In an innovative twist, the professional cast of Matthew Bourne’s electrifying production of Lord of the Flies will be joined on stage by 24 local performers, many who are complete novices to dance. Matthew explains how the production came into being, and what it aims to achieve
WHY DID YOU CHOOSE LORD OF THE FLIES FOR THIS PROJECT?
The idea for the project, rather than the piece, was brought to me by Creative Arts Scotland before we first did it two years ago in Glasgow.
They put this idea forward to me that they wanted to do something with local young men, and possibly guys who hadn’t stepped inside a theatre before. So we would create something along the lines of what we normally do, with all of our team, but integrate professionals with these local lads.
And literally, the first and only idea that came into my head was Lord of the Flies. It just seemed so perfect with this project in mind, because it was specifically asked to be an all-male piece.
And also because the story has a rough edge to it and the movement that would be created for it, it meant that the boys who weren’t trained could get somewhere close to finding it in themselves if the movements had a raw, anarchic edge to it.
YOU’VE RE-IMAGINED THE SETTING FROM A DESERT ISLAND TO A DESERTED THEATRE. WHY’S THAT?
I wanted it to feel like it was a theatrical experience, and the idea of the boys being locked in a deserted theatre worked.
And in a sense, in the original piece they do conjure up what’s around them anyway, just like kids do create stories when they play. So it was to give it that theatricality.
YOU’LL BE IN ABERDEEN NEXT WEEK TO SEE THE SHOW, BUT WHAT HAVE YOU HEARD ABOUT THE LOCAL CAST?
I’ve heard it’s been going really well. I’m really positive about it, and especially because Scotland is the home of the production.
MANY CHOREOGRAPHERS WOULD BE SCARED BY WORKING WITH UNTRAINED DANCERS. BUT YOU SEEM SO EXCITED BY IT.
It’s very exciting. It’s a different kind of project, and sits separately from the other work we do. This comes through our charitable side, called Re:Bourne and we’re aiming to do more of these because it’s gone so well.
What you get is this incredible involvement from the boys and their families as well. And you can’t buy that.
So the atmosphere at every performance – especially the first night – is electric. It reminds you why you do what you do. You go backstage and the boys are so high on the whole thing.
And the last performance is always gut-wrenchingly emotional because it’s been a life-changing experience for them. You can only feel great about that.
IT’S SO FITTING THAT YOUR PRODUCTION OF SWAN LAKE IS FEATURED AT THE END OF THE BILLY ELLIOT MOVIE. HERE, TOO, YOU’VE GOT UNTRAINED, RAW TALENT, JUST LIKE BILLY.
Absolutely, and I swear, a lot of these lads will turn up at auditions for our company in the future saying, “remember me?”
But I’m not saying that’s what this is all about. It’s about giving them a great experience, and confidence-building. But if some of them end up in the profession, then brilliant.
And that’s partly why Re: Bourne came into being in the first place. I sensed that, in our audiences were a lot of young people who were inspired by our productions, who felt like they could identify with what they saw on stage, and the kind of dancers we have in our shows.
That was why Re:Bourne started – to try to encourage that more and to make ourselves available to young people around the country. And then this project came out of that to the biggest extreme – actually having them on stage with us. So it’s quite unique in that way, I think.