This May, the Orange Tree Theatre invites audiences into a pitch-black world of hilarious deception. Peter Shaffer’s classic farce, Black Comedy, has returned to the stage, running from 16 May to 11 July. Directed by Caroline Steinbeis, this major revival promises a night of high-stakes comedy, and we had the pleasure of catching up with one of its stars, Leah Haile, who takes on the role of Carol Melkett.
The premise is a masterclass in tension: young sculptor Brindsley Miller (played by Joe Bannister) is on the precipice of success. Desperate to impress an influential art collector, he has “borrowed” (without permission) his neighbour’s furniture to make his sparse flat look sophisticated. However, when a sudden power cut plunges the building into darkness, Brindsley hopes his deception will be hidden. The twist? The audience can see everything. As friends, rivals, and unexpected guests stumble through the dark, the situation spirals into uncontrollable mayhem.
The Artiscape sat down with Leah to get the lowdown on the challenges of performing in the dark, the pressure of her character’s ambitions, and the electric atmosphere of the Orange Tree’s theatre-in-the-round space.
The Artiscape: How do you even begin to rehearse navigating a room full of “stolen” furniture while pretending you can’t see a thing?
Leah Haile: We are very lucky to have John Nicholson, our Physical Comedy Consultant, on board—he was so helpful. We workshopped lots of things with him and, through different exercises, found new techniques for us to use during the play. It felt so useful to have as many tools at our disposal as possible to help tell the story of the blackout.
Having said that, I also found myself rehearsing lots of things simply with my eyes shut! Particularly the section when Carol is making cocktails for the other characters… I’m now a semi-confident bartender in the dark!
The Artiscape: Brindsley is clearly desperate to look sophisticated for the collector. Does Carol share that same intense pressure to succeed?
Leah Haile: I think she feels the same intense pressure, but for Brindsley to succeed! She’s focused on the collector, the finances, and of course her father, so that he can approve of their engagement. In her eyes, she sees her success as entirely tied to his, and that is what will secure her future.
The Artiscape: As the situation spirals out of control, how do you manage to keep Carol’s reactions grounded amidst all that frantic chaos?
Leah Haile: Carol’s focus is on everything going to plan, the evening being a success, and her playing her part in that. Brindsley tells her, “Serve them drinks, keep things going,” as he tries to fix the room in the dark, and she really rises to the challenge. Being a good host is something she excels at, so this is what I think grounds her and keeps control of the evening in her grasp—at least until it all eventually falls apart!
The Artiscape: It must be a unique experience performing for an audience that can see every “secret” move you make in the dark. What is that like?
Leah Haile: I think the Orange Tree Theatre is an amazing space for this play, and the fact that it’s in the round means you truly can’t hide! We have to be absolutely specific, both as individuals and as an ensemble. The audience is so close, so it’s wonderful to have them so involved, and their energy really helps drive the show.
The Artiscape: Do you think the audience finds Brindsley’s deception relatable, or are they just enjoying watching his plan fail?
Leah Haile: I think a bit of both! There is huge enjoyment, of course, in watching his plan fail, but I also think the audience can’t help but empathise with him to some extent. That’s a credit to Peter Shaffer’s brilliant writing and how Joe Bannister plays it: despite everything that goes wrong being entirely self-inflicted, we still find ourselves willing Brindsley to succeed!
The Artiscape: Finally, how does the audience’s laughter affect your timing when you’re supposed to be in a silent, pitch-black room?
Leah Haile: We are in the middle of previews currently, so we’re still very much getting used to the audience’s laughter and the variation of when it comes! But it’s so wonderful to have such a vocal reaction from them; it energises the play so much and makes it feel even more fun and interactive.
Black Comedy is playing at the Orange Tree Theatre until 11 July. For tickets and more information, head over to the official Orange Tree Theatre website.
Banner Image top – Black Comedy at Orange Tree Theatre – credit Sam Taylor
