Editorial: James Grieve

Dream List: what plays should we be reading, putting on and going to see?

Put on anything you think demands to be seen. If you’re passionate about a play, force it into existence. Go and see as much as you possibly can, across genres and scales. There are lots of great ticket deals to be found if you look hard enough. You can stand at the back of the Olivier and The Donmar for a fiver, or downstairs at The Court for 10p. So you can see a lot without breaking the bank. If you’re under 26, make sure you get some free tickets through the A Night Less Ordinary scheme. Of course I’m going to say see everything at the Bush, but you should. See everything at The Donmar too. It’s a world class theatre. Read some of the best new plays of the last decade - Mercury Fur by Philip Ridley, Taking Care of Baby by Dennis Kelly, Country Music by Simon Stephens, The Weir by Conor Macpherson, Knives in Hens by David Harrower, Under the Blue Sky by David Eldridge, Christmas is Miles Away by Chloe Moss, When You Cure Me by Jack Thorne, The Sugar Syndrome by Lucy Prebble, as well as Pentecost by David Edgar. Read the work of Noel Coward, a master dramatist unfairly disregarded.

Describe your first theatrical epiphany

 When I was about four my mum took me to see my grandmother in a play. Her character died half way through and I was inconsolable. Mum had to take me out of the theatre and round to my grandmother’s dressing room before she could convince me she wasn’t dead for real. I suppose that formative experience revealed the wonder of theatre to me for the first time.

Many years later, Deborah Warner told me she still got nervous before rehearsals. That was a huge epiphany because I’d always equated my fear with lack of ability. It was very liberating to discover that great directors get nervous too.

Who would you invite to your fantasy theatrical dinner party?

All the writers and directors and actors I most like having a drink with plus Marlowe, Chekhov, Noel Coward, WB Yeats, Jack Kerouac and Eric Cantona (who is about to make his stage debut in Paris, so he counts).

What are your career highlights so far?

The biggest buzz has been opening Artefacts by Mike Bartlett in New York in 2008. With the time difference, we watched the European Cup Final in a bar in the afternoon, then went straight to our first night at the theatre. It was so surreal and so exciting it felt like being in a film.

What's the strangest experience you've had in the theatre?

Anthony Neilson's shows are always strange, but strange in an extraordinary and brilliant way. He is such a remarkable and innovative practitioner. I suppose the oddest experience was having an actor turn up to an audition absolutely hammered. It was impossible to keep a straight face.

Who is your favourite actor of all time?

Aargh, too hard. I think Simon Russell Beale is peerless at the moment. The German actor Uwe Bohm is astonishing. Erm, Daniel Day Lewis?

Who is the greatest influence on your career?

Unquestionably Josie Rourke, who made me exchange my lucrative career in marketing for a life of poverty in theatre, and has been the director I have most admired and aspired to emulate ever since. She has taught me almost everything I know about directing plays and running theatres. Also Howard Davies, a truly great director, who I was lucky enough to assist. And George Perrin, with whom I formed nabokov ten years ago, and in whom I have been fortunate to have a great friend as well as a constantly inspiring collaborator. And my grandmother, Olive Montgomery.

Where do you want to be in 5 years time?

On The Sunday Times Rich List. Unlikely, I know, but aim high and all that.

What' s the best thing you've ever seen at the theatre?

Peter Zadek’s Peer Gynt. Three and a half hours, in German, and every minute was spellbinding. Honourable mentions to the original production of A Night in November starring Marty Maguire and the original run of Black Watch in Edinburgh, both of which were unforgettable. Perhaps the greatest single moment was in Ninagawa’s Lear at the RSC, when John Carlisle as Gloucester howled “Oh my follies” with blood pouring from his eyes. It was completely shattering.

What are you up to at the moment?

Recovering from a hangover after the press night of The Whisky Taster. On Monday, I start properly as Artistic Director of Paines Plough.

Biography: James Grieve

James joined the Bush in July 2008, since when he has directed St Petersburg by Declan Feenan and Psychogeography by Lucy Kirkwood as part of the Broken Space season. James has just opened The Whisky Taster at the Bush, which will be running until 20th February.

James is also artistic director of nabokov, for whom he directed Artefacts by Mike Bartlett at The Bush in February 2008, prior to a national tour and Off-Broadway transfer. Other directing credits for nabokov include Kitchen, Bedtime for Bastards and Nikolina. Freelance credits include Country Music by Simon Stephens (Royal Welsh College); The List by David Eldridge (East 09 at The Arcola) and Comfort by Mike Bartlett (Old Vic New Voices 24 Hour Plays).

James trained as assistant and associate director to Josie Rourke - who gave him his first assisting job - and as staff director to Howard Davies on Philistines and Present Laughter at The National Theatre, and on the National Theatre Studio Director's Course.

James has also directed comedians and performance poets including Isy Suttie in The Suttie Show; Simon Brodkin's solo shows Everyone But Himself and One Man Comedy Club; Luke Wright's solo shows Poet Laureate and Poet & Man; and Aisle16's Poetry Boyband.