

Sections of this post by Chris Hannan first appeared in The Independent (18th August 2011).

Chris Hannan’s new playThe God of Soho – opens this Saturday (27 August) at Shakespeare’s Globe, running till 30 September. Click here to purchase tickets. NHB are proud to publish the playscript alongside this production – to order your copy with free UK P&P click here and add ‘Blog Offer’ in the comments field at checkout (to ensure your discount is applied when the order is processed).

Have you seen the production trailer yet? Click here.

*The God of Soho ticket + drink offer!*
A Yard ticket & a Post-Show Cocktail for just £10 when booking directly through the venue. Use the code ‘pcdsftw’ or quote ‘Something for the Weekend’ when calling the Shakespeare’s Globe box office on 020 7401 9919. Cannot be claimed retrospectively. Usual terms and conditions apply. Purchasers must be over the age of 18. Please note Yard tickets are standing only, but have the best view of the stage.

Coming up next…  THE GOD OF SOHO Special: with director Raz Shaw – on bringing the script to life for the first time.