The actor Martin Miller, who plays Keith Haines in the Nottingham Playhouse/New Perspectives production of Darkness, Darkness, wrote this piece for the New Perspectives blog, and gave his permission for it to be reproduced here …
And so it’s all over bar the shouting. After 4 weeks of intensive work on John Harvey’s excellent stage adaptation of his final Charlie Resnick novel, Darkness, Darkness, we now leave the relative safety of the New Perspectives rehearsal room in Basford and move into the Nottingham Playhouse from next week to start the technical and dress rehearsals for what will be the next show of the Sweet Vengeance season. If anything, this is where all the hard work needs to come together. The actors need to adjust their performances from the intimacy of the rehearsal room to the theatrical space without losing any of the subtleties and truth of their characterisations that have been developed through the rehearsal process (so rule one: don’t panic, rule two: don’t start shouting). Our hardworking technical crew including Kathryn Wilson (Deputy Stage Manager), Drew Baumhol (Sound Designer), Azusa Ono (Lighting Designer), Ruth Sutcliffe (Set Designer) amongst many others will be collaborating with our director Jack McNamara to bring the world of the 1984/5 Miners’ Strike and Harvey’s CWA Dagger award – winning Detective Charlie Resnick seamlessly to life, and from Friday 30th September audiences will see the finished product.
I have been impressed throughout this process by the collaboration between Jack McNamara and John Harvey. It is rare for directors and writers to cooperate so effectively. I worked with Jack on a previous New Perspectives play about Alfred Hitchcock and he has a strong sense of how to engage with a piece visually, almost filmically, and in collaboration with our Video Designer, Will Simpson, audiences will find themselves transported to the heart of a mining community bitterly divided by the strike, and of a murder investigation 30 years later which threatens to open these divisions once more. Harvey’s skill has been in not only placing Resnick front and centre of this action in the theatrical space, but also in bringing the world of this torn mining community to life. One could argue that the work is even more politically charged and relevant today with the recent announcement of an inquiry into the events at ‘The Battle of Orgreave’ . Harvey’s play explicitly references Orgreave and its aftermath, indeed Resnick finds himself conflicted by the police conduct on that day, and we see the casual brutality of the Met. The recent inquiry into the Hillsborough disaster laid bare the failings of South Yorkshire police and the Hillsborough families had to fight courageously and persistently for years to get any semblance of justice. The Orgreave families have had an even longer wait. Indeed, post-Brexit result, it appeared the issue could conceivably be dropped from the government agenda altogether. How can one even begin to disentangle the bloody events at Orgreave, of systematic and systemic state and police collusion, the very worst example and excess of what Tristram Hunt MP called ‘legalised state violence’?
Over thirty years on, the events of the Miners’ Strike still divide communities and we see in the play how these divisions are just as raw today. All of this plus at the heart of the play we see the dogged determination of Charlie Resnick to solve one last murder case before his impending retirement. John Harvey first created his famous Nottingham Detective back in 1988 and I am confident that with the team Jack McNamara has put together and the strong collaboration between cast, production team, director and author that we can do it justice. As we head into our final rehearsal week, John Harvey’s beloved Notts County have just beaten Leyton Orient 3 – 1. Surely a good omen? Hope to see all you Resnick afficionados in the theatre bar afterwards for a drop of Highland Park. “No sense arguing, Resnick raised his glass and drank…”.
Here’s Martin, during rehearsals, with Emma Thornett, who plays his wife, Jill.
Photo © Robert Day