Joe Pitts plays the central character of Charles Tritton, an 18-year-old medical student about to begin his studies in Edinburgh, in the first professional London production of The Wind and The Rain for over 80 years.
One of the biggest international hits of the 1930s, The Wind and the Rain by Merton Hodge starred Celia Johnson when it opened in the West End in 1933, running for over 1,000 performances at three different theatres – the St. Martin’s, the Queen’s and the Savoy. It played for six months on Broadway, toured internationally, was translated into nine languages, was televised multiple times, and remained a staple of British repertory theatre for decades.
Joe Pitts was recently seen as George (and cover Melchior) in the critically acclaimed Almeida Theatre production of the seminal musical Spring Awakening, directed by Rupert Goold, that saw him nominated ‘Best performer in a Musical’ at the Stage Debut Awards 2022.
The Wind and The Rain is at Finborough Theatre Tuesday 11 July – Saturday 5 August 2023
You’re starring in The Wind and the Rain, what can you tell us about the play?
The play was written by Merton Hodge who was a medical practitioner as well as an actor and playwright, and it is partly based on his own experiences training at medical college in the 1920s and 30s. We follow Charles Tritton as he progresses through a five year medical course in Edinburgh, navigating university life and all the ups and downs that come with it including experiencing first love, questioning one’s purpose and career and managing the expectations of others.
It’s 80 years since it was last seen in London, why do you think now is the right time for a revival, and why is it still relevant today?
Despite it being 80 years since it was last put on, Merton Hodge’s writing deals with universal themes and captures nostalgia for a time that everyone can relate to in their early adulthood. There’s also a myriad of different characters all dealing with their own personal realisations and doubts, so again I hope audiences can empathise with these experiences regardless of the time period in which the play is set. There’s no denying we’re living in difficult times right now so I think there is a real need for light comedy and drama in the theatre industry.
You play Charles Tritton, tell us a little more about the character and what you’re enjoying most about the role?
We first meet Charles as an eighteen-year-old fresher in Edinburgh, with a minimum of five years of medical training ahead of him. He’s sensitive, a self-declared introspective type, and comes from an artistic background in London where his mum runs an antique furniture shop. He’s seen as somewhat atypical in the medical world and is questioning whether this is the right path he should be taking. I’m enjoying exploring the relationships he fosters throughout the play, not only the romantic ones but also the individual friendships with other students and the camaraderie in the student digs.
The character and story is based on the playwright’s own experiences, how have you been researching the role?
It’s been a combination of many things: my own research on the time period, specifically the realities of student life in the medical world; Merton Hodge’s script is full of details which we’ve been mining in the rehearsal room; and music and visuals from the 1920s and 30s have all been informative. Carla Evans, our brilliant set and costume designer, brought a number of props into the rehearsal room very early on which helped all of us create the realities of the study space at that time. We have a 1930s magnifying glass, a vintage telephone and a gramophone to name but a few.
And what do you think will be the biggest challenge for you with this character?
The play spans the course of five years, and sometimes between going offstage, changing my jumper, and coming back on we’ve skipped forward two and a half years. So, shifting instantaneously between those time periods where some of my relationships with other characters have developed significantly is something I’ve been conscious of portraying. That, and props. We’ve got a lot of them. I’ll be amazed if I get through the entire run without spilling a cup of tea, but we’ll see how it goes!
What are you looking forward to most about working at The Finborough?
The intimacy of the space at the Finborough is definitely daunting as an actor as there really is nowhere to hide; the audience is there in the student digs with us. Our director even warned us about not tripping over the audience’s feet in the front row. However, I’m also excited about what that intimacy can bring to the play. I hope the space will allow the audience to be transported back to that time and to feel fully immersed in the story.
What would you say to anyone thinking of booking to see The Wind and the Rain?
Please come along and see us! We’ve really enjoyed working on this play in the rehearsal room and we’re now having a lot of fun sharing it with audiences at the Finborough. If you’re looking for some escapism, nostalgia for university days or just an undiscovered play with comedy and drama then we hope you’ll enjoy this one!
