THERE’S been much publicity over Alan Cumming’s appointment as artistic director of Pitlochry Festival Theatre – and now he is to perform on that stage for the first time.
Not only that but his co-star is Shirley Henderson, with the pair working on stage together for the first time in 40 years of friendship.
A History Of Paper will also mark Henderson’s return to the stage after nearly 10 years.
Although they have never appeared together in a play, Cumming and Henderson have worked together, first meeting on the set of Scottish Television’s Shadow of the Stone when they became firm friends.
“Shirley was just out of drama school and I was a seasoned ham, at 21 years old, having been out of drama school for a whole year,” said Cumming with a wry grin.
With Cumming going on to work in the US and Henderson busy in parts like Moaning Myrtle in the Harry Potter films, the pair were pleased when they were both cast in Brian Cox’s recent film, Glenrothan.
“We had about six weeks together up north and got to know each other again which was lovely,” said Cumming.
During the shoot of Glenrothan, Cumming went to see A History Of Paper at the Traverse Theatre during the Fringe, where it won a Fringe First Award, a Music Theatre Review Best Musical award, and Best Director for Andrew Panton (below).
A musical love story created by Gareth Williams and the late Oliver Emanuel, it tells the poignant story of a relationship through the wee bits of paper left behind, such as tickets, letters, menus, and shopping lists.
Cumming said he had fallen in love with it and the decision to stage it was one of the first he made after his appointment to Pitlochry as he was keen to stage a new Scottish musical as part of his inaugural season.
“I was so moved by it and thought it was so beautiful,” he told the Sunday National. “I’m also really excited about working with Shirley and Andrew again.”
Henderson, however, downplays her singing ability, saying merely that she did “a music thing in London a few years ago” and neglecting to mention that she won an Olivier Award for her performance in the Bob Dylan musical Girl From The North Country.
She honed her musical skills at an early age, singing in local clubs, charity events, holiday camps and even a boxing contest.
As well as Girl From The North Country, her most prominent singing roles include Leonora Braham in Topsy-Turvy and Joy in Life During Wartime and she is looking forward to the run of A History Of Paper.
“The music is lovely,” she said. “It’s beautiful, so simple. It’s not simple when you’re trying to sing it but the whole thing is so delicate. It’s more like a play with song.”
Henderson said she was lucky to have a run of work recently that has been based in Scotland.
“Sometimes there are huge long gaps where you don’t get to work up here so it’s been really nice working with such great people in different kinds of jobs,” she said. “I’ve really enjoyed it.”
Cumming said that he hoped having someone like Henderson starring in the show would help to bring people to the theatre.
“To do something new and less well-known like A History Of Paper we had to get two people in it who were hopefully going to get bums on seats,” he said.
“I think the system previously didn’t allow for that sort of experimentation as they would have to rely on more well-known titles.”
In the past, the theatre worked on a repertory system so that people could see several shows in a week but Cumming has concentrated on fewer shows staged for longer periods which has allowed for more ambitious set design.
“The design is really a lot different and I would say a lot better because the sets don’t have to be packed up and taken out between a matinee and an evening show,” he explained. “The design component of the sets is much bigger and more exciting and I think the audiences are going to get a thrilling visual experience.”
While he is confident about the changes he is making, Cumming said it had still been “nerve wracking”.
“It’s really hard when you come to a place and make quite radical changes,” he said. “Even though people support you in them, it’s still nerve-wracking.
“But, you know, why would I come and why would they give me the job if I didn’t do that? A little change is good for everyone. It’s a new broom and different ideas and I feel like there’s a sort of buzz in the building.”
He added: “This is the first season we are trying out this new way and I’m feeling very excited and optimistic about it. We’ve learned a lot but I think we’re changing people’s perceptions of what is possible here and that’s really exciting.”
He admits that the downside is that people can’t come and see several plays at a time but he is hopeful that audiences will be prepared to make several trips to the theatre to see the productions.
“Pitlochry is not that far away from anywhere,” Cumming pointed out. “It’s easy to get to, much easier than you think. You can even get an electric bus now from Glasgow and Edinburgh.”
He hopes the production garners some attention so that it is staged again in future to help ensure the work of Oliver Emanuel, who died in 2023, lives on.
“I think it’s lovely to not just keep someone’s talent alive by reproducing their work but also ensure that the finances of that go back to the family and help them because it must have been a shocking thing to lose him so suddenly,” said Cumming.
Asked if he was worried about A History Of Paper being staged during the Edinburgh Festival, he joked: “What festival?”
He added: “I mean, what can you do? We’ve got to. We always have something programmed in August and we have our own mini festival here too, Edinlochry, so why go to Edinburgh when Edinburgh can come to you?”
The new Pitlochry Festival Theatre and Dundee Rep Theatre production of A History of Paper will run in Pitlochry from August 9 – September 12 and then head to Dundee Rep Theatre from September 16 – 19
