Peter Gill's impact on theatre was profound, and his influence continues to resonate even after his passing. 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, whether at his flat or the community centre for workshops with actors, were a testament to his dedication to the craft.
Gill's introduction of postmodernism to the theatre was a groundbreaking achievement. He showed audiences that anywhere could be the centre of the world, a concept that resonates deeply. This idea is akin to Wordsworth's proposal that literature should speak in the real language of men, which later inspired DH Lawrence to revolutionize English literature. Lawrence, a 'vertical invader' from a peasant class, broke barriers but couldn't find a place in the English theatre for the stories of working people. It was Peter Gill, a docker's son from Cardiff, who completed this revolution. He took Lawrence's plays and placed them at the heart of the world, asserting that as much happens for you as for other people.
Gill's approach to theatre was methodical and true to the art form. When a stage direction required bread baking, he ensured his company baked the bread, no matter the time it took. Even in his hospital bed during the technical rehearsals for the Lawrence trilogy, he maintained his standards, asking his assistant if they were planning to use dry ice to show the bread burning, to which he quipped, 'Who do you think I am, Franco Zeffirelli?' This commitment to authenticity and truth-telling in theatre is a hallmark of his work.
Gill's significance extends beyond his directorial and playwrighting skills. He was a visionary who, in the wake of the revelation of Auschwitz, struggled to find words that carried meaning. His response, paraphrasing Adorno and adding his own revolutionary twist, was a call to action: to try and say something, to recognize humanity in ruins and seek to speak and live again. This determination to go on, to find meaning in the face of adversity, is the foundation of every good play written since. Gill's presence during the formation of this thought was pivotal, and its radical compassion should not be left behind.
In my opinion, Peter Gill was the only great playwright who was also a great director. His time around the Court was transformative, and his influence on the theatre world is immeasurable. As we reflect on his legacy, it is crucial to remember his commitment to truth, his dedication to the craft, and his ability to place the world at the centre of every production. Gill's impact on theatre is a testament to the power of art to transform and inspire, and his work will continue to resonate for generations to come.
