When Chaz Davenport played a toy soldier in Ferndown Drama’s The Day They Lost Raggety Ruth, little did he know that 30 years later he would be directing William Shakespeare’s Macbeth for the renowned Brownsea Open Air Theatre (BOAT).
Open air performances of traditional Shakespeare have been performed on Brownsea Island in Poole Harbour by BOAT for 60 years. It started in 1964 with a production of The Tempest to celebrate the 400th anniversary of the Bard’s birth. Since then more than £300,000 has been raised for the National Trust, who own the island, thanks to this annual event. And it's no wonder. A BOAT production is a unique way to enjoy the theatre. You catch a ferry from Poole Quay to Brownsea Island, then enjoy the picnic you’ve brought in Church Field, followed by a performance of one of Shakespeare’s plays, concluding with your return by ferry to the mainland under (hopefully) starry skies. Surely this must be one of Dorset’s great summer experiences?
‘Directing for BOAT is an all-consuming honour,’ says Chaz. ‘It’s a voluntary but demanding activity, yet the pure joy of doing it is more than enough of a reward.’
Moving to Dorset in his late teens, Chaz tried various jobs before settling into a career in IT. Confiding in a friend that ‘There must be more to life.’ They asked, ‘Have you thought of doing theatre?’ This question would change his life. ‘Working in IT puts bread on the table,’ he says, ‘but theatre nourishes my soul.’
Chaz’s first Shakespearean experience was in The Comedy of Errors for the Swan Theatre in Wimborne where the director had merged all the merchant’s roles into one. He played The Wall in A Midsummer’ Night’s Dream. Then, for Bournemouth Shakespeare Players, Oliver in As You Like It. He’s even appeared on the Sky Arts television channel as part of Regent Rep’s entry in the Nation’s Best AM- Dram TV show.
Chaz first came to BOAT in 2006 when he auditioned for Much A Do About Nothing where the director Denise Mallender saw his potential. Securing the role of Leonato, the Duke of Messina, he became a BOAT regular. One role he thoroughly enjoyed playing was Sir John (Jack) Falstaff in Henry IV in 2014. ‘Jack Falstaff is the best mate your Mum told you to keep away from,’ he laughs. ‘He hangs around with younger people because he doesn’t fit in with those his own age. His fellow knights aren’t the sort to get smashed at the boozer, start a fight, or charm the pants of the barmaid. Whereas Jack...’
As well as acting roles, Chaz’s longstanding association with Ferndown Drama gave him directing opportunities such as Alan Bennett’s Talking Heads. Whether treading the boards, or directing, Chaz is full of energy and passion for the theatre. But it’s clear that BOAT holds a very special place in his heart. ‘We put our audience at the centre of everything we do. Our aim is to entertain and move them.’
This year’s play, directed by Chaz, has a shed load of theatrical hocus pocus surrounding it. It’s said that speaking the name ‘Macbeth’ inside a theatre, except when required by the script during rehearsals or performing, will result in a disaster. Some believe the play was cursed by a coven of witches because Shakespeare used a real incantation. Others suggest the superstition arises because in its first performance the actor playing Lady Macbeth died.
Chaz is unperturbed by these supernatural tales, never referring to it as ‘The Scottish Play’, In fact, BOAT first staged Macbeth in 1976 during its 13th season. All ended well. BOAT’s second run of Macbeth in 1997 was just as successful. In those days BOAT hired their costumes from the Royal Shakespeare Company. Macbeth’s costume that year had been worn by Patrick McGoohan playing King Edward I in the Oscar-winning film Braveheart.
Chaz started work on this third staging back in 2022. His first task was to reduce the original play into a recognisable performance of two and a quarter hours. Bygone references not pertinent to modern audiences went in preference of telling the main story. Typical of his teamwork directing style, Chaz sought comments about his edits from former BOAT directors, welcoming and valuing their suggestions. Completing the script in late summer 2023, Chaz then gathered talented people around him to sort its staging. There are over a hundred volunteers involved in BOAT, this includes front of house, props, set design, costume as well as lighting and sound. The latter is of particular importance with this play’s dramatic thunderstorm opening, bubbling cauldron and woods that walk.
Every summer, BOAT constructs the auditorium for their performance on Brownsea Island, this features tiered seating on three sides of the stage. It also builds a control room for the lighting and sound team. On the mainland, in its large costume store, a needlecraft team create new outfits or alter those from previous productions. As director, Chaz must have his eyes on all aspects of the production. ‘I’m there to encourage and enthuse, but sometimes saying, “If you could just...” It’s a team effort.’
Open auditions, held in January, saw both old hands and newcomers competing for their preferred part. To help with the casting, Chaz chose his favourite speeches for each character’s audition piece. ‘These are the speeches I would like to be reading if I was auditioning.’ And what are his top tips? ‘Be 100% yourself. Fill the audition room. Make my job difficult. Force me to put you on the Yes pile.’
Competition for the roles was fierce, but Chaz was not surprised. He believes that this play is full of strong multilayered characters. ‘Take Macduff for example. He shows the full gamut of human emotions. From the comical - with the Porter, to shock - finding Duncan’s body, to devastation - when his family is murdered, right through to fury – finally turning on Macbeth.’
To deepen his knowledge Chaz attended a theatre workshop at The Globe in London. ‘It enhanced the depth of my understanding about the play. I would count it as one of my best ever learning experiences.’
With roles allocated, and set, costume, prop, sound and lighting design underway, it was time to start rehearsals. And Chaz wants everyone to be huge, bold and dramatic. ‘It’s easier to help someone bring down their performance than it is to extract energy from a depleted reservoir,’ he adds. Putting his own directorial thumb print on Macbeth, he is making more of the witches. All will be revealed when they take to the stage later this month.
However, you will have to be calling on magic powers to get hold of a ticket. The entire run (July 24 – August 9) sold out over ten weeks before opening night. But, in a cruel twist of fate, it’s possible that Macbeth will be BOAT’s final season in the present format on Brownsea Island. The National Trust have requested that BOAT scale things back considerably with minimal scenery, minimal staging and no tiered seating. The 4,000 theatre goers who attend this event each summer would have to bring their own chairs over on the ferry and walk them up to Church Field or sit on picnic blankets.
Theatrically, operationally, and financially these changes would have a huge impact on BOAT with its auditorium-based approach. So, while things are being discussed, next year’s performance of The Winter’s Tale will be on the mainland. It’s hoped that issues can be resolved for BOAT’s return to Brownsea in 2026. This may involve the construction of an amphitheatre by the National Trust, but plans are at a very early stage. In the meantime, BOAT will continue to produce high quality open air traditional Shakespeare plays and are currently looking for an outdoor venue in Poole or nearby.
Let’s hope that this unique theatrical experience doesn’t disappear from Dorset.
Readers wishing to comment on the situation can contact BOAT on boatboxoffice@gmail.com. For more details visit brownsea-theatre.co.uk
