“letting the audience in is always a curious moment. Sometimes the response the audience gives you provides the missing element. It completes it”
Max Stafford-Clark (Director)

“in rehearsals I am used to having the writer there at every moment”
Max Stafford-Clark (Director)

“I like to be in control of the play’s development – ideally I’d like to be in rehearsals all the time”
Mark Ravenhill (Writer)

“can you imagine the luxury for an actor to say, that doesn’t feel right, can we change it, ah yes, that feels right now – it’s rare, that”
Sally Rogers (Helen)

“what you hope is that writers can act as spokesmen for a generation, that they will provide the pleasure of recognition, so that the audience will find themselves thinking, ’oh yes, that’s what I’ve been thinking all the time, but I’ve never been able to articulate it”
Max Stafford-Clark (Director)

“when you’re on tour, the difference between audiences all over the world is much less than people think – the difference always lies more in the architecture than the audience”
Max Stafford-Clark (Director)

“when you take a play abroad, whichever country you’re in, what translates is story”
Mark Ravenhill (Writer)

“Some Explicit Polaroids is a political play; it looks at the values people had twenty years ago and the absence of them now, and asks whether this is a loss or an improvement”
Max Stafford-Clark (Director)

“my character asks the question: ‘how did we get from there to here? How did we let this happen?’ Maybe the play is suggesting we ask that question now”
Sally Rogers (Helen)

“what’s surprising and interesting is how well, some of the more shocking parts of my writing have been received. I don’t think the English are as prudish or as easily shocked as we think”
Mark Ravenhill (Writer)

“Mark’s able to give a tiny glimmer of hope, a feeling that something’s beginning to change – I think it has to”
Russell Barr (Tim)

INTERVIEWS WITH THE COMPANY COMPILED BY ALICE LASCELLES

Out of Joint’s Productions

1994

Out of Joint’s inaugural production paired a revival of Road, Jim Cartwright’s mid- 80’s classic, with Sue Townsend’s adaptation of her own hilarious novel, The Queen and I, The plays toured to packed houses and The Queen and I played for twelve weeks at the Royal Court Theatre before it transferred to the West End. The company’s second tour yoked The Libertine, Stephen Jeffreys’ new biographical play about the Earl of Rochester, with a revival of his friend George Etherege’s ground-breaking Restoration comedy The Man of Mode.

1995