Peter Gill's impact on theatre was profound, and his influence continues to resonate through the works of those he inspired. As an acolyte of Michael Coveney's, I had the privilege of knowing Gill in his later years, a time when he had already directed his last play for the National and moved from his long-time home in Hammersmith to a flat downstream. Our meetings, both at his flat and in community centres for workshops with actors, were a testament to his dedication to his craft and his belief in the transformative power of theatre.
Gill's approach to theatre was revolutionary, drawing inspiration from the likes of Wordsworth and DH Lawrence. Wordsworth's idea that literature should speak in the 'real language of men' and Lawrence's break from the constraints of his birth to revolutionize English literature were pivotal in shaping Gill's work. Lawrence, a 'vertical invader' from a peasant class, reshaped the artistic landscape, but the English theatre, as described by John Berger, failed to accommodate the stories of working people. Gill, a docker's son from Cardiff, completed this revolution by placing Lawrence's plays at the center of the world, asserting that 'as much happens for you as for other people'.
This sentiment was not just a slogan but a guiding principle in Gill's work. He believed in the power of theatre to tell the truth, and he did so beautifully, in a Keatsian sense. When a stage direction required the baking of bread, Gill ensured his company baked it, regardless of the time it took. His dedication to authenticity was such that when he was hospitalized during the technical rehearsals for the Lawrence trilogy, he asked his assistant, 'Who do you think I am, Franco Zeffirelli?' This anecdote underscores his commitment to bringing a raw, unfiltered reality to the stage.
Susan Sontag's observation about Thomas Hardy, that he was the only great novelist who was also a great poet, can be extended to Gill. In my opinion, Gill achieved a similar level of distinction as a playwright and director. His time around the Court was a period of intense creativity and innovation, and he drew inspiration from Adorno's thoughts on the moral imperative to create art in the face of Auschwitz. This 'bind' of Adorno's, as Gill paraphrased it, became the foundation for every good play written since. The determination to go on, to recognize humanity in ruins, and to seek to speak and live again is a testament to Gill's enduring influence on the theatre.
Gill's impact extends beyond the stage. His belief in the power of theatre to transform lives and challenge societal norms is a legacy that continues to inspire new generations of artists. As we reflect on his life and work, it is clear that Gill's achievement was not just in his plays and productions but in his ability to show audiences that anywhere could be the center of the world, and that the truth can be found in the most unexpected places.
