David Farr
Under the stewardship of David Farr the Lyric Theatre, Hammersmith is going from strength to strength
Above: David Farr
‘We’re out to delight, surprise and tell wonderful stories. We’re populist in the sense that we are old-fashioned showmen. And we’re encouraging artists and audiences to embrace a fresh way of creating theatre, while rigorously ensuring that the results are intellectually and emotionally rewarding.’ The sheer passion of David Farr, the Lyric Hammersmith’s engaging Artistic Director, is instantly evident. The words come tumbling out in a torrent and, even though he is in rehearsals for Arturo Ui and struggling with a cold, his eagerness to communicate his vision for the Lyric shines through.
It’s a perfect time to catch up with David. He has been at the Lyric for over two years, it is now very much ‘his’ space and, with a second revival of the acclaimed production of Metamorphosis (25 March-5 April) in the offing due to public demand, the theatre is clearly on a roll. ‘The success of Metamorphosis has meant so much to me,’ David admits with a smile. ‘We’ve had other sell-out runs such as Nights at the Circus and The Bacchae, but Metamorphosis does stand out. It’s a lovely mix of theatricality and a genuinely emotional family drama.’
With its gravity-defying split-level set, daring aerial acrobatics and Nick Cave score, Metamorphosis epitomises David’s artistic philosophy. ‘I believe in a new form of theatre and, if I’m honest, I do aim our productions at a relatively young audience who might be alienated by the barriers presented by a certain type of “conventional” drama; essentially, that means extremely well-spoken people talking in a vaguely pseudo-realistic manner on a vaguely pseudo-realistic set. But, at the same time, our work must be rich enough to appeal to older generations. I want the Lyric to be a young-feeling theatre, not a theatre full of only young people. I think that there are an awful lot of 40, 60 and 80 year-olds who will enjoy what we’re doing here.’
David readily acknowledges the debt he owes to inspirational ‘physical theatre’ companies such as Complicite, although it’s a term he dislikes. ‘I think it implies a lack of intellectual and emotional depth. I prefer to say visual theatre. When you come to the Lyric I want your senses to be enriched. You’re not going to watch six people talking in a room; rather, you’ll experience pure theatre that is about being theatrical. It’s for us to make sure that theatricality is serving a rewarding story.’
As a teenager, David Farr had no ambition to be a director. He came to theatre late: ‘My parents weren’t really theatre-goers, but I had an inspirational teacher who took us to see some plays at the Royal Court, which I found interesting.’ Heading to Cambridge, however, David still assumed that he would become an English teacher, but there he fell in with a group that was passionate about theatre and he ‘got the notion of writing and directing – I was never interested in acting.’ He joined a student company co-founded by Rachel Weisz, directed a play at the Edinburgh Festival which won a Guardian award, attracted the attention of Stephen Daldry and ended up as Artistic Director at the Gate Theatre, Notting Hill at the tender age of 24.
Having firmly established his theatrical template at the Lyric, David doesn’t intend to rest on his laurels. ‘I’m convinced that we must be braver – audiences are much more sophisticated than we give them credit for – and our new season will reflect this conviction with collaborations with artists who are reinventing what theatre can be. A good example is Contains Violence in April. It’s a Hitchcock-style thriller about voyeurism that has been created with David Rosenberg of Shunt. The audience will be sitting on the Lyric’s terrace watching the play take place in the offices opposite and listening to everything through headphones. Then in June the team behind Metamorphosis will be staging Love – The Musical, a beautiful Romeo and Juliet-style tale starring people in their 70s, 80s and 90s. I’m really keen that the Lyric should become a brand – I’m not afraid of that word – that promises an exciting new experience and that audiences never quite know what we’re going to do next.’
Since taking up the reins at the Lyric, David has enthusiastically maintained the theatre’s commitment to the local community, with free first-nights for borough residents, a superb creative learning programme and, of course, the Lyric Young Company. ‘I take individual workshops and get to know the kids and, in fact, in Arturo Ui I’ve cast three members of LYC to rotate in one part. It’s a fantastic opportunity for them to work alongside professionals and see the actor’s life.’ Satirising the rise of Hitler, Brecht’s classic play is being produced in a typically ‘unusual’ way, set in the heart of Africa rather than Nazi Germany. ‘I love the piece but I wasn’t sure how to do it in a relevant way,’ David tells me. ‘I approached the Zimbabwean actor Lucian Msamati and he connected with the story instinctively in terms of Mugabe’s regime. It’s hilarious, the humour is dark, and Lucian shakes it by the collar and makes it contemporary. He’s a star in the making.’
With healthy audiences, critical praise and a host of creative ideas in the pipeline, David Farr’s vision is clearly striking a chord. The next few years promise more exhilarating, thought-provoking theatre in Hammersmith: ‘I’m interested in work that is open, honest and thrilling. I see it in a different way to conventional theatre. What we’re doing is the future and I want our audience to realise that they have a jewel on their doorstep.’
For more information visit www.lyric.co.uk