Mark Farrelly gets under the skin of audiences who he mesmerises whenever he takes on another man’s persona and has you believing that you are not in a theatre watching someone play a part but actually spending time with whoever Farrelly has extensively researched and written a play about. Audiences always leave knowing they have seen something special, writes Michael Holland.
Up to date, the writer/actor has written about Quentin Crisp, the author Patrick Hamilton, Frankie Howerd and we can soon enjoy his performance as Derek Jarman. All people, one might say, that have spent areas of their lives in the shadows whilst also maintaining a presence in the spotlight.
I asked Farrelly how he decided on a subject: ‘It’s entirely instinctive…if I feel some kinship with someone, and the desire to create a play about them is there, I give it my all. I don’t believe in making plays just because “it would sell well”…you have to really want to do it. Especially as it’s a considerable undertaking.’
How long does the research and writing usually take? ‘It takes me about a year to create a piece. That covers research, putting the play through many drafts, editing, sharing and so forth. I try to create plays that are built to last, and that means taking time to let the work develop properly.’
And last they do. The author’s first play, “The Silence of Snow: The Life of Patrick Hamilton” is still being performed ten years after he wrote it; “Quentin Crisp: Naked Hope” will have its 150th performance in London this summer.
Mark keeps his casts down to a bare minimum. Himself. I was intrigued to find out why when he writes about people who are often social butterflies: ‘It’s not intentional, I just love solo performance. It offers a chance to connect very deeply to the audience because there’s no fourth wall. Also, I believe that we are all ultimately solo acts in life: in truth, we’re all alone at the most profound level, and solo drama is a great way to confront this.’
Both his first two plays were one-man shows where Farrelly took his audience into little known areas of his subjects’ lives to unfold untold secrets. He becomes the character and we believe him. Nevertheless, Mark Farrelly is not trying to dig behind a man’s public persona for audiences to learn something new about them but to find ‘something they’ve missed,’ he explains. ‘Many people, for instance, never noticed how brave Quentin Crisp was. But, of course, all my work is really about getting the audience to understand themselves better…’
His most recent work is Howerd’s End, a play about the secret relationship Frankie Howerd had with Dennis Heymer for over 40 years. This is a two-hander but the writer did not take the eponymous role of Howerd, out front and centre performing his monologues, he played the part of Heymer, who was kept in the shadows and away from the glare of public scrutiny. He explained that with: ‘If the story simply cannot be told effectively by one person I make it a two-hander.’
But next up for Mark Farrelly will be another one-man show – “Jarman”. This is a story about the film-maker, painter, activist, and writer that is being told for the first time.
What drew you to Derek Jarman? ‘His stunning diaries, Modern Nature and Smiling In Slow Motion, his creative courage. His extraordinary garden at Prospect Cottage in Dungeness, and the awesome way he dealt with a terrifying terminal illness. Every time I encounter his work I feel a surge of courage and inspiration. I decided that feeling needed to be passed on to audiences.’
What areas of Jarman’s life have you focussed on? ‘The play covers the whole sweep of his 52 year-life…art school, making Super-8 movies in Bankside, his move into feature length films, his passion for gardening, and his experience of HIV and AIDS which took him away from us far too young in 1994. Had he lived two more years his illness would have been treatable. It’s heartbreaking. But the play is foursquare about optimism, hope and joy. As indeed Derek was.’
Jarman will have its first run at the Brockley Jack Studio Theatre, where all Farrelly’s work has been performed: ‘I love it! It’s a fantastic venue, brilliantly run by Kate Bannister and Karl Swinyard. It also has an intimacy that suits my work. Long may it reign!’
Brockley Jack Studio Theatre, 410 Brockley Road, London, SE4 2DH from 10th – 14th May. Time: 7.30pm. Admission: £16, £14.
Booking: www.brockleyjack.co.uk or 0333 666 3366 (£1.80 fee for phone bookings only)