I write in both scholarly and creative modes.
I’ve written many essays and papers on Shakespeare and actor training (including a contribution to The Routledge Companion to Actors’ Shakespeare), as well as full introductions to the plays I’ve directed for casts and creatives. I’m also working – very gradually – on a book.
I edit or adapt all the play texts I direct.
With Shakespeare and his contemporaries, this means extensive and careful cutting, editing and very occasional rewriting; with two foreign-language classics I’ve worked on recently (Erdman’s The Suicide and Schiller’s Mary Stuart), it means writing the dialogue myself.
Though I wouldn’t call myself a playwright, I relish the challenge of writing for actors, especially when – as with my students – I can ‘hear’ their voices in the roles as I write; and indeed they will always make contributions to the ‘final’, performed text. It’s an amazing opportunity to attempt to put into practice and test my theories about the psycho-dramatic structures of classical theatre, and to encounter more profoundly a text which I’ll be bringing to life on stage.