Play Talk: Patrick Marber on Samuel Beckett, starting as a stand-up and tackling writer's block

After nine years away from the theatre, Patrick Marber returned in 2015 with an understated but powerful three-hander about a local football team, The Red Lion. The acclaimed writer of Closer, Dealer's Choice and After Miss Julie is now a ubiquitous presence. His version of Hedda Gabler, directed by Ivo van Hove, is now on a national tour. He's directing Venus in Fur at Theatre Royal Haymarket, starring Natalie Dormer. And The Red Lion is back too - a sell-out production from Live Theatre in Newcastle is transferring to the Trafalgar Studios in November.

What was the first play to make you want to write plays?

A production of Waiting for Godot done by some teachers at school. My first encounter with the play. I was 14 or 15.

What was your background to becoming a playwright?

I got a degree in English Lit and then became a stand up comedian for five or six years. Both were useful.

What’s the hardest play you’ve ever written?

My most recent one, The Red Lion. I hadn’t written a play for nine years. It was very difficult to find the confidence and energy to write it.

Which brought you the most joy?

Probably The Red Lion because of the above. And also my first play Dealer’s Choice because it changed my life.

Which playwrights have influenced you the most?

Shakespeare, Farquhar, Sheridan, Wilde, Beckett, Pinter, Stoppard, Mamet. High stylists.

What is your favourite line or scene from any play?

Various bits in Krapp’s Last Tape move me more than I care to say.

What’s been the biggest surprise to you since you’ve had your writing performed by actors?

How incredibly brilliant they are. Well, most of them.

What’s been your biggest setback as a writer?

Being incapable of writing for a number of years.

And the hardest lesson you’ve had to learn?

Endurance.

What do you think is the best thing about theatre?

The joy of communal endeavour.

And the worst?

Ticket prices.

What’s your best piece of advice for writers who are starting out?

Practice.

Are there any themes and stories you find yourself re-visiting with your plays?

Yes. I can’t escape them. And I’m not sure I want to.

Are you on Twitter?

Yes. I’m @Pmarber.

Do you find it a help or a hindrance as a writer?

Generally a help. Very good source of information and useful for queries. Have made a few sort of friends there too.

Why did you write a new version of Hedda Gabler?

I wrote a version of Hedda Gabler because Ivo van Hove was directing it.

How do you spend opening night?

Hug actors, give cards. A stiff drink or two. Sometimes watch it but generally don’t. Pace somewhere. Dinner after with my wife.

What’s the best play you’ve seen this year?

Well, I’m biased because I directed it but I don’t think I’ve seen a better play than Tom Stoppard’s Travesties this year.

What’s your favourite place to watch theatre in London?

Any of the control boxes at the National Theatre sat next to the Deputy Stage Manager Fiona Bardsley who I have known for more than 20 years. I love watching the show and her calling it. I really like the Barbican, Royal Court and Donmar too.

What other art forms do you love when you’re not in a theatre?

Painting, sculpture, ballet, dance, film, TV.

If the Prime Minister said they were abolishing the theatre tomorrow, what would you do?

Start a theatre company.

Hedda Gabler is currently on tour until March 10, 2018;nationaltheatre.org.uk/shows/hedda-gabler-on-tour

Venus in Fur by David Ives at Theatre Royal Haymarket until December 9

The Red Lion at Trafalgar Studios from November 1 to December 2