We had the chance to talk to Sophie Motley, director of Override ahead of the opening in the Tiger Dublin Fringe on Sept 9th. We asked her about working with Stacey Gregg, how the project came about and the Tiger Dublin Fringe Festival. You can see the results below. 

Override by Stacey Gregg – 9 – 17 September 2016

When and how did you become involved with this project?

I had read early drafts of the play while Stacey was originally writing it back in 2012, and it really excited me. Joanna Crawley and White Label then got in touch with me last year with a plan to present it at Tiger Dublin Fringe. It was really fantastic, as I’d been very close to the development of the play and not had the opportunity to direct it. It approaches a topic that we all have notions about and discuss over a pint, but never really consider the aftermath. A play about what happens after the tech revolution, when there is nothing left but un-genetically modified, non-enhanced humans, and a very simple and beautiful relationship between two people living away from the city and technology in a haven. It’s about what happens when safe places become less safe.

You often direct pieces you’ve developed/ written yourself. How does it differ directing other people’s work?

I started my career directing New Writing and other people’s work, and as Associate Director of Rough Magic, I am very much involved in the development of new writing. So, directing other people’s work is in many senses more comfortable for me, I understand the structure and format of the rehearsal process, and it’s always good that you know a piece won’t change during rehearsal, that it is truly ready for rehearsal, and in this case, that it works for an audience! This will follow a similar format to the working relationship I had with David Ireland directing “Everything Between Us” for Rough Magic, which Stacey acted in.

Have you always admired Stacey Gregg’s work?

Yes. Stacey and I did Rough Magic’s SEEDS Programme together back in 2006/7 so we’ve known each other for both our professional careers. We’ve been planning on working with each other for a very long time, so it’s really fantastic to finally be collaborating.

Will she attend the rehearsals?

Yes, she’ll be in during the first few days of rehearsal, and on call during the difficult staging rehearsals, and then, ideally able to come in towards the end as a joyful and objective presence who’s able to notice where we need to tweak and finalise ideas etc.

This play was originally performed in Watford in 2013. Do you know much about this production, or do you try to avoid hearing about it for fear of ‘contamination’? 

I didn’t see the original production, but I know that Stacey was really pleased with it, and I really respect Selina Cartmell as a director and love her work. So I know about the artistic lead-up to the production and some of the challenges, which are inherent in the script (such as augmented reality, people turning into cubes and limbs doing extraneous things) so no fear of contamination, but big respect for the original production!

What else are you looking forward to in the Fringe?

I’m very excited about Collapsing Horse’s The Aeneid, Brokentalkers’ This Beach (which SJ Shiels also designed) TRYST, Dylan Coburn-Gray’s Briseis After the Black. Oonagh Doherty’s show Hope Hunt – she is an AMAZING performer, and I hear great things about a piece called Eggsistentialism.

What’s next for Willfredd? 

Well, Sarah Jane and myself are wearing White Label hats for the first time on Override, which is pretty thrilling. They are a very exciting collective and at the forefront of contemporary theatre making in Dublin.

Its the first time since “Mice Will Play” in Fringe 2013 that we have collaborated together with the Fringe. And as for WillFredd, after a mad busy first half of the year with the CARE National tour and BEES! in the Ark, we’re preparing, researching and developing for a new large scale site specific project for 2017 which will be in, on and around Dun Laoghaire Harbour. Watch this space….

Override by Stacey Gregg – 9 – 17 September 2016

Credits:

Written by Stacey Gregg
Directed by Sophie Motley
Performed by George Hanover and Shane O’Reilly
Set & Lighting Design by Sarah Jane Shiels
Video Design Kilian Waters
Costume Design by Carrot Incorporations
Sound Design by Peter Power