Interview with director Kate Hewitt: my London cultural life
Kate Hewitt has just won the prestigious JMK award to direct Caryl Churchill's Far Away at the Young Vic this November. Kate shares her experiences with CW's India Halstead
Interview with director Kate Hewitt: my London cultural life
The young and highly talented Kate Hewitt has had a rigorous directorial training. After studying drama at Goldsmiths, she trained in Lecoq physical theatre at the prestigious London International School of Performing Arts, and received her first award as an assistant director. She’s also done a fair bit of acting, an interest that began, she tells me, at childhood: ‘I performed with the National Youth Theatre, and at the Kneehigh Theatre Company, and Edinburgh Fringe. But my directorial training was always around.’ It’s this directorial training, enabled by her experience in Lecoq methodology, that has got her to where she is today. ‘There was a moment when I realized I felt I wanted to pursue that route fully, to see what that was like. I haven’t acted for six years.’
She’s pursued a range of associate directorial roles, including Through a Glass Darkly (2010), Clybourne Park (2011), Wild Swans (2011), and, currently with Charlie and the Chocolate Factory, though she’s also now an independent director.
And it’s this, her directorial debut, that we’re here to talk about. Kate's production of Far Away at the Young Vic this month is a direct result of her triumph in this year’s JMK: a prestigious award, in memory of James Menzies-Kitchen, which provides talented young and emerging directors with guidance and development opportunities.
'you creatively expand through the process...it forces you to question everything'
Leaving the world of resident direction can be a challenge, she tells me, but an exciting one. ‘Everyone has always said that you’re never fully prepared for directing your own show until you actually jump in and have a go. You can learn a hell of a lot in a short amount of time, and it puts you in really good stead for the future. There are some things that you just have to learn by doing.’
Indeed, there’s no shortage of practical demands when it comes to the award; it’s a very rigorous and lengthy process. ‘I was completely exhausted by the end of it! You also feel you creatively expand through the process; it really makes you look at what you want to make; it forces you to question everything - but in a helpful way, rather than a punitive way.’
Far Away, the play for which Kate was awarded the prize, was written in 2000 by British playwright Caryl Churchill, one of world theatre's most influential writers. It's a text, Kate says, that she's been passionate about for some time. ‘When I read it, about a year ago, it knocked me over really, the first act – it grabbed hold of me, it was something that I kept finding myself going back to. When the opportunity came up...it just felt right.’
Caryl Churchill's Far Away
The play deals with the lives of four characters, living in a dystopian world that’s perpetually at war. Kate found herself identifying with the very distinct world of the play, and the individual challenges posed by each act. Her key interest was in the central character, Joan: ‘the play tracks her journey from childhood to adulthood. It feels so contemporaneous,’ she says. ‘I don’t know, it feels to me that it could have been written yesterday.’ The society of the play is clearly distinct from the modern world, yet it still has great contemporary resonance. Far Away deals with serious themes, both political and social, of abuses of power, corruption, poverty and oppression, yet it is, essentially, timeless. 'I think the play’s power is how it can transcend context', she says.
Kate's rigorous training and her experiences of working with different directors has, she says, informed much of where she is today. ‘I worked on Clybourne Park with Dominic Cooke. He approached the modern text like a classical text; by exploring the language, and the rhythm of the text; by analysing every full stop on every page. His methodology heightened my respect for the text, and, subsequently, heightened my respect for Churchill’s.’
Seeing the project grow has been, for Kate, the most rewarding experience of her career. ‘Nothing compares to that feeling really. It’s the first time I’ve had the privilege, to go all the way through, right from the embryonic stage to the end. To see something go from miniature to full size.’ And her production is certainly going a big one: it’s already selling out at the Young Vic.
Kate Hewitt: my London cultural life
Kate’s originally from Newcastle but now lives in Battersea. I ask her about some of her cultural experiences in the capital.
Old favourite?
I shouldn’t say this… but the Young Vic bar is one of my favourite places. It’s so relaxed and exciting, it just feels like a little home to me. I think its got a very unique atmosphere: you can just stroll in and have a drink or go and watch a play.
New discovery?
Lardo in Hackney is an amazing place to go out for dinner. But I’m always searching for a new discovery, even if it’s just somewhere nice to go for a coffee.
We can certainly help you with that…Best-loved walk or view?
Hampstead Heath: I love that you can get lost in it.
Where’s your local?
In Battersea, I live next to the Prince of Wales. That’s where I go to unwind at the end of the day.
Most memorable aesthetic experience?
There have been lots of moments in theatre or dance over the past few years, but I suppose anything from Hofesh Shechter, the choreographer. There are moments from his pieces that have left an indelible impact. I don’t think they’ll ever leave me.
Hidden gem no-one else knows about?
The rose garden in Battersea park. I’m surprised most people don’t go there. I love it, it’s somewhere I can go to sit on my own: it’s very pretty and Victorian.
Best place to propose?
Marriage isn’t not really something I consider part of my life, I can’t imagine a proposal for myself! My advice to others would be…do it somewhere you like!
Best for children?
I look after a friend’s baby sometimes, and I’d say Hampstead Heath again. It’s lovely. It doesn’t feel like you’re in London at all.
Where will you be seen this month?
The Young Vic…every night!
Who’s your current cultural crush?
‘Crush’ feels…almost reductive. But I can think of directors and makers who are absolutely brilliant – Ivo Van Hove is one – he directed View from the Bridge at the Young Vic.
Either/ors
Selfridges or Harvey Nicks?
Neither. I’m not really into shopping.
King’s Road or Shoreditch High Street?
If I had to pick I suppose I’d go for East London.
Artisan cocktail or a pint of bitter?
A really nice glass of wine…
Streetfood or fine dining?
Both, depending on the night.
Shard or St Paul’s?
St Paul’s.
Royal Opera House or Battersea Arts Centre?
Both…in one week! I’d do a different night at each.
Far Away will be showing at the Young Vic until the 29th of November. Click here for more information and booking.
She’s pursued a range of associate directorial roles, including Through a Glass Darkly (2010), Clybourne Park (2011), Wild Swans (2011), and, currently with Charlie and the Chocolate Factory, though she’s also now an independent director.
And it’s this, her directorial debut, that we’re here to talk about. Kate's production of Far Away at the Young Vic this month is a direct result of her triumph in this year’s JMK: a prestigious award, in memory of James Menzies-Kitchen, which provides talented young and emerging directors with guidance and development opportunities.
'you creatively expand through the process...it forces you to question everything'
Leaving the world of resident direction can be a challenge, she tells me, but an exciting one. ‘Everyone has always said that you’re never fully prepared for directing your own show until you actually jump in and have a go. You can learn a hell of a lot in a short amount of time, and it puts you in really good stead for the future. There are some things that you just have to learn by doing.’
Indeed, there’s no shortage of practical demands when it comes to the award; it’s a very rigorous and lengthy process. ‘I was completely exhausted by the end of it! You also feel you creatively expand through the process; it really makes you look at what you want to make; it forces you to question everything - but in a helpful way, rather than a punitive way.’
Far Away, the play for which Kate was awarded the prize, was written in 2000 by British playwright Caryl Churchill, one of world theatre's most influential writers. It's a text, Kate says, that she's been passionate about for some time. ‘When I read it, about a year ago, it knocked me over really, the first act – it grabbed hold of me, it was something that I kept finding myself going back to. When the opportunity came up...it just felt right.’
Caryl Churchill's Far Away
The play deals with the lives of four characters, living in a dystopian world that’s perpetually at war. Kate found herself identifying with the very distinct world of the play, and the individual challenges posed by each act. Her key interest was in the central character, Joan: ‘the play tracks her journey from childhood to adulthood. It feels so contemporaneous,’ she says. ‘I don’t know, it feels to me that it could have been written yesterday.’ The society of the play is clearly distinct from the modern world, yet it still has great contemporary resonance. Far Away deals with serious themes, both political and social, of abuses of power, corruption, poverty and oppression, yet it is, essentially, timeless. 'I think the play’s power is how it can transcend context', she says.
Kate's rigorous training and her experiences of working with different directors has, she says, informed much of where she is today. ‘I worked on Clybourne Park with Dominic Cooke. He approached the modern text like a classical text; by exploring the language, and the rhythm of the text; by analysing every full stop on every page. His methodology heightened my respect for the text, and, subsequently, heightened my respect for Churchill’s.’
Seeing the project grow has been, for Kate, the most rewarding experience of her career. ‘Nothing compares to that feeling really. It’s the first time I’ve had the privilege, to go all the way through, right from the embryonic stage to the end. To see something go from miniature to full size.’ And her production is certainly going a big one: it’s already selling out at the Young Vic.
Kate Hewitt: my London cultural life
Kate’s originally from Newcastle but now lives in Battersea. I ask her about some of her cultural experiences in the capital.
Old favourite?
I shouldn’t say this… but the Young Vic bar is one of my favourite places. It’s so relaxed and exciting, it just feels like a little home to me. I think its got a very unique atmosphere: you can just stroll in and have a drink or go and watch a play.
New discovery?
Lardo in Hackney is an amazing place to go out for dinner. But I’m always searching for a new discovery, even if it’s just somewhere nice to go for a coffee.
We can certainly help you with that…Best-loved walk or view?
Hampstead Heath: I love that you can get lost in it.
Where’s your local?
In Battersea, I live next to the Prince of Wales. That’s where I go to unwind at the end of the day.
Most memorable aesthetic experience?
There have been lots of moments in theatre or dance over the past few years, but I suppose anything from Hofesh Shechter, the choreographer. There are moments from his pieces that have left an indelible impact. I don’t think they’ll ever leave me.
Hidden gem no-one else knows about?
The rose garden in Battersea park. I’m surprised most people don’t go there. I love it, it’s somewhere I can go to sit on my own: it’s very pretty and Victorian.
Best place to propose?
Marriage isn’t not really something I consider part of my life, I can’t imagine a proposal for myself! My advice to others would be…do it somewhere you like!
Best for children?
I look after a friend’s baby sometimes, and I’d say Hampstead Heath again. It’s lovely. It doesn’t feel like you’re in London at all.
Where will you be seen this month?
The Young Vic…every night!
Who’s your current cultural crush?
‘Crush’ feels…almost reductive. But I can think of directors and makers who are absolutely brilliant – Ivo Van Hove is one – he directed View from the Bridge at the Young Vic.
Either/ors
Selfridges or Harvey Nicks?
Neither. I’m not really into shopping.
King’s Road or Shoreditch High Street?
If I had to pick I suppose I’d go for East London.
Artisan cocktail or a pint of bitter?
A really nice glass of wine…
Streetfood or fine dining?
Both, depending on the night.
Shard or St Paul’s?
St Paul’s.
Royal Opera House or Battersea Arts Centre?
Both…in one week! I’d do a different night at each.
Far Away will be showing at the Young Vic until the 29th of November. Click here for more information and booking.
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