Liverpool Playhouse director Gemma Bodinetz talks about reviving production of Tartuffe

Sep 8 2011 by Mark Smith, Runcorn and Widnes Weekly News

As the Everyman is rebuilt and the Playhouse prepares to mark its centenary, Michael Green talks to artistic director Gemma Bodinetz about her involvement in a significant period for Liverpool’s cultural heritage

POSSIBLY the only thing that Liverpool Everyman and Playhouse artistic director Gemma Bodinetz doesn’t have to worry about at the moment is boredom.

Every minute of every day is positively action-packed as she presides over one of the most exciting periods in the illustrious history of the two iconic Liverpool venues.

Among the many projects occupying her time at the moment are:

Presiding over the rebuilding of the celebrated Everyman Theatre on Hope Street.

Reviving her immensely successful and highly acclaimed 2008 production of Molière’s Tartuffe at the Playhouse in Williamson Square.

Preparing to welcome the cast and crew for a major new production of Brecht’s Resistible Rise Of Arturo Ui.

Putting the finishing touches to plans to re-open the Playhouse Studio as a birthday present to the venue in its centenary year.

We begin by discussing the massive Everyman project.

“It is a very collaborative process and I’m constantly talking to staff, including the cleaners, about the practicalities. It’s been fascinating talking to the access groups about sight and hearing issues, how the tiles in the toilet need to be a significantly different colour from the basins for people with poor vision.”

She added: “It is an honour and a burden that is with me all the time,” she said. “It’s a massive responsibility and there are times when I really do feel that weight.

“But I do believe the mind expands with challenges and we do have a wonderful team working on this project.”

She is also playing a major role in the restoration of the much-loved Playhouse Studio, which will stage Lizzie Nunnery’s new play The Swallowing Dark in October.

“We have been using the Everyman as a crucible for new writing as it has smaller audiences and can be turned into a more intimate theatre,” she said.

“Not all new writing can play to almost 700 people in a Victorian proscenium arch like the Playhouse.

“The Playhouse had a studio for years which is still talked about with passion so it seemed like a lovely birthday present in the theatre’s centenary year.

“Hopefully local companies will be able to develop new work although it won’t be a continuous programme as the studio is currently our only rehearsal space.”