THEATRE
to lots of different kinds of people. So we’ll see who we can get.”
Featherstone stresses that this deviation from the usual Royal Court programming isn’t a permanent change. “This isn’t what the Royal Court is going to become in the future – this is just for six weeks in the summer – but there are things that will come out of this which will make us think maybe we could so something like this again. Or we might end up doing kids’ week every summer. But in September we’ll be going back to normal service – with plays on.” Previously artistic director of the National Theatre of Scotland, which isn’t based in one specific theatre building, Featherstone appreciates operating a popular theatre with a permanent home in Sloane Square. “[The National Theatre of Scotland] works over the whole of Scotland with all the existing theatres and infrastructures, and that’s what I’ve learnt for the Royal Court – doing more touring in the future, bringing work in from other places in Britain.
“It’s amazing being based here. Goodness me, Sloane Square is so incredible, and it’s fantastic to be able to concentrate on one place. And this building is so beautiful and it’s got such an amazing history that to be able to have the luxury of imagining the plays on the stage here, but then also pushing the boundaries that bit more, these kind of things are really exciting.”
Much has been made of Featherstone being the Court’s first female artistic director. “I’m surprised by it more than anything else,” she says. “Obviously I’m proud because I’m so thrilled to have this job, but I’m shocked that I’m the first female, so I don’t feel that it’s a personal achievement. I can’t believe that there hasn’t been one before.” She is clearly very content in her new role. “The amazing thing about running a new writing theatre is that the writers refresh it all the time – you get re-energised by all the new plays.”
www.royalcourttheatre.com/season/open-court
“There’s a whole week which is kids’ week where we’ll be working with local primary schools, and eight-to-11-year-olds are writing plays”
Vicky Featherstone 62
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