Playwright Mark Burgess talks upcoming biographical play ‘Two Halves of Guiness’: “This new production is like a magician’s box”

Over twenty-five years after the loss of one of Britain’s most legendary actors, Alec Guinness’s theatrical biography gets ready to settle on the London stage following its tour across the country. Guillermo Nazara chats with the man behind its creation to learn more about the show’s development and its driving force.

How did the idea for the show come about?

In 2009, I suggested to an actor friend of mine, Trevor Littledale, that I write a one-person play for him. I wanted Trevor to portray an actor, preferably someone he particularly liked and was interested in. I knew of his long-held admiration for James Mason, Peter Sellers, and Alec Guinness, so decided on the latter, largely on the basis that Trevor’s physicality and general appearance was more akin to Guinness than either Mason or Sellers. I put my suggestion to Trevor one evening at my local Brighton pub, which, over subsequent weeks, months, and years became known as ‘The Office’.

What makes Guinness stand out from other acting legends to become the subject of a play?

I knew a fair amount about Sir Alec Guinness even before I’d begun my research; his autobiographies had been required reading for actors. But as I delved deeper into his story, I discovered it was so much more extraordinary than I had remembered. He never knew his father, and this sense of uncertainty led to feelings of nothingness and instability, which seemed to inform his style of acting. From a purely dramatic point of view, these revelations helped give my play a solid structure and subtext.

The show takes us through the life of a film, theatre, and television icon. However, how does it explore the man behind the name?

Sir Alec’s family life features heavily alongside his theatrical career. He had a poor relationship with his mother, in great part due to the fact she never revealed to him his father’s identity. We learn of his devotion to his wife, Merula, and their son, Matthew. But the play is deeply rooted in him not knowing quite who he was, a blank canvas.

How would you describe Guinness’s two halves?

I thought of the title only after the play was written. Initially, I was intending to use a quote from ‘Hamlet’; either ‘the readiness is all’ or perhaps ‘the modesty of nature’, but these didn’t really suggest an exploration of a great actor’s life, neither did they have that sense of fun and wit that Sir Alec so often displayed. I hope ‘Two Halves of Guinness’ conveys the feeling that within its two acts is much humour, irony, and self-deprecation alongside deeper, more serious tones.

What themes have you intended to explore and why?

These only really presented themselves to me as I researched and wrote the play, and the development of them has been a continuing process. It has themes of memory, insecurity, the nature of fame, and the contrast between public perception and private life. But these issues are constantly interwoven and juxtaposed with stories and re-enactments of moments and incidents from his theatrical and film career.

What has your research process been like?

Thorough. Every autobiography and many biographies; all the films, television, interviews, and documentaries. Also, other actors’ books in which Sir Alec is frequently referenced. Once Zeb Soanes began working on the rôle in 2024, we decided to incorporate many new stories, quotes, and pertinent information into a revised script. Zeb spoke with a number of people who had known and worked with Guinness and many of their recollections have helped illuminate further the present script.

Has anyone directly connected with Guinness been involved in some way?

Not when I first researched and wrote it in 2009, no. At the very outset, I wrote to Sir Alec’s son, Matthew, hoping he’d approve of my intention to write a play about his father and assuring him it would be a sensitive and affectionate portrait. It premiered in Brighton on 26^th July 2010. At its conclusion, Sir Alec’s former daughter-in-law, Helen Guinness, introduced herself to Trevor, and then, me. Over time, Helen saw many performances and happily suggested further insights and intriguing details that were gradually adopted into the script. I remember her being especially keen for the ‘smiley spectacles’ to be, quite rightly, absolutely correct. In this respect, Trevor’s local and very traditional optician (based appropriately in Ealing) was able to supply the perfect item.

What has the development process been like?

The original production toured at various times between 2010 & 2022. Nearly two hundred performances were given at theatres, arts centres, festivals, and schools across the United Kingdom. The play developed greatly over that period, particularly during the early years. Trevor, the director, Derek Parry, and myself were always looking to make the script as sharp and lean as possible. This was a challenge given the broad scope of Sir Alec’s life and career, but the ongoing creative input of Derek and Trevor ensured that the narrative kept moving forward in a dramatic and entertainingly informative manner.

With this new production, I’ve worked closely with Zeb and director Selina Cadell on new additions to the script. However, adding material means losing some, so I’ve had to cut sections and various lines that have been there a long time. Our producer, Julian Bird, also felt there should be more ‘Star Wars’ content, which I’ve happily incorporated.

What particular challenges have you found during the creation of this show?

I think the main one was how to tell the huge story of a great actor’s life in a two-act play with a running time of ninety-five minutes. In the beginning, I simply wrote the script without concerning myself with its length, I just hoped the story would reveal itself. It slowly did and, over time, we gradually cut the text to support the narrative and performance style of Trevor & Derek’s version. Zeb and Selina were keen for the dynamic between Sir Alec and his unknown father to be even more pronounced. In order to dovetail this into the script, I found myself re-researching material I’d not really thought about for fifteen years.

Are there any highlights in the show that you’d like to flag?

In essence, Act One deals with Sir Alec’s formative years and his scholastic, naval, and theatrical careers. I’m especially fond of the John Gielgud and Edith Evans sections. Act Two focuses more on his film work, where characters such as David Lean, Professor Marcus, and George Lucas take centre stage. Threaded throughout is the constant theme of his difficult relationship with his mother and the non-existent one with his father, which grounds the play and gives it emotional depth.

The piece serves as an homage to his legacy. However, are there any other messages you’re hoping to convey?

When writing it, I didn’t set out to convey any particular message, I simply wanted to tell Sir Alec’s extraordinary story in as dramatically interesting and entertaining way as possible. Audience members have always found something within the show that they are able to connect with on a very personal level, which I wasn’t necessarily expecting.

Why come see Two Halves of Guinness?

It features a wonderful performance by Zeb Soanes as Sir Alec. He also portrays over thirty other different characters from Guinness’ life. It’s an entertaining and moving account of a man who appeared in many of the most famous films ever made and of his eternal struggle to discover ‘who he really was’. This new production is like a magician’s box of tricks; over two halves and ninety-five minutes, the unexpected constantly happens before our eyes.

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Headshot credit to K. Heller. Production pictures credit to Danny Kaan.

Two Halves of Guinness will play at London’s Park Theatre from 20 April to 2 May. Tickets are available on the following link.

By Guillermo Nazara