The Olivier Award-winning ‘A Monster Calls’ returns to Bristol Old Vic

When A Monster Calls first appeared at Bristol Old Vic in 2018, Sally Cookson’s directorial vision for the adaptation of Patrick Ness’s fantasy novel was a juggernaut of a show, earning legions of fans and numerous plaudits, including an Olivier Award.

Four years on, and its back, this time with former star Felix Hayes as director of the remounted production.

As a member of the devising company for the show’s original iteration – when he played the father of Conor, the central protagonist – Hayes has a deep affection for the story that makes him ideally placed to take on a directing role this time around.

He spoke to Bristol24/7 about his personal history with the novel, the latest production, and the universal power of theatre:

Can you outline a little of the story of A Monster Calls?

“It is a story that centres on Conor – a 13 year old boy whose mother is gravely ill, and follows his journey through his mothers’ illness.

“He is bullied at school and troubled by violent nightmares, and the story opens with him being visited by an ancient tree monster that has come to tell him stories. However the monster wants something from Conor in return – he wants Conor’s truth.”

What is your own personal history with the play, and what is it about the narrative that drew you back to it?

“I was part of the original devising company in 2018, and have been in the story’s thrall ever since – A Monster Calls has always held a power to me. As a child I was obsessed with monsters – so that initially captured my attention – and then the story itself just bowled me over.

“Patrick Ness’ tale is universal. It touches on themes that touch us all: grief, self-knowledge and ultimately, hope. The world is a confusing place – particularly now, and particularly for young people – and this is a story that hopefully helps us all to navigate our way through the darkest of times.

“The narrative manages to tackle the hugely complex range of thought and emotions that come with grief in a very real, non-patronising and non-mawkish way; it is simple and profound, but without being trite.”

Ammar Duffus as Conor and Keith Gilmore as Monster – photo: Manuel Harlan

As a director already very familiar with the content, have there been unexpected surprises and challenges that you have had to contend with along the way?

“It is often the way when remounting a devised show that a company of actors new to a project need time to feel like the show is truly theirs. So I thought the greatest challenge would be to empower the company in feeling like they own the piece.

“This company, however, have grabbed this show with both hands from the outset, and it is testament both to them and to the power of the show.

“One of the things we have found important in remounting this show is dealing with its content – we all have been affected by similar events and even when we feel like we are wearing our emotional armour this show sometimes manages to find its way in. Negotiating that through rehearsal and on into the run has been a real challenge.”

Ammar Duffus as Conor – photo: Manuel Harlan

In what ways does the revival differ from Sally Cookson’s Olivier award-winning original production?

“My job as remount director is to make a show that honours the original, and I am lucky in this instance as I have a real understanding of the piece, and of its heart. It is a delight to walk with a new company of actors down a road I have walked before and for us all to discover things for the first time.

“As such, it would be possible simply to say ‘stand here, and say it like that’, but I really believe that a show like this needs its performers to believe in what they are making, and what they are saying, in order to own the piece in their own right. I have learned so much about this piece working with new minds saying words in other ways.

“So really, it is much the same show – but the major difference is how this wonderful bunch of performers have embodied the role. I love how a different performer can deliver a line and you hear something entirely new.”

Ammar Duffus as Conor, and company – photo: Manuel Harlan

In terms of audiences, does the production have an intergenerational appeal?

“The show is 10+. But I think it has an incredible reach in terms of its style and content. This isn’t a kids’ show, or even a family show. It has the power to touch people across all generations.”

You have appeared on the Bristol Old Vic stage many times. Could you sum up your own belief in the power of theatre as a universal instrument of empathy?

“I adore theatre. I love the unwritten contract that is made between an audience and the performer as a show starts and the light go down: the company ask you to ‘come with us’, and the audience agree. It is a magical moment. This allows for theatricality, for imaginations to be fired, for that fizz of understanding, and for that wonderful suspension of disbelief.

“My favourite theatre does something very different to film – it asks the audience to engage rather than be passive receivers. And this time, it’s going to be exhilarating watching from the stalls, rather than being on the stage.”

“I think theatre has the power to capture something of the human condition, and of how we navigate this path through life in a way that can profoundly touch us all.”

A Monster Calls is at Bristol Old Vic on April 13-23 at 7.30pm, with 2.30pm matinee shows on Thursday and Saturday. Tickets are available at www.bristololdvic.org.uk.

Main photo: Manuel Harlan

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