TILLY
LEGGE
By Lee Bemrose
Lightning Jar Theatre is a newish independent theatre company based in
Melbourne. Their current production is
Venus In Fur by American playwright David Ives. It’s a play within a play,
based on an apparently fictional novella from the late 19th Century,
which as it turned out was more autobiographical than author Leopold von
Sacher-Masoch might have wanted readers to believe, as well as giving us the
word masochism. Australian Stage caught up with Lightning Jar’s Tilly Legge as
she takes on the commanding and demanding role of Vanda.
How
long has Lightning Jar Theatre been around and how did it come into being?
Lightning Jar Theatre was formed in 2016 by
Hannah Greenwood, Dylan Watson and myself. We wanted to create more of the sort
of theatre that we want to see. It had kinda been on the cards for the three of
us for some time, it was just a matter of waiting for the right play to present
itself.
I
understand lightning jars are a vessel for preserving fruit... how did this
become the company name?
It’s a subtle reference to a line in The Dreamer Examines His Pillow by John
Patrick Shanley. The lead character Donna is trying to explain the emotions she
feels raging inside her; she says to her ex-boyfriend, “There’s lightning
screwed in a jar in here!”. We thought the image was great and represents what
we love seeing on stage! It’s also an homage to how Dylan and Hannah met; they
worked together on this play for an acting masterclass back in 2012.
What is
your role at Lightning Jar?
We’re all the co-artistic directors. It’s a
very collaborative effort. All responsibilities are shared between the three of
us.
What's
Lightning Jar's mission statement or ethos?
We want to create theatre that is exciting,
fresh, moving & entertaining.
We want to celebrate writers, new & old.
We want to make you feel, make you forget,
make you shift uncomfortably in your seat, make you laugh.
We want to be the reason people see more
theatre.
How
many plays have you produced so far?
This is our second show, following Aaron
Posner’s Stupid Fucking Bird in 2017.
Stupid
Fucking Bird was a wonderfully engaging production. What aspects of that play
attracted you to it.
We loved its irreverence and at the same time
deep respect for the source material - The Seagull by Anton Chekhov. It was a
modern look at a classic, brimming with humour and pathos but also full of
heart. It also had quite a lot of direct address to the audience which really
brought the audience into the world of the characters. The metatheatrical
elements of the play meant we could get away with some things that we may not
have been able to with a more conventional script, especially from a budgeting
perspective! We were honestly so surprised no-one had done it in Australia yet.
It had so many successful runs in the US and we just felt we’d hit a gold mine
when we came across it. It’s really one of those plays where an audience will
have a good laugh and then WHAM! Hit right in the feels.
And the
new production Venus In... actually, before we get to that, Venus In Fur or
Venus In Furs? I'm confused. Please unconfuse me.
Venus in
Fur (2010) by David Ives is about a
playwright/director who’s adapted the book Venus
in Fur (1870) Leopold von Sacher-Masoch for the stage. There’s a bit of
translation debate about whether the title to the original book is plural or singular. Our version is
plural but the one they talk about is the play is singular. Go figure!
Right.
So Venus In Fur – what drew Lightning Jar to this particular play?
It’s pretty simple really; Venus in Fur is a
great script. There’s a reason it was the most performed play in America in
2012/2013 - It’s an absolute cracker! It’s funny, it’s clever, it’s incredibly topical. The three of us are
actors but we don’t want to choose plays just because there’s a role in it we
want to play. It’s got to be a great story that deserves an audience.
Is the
play simply fun or is it deep and making a statement?
It’s a bit of both really. Ives’ plays are
always so whip-smart and he writes great dialogue; we joke that he’s (Aaron)
Sorkin on Stage. It’s certainly entertaining but it does take the audience to a
place they didn’t expect. Not only have all our audiences so far stayed seated
for a few minutes after curtain to absorb what’s happened, they’re often then
rushing out together to have prolonged discussions about what takes place. It’s
great to make the audience think like that and want to discuss the play’s
themes long into the night. We were heading out after a show one night last
week and ran into a group of audience members at a bar that were doing just
that!
I can't
help thinking about the subject matter of the play and the current climate of
sex and power play in Hollywood and indeed politics and culture generally. Is
the play an observation or comment of what's going on now?
Well... it is, but it really is coincidental.
The play was written in 2010 so not as a direct response to recent developments
in the industry, although certainly it seems influenced by what many people knew
occurred in the business but didn’t want to discuss. There have been jokes
about the “casting couch” and what that implies that we’ve all heard, but as
they say, there’s truth to every joke. Clearly Ives had his finger on the
pulse! What’s occurred to us during rehearsals is how different a production of
Venus may have looked like back when
it was written compared to what we’re creating here. There has to be a certain
amount of attention paid to themes that may not have been 8 years ago.
Leading
up to opening night, what was the vibe like at rehearsals?
So nervous and excited! Previews were such a
great way for us to warm to having an audience. We feel we’re in a great place
to have some packed houses!
How do
Tilly and Vanda get along with each other? What does each of you think of the
other?
Vanda is an absolute firecracker - great fun
at a party. Just don’t make her mad! What does she think of me? Well hopefully
she thinks I’m doing her justice!
We
should come and see Venus In Fur because...
You’ll be thoroughly entertained – by the end
of the play, once you get over the initial dumbstruck stupor that most people
seem to experience, you’ll be busting to grab a drink and discuss what you just
saw. “So does that mean that she-?” And “So was it really…?”
Season runs at 45 Downstairs, 45 Flinders Lane, Melbourne until March 24.
