In South Africa
A Promise Kept
Early on, Sir Peter had accepted Foot Newton’s invitation to visit her on her own turf, though a question remained as to the timing. In March 2005, he kept his promise. Other beneficiaries were players at the Baxter, whom he led in a workshop on Hamlet (an Everest they were due shortly to climb), and the general public, whom he held spellbound with a lecture on the right way to play Shakespeare. Foot Newton responded as glowingly to these events as she did to the continuation of their private dialogue, with sessions on the formal (rather than psychological) qualities of Betrayal and on Shaffer’s international hit Amadeus.
Two-way Street
“I was talking subjectively, autobiographically, trying not to be in any sense prescriptive or to say: ‘This is the way you do it’,” Sir Peter reports. Foot Newton was excited, too, to share the visuals she had been developing for Gravitas, and to talk through the play’s evolving themes and scenes. They spoke as director to director, then, with hardly a segue, as playwright and director. In both capacities, Foot Newton felt buoyed up with a new confidence.
Voice of Encouragement
As for Sir Peter, he has found ample confirmation that her true place is with the primary creators.
“Write more,” he told her once again. “Playwrights are rarer, more precious than directors.”
Extracted from a chapter, written by Matthew Gurewitsch for Unique Voices, Common Visions, a record of the 2004/2005 cycle of the Rolex Mentor and Protégé Arts Initiative.