Opening this week Glorious, But Brief is a re-telling of the Trojan War through the lens of a love story between Achilles and his close companion Patroclus. We spoke with writer/director Amelia Sciandra about the show...
What inspired you to create Glorious, But Brief? Why this story?
There is a beautiful novel called "Song of Achilles," which was my greatest source of inspiration. So many people know about Achilles, the Trojan War, Helen and the face that launched 1000 ships but there is no stage play (that I know) that tells this story in this way. I was interested in how we define heroism and how we can still learn from myths, all these years later. It was important to me to share this LGBTQ version of the myth because as far back as Plato it was interpreted this way. I wanted to be a part of the great effort to normalise LGBTQ stories onstage and in popular culture, to fight against hate. Ultimately, this is a love story. To be a part of sharing such a beautiful, meaningful and historic love story is an honour.
Who are the collaborators on this production?
I was so incredibly to work again with my amazing stage manager and lighting designer Eleanor Southwell. Thanks to the amazing female theatre community in London, I found two incredible designers, Helena Goldberg and Sophie Goodman who did such terrific work for this show. Sophie wore a number of hats and I'm especially indebted to her for playing live cello in the show.
Our cast: Ariel Butwyna, Hilda Cronje, Christopher Buckley, Jay Rincon, Anna Dekowski, Danylo Myron and Nick Simons have been the best collaborators a playwright/director could ask for.
What have been some of the highlights in the development of Glorious, But Brief?
I wrote one of the male lead roles for my husband, Christopher Buckley. Being able to work with him on this show has been incredibly special. We also got the chance to bring together so many people from varied backgrounds in our cast. The company is called Borderline Confrontational, which has always been a double entendre: we want our work to be almost confrontational for the audience, causing them to think and feel in a way they haven't before. But we also want to confront physical borders. I am an American living in the UK, and for this show we were able to cast actors from 5 countries on 3 continents. We also have an all-female production team, which is amazing. And, one of our actresses is performing 32 weeks pregnant. Talk about female empowerment!
What inspired you to create Glorious, But Brief? Why this story?
There is a beautiful novel called "Song of Achilles," which was my greatest source of inspiration. So many people know about Achilles, the Trojan War, Helen and the face that launched 1000 ships but there is no stage play (that I know) that tells this story in this way. I was interested in how we define heroism and how we can still learn from myths, all these years later. It was important to me to share this LGBTQ version of the myth because as far back as Plato it was interpreted this way. I wanted to be a part of the great effort to normalise LGBTQ stories onstage and in popular culture, to fight against hate. Ultimately, this is a love story. To be a part of sharing such a beautiful, meaningful and historic love story is an honour.
Who are the collaborators on this production?
I was so incredibly to work again with my amazing stage manager and lighting designer Eleanor Southwell. Thanks to the amazing female theatre community in London, I found two incredible designers, Helena Goldberg and Sophie Goodman who did such terrific work for this show. Sophie wore a number of hats and I'm especially indebted to her for playing live cello in the show.
Our cast: Ariel Butwyna, Hilda Cronje, Christopher Buckley, Jay Rincon, Anna Dekowski, Danylo Myron and Nick Simons have been the best collaborators a playwright/director could ask for.
What have been some of the highlights in the development of Glorious, But Brief?
I wrote one of the male lead roles for my husband, Christopher Buckley. Being able to work with him on this show has been incredibly special. We also got the chance to bring together so many people from varied backgrounds in our cast. The company is called Borderline Confrontational, which has always been a double entendre: we want our work to be almost confrontational for the audience, causing them to think and feel in a way they haven't before. But we also want to confront physical borders. I am an American living in the UK, and for this show we were able to cast actors from 5 countries on 3 continents. We also have an all-female production team, which is amazing. And, one of our actresses is performing 32 weeks pregnant. Talk about female empowerment!
Call someone out by name: who should see this production?
Be brave!
If I'm being really bold? Cameron Mackintosh. We would love for this show to continue, to have a bigger and longer life after this stint at the B&R. Any theatre makers who are interested in the collision of the modern and the classics, anyone who believes in the voice of the LGBTQ being heard onstage, anyone who knows and celebrates that love is love is love is love.
What attracted you to stage this production at The Bread & Roses Theatre?
We are lucky to live literally right around the corner from The Bread & Roses, which made it special as a London (and world) premiere for our play. The deal B&R give on rental/box office splits is terrific as well.
What do you think the state of British Fringe Theatre is right now, and how does Glorious, But Brief fit into it?
British Fringe Theatre is an exciting to world to be in. There is so much work out there, which is incredible. I would love to if Glorious, but Brief could show the larger theatre world that Fringe is a spawning ground for the next great pieces of theatre. It'd be brilliant if we could start seeing Fringe theatre like a pipeline, and if bigger playhouses looked to Fringe theatre more readily when planning their seasons.
What's next Borderline Confrontational?
Hopefully, Glorious, but Brief has further life at another venue. Then, we hope to create a collaborative devised piece, and maybe another original play! The sky is the limit and we just want to make theatre.
Be brave!
If I'm being really bold? Cameron Mackintosh. We would love for this show to continue, to have a bigger and longer life after this stint at the B&R. Any theatre makers who are interested in the collision of the modern and the classics, anyone who believes in the voice of the LGBTQ being heard onstage, anyone who knows and celebrates that love is love is love is love.
What attracted you to stage this production at The Bread & Roses Theatre?
We are lucky to live literally right around the corner from The Bread & Roses, which made it special as a London (and world) premiere for our play. The deal B&R give on rental/box office splits is terrific as well.
What do you think the state of British Fringe Theatre is right now, and how does Glorious, But Brief fit into it?
British Fringe Theatre is an exciting to world to be in. There is so much work out there, which is incredible. I would love to if Glorious, but Brief could show the larger theatre world that Fringe is a spawning ground for the next great pieces of theatre. It'd be brilliant if we could start seeing Fringe theatre like a pipeline, and if bigger playhouses looked to Fringe theatre more readily when planning their seasons.
What's next Borderline Confrontational?
Hopefully, Glorious, but Brief has further life at another venue. Then, we hope to create a collaborative devised piece, and maybe another original play! The sky is the limit and we just want to make theatre.
Glorious, But Brief runs at The Bread & Roses Theatre 27th - 31st August - BOOK NOW
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