LPT: Could you tell us a little more about the finer points of ABOUT BILL. What really drives the show, is it the music, the story or something else?

KS: It’s the narrative, or the story, that drives the show. It always is to be honest. Musicals with great songs but no story rarely survive. When you have both as in the case of West Side Story and the Sound Of Music then you strike gold.

LPT: What’s the story behind the story?

KS: The story behind the story? Fascinating question. My son Matthew and his wife Bernie had met Kim Ismay and they wrote this with her in mind. They were searching for an idea for a one woman show that wasn’t just a string of songs and sketches.

LPT: West End star Kim Ismay performs this one woman show. Could you tell us a little bit about the selection process and why Kim was the perfect choice for the role.

KS: As I say in my previous answer Kim came first – the show followed. Once Matthew and Bernie understood Kim’s range both as an actor and a singer the next task was to come up with something that would be challenging and rewarding for Kim as well as entertaining for an audience.



Images: Kim Ishmay in About Bill as Mitzi (top of the page) and Gloria (above)

LPT: As the director for ABOUT BILL, where do you start the process?



KS: The show was done once before about ten years ago. I did see it and wanted to stage it as simply as possible with Kim never leaving the stage. I started the process with just watching Kim do the scenes and the songs and offering some thoughts to help Kim without pushing her in a different direction. Most good actors know how to play a scene without the help of a director so, for me, it’s just observing and nudging a little.

The show, as it says on the tin, is About Bill. We never meet him but Bill is a jazz trumpeter and we get to know him, his successes and failures, through all the women in his life. His mother, his aunt, his landlady, his wives, his lovers, his fellow travellers, his daughter.

Of course, the truth is that the show isn’t really about Bill – it’s about all these wonderful women in his life. All played to perfection by the wonderful Kim Ismay.

The story unfolds over Bill’s entire lifetime so, as director, I had to think of something to tell us where we were in the timeline so I elected to do this with songs of the period and radio news items during scene changes.

LPT: We’re hugely impressed with your CV having worked on so many musicals, both west end and national tours. Do you have any choice moments in your career to date?

KS: Lots of memories that’s for sure. I think working with people at the start of their careers when they didn’t realise what was round the corner is something special. People like Shakin’ Stevens (Elvis 1977), Tracey Ullman (Grease 1979), Siobhan McCarthy (Wall Street Crash 1980-83), Greg Wise (Good Rockin’ Tonite 1991), Hannah Waddingham (Saucy Jack and the Space Vixens 1996), Lee Mead (Tommy 2005), Rachel Tucker (Tommy 2005)

LPT: You’ve worked on many larger stages; how do you find the space at the Tabard theatre? Are there particular adjustments that you have had to make?

KS: It can be more challenging directing on a smaller stage (let’s face it 42^nd Street would have it’s challenges) but it can be hugely rewarding. I recently directed Next Door’s Baby at the Tabard (also by Matthew and Bernie) – an eight hand musical set in different locations. I had to cut a couple of characters but it worked very successfully. If I did it on a big stage I’d have to rethink it again but I can’t imagine it being a better experience for the audience. There’s something special about working in small theatres – being in the same space as the actors. At it’s best it’s a thrilling experience.

LPT: Musical theatre always seems to be such a massive undertaking with so many creatives involved. Does it ever feel overwhelming?

KS: It was quite daunting in my younger days but, as a director, you wouldn’t get very far if it was all very overwhelming. I think I’ve always been one of those people who work well under stress – finding the calm at the centre of the storm somehow. In large theatres you are working with a bigger team but the process is similar.

LPT: As a director of much experience, is there something about this particular show that will keep it fresh for you?

KS: Providing, as a director, you’re careful not to do the same kind of show again and again every show has it’s own challenges so every show feels fresh.

LPT: Finally, what are most looking forward to sharing with audiences?

KS: That’s an easy one. The combined talents of Matthew Strachan, Bernie Gaughan and Kim Ismay.