Stasi Schaeffer is a theatre and opera director who works both in the UK and the USA. Based in Glasgow, she works internationally on new works, musicals and opera. In her work Stasi is interested in illuminating our world and understanding our place in it.
Stasi is currently directing at the Royal Conservatoire of Scotland, with her upcoming project being Flora: A new Musical, set to premiere this March. Flora: A new Musical follows Flora MacDonald, one of Scotland's most famous daughters - based on one of Scotland's most famous daughters, Flora MacDonald, who is caught in the power games of the men around her.
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| Stasi Schaeffer. Photo by Robbie McFadzean. |
We caught up with Stasi to learn more about Flora and to discuss her career so far.
Stasi, your upcoming musical, Flora, is centered around one of Scotland's legendary figures, Flora MacDonald. What inspired you to tell Flora's story in this way?
We were always interested in telling the story in a way that was truthful to the history of the characters, but also in a living way that made them exciting and relevant to modern audiences. These characters are mostly actual people who were alive over 250 years ago, but Flora is faced with challenges and situations in her life that are not that different from many people today. We always wanted a mix of history and approachable storytelling and I think we have found that balance.
We were always interested in telling the story in a way that was truthful to the history of the characters, but also in a living way that made them exciting and relevant to modern audiences. These characters are mostly actual people who were alive over 250 years ago, but Flora is faced with challenges and situations in her life that are not that different from many people today. We always wanted a mix of history and approachable storytelling and I think we have found that balance.
We also were very aware of Highland story telling and travelling bards and wanted an element of that in the show as well. Storytelling was the first form of theatre, so we go back that root and then bring the audience into the tale.
Musicals have such an amazing energy and way of connecting with audience and Scottish Traditional music is always about the audience and connecting with the listener, from a ballad to a ceilidh tune, they are all meant to be shared, so that is a perfect framework for this story.
The musical is described as a whirlwind of ensemble storytelling with a mix of traditional and contemporary music. How have you approached this blend to capture Flora's essence?
I think this really goes back to Belle Jones, who wrote the script and the lyrics. Belle wanted to tell this story in verse and she did an amazing job of using that structure creatively to tell the story, so there is always a rhythm and drive to the story. Then the composers AJ Robertson and John Kielty came on to the project. AJ is a Traditional Scottish musician and brought that sensibility to the score, while John brings a more musical theatre and pop vibe to lay over the Trad sounds. Musically it is very different than other musicals, but it has all the moments you would expect. All of this creativity on top of a time of real action and change on several continents makes a exciting blend. It does what we hoped in telling a historic story in a way that connects with audiences.
I think this really goes back to Belle Jones, who wrote the script and the lyrics. Belle wanted to tell this story in verse and she did an amazing job of using that structure creatively to tell the story, so there is always a rhythm and drive to the story. Then the composers AJ Robertson and John Kielty came on to the project. AJ is a Traditional Scottish musician and brought that sensibility to the score, while John brings a more musical theatre and pop vibe to lay over the Trad sounds. Musically it is very different than other musicals, but it has all the moments you would expect. All of this creativity on top of a time of real action and change on several continents makes a exciting blend. It does what we hoped in telling a historic story in a way that connects with audiences.
The character of Flora is in the middle of all this…sharing her story and adventures of her life that lead her a very important point in Scottish history, over to North America and back to Scotland. Flora is the real centre and all these elements swirl around her and help to share her story in an engaging way.
Does the creative process differ for a new show as opposed to working on a revival?
It has been wonderful to work on a piece from almost the beginning and to help shape it. It has been a real journey. We started working on this piece about five years ago and I have been able to see it grow in the various stages…script, then music, then changes to both. I have been lucky enough to be able to watch it take shape as we worked on different aspects of the production.
It has been wonderful to work on a piece from almost the beginning and to help shape it. It has been a real journey. We started working on this piece about five years ago and I have been able to see it grow in the various stages…script, then music, then changes to both. I have been lucky enough to be able to watch it take shape as we worked on different aspects of the production.
We were fortunate to have a two week development a while ago. That gave us a chance to try things out, make some changes and add a character. With a new work, there is a lot more development in general, but I feel like I now really know and understand the show and the characters and their journeys. It has been a long process, but we are all very connected with the work and that is a very different route to a production than the discovery you have with a revival.
I am very excited to premiere this work and let audiences engage with this story.
What research have you done in order for bringing your creative vision to life?
We have done a lot of reading! Belle Jones (the playwright) and I have both read a lot of books on Flora and looked at the world in which she lived. Belle is also from Inverness and is very aware of highland culture. Because we use Gaelic in the show, we have worked with native speakers, Gaelic consultants and proofreaders and we have a Gaelic consultant working with us for the rehearsal process. I have been to the part of the US where Flora and her family settled and I was very lucky to have been to her grave before I even started working on this show. I am really glad I was there because it was so important to her to come back to Scotland at the end of her life and live out her days and ultimately her end in the country she loved.
We have done a lot of reading! Belle Jones (the playwright) and I have both read a lot of books on Flora and looked at the world in which she lived. Belle is also from Inverness and is very aware of highland culture. Because we use Gaelic in the show, we have worked with native speakers, Gaelic consultants and proofreaders and we have a Gaelic consultant working with us for the rehearsal process. I have been to the part of the US where Flora and her family settled and I was very lucky to have been to her grave before I even started working on this show. I am really glad I was there because it was so important to her to come back to Scotland at the end of her life and live out her days and ultimately her end in the country she loved.
The show is so rich historically. We took that very seriously and used the drama of her life and the historical situations that she was involved in within the story.
How would you describe the style and the sound of this new musical?
In all aspects of the show we have looked at the past and really examined what was historically accurate and then looked at our current world and the overlaps and continuity between those two time periods.
In all aspects of the show we have looked at the past and really examined what was historically accurate and then looked at our current world and the overlaps and continuity between those two time periods.
The costume and the set use the silhouettes of the historic period while adding modern touches. Similarly with the music-the traditional is there as a basis, but things have been given a slightly more modern sound. I would say we have all been very respectful of the past, the history, but bringing the story and the style into the modern world. It is important to not be a rehashing of history, but a relatable show for modern audiences.
With the world premiere at Eden Court, what excites you most about this venue and the audience that will see the show?
The Highlands are Flora’ home and we are very excited to be able to open the show in the area which saw a lot of the story play out…the Culloden Battlefield which led to Bonnie Prince Charlie needing to escape is not that far from the theatre, so it is really the place that started the actions which changed Flora’ life. Inverness also has a statue of Flora, so it feels like the perfect place to have the opening of her show.
The Highlands are Flora’ home and we are very excited to be able to open the show in the area which saw a lot of the story play out…the Culloden Battlefield which led to Bonnie Prince Charlie needing to escape is not that far from the theatre, so it is really the place that started the actions which changed Flora’ life. Inverness also has a statue of Flora, so it feels like the perfect place to have the opening of her show.
As you reflect on your 20-year career as a theatre director, what have been some highlights or key lessons that shaped your artistic vision?
I think there are a couple things…when I started directing, it was on plays with music and then musicals, so I really got to understand them-how they work and what makes a good musical. I love the energy they have and it excites me to help create that experience for audiences.
I think there are a couple things…when I started directing, it was on plays with music and then musicals, so I really got to understand them-how they work and what makes a good musical. I love the energy they have and it excites me to help create that experience for audiences.
When I came to the UK in 2009 and studied at the RSAMD (now RCS), we focused a lot on new works. That was an opportunity I hadn’t had before and I loved it. Working with a playwright and really investigating, trying things and adjusting so the playwright’s voice and vision are very clear. It was a wonderful education for me.
I have been so lucky because working on this production has allowed me to work on a new musical and combining the two aspects of theatre I really love.
What advice would you give to upcoming directors?
I got some advice from Alaine Alldaffer who basically said…slow and steady, it’s a long road to a career and not a sprint. That has really held me in good times and bad and I share it as much as possible!
I got some advice from Alaine Alldaffer who basically said…slow and steady, it’s a long road to a career and not a sprint. That has really held me in good times and bad and I share it as much as possible!
What was the first piece of theatre that had a big impact on you?
Annie! When I was young, my mom took me to see the musical and they then had an open call for orphans for the tour. I went to the audition, but didn’ progress, but that didn’ stop me from having a musical cabaret in our living room every weekend…
Annie! When I was young, my mom took me to see the musical and they then had an open call for orphans for the tour. I went to the audition, but didn’ progress, but that didn’ stop me from having a musical cabaret in our living room every weekend…
What keeps you inspired?
I absolutely love going to the theatre-it gives me a lot of pleasure to sit in a theatre and watch a performance. It is really enjoyable to me and I am really inspired by the creativity I see from watching the work of others.
I absolutely love going to the theatre-it gives me a lot of pleasure to sit in a theatre and watch a performance. It is really enjoyable to me and I am really inspired by the creativity I see from watching the work of others.
What do you hope audiences will take away from Flora: A New Musical once they leave the theatre?
It feels so important to us to be able to tell this story. So little is known by most people in Scotland about her life vs the myths. She was an amazingly brave woman and we want to finally tell her story and for people to know more about her.
It feels so important to us to be able to tell this story. So little is known by most people in Scotland about her life vs the myths. She was an amazingly brave woman and we want to finally tell her story and for people to know more about her.
Flora: A New Musical will at Eden Court, Iverness on 20th and 21st March, at The Pavilion, Glasgow from 26th - 28th March.
You can find out more information and booking information at https://www.genesistheatreproductions.co.uk/flora
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