Directors’ Cuts: The Greatest of the Greatest The Greatest of the Greatest

Directors’ Cuts: The Greatest of the Greatest

Wardrobe Theatre

Key Information
  • Dates Tue 07 May 2019 - Sat 11 May 2019
  • Location Wardrobe Theatre
  • Evenings

    Tues 7th, Wed 8th, Thurs 9th and Fri 10th May 7:30pm

  • Matinee

    Sat 11th May 2:30pm

  • Ticket prices

    £12

    Season Ticket: £40*
    *book at the same time for all four shows and save £8

The almost-true story of what actually happened

BY EVA JOHANSSON & LOUISE LÖWENBERG
Directed and translated by Charissa Martinkauppi
Designed by Alana Ashley
Tue 7 – Sat 11 May

In June 2010 Thommy Berggren and Mikael Persbrandt, icons of Nordic theatre and film, announced that they were collaborating on a masterpiece. Only one week before the show was due to open, they cancelled all the performances. This is the almost-true story of what actually happened when two male creative geniuses met to produce the greatest work of their careers, and failed. Oh, and Thommy and Mikael? They’re played by women.

Image Credit: Craig Fuller

*Please note that this show contains some adult language and flashing lighting.*


DIRECTORS’ CUTS SEASON 2019

The Directors’ Cuts season is a programme of contemporary theatre presented by the four graduating directors from Bristol Old Vic Theatre School and featuring work by acting, design and production students. Now in its thirteenth year and at The Wardrobe Theatre for the third time, the Directors’ Cuts season is firmly established in the Bristol theatre calendar. It has a reputation for showcasing fresh, vibrant and cutting edge theatre work by some of the finest emerging talent in UK theatre. Diverse and highly charged, this is a season of provocative plays which all have an important relevance in today’s society.

“Contemporary drama with extraordinary insightfulness, vivacity and theatrical prowess.”
Jenny Stephens, Artistic Director, Bristol Old Vic Theatre School

Image credit - Dan Rowley

Creative and Technical Team

Director Charissa Martinkauppi
Set and Costume Designer Alana Ashley
Lighting Designer Atlanta Russell
Sound Designer Felicity Simmons
Production Manager Jon Sherwood
Stage Manager Charlotte Woolley
Deputy Stage Manager Sara Mikulla
Costume Supervisor Rhianne Good
Movement Director Kel Matsena
Special thanks to: Jonathan Howell, Paul Chesterton, Will Fletcher, Tom Briggs, Maya Barker, James Gitsham

Image credit: Dan Rowley

The real Micke and Thommy

Mikael “Micke” Persbrandt (b.1963) began his career in theatre in the 1980’s, but rose to fame in the late 90’s after appearing in a number of Scandi noir films and has later gone on to appear in international productions such as The Hobbit and Sex Education.

Before establishing himself as one of the most iconic stage directors in Sweden, Thommy Berggren (b.1937) enjoyed great success as an actor, making several appearances in Euro-pean films during the 60’s and 70’s.

Berggren and Persbrandt have frequently worked together with their greatest collaboration being a production of Strindberg’s Miss Julie at the Royal Dramatic Theatre in Stockholm. The production was immensely popular and received media attention both for its artistic success and its leading actor’s extramarital affairs and substance abuse.

In 2010 Berggren and Persbrandt announced they were collaborating on a masterpiece based on Persbrandt’s life. After the opening had been postponed twice, the show was permanently cancelled without explanation.

Their names often came up in the discussions following #metoo in 2017.

Production Photos - Craig Fuller

Rehearsal Photos

Director's Blog

For more info about the Director as well as a blog about the show, check out Charissa’s website.

I’m constantly delighted by the talent, commitment and drive of our students. Their curiosity and joy in the work gives us all energy and keeps me on my toes! My goal is to ensure that their voices serve their acting - both in theatre and recorded media. They need to be able to project, learn accents, respond to a wide variety of texts and have a voice that is healthy and be able to sustain long tours and tough filming schedules. This involves them working extremely hard – but having fun as well. When the new students see the final year students in production for the first time I know they’ll come into class the next day fully understanding the high standard they’re working to achieve. Carol Fairlamb, Head of Voice