In conversation with theatre director Weekes Baptiste.
Weekes Baptiste is midway through touring a play, James and the Giant Peach, a production he is directing with award winning theatre company, White Cobra.
Despite a last-minute venue change due to inclement weather and competing with the football on TV, over 250 adults and excited children came to see the adaptation of the Roald Dahl classic at Moulton Community Centre in July.
I talk to Weekes about the staging challenges for an outdoor production, how a 29-year career at Royal & Derngate developed his craft, and why Christmas was so hard “back in the day.”
How did you cope with the recent last minute venue change to one of the productions?
The play was supposed to take place in Moulton Public Gardens, but on the day of the production, the weather was decidedly unsettled so White Cobra’s producers, Richard Jordan and Kate Billingham, decided, “Let’s play it safe and go indoors,” and Moulton Community Centre let us put it on there.
We didn’t know how many people were going to turn up. It was Sunday, and the football was on TV, so we put out 30 chairs. By 1:25, the centre was heaving with people, and by the start of the show at 2:00 pm, it was packed with over 250 adults and children; standing room only.
It must be challenging to take a team of people and perform in venues you’ve not rehearsed in?
Staging the play in different locations is one of the challenges of a touring production. We’re in East Hunsbury on Saturday 13th and Pitsford School on Sunday 14th July and in Benthall Hall, Broseley at the end of July.
I haven’t stepped foot in these venues yet, however, it doesn’t faze me. We’ll just look at the venue, assess it, and decide where to put the stage.
How did you come to direct the play?
Richard and Kate came up with the idea of producing an adaptation of James and the Giant Peach and asked me if I’d like to direct it. My first reaction was, “100 seagulls, an octopus, and a giant peach that has to roll down a hill? That’s asking too much to do it outdoors.” However, once I’d put my director’s hat on, I gave it some thought and I broke it down to what could work. I couldn’t have seagulls flying in, so I decided on puppetry and story-telling to reimagine the tale of how James and his insect friends came to live in New York. The key was to rely on the audience’s imagination to take the leap from staging suggestions, something at which children naturally excel.
What did you enjoy most about working on this production?
I immensely enjoyed working with the whole cast and production team and being in an environment where everyone was creative and collectively took responsibility. The costumes were brought in, and Beverly made some of her own. Everyone took on different jobs and contributed amazingly.
Some people may not know that you spent nearly 30 years working at the Royal & Derngate. Can you tell us about that?
I started off at the Royal & Derngate as a stage layman, but I used to come in and do everything else, even be in the shows. Come pantomime season, I was downstairs doing the scenery, creating costumes, and performing on stage. Over the course of my career there – 29 years- I learned a lot and developed my craft.
Personally though, at times, it was tough. It kind of stopped me from being involved with my family. I have four brothers and two sisters and felt I missed out on a lot of family gatherings. When you’re in the theatre, you’re there from 9 a.m. until 10 p.m. I’d often work all through Christmas, rushing home on Christmas Eve to be there on Christmas Day, to be back at the theatre for the Boxing Day show.
“When you’re young, you don’t want to be stuck backstage on Boxing Day.”
I’d miss family visits and gatherings. For instance, I’d miss my uncle who visited, and by the time I got back, he was gone. The cakes and drinks would be enjoyed without you.
Turning to Weekes’ brother Wayne, (who had joined us at the table): Did you miss Weekes being there at Christmas?
Wayne: No, I had all his clothes and cake.
Weekes: Unbelievable.
When did you first start writing plays?
I started writing plays when I was at school. I came to England from Grenada and my English wasn’t brilliant – I had a West Indian twang, which made it hard communicate with people. I found it a lot easier to write.
I started off creating comic strips. I was a cartoonist; and used to create storyboards which I then developed into comic strips and stories. Eventually I moved away from comic strips and started writing short plays and film scripts.
Working in the theatre, I was surrounded by the world of Shakespeare, Dickens and Tolstoy. Listening to their texts every single night and observing how audiences responded, especially to comedy, was incredibly educational.
I saw a lot of very good plays and I was developing my craft.
When you start out writing plays and then watch JB Priestly’s An inspector Calls, on stage, you think life can’t get any better than that, but it can also be daunting.
Some of Shakespeare’s lyrics, are amazing.
A friend of mine once said, “Whatever you may be thinking, please don’t give up, please carry on.”
What did make you carry on?
As a writer and director, I see things that influence me all the time. For instance, walking around the town centre might spark an idea. I think, “I don’t think anyone else has done this. I’m going to do it.” I get a great buzz out of putting a new angle on something. It’s the same buzz a composer must get when he hears the orchestra play his original music score.
As a play director, the lovely thing is when what you see in your mind’s eye comes to fruition. When you hear your words being said by an actor, it’s incredible. At moments, I have to pinch myself and think, “Did I actually write that?” I spend hours, weeks, and months perfecting the script. I used to get my brother Wayne and sister Sharon to read my plays. I’d write something, and they would record it so I could hear what it sounded like.
Once James and the Giant Peach finishes touring, what is next on the horizon for you?
James and the Giant Peach is the third play I’ve directed this year. I directed my first this year with Robin Hillman. I staged a snippet of a play I wrote myself called, 1948 at the Northampton Museum and Art Gallery, with the full scale production set to run in October.
James and the Giant Peach will run until the end of July. Tickets are available from https://www.whitecobra.co.uk/tickets
For details of previous productions by Weekes Baptiste visit: