David Haig talks about his new play PRESSURE in which he also stars, which is at the Theatre Royal in Bath from 12th to 17th March. Haig is a five-time nominee and Olivier Award-winning actor best known for his roles in the film Four Weddings and a Funeral, TV series The Thin Blue Line and stage production of The Madness of King George III (Tour and West End). He is also an award-winning playwright. He wrote and starred alongside Daniel Radcliffe in My Boy Jack – which was made into a TV drama for ITV in 2007.

 

What first inspired you to write Pressure?

It was a commission by the Royal Lyceum in Edinburgh, who were looking for a lateral story about an unsung Scottish hero. John Dove [the director] rang me and asked me if I had ever heard of James Stagg, a dour but tenacious Scot, who virtually saved Europe after the invasion was postponed because of his weather forecast for D Day.

What was it about this story that intrigued you?

I’m always searching for a lateral look at history – a story that is untold within the bigger story. He’s not the little man, exactly, but he’s a meteorological weather forecaster who has a huge impact on history. That little story with that microcosm within the macrocosm, as it were, is what fascinated me.

From your research what were you most surprised or interested to learn about him?

I didn’t know anything about him. When I started researching he was just a name, James Stagg, and I didn’t know anything about the advances in weather forecasting at the time or indeed how archaic many of the techniques that the Americans brought over in 1944 were. It was an understanding of the advances and the discovery of the jet stream and the power of the upper air currents in our atmosphere that affect the weather down below that made all the difference.

How would you describe the character as he’s portrayed in the play?

He’s tenacious, a bit rude but has huge integrity and therefore ultimately it’s his honesty that wins Eisenhower’s confidence, despite Stagg being brusque and a little unpleasant en route. There’s an inner tension that he’s seeking to control that’s always interesting to play.

You originally played James in 2014. What are you most looking forward to about returning to the role?

[Laughs] Because I already know the lines!

Is it true you were reluctant to take on the role initially?

That’s true, yes. The first thing that happened is that we failed to get the incredibly famous Scot we were after for the role and once we hadn’t achieved that casting then it became more logical for me to do it. But I didn’t think of myself as natural casting when I first wrote it. I had no intention of playing the part and it was only when other people persuaded me that I’d written a part that suited me I began to realise perhaps he did suit me after all.

What challenges does the character present to you as an actor?

Every role has challenges. I suppose here it’s because the peaks, troughs, climaxes etc within the character aren’t as obvious as they are in some characters. Often a character can almost define a play but with this one the story is the greatest character. The lead part is the weather and the characters serve it. That’s fascinating in itself, but this guy through his perseverance and tenacity is someone we have a huge amount to be thankful for because if the invasion had gone ahead on the original day, June 5^th, probably around 80,000 people would have died in the gale force winds. All the landing craft were flat-bottomed and they simply wouldn’t have got across the Channel.

You’ve spoken about how you can relate to Stagg in terms of camouflaging your anxieties as a performer. Can you elaborate on that?

I don’t remember saying that, but I’ve always found that an interesting thing to do with characters. You camouflage the anxieties and tensions and what’s actually going on under the surface of the water in a veneer of calm. I suppose that does relate to myself as a person as well. People usually assume I’m sort of benignly, smilingly fine and occasionally the feet are paddling under the water.

What would you say are the key themes of the play?

There is a heroism in integrity and a heroism in honesty despite all the influences around you. There’s also often a heroism in ordinariness.

In what ways does the story resonate for contemporary audiences?

I don’t claim any huge political resonances with the play, but I think the sheer scale of crisis that the play shows the world was in and the fact that somebody influences that from the side-lines is going to be fascinating to any audience from any period – how the little man affects history in that way.

Have you made any changes to the script for this new production?

No because it went through a few script changes the first time round, it’s virtually the same cast with the same director and the same set. Although there’s been this two or three year delay it’s actually the same production. It’s really an extension of what we did before so unless they all turn round to me on day one and say ‘Now we can get you to change all those appalling lines’ I’m not really intending to change anything.

John Dove is returning as the director. How would you sum up your collaboration?

It’s long, positive, very fruitful and very harmonious. He’s directed all my plays. I’m an actor who writes rather than a writer who acts so I’ve had three plays on over the years and he’s directed all of them. It’s always been a very positive, mutually encouraging process.

How important is the work of the The Touring Consortium Theatre Company in serving both younger and established audiences around the country?

I think it’s terrific. I’m already doing various things with the press department and with the Consortium for younger people – writing techniques that they can exploit. This is all available because of the Consortium and it’s fantastic. We’re going to a range of venues and giving them the chance to see new work, albeit by David Haig not Tom Stoppard or David Hare but never mind! I think that’s very encouraging in a world which is so constricted and restricted by the commercial imperative. To have something that’s partially subsidised gives ones the ability to do new, lesser known work for a wider audience.

The tour calls at Bath in March. Does the Theatre Royal have a special significance for you?

Along with Chichester, the Theatre Royal in Bath is the theatre I’m loyalist to of all the theatres outside London because I’ve done some of the stuff I’m proudest of there. I did The Madness Of George III there along with King Lear and my own play My Boy Jack on a tour many years ago. As recently as this summer I did David Hare’s Racing Demon there. It’s quite simply one of the two or three finest theatres to play at in the country.

 

Pressure tours to the Theatre Royal Bath from Monday 12^th to Saturday 17^th March.