Renowned director and playwright Simon Stone is making headlines with his ambitious artistic projects that span continents and genres. Currently based in London, Stone is preparing for the upcoming performance of his adaptation of Chekhov’s The Cherry Orchard at the Adelaide Festival, set to run from February 27 to March 1, 2024. This production marks a significant milestone as it will be staged entirely in Korean, showcasing Stone’s deep engagement with diverse cultures.
Stone’s recent achievements include the premiere of his film The Woman in Cabin 10 on Netflix, alongside his theatrical adaptation of Ibsen’s The Lady from the Sea, featuring Academy Award winner Alicia Vikander. He also has plans to begin filming Elsinore, a narrative about the late Scottish actor Ian Charleson and his struggle with the role of Hamlet, starring Andrew Scott and Olivia Colman.
The director’s journey began in Melbourne, where he considered a career in science before finding his passion for the arts. Stone’s childhood was marked by a profound personal tragedy; he lost his father at the age of 12, an event that profoundly influenced his artistic pursuits. “The loss spurred my great hunger for art, film, and literature,” he reflects, acknowledging how grief can inspire creative expression.
Stone’s unique approach to theatre is distinguished by his innovative staging techniques. He has gained a reputation for placing actors within transparent enclosures, a method that challenges traditional perceptions of performance. His acclaimed production of The Wild Duck premiered in Sydney in 2011 and has since been staged internationally, underscoring his ability to connect with audiences across different cultures.
His adaptation of The Cherry Orchard in Seoul has been particularly rewarding for him. The production features notable Korean actors Jeon Do-yeon and Park Hae-soo, and reflects Stone’s fascination with Korean culture’s complex dynamics. “I made the approach to the theatre company,” he says, describing his commitment to exploring the unique aspects of Korean performance.
In preparation for this production, Stone has been learning to recognize Korean words, enhancing his ability to engage with the language, even if he is not fluent. He expressed satisfaction at the humor transcending cultural boundaries, noting, “a lot of my gags in English worked in Korean.” This adaptability highlights his innovative spirit and willingness to embrace new challenges.
Reflecting on his experiences, Stone emphasizes the importance of community engagement in theatre. He finds that audiences in Europe often possess a deeper commitment to cultural experiences compared to Australia, where he feels the arts are sometimes seen as secondary. “I like to serve the communities that are hungriest for my wares,” he explains, underscoring his dedication to delivering meaningful artistic experiences.
As he prepares for his return to Australia, Stone’s work continues to evolve, promising to captivate audiences both locally and internationally. With his diverse portfolio and commitment to exploring complex themes through innovative methods, Simon Stone remains a compelling figure in the world of theatre and film. His upcoming projects are eagerly anticipated as he continues to push the boundaries of storytelling across cultures.
