Director Therèsa Borg on new play YOU’RE THE MAN

Paul Mitchell’s new play, You’re the Man, is a poignant story that explores the devastating impact of family violence and the journey towards hope and healing.

The play centres around seventeen-year-old Liam, who locks himself in his room, tormented by memories of his brother’s death at the hands of their violent father. As the story unfolds, we follow Liam’s path to finding the strength to reengage with the world beyond his bedroom door.

You’re The Man is informed by historical incidents of family violence in Melbourne, providing a raw and authentic exploration of this critical issue. At its heart, the play is a story of hope, challenging the justifications men make for their behaviour, seeking paths of healing for victim-survivors, and showcasing the tenderness and strength possible in renewed masculinity.

At the helm of the piece is Therèsa Borg, an accomplished director and creative. She holds degrees from the University of Melbourne and the Victorian College of the Arts and has an extensive background as a director, resident director, and associate director on numerous national touring productions. Therèsa is the co-founder of Monstrous Theatre, alongside her husband, Anton Berezin.

Monstrous Theatre is a commercial producer of plays, opera, and musical theatre based in Melbourne, Australia. The independent production company was established by Therèsa and Anton after selling their previous businesses, Life Like Touring and The Entertainment Store, to TEG/Ticketek. The pair has entertained over 7 million patrons globally with their original family shows and musicals. Borg and Berezin have seen multiple presentations of their work on Broadway, London’s West End, and countless productions across every continent.

Can you tell me about your background in direction?

Therèsa: I began as a performer with my first professional season at the age of fifteen. A while later, Anton and I founded our company Entertainment Store/Life Like Touring and moved very quickly into producing, writing and directing mall shows and then onto multiple family theatre and arena shows here and overseas. Life Like Touring was a grand learning curve over twenty years with wonderful colleagues. I brought qualifications in music, singing, English and teaching alongside experience in multiple commercial musicals and opera to the table. I was directing for 30 or so weeks of the year and writing when I wasn’t directing. For general audience, I’ve directed three mainstage musicals (Sweeney Todd, The Light in the Piazza and Titanic) , 2 indie operas (The Consul and La Cenerentola) and been Resident Director on An American In Paris and Associate on Puffs and Death of a Salesman.

What initially drew you to You’re the Man?

Therèsa: Paul Mitchell’s writing. I am so interested to investigate the text on the floor and the embedded tension between the concise and the poetic.

How have you approached directing such a heavy and emotionally charged subject matter?

Therèsa: Carefully. I’ve engaged the very talented Eve Morey as Intimacy Co-ordinator and she’s set up the ground rules for the room – we want everyone to feel safe and supported and to be able to leave the story behind. We will see a lot more of Eve over rehearsals and the season.

How has working on this show been different or similar to previous projects?

Therèsa: This is the first time I’ve been part of a team building a new play for adults and is also the first time I have built a piece without precedents such as previous productions,  a pre-existing book or animation.  The scope for experiment feels huge. What stays the same is the quality of the people on the team – they are impassioned, invested and inventive.

Can you discuss any specific challenges you’ve faced in bringing this story to life on stage?

Therèsa: My biggest challenge is working towards representing family violence in poetic ways that are affective but do not detract from Paul’s main interests, which I feel lie in exploring the trajectories toward, and then away from, violence and grief. An additional challenge is supporting the cast to stay available for the humorous moments in the story.

What has been the most rewarding aspect of directing this play?

Therèsa: The profound sharing in the room and the flip side, hilarious and corrective light-heartedness, have been the most rewarding aspects so far.  Simon Mason’s music is also a highlight: he’s an Australian electro-Sting.

What do you think makes this play particularly relevant or important for audiences today?

Therèsa: Paul has brought this exploration of toxic masculinity to the stage with heart, honesty and sensitivity, along with offering hope and leadership toward a more tender masculinity. It has taken him years of thinking and research over many iterations and the time for audiences to see and discuss this play turns out to be right now.

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You’re The Man plays at La Mama Theatre from September 4th.

For tickets and more information, visit the Monstrous Theatre website.