Jack Shepherd's plays possess an effortless quality, a unique structure that I had never encountered before. I first saw him directing his own play, In Lambeth, at the Donmar Warehouse in 1989 and was deeply impressed. So, after we established the Southwark Playhouse in London in 1993, I invited him to join us. He contributed Chasing the Moment and performed in it himself.
The Setting and Characters
The play depicts a group of jazz musicians gathering one by one in a pub basement. The pianist, an old man from Leeds named Les, is already there. Jack, who sadly passed away in November, was himself a pianist and always played Les. We then await the arrival of the aging, slightly intoxicated double bass player, whose instrument is larger than he is, making his descent down the stairs a slow process. Next comes the drummer, bringing his kit piece by piece. Then the drummer's sister arrives to manage the door, carrying the petty cash box. Finally, the pub owner appears. They converse and settle in.
The Jazz Performance
Then they begin to play: the interval essentially becomes the gig. After four or five numbers, they announce, "We'll see you here again next Friday." In the second act, they start packing up, but much has changed. Jack masterfully gives each actor a moment to reveal their true selves and their lives. It is extraordinary. You wonder where the writing is; you do not see it, only the characters.
He was a writer for actors. If something did not feel real, he would not stage it. Yet it is a play, obviously somewhat contrived: you need to assemble your band, perform the concert, dismantle the band, and show that lives have been altered. Broken hearts are mended; someone dies. As they leave, they speak directly to the audience.
A Unique Theatrical Experience
I have worked with many writers over the years, both at Southwark Playhouse and during my 25-year tenure as artistic director of the Arcola in London. But I have never encountered anyone else who can evoke such a sense of real life unfolding before you. The concept is inherently theatrical, yet within that framework, you do not need to be theatrical. You simply embody the character, be the character. There is no need to show off.
Directing Jack was never difficult; things could happen organically. If I had a bad idea, he would say, "It doesn't feel natural if I do that." He was something of a mentor to me in that regard, very actor-focused.
He directed King Lear at Southwark in 1996. Actors would ask him what a particular line or moment meant, and he would reply, "I don't know. It's your character. Figure it out and just do it. I'll tell you when it's wrong."
We have performed Chasing the Moment several times since its debut, and we plan to revive it in 2027. It will be the first time without Jack. As told to Lindesay Irvine.
