Verve talks with actor and director Sophie Roberts about her Silo Theatre show, The Writer, the importance of the arts, and why #MeToo is far from over in Aotearoa.
Tell us more about an artistic director’s role.
An artistic director is responsible for anything that pertains to the artistic vision of a theatre company, like articulating the mission and purpose, selecting works the company produces, and assembling teams to create the work. It’s an amazing, challenging job, and one that seems quite under threat worldwide as arts organisations favour being led by managers instead of artists – the corporatisation of art is inescapable! And a big theme in our current production.
As an artistic director, what are your guiding principles?
Many, but on reflection, they boil down to one thing: it’s increasingly important to be fearless. Being unafraid to use the platform of the stage to critique or challenge the status quo and creating an environment where artistic risk is supported so people can do courageous work. I’m not sure it’s possible to lead in an impactful way if you’re operating from a place of fear or risk aversion.
Where or what do you turn to for creative inspiration?
The artists are always what inspires me most. I’m not someone who finds inspiration alone in a room, the thing I most love about my artform is how collaborative it is.
What makes Silo Theatre special and so right for The Writer?
The Writer is very much a signature Silo show: big, bold, contemporary storytelling that will hero exceptional design and performance. It’s challenging and thrilling theatre that will no doubt polarise audiences and encourage post-show arguing in the foyer! Someone said something in a survey once that I think sums the company up really well: “I don’t always necessarily like the work, but I am always changed by it.” That’s what we’re always shooting for, creating rich and transformative experiences for people, but not always comfortable!
Why did you programme this show, and do you relate to the central story lines of The Writer?
I programmed it first and foremost because it was the most exciting thing I’d read in years and unlike anything I had seen on stage here. The Writer is very aligned with the conversation I’m personally trying to have in the work I do to centre female experiences on the main stage, to push back against the historically white male canon, and use the stage to openly challenge patriarchy.
The Writer is very aligned with the conversation I’m personally trying to have in the work I do to centre female experiences on the main stage, to push back against the historically white male canon, and use the stage to openly challenge patriarchy.
Why is this show relevant to Auckland right now?
There’s much talk about us being in a post-#MeToo era, whatever that means. I can’t speak for other industries but here in Aotearoa we really haven’t had that reckoning in the entertainment industry yet. There’s been some great reporting from Ali Mau on the culture of abuse at our national drama school under past leadership, there’s Rene Naufahu’s indecent assault conviction, a name-suppressed leading figure in the New Zealand entertainment industry currently facing more than 20 sexual violence charges, and the name-supressed prominent businessman convicted of indecent assault. These people and stories are all known to us and there are so many more stories in our industry waiting in the wings. That makes what The Writer has to say necessary and important.
What does this play have to say about the experience of women artists? And about the art world more broadly?
The play asks some big questions about whether or not it’s possible for women artists to carve out both a career and a life on their own terms, free from patriarchal impositions. That’s a theme that I’ve certainly thought almost daily and has played out in my own career in different ways over the last 15 or so years. I also love the questions the playwright Ella Hickson posits in the play about what we have come to accept as ‘good’ theatre or art, that it’s a male defined idea of commercially viable naturalism that is the universally accepted ‘good theatre’ standard, and if you’re trying to operate outside that paradigm as an artist, it’s difficult to be successful.
What’s your favourite piece of theatre?
I don’t have a specific favourite show, but I’m generally drawn to work that’s emotionally fearless and adventurous in its approach to form. Those are the types of work that demand you meet them with a certain level of courage and bring a lot of yourself to the work. That’s where I find the most satisfaction.
The play asks some big questions about whether or not it’s possible for women artists to carve out both a career and a life on their own terms, free from patriarchal impositions.
Next project?
After The Writer we dive into an amazing new New Zealand script by Nahyeon Lee called The First Prime-Time Asian Sitcom.
Any current obsessions?
As I’m currently deep in rehearsals my obsession is the incredible cast I’m working with: Sophie Henderson, Ash Williams, Matt Whelan, and Stephen Lovatt. They are sickeningly good and surprise and move me every day.
Favourite Auckland eatery?
Gemmayze Street.
Dream theatre to work in?
Just before the pandemic hit, we’re gearing up for international touring of our adaptation of Peter and the Wolf. So, the dream right now is to get back to the ability to tour our works overseas.
Dream show to produce?
I’d love to do something that’s on a really big scale, something with a massive cast and really expansive design. The arts in this country are desperately underfunded so we don’t get to play at scale very often.
The Writer is on from 1 – 18 September at Q Theatre
