In our profile series, Tell Us In Ten, we ask cast members and creatives of top London shows to tell us all about themselves in just 10 questions. From how they got their start in the industry to their favourite shows, we want to know everything.
This time we’re chatting to Alfred Taylor-Gaunt who is the Director & Choreographer of Derrière On A G String – the must-see comedy which delights in turning some of the greatest classical hits into a homoerotic romp of glorious chaos. Think Matthew Bourne meets Mr Bean, set to everyone’s favourite classical music.
1) My route into theatre was…
Being inspired by the theatricality of the productions I saw as a child, dancing from a young age, and in particular, my time at Tring Park School for the Performing Arts.
2) The thing I love most about my job is…
Seeing something that was just an image in my head fully realised before me. And there’s nothing better than being in the audience and hearing them roaring with laughter or applauding one of my ideas.
3) My favourite show from present or past (that isn’t one I have worked on) is…
Gypsy with Imelda Staunton in 2015. It was a perfectly crafted production with incredible performances across the board. Any show that moves the audience to a mid-show standing ovation gives me the most exhilarating feeling (sometimes called a ‘showgasm’). I saw it 7 times…
4) A misconception about my job is…
That it’s all down to the director. I have a vision, but the job is more about coordinating the other fantastic creatives and I think people tend to underestimate how much comes from the cast! Even stage and production management have a creative impact in shaping the show and it too often goes unacknowledged.
5) The hardest part about my job is…
Budget limitations. It’s extremely frustrating not being able to do certain things for a reason as boring as the budget, but as a producer myself, I know that particularly in smaller theatres, the model just doesn’t work with the production value I dream of. I’ve more than once cared so much about a particular idea that I’ve spent my whole fee on it, but this only leads to bankruptcy. Luckily, my producing partner Sammy doesn’t share my delusions of grandeur and is very strict with me, reminding me daily of the first and second golden rules of The Producers: Never put your own money in a show!
6) The career moment I’m most proud of is…
Co-directing and choreographing The Limit by Freya Smith and Jack Williams. They’re the most fantastic writers and creatives to work with, and I love the show. There was one choreographic moment in it that I’m particularly proud of– we were struggling to work out how to make a necessary but rather dry monologue explaining a mathematical theorem more interesting, and at the last minute, after a Eureka moment the night before (in the bath, just like Archimedes), I had the cast manipulate a load of books like an educational animation. It was visually exciting and fitted neatly into the show because of its focus on books and study. It made the only section that risked being a bit boring some people’s favourite moment, and I was extremely proud to hear them say so.
7) On my days off I like to…
Redecorate and write (I can’t help still being creative), and go out for fancy lunches I can’t possibly afford.
8) My daily work rituals include…
Listening to the show music on repeat over and over and over again to the point it gets irritating. But it’s so important to know the music inside out, and new ideas pop up every time I hear it. When I hear music, I’m watching dancing in my head, to the point I can’t see what’s around me. When I’m writing or working on my laptop, I have a recliner and a special angled table so I can work almost fully lying down, meaning I’m not distracted by discomfort. It’s perhaps a bit odd, but I believe Roald Dahl had a somewhat similar set-up, so as a creative, I’m in good company!
9) My inspiration is…
A lot of my ideas actually come from anxieties – I like flipping things on their head, perhaps to feel better about them. I take something I’m worried about and make it absurd, a bit like in Harry Potter when they face a boggart and shout Riddikulus! I also like transposing from other mediums. There might be something I’ve read or heard on the radio that I try to morph into something wordless and visual. And other practitioners, of course: I’ve learned a lot from studying narrative choreographers like Kenneth MacMillan and Matthew Bourne; they’ve both had a huge impact on my work.
10) The best piece of advice I’ve ever been given is…
‘Stick to comedy. Then you know it’s for the audience and not for you.’ So much theatre is complete w*nk and pretty unbearable. It can be very rewarding for a creative to express themselves freely and communicate their innermost feelings, but it’s no fun for the people who’ve paid for a ticket! No one wants to sit through your personal therapy session. You can cover serious issues, but you can’t forget about entertainment value. People are giving up their time and money, and you owe them a good evening. They’ll also be more engaged, so the message will actually hit harder.
Get your tickets to see Derrière On A G String today!
