Theatre / Kazuo Ishiguro
Bristol Old Vic prepares for world premiere of Kazuo Ishiguro’s ‘Never Let Me Go’
Nobel Prize-winning author Kazuo Ishiguro made waves with his bestselling novel Never Let Me Go, which first hit bookshelves in 2005.
What appears at first to be the story of three students at a traditional boarding school, unfurls into a heart-wrenching narrative on what it is to be human.
What if you discovered your whole reason for being was not about your life but about making someone else’s possible? Your dreams, your desires, your love for another, all of them irrelevant in a world that values only what you give, without question or condition, to someone you’ve never met and will never know.
is needed now More than ever
Ishiguro’s novel was subsequently adapted by Alex Garland into a 2011 film starring Carey Mulligan, Andrew Garfield and Keira Knightley as the young protagonists Kathy, Tommy and Ruth.
Co-produced by Bristol Old Vic and the Rose Theatre, Malvern Theatres, and Northampton’s Royal & Derngate, Suzanne Heathcote’s play based on the book arrives in Bristol for its world premiere on November 5.
When sharing his excitement about the upcoming production, Ishiguro reflected on the central concern at play in Never Let Me Go: “How do we find and hold onto love in a world ruled by out-of-control science and savage hierarchical structures? – feels even more haunting today than when I wrote the novel 20 years ago.”
Susan Aderin in rehearsal for Never Let Me Go – photo: DMLK
Taking a break from rehearsals, Bristol24/7 asked Susan Aderin (Miss Emily) and Tristan Waterson (Rodney/Alfie) to reflect on the enduring power of the story:
How familiar were you with Kazuo Ishiguro’s work previously?
TW: “I can’t quite pinpoint the first moment I was introduced to Ishiguro’s work, but it seemingly feels as if his stories, particularly Never Let Me Go, have been in my ambit since I was very young. The book was published and then subsequently the film was released at two different stages of my life, and this gave me two entry points into his work. Then later I discovered Remains of the Day and Klara and the Sun. The beauty about staging this play almost 20 years after the book release means we will be giving a whole new generation an entry point to this incredible story.”
Can you introduce us to your characters, and explain how they fit into the narrative arc?
SA: “I play Miss Emily who is the head Guardian at Hailsham. She is an activist who believes that educating her students in art, culture and sport will improve their quality of life.”
TW: “I am first introduced as six-year-old Alfie, a student at Hailsham. We then explore the children at Hailsham from this age to their early teenage years. Once Kathy heads to the cottages, I am then re-introduced as a new character – Rodney. He is one of the veterans (second years) who lives at the cottages and is Chrissie’s boyfriend. Friendly and easy going, Rodney is perhaps at times slightly under Chrissie’s influence.”
In terms of the tone of the adaptation, how would you describe Suzanne Heathcote’s style?
SA: “Suzanne’s adaptation is intense, psychologically complex, gripping and thought-provoking, with character-driven narratives that delve deep into the human psyche. She manages to create a sharp contrast between the violence and injustice of the world inhabited by the young people, and their vulnerability and acceptance of their fate.”
TW: “A note I made on my script on our first day working with Suzanne was that ‘stage directions are rhythmic’ and that ‘punctuation should be acknowledged by, not led by’. The first line of the next scene will most likely always end the previous scene; this creates a seamless flow to the story and takes you into the visceral world and imagination of Kathy’s memories. Suzanne has captured the story so brilliantly, and brings a new and authentic feeling to the stage.”
Tristan Waterson in rehearsal – photo: DMLK
What does Christopher Hayden’s direction do to lift it off the page?
SA: “It really enables us actors to inhabit the world of the play. He uses multimedia examples of the lore – extracts from music, paintings or film – to inspire insight and truthful storytelling, and to feed our imaginations. Chris is very collaborative, seeking to know how each scene feels as we work with it. He is very open to our ideas, with keen attention to detail and an ability to conjure 3D images beautifully from the words written on the page. It’s a style I find very exciting.”
TW: “Fast, fluid and light are the three words we have been working with as a foundation for lifting the ever-changing locations of the story from the page to stage. Chris has a brilliant way at honing in on the specificity of the story. This, paired with Suzanne’s writing, is the perfect collaboration: every single piece of dialogue has been thoughtfully considered. Chris allows space for us to discover the world and the characters ourselves, through the lens of his vision.”
Of all the elements of this production, what excites you most about performing it?
SA: “I’m thrilled to be bringing this amazing and thought-provoking play to an audience. We live in times of shifting sands, when technology is developing rapidly. Many things are changing in our world. What is it to be human now? I am really excited to play a part in telling this unique compelling story.”
For you, where is the emotional heart of the story?
TW: “The emotional heart of the story lies in the mortality of the characters for me. The underlying love that drives the story forward is something that everyone can connect with. Whether it’s the nostalgia that you may feel or the present feeling of emotion, this story will touch you because of the characters and how they show that for all of us, mortality is finite.”
Never Let Me Go is at Bristol Old Vic on November 5-23 at 7.30pm, with additional 2.30pm matinee shows on Thursday and Saturday (no shows on Sunday). Tickets are available at www.bristololdvic.org.uk/whats-on/never-let-me-go. The show is a co-production between Bristol Old Vic and Malvern Theatres, Rose Theatre, and the Royal & Derngate, Northampton.
Main photo: Bristol Old Vic
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