ARCHIVE INTERVIEW WITH DAVID BRADY ON ‘LATELY’ 2021

By Heather Jeffery

Lion and Unicorn is the theatre with the strap line 'BE WHO YOU WANT TO BE'. This is no empty phrase. There is a genuine belief that all things are possible and dreams do come true. David Brady is one of those people who is passionate about making it happen.

When I arrive, David is seated at a table in the pub, headphones on, but he immediately spots me and starts chatting about our wonderful reviewers (at London Pub Theatres Magazine). “They really give a lot to the process” he says. 

David is very supportive, and he likes nothing better than to give actors (and companies) opportunities.  In his last production, the award nominated AAAAA (FIVEA) Proforca came up with the genius idea of giving graduates their first credit. The ‘no two shows are the same’s concept of AAAAA directly feeds into this idea. He’s achieving something similar with LATELY, as this two handers will be played by two alternating casts albeit with more experienced actors. It’s also giving audiences the opportunity to see the second cast if they so desire. 

His work to date has always had music at its heart. The titles of the shows come from songs: LATELY is inspired by a song written by Matt Cardle. The song itself is about things not coming together and this has echoes in the play. “There’s a real sense of people not being able to find what they’re looking for” says David. “The play is set in a seaside town” he explains. “Cal and Alf (Callum and Alison) form a friendship, a relationship … (nobody knows what it is), it’s shown from two different perspectives, six weeks apart.”  No spoilers here.

Personally, David is a great listener on Spotify, and he likes music with a “lyrical quality inspired by the soundtrack of our lives.” He explains that “signature pieces are used to inspire the writing and they also influence the structure”. Music is the driving force behind all the plays produced by Proforca Theatre Company. “Wires by Athlete features prominently in AAAAA (for example)” he says. “It helps us to create work which flows well.”

He’s always got headphones on listening to one of his playlists which helps him with his creative choices. “I have not a musical bone in my body” admits David “but I took guitar lessons for 2 years as kid.” As a child of the late 90s and early noughties, he listens to a lot of pop music. “The plays have the structure of a pop song with verses and choruses” he explains “they follow the same formula, and we build up to the show like writing a song, with the finished act being like the performance at a concert.” He admits being influenced by the creativity and imagery of music videos which feed into the aesthetic and storytelling of the show. “It’s a heightened reality” he explains “a strong concept which lends itself to theatre making.” He has a real appreciation of the artform and believes that visual imagery is a major part of creating a show which is often underrated.

The theme of flawed humans searching for a purpose in LATELY is a recurring one for David. It’s the same theme they explored in their production of FEEL (in 2018). Whereas FEEL is about the London millennial urban experience of love, LATELY is set in a run-down seaside town. “Cal is determined to stay, Alf to run away at any cost” says David. 

Whereas FEEL was written to Moby’s play album, LATELY was inspired by albums from David Gray and Melanie C’s ‘The Sea’. LATELY has a much more defined indie vibe which allows him “to play and have fun changing the character dynamic, the set, the warmth and the cold.” LATELY doesn’t have one specific format, it’s told in different ways, “mashed together” using monologues and interrupted dialogues. He likes to “play around with formats”.

The black box setting of the show also allows more freedom, “with no set to fall over.” He says it’s “the best decision I ever made not putting in an expansive set, just let the theatre space tell the story for you.” He’s been pushing sets back further and further which allows him to be more creative. “The set was blown out completely for AAAAA (FIVEA), with chalk all over the walls instead” he says proudly.

He is working with movement director, Lucy Glassbrook, whose recent work with Coventry City of Culture and “clear point of view brings a new dynamic to the rehearsal room”. He’ll also be working with Associate director Jess Barton later in the process. She has a different take on the work, with a more forensic and detailed eye “which will really add something to the final performance of the show”.

At the same time David continues with his work as Artistic Director of Lion & Unicorn Theatre. Giving opportunities for many fledgling companies and artists. “I stand at the door of theatre, hold the door open and see who walks through it” he says. “We will have a conversation about the work they want to make.” It might not always be the right fit for them, but he likes they try new things and “take a bit of a risk”. 

“We try to eliminate some of the complexity around programming” he explains. “It’s difficult if you can’t prove you’ve had a three-week run or got the resources in place at the outset. Theatre companies have a lot of hoops to jump through. We’ve taken a lot of that out. We’re looking for theatre makers who have a strong idea of how to execute their work and we will work together and get that done.” With very competitive programming arrangements there is less risk for the companies, but he’ll also help to find resources and funding where needed.

He is delighted that the “engine of theatre has started moving again, we’re doing more things now we’re not stuck at home.” He is concerned about some who are “marginalised by the government as though they don’t have any value and theatre is the place where those debates are going to be held.” The possibilities are endless from “escapist stories” to stories about the human condition. David is pleased that after being “locked away” we can emerge and start telling these stories once again.

True to his nature David cannot resist ending with a “thank you” to all of those who have supported the theatre through the pandemic. Phil Daley (General Manager at the pub) is a “valued partner”, and David is also very grateful to Young’s Brewery who supported the theatre. “We were well taken care of” he explains. His final “thank you” goes to London Pub Theatres and our reviewers “who really do provide a good constructive creative voice”.

The Lion & Unicorn are very proud to have offered a home to many successful plays made largely in a black box theatre (with little or no set). With his unique take on making theatre, his own play LATELY promises to be a fantastic addition to the cannon of work created by Proforca Theatre Company.

Heather Jeffery is Editor of London Pub Theatres Magazine / Published 26 August 2021