Uncanny Collective’s Steve Fitzgerald tells us about how, 25 years after it was first staged, Anthony Neilson’s shocking comic drama Penetrator has lost none of its impact. Book your tickets now!
Neilson’s acclaimed play runs at the Lion and Unicorn Theatre until 23 November 2019.
Max and Alan are spending another night in their squalid flat, indulging in a routine evening of cards, drugs and tea. When Tadge, an old school friend, arrives unexpectedly from military service, his troubling behavior sets in motion an evening that none of them will ever forget.
The premiere production of Penetrator in 1993 helped build the reputation of Neilson as one of the most exciting and controversial playwrights of the last 30 years. His other plays, which include Normal, The Censor and Stitching, each set out to shock and disturb. Indeed, this production comes with a warning that it contains strong language and violence which may disturb some audience members.
🔊 SOUND ON! 🔊
We love this feedback from a couple of audiences members at Penetrator last night!Traumatic, shocking, tense, enjoyable, exhilarating & disgusting!! What more can you ask for?!
See for yourself! Tickets: https://t.co/7HQi7iY8XM#UncannyPenetrator #Theatre pic.twitter.com/izfb7hWzih
— Uncanny Collective (@UncannyColl) November 20, 2019
Uncanny Collective’s Steve Fitzgerald stars in and directs the production. Fitzgerald, who co-wrote and directed previous Uncanny Collective show Haunted, is joined in the cast by Haunted co-star Paul Linghorn and Luke Willats. The trio reunite having worked on a production of Penetrator that ran at the Etcetera Theatre in 2016.
Uncanny Collective’s production is part of an exciting winter season at the lauded Lion and Unicorn Theatre, which includes comic tale Up The Bunty!, the return of critically acclaimed drama At Last, and Mad Wolf’s one-act production of Julius Caesar.
Steve Fitzgerald on Penetrator
What drew you to Anthony Neilson’s Penetrator?
In 2007 Paul and I saw a production at the Greenwich Theatre called Nest Of Evil, which was a double bill of plays. One was The Audition by James Johnson (which we enjoyed very much) and the other was Normal by Anthony Neilson.
Normal is the story of Peter Kurten, The Dusseldorf Ripper, who was a serial killer in the early 1900s. The play is a mixture of fact and fantasy and we were absolutely blown away by it. It’s playful nature, its humour and its darkness drew us to it and introduced us to Anthony Neilson as a playwright.
A couple years later, once we had started working professionally, we spoke to Luke Willats about putting on one of Neilson’s shows. We loved many of them, but chose Penetrator because it seemed so provocative, so relevant and the perfect vehicle to express ourselves and work together. It took a couple more years to get the show together, but it was worth the wait.
You’ve performed it before at the Etcetera a couple of years ago. Why return to it?
Penetrator – Uncanny Collective – Lion & Unicorn Theatre
We were very proud of the production at the Etcetera Theatre. However, we only had three performances and we really felt that the production had room to grow. As performers, we hadn’t let go of the characters yet and wanted to explore them more. The show changed so much over those three performances and we were excited to see how it could develop over a longer run. Essentially, we had unfinished business with Max, Alan and Tadge.
We are now extremely lucky to be working with Sara Lynam and Connor Meddings who have helped to improve the show and make it a stronger, tighter production. When we did the run at the Etcetera we were entirely by ourselves, so we even did the lighting and sound, as well as performing (we made it work!)
Does it still have the impact it did when it premiered 25 years ago?
Absolutely! You can feel the tension from the audience on stage. The jokes still work and the final 20 minutes create a mood that I haven’t seen replicated in any other show. It’s still as visceral, shocking and hilarious as I’m sure it was in the 90s.
How has its relevance altered with time?
I think the play is just as relevant as it was in the 90s and it certainly feels even more relevant now than it did when we performed it in 2016. Within the current climate it has a lot to say on toxic masculinity and the relationship some men have towards women, each other and themselves. The three characters in the play have opinions and use language that we consider deeply problematic and unpleasant but there is an attempt to understand how and why people may hold such attitudes. The characters in the show aren’t just gross and offensive, there is a real attempt to understand how and why they are in the situation.
You’re directing the production and starring in it. How do you find balancing the two?
It’s tricky! I’m quite lucky that Tadge only appears in around half of the play. On the original production, an awful lot relied on instinct, although I am very fortunate that Paul, Luke and I have known each other for years and we are comfortable working together and trust each other. On this new production I am very fortunate that Sara and Connor have been there to give their input and advice, which has proven invaluable.
You recently staged Haunted at the Asylum Chapel. How was that experience?
Haunted
It was exhausting, exhilarating and wonderful. It was so much hard work, but all of us are very proud of what we accomplished. We had lovely audiences, great feedback and the Asylum Chapel was a dream venue.
How do you feel about staging Penetrator at the Lion and Unicorn Theatre?
Performing at The Lion and Unicorn Theatre feels, in a lot of ways, very nostalgic, particularly to Paul and myself as we put on one of our first productions here (The Maids in July 2012). It feels very exciting to bring a production to this theatre seven years later and see how much we have evolved as creatives. We are also thrilled to be joining such a phenomenal season of shows at the theatre.
What can audiences expect from the production?
Everything I’ve already mentioned and more. Foul language, offensive jokes, and traumatised teddy bears. More importantly there are moments of tenderness that I hope audiences can relate to and a sense of sadness over the people and things we’ve lost in our lives that we deeply wish we could return to. The show at its heart is about friendship and how powerful, emotive and frightening that can be.
Although really it’s about those poor teddy bears.
