The Master and Margarita development showing was presented at Theatre Works on February 18. After two weeks of mainly nitty-gritty scripting and character-mapping, some solid work on design with Anna Cordingley, fearless experiments with Michael Pulsford playing his demonic percussion and Emma Valente hurling lights around the room, we knuckled down over the final few days to present an”open rehearsal” style presentation.
This, as far as we know, unique way of showing the results of the fortnight was a blast for all; dangerous, alive, unpredictable. Even if it did give the impression that the dominant aesthetic choice was “New York Meat-Packing District, circa 1972” (blame Edwina Wren for the spot-on Patti Smith homage), this form of presentation allowed for fluidity, instant editing and a pretty good way of allowing an audience into the conversation. Aside from the unfortunate incident when we attempted to literalise the phrase “Manuscripts Don’t Burn” and almost gassed the audience, the evening was well received and Daniel Clarke – GM of Theatre Works and our archangel on this project – was well-armed to go forth and seek co-producers. We are optimistic that this production will find a home in 2013.
Go to the production page for The Master and Margarita for more info, press coverage and interview links.