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Interviews
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Philip Howard - Scotland's Ian Rickson Philip Fisher talks to the man who believes he has "The single most interesting job in UK theatre" Like somebody that some might regard as his English Counterpart, Ian Rickson of the Royal Court, Philip Howard is a surprisingly young and level-headed man to be running the Traverse, his country's premier new writing theatre. Dream JobAgain like Rickson, he believes that he is in his dream job, "The single most interesting job in UK theatre". That must be saying something in the thick of the storm that is the Edinburgh Festival and at a time when he has hardly left the theatre for a week. The FestivalHoward recognises that the three weeks in August are the theatre's lifeblood, with the bar not so much buzzing as screaming and the ticket office suitably crowded. He puts it nicely when he says, "The Festival is our panto season. Without it, we would not survive. Having said that, we must always maintain our artistic integrity". This kind of financial shot in the arm allows him to experiment with new work through the rest of the year. It also provides a showcase for Scottish work in general and in particular, Linda McLean's Shimmer this year. To an extent, The Traverse's director would probably be happier without all of the fuss and hype that he is currently handling so ably. With four shows winning awards (Fringe Firsts and Herald Angels) in Week 1, he is, though a very happy man. This is also a good chance to meet people who would like to work with the Traverse in future. Internationally Important WorkHe is keen to emphasise that The Traverse is about more than just Scottish writing and believes that the Fringe show that he is directing, When the Bulbul Stopped Singing, is a good example of the kind of internationally important work that they are producing on a regular basis. "Over the last few years we have become far more international in our outlook with work translated by our own writers". This has also extended to a larger number of touring productions than in the past. Day to Day WorkThe literary operation is unusual, as during the busiest period from February to April each year, when the theatre is both assessing projects for August and carrying on day to day work, it is all hands to the pumps. Not only does he read scripts along with various literary associates. It is in the nature of the full-time team of 35 that he has built up, that most will be able and extremely willing to read and evaluate scripts. As an example, in his eyes, this seems to be one of the key attributes on any Box Office Manager's CV. On average, he will direct 2 or 3 plays a year, depending on his view of who is best suited to direct the plays that he programmes. In fact, in 2004, partly because he has been working elsewhere, Bulbul is his single directing engagement on home territory. Tours and TransfersHoward still bemoans the disproportionately small number of London transfers of Scottish works though he believes that the situation is improving slowly with the Traverse very much in the vanguard. He analyses the Scottish problem perceptively. "There is still a distrust and fear of Scottish playwriting relating to various perversions of novels like Trainspotting". He retorts to this misapprehension by stating that it "is so much more complex and interesting and varied than that." Howard is exceptionally proud of Scottish writing saying that there is "More energy and diversity and excitement and interest around" and now theatre in Scotland is not only "feisty but international in its outlook." He also regrets the gulf between the reactions of Londoners to Irish and Scottish theatre. The former, he believes, tracks back to a "cultural debt" deriving from Lady Augusta Gregory and Yeats at the Abbey, 100 years ago, not to mention Shaw and Wilde. National Theatre of ScotlandHoward is a big fan of the projected new National Theatre of Scotland. He is conspicuously delighted that Vicky Featherstone is to be the first director, a brave and imaginative choice of a great supporter of new writing. He believes that this can only be very good news for theatre in the country. RelaxationOnce the International Festival starts, and he regards the move that has meant that the Festival and Fringe are no longer co-terminous as disastrous, Philip Howard will take time out to enjoy himself. He has already lined up two events in the International Festival: the new Anthony Neilson, and also a performance by counter-tenor, Ian Bostridge. A Happy ManIt is good to see a man so happy in his job. One hopes that he and the rest of the Traverse team may be given increasing opportunies to showcase their work on a wider stage.
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