With music by Andrew Lloyd Webber and lyrics by Don Black and Charles Hart, Aspects of Love has been wowing audiences at Manchester’s Hope Mill Theatre. Now as it approaches its final week of performances we caught up with Director Jonathan O’Boyle to hear a little more about his experience directing his third production at the award-winning Ancoats theatre.

Opening Night: How familiar with Aspects of Love were you before joining this production? Is it a show you’ve always wanted to work on?

Jonathan O’Boyle: I’ve always loved the score of Aspects, but I’ve never seen it on stage. I grew up listening to mix tapes of musicals, several being Andrew Lloyd Webber compilations. So invariably Love Changes Everything was on there. I grew up seeing his work and when I trained as an actor, I wanted desperately to be in one of his shows. Now, as a director, it’s an honour to be working on one of his shows. Aspects has a fantastic story and a brilliant score. To me, it’s his most narrative, actor driven show and this really appealed to me. We treated it like a play, where the characters just happened to be singing rather than speaking.

ON: How do you approach directing a new and reimagined production of a classic show like Aspects of Love?

Jonathan: I wanted it to be intimate. Now, I know everyone always says ‘intimate and stripped back’ but that’s really what I wanted and how I saw the show. The audience at the Hope Mill is so close to the action they can touch the actors. This influenced the design. I wanted the audience to be on stage with actors. Many of the locations in Aspects happen to be in cafes, so we decided to have a couple of the front rows of seats at cafe tables as if they were part of the action.

We then approached the rehearsals as if we were working on a play. We looked at character, character backstories, timelines and what the characters wanted and how they went about achieving this. This really deepened the actors connection to the material.

ON: Did the intimate space the production would be presented in play a major part in your directing decisions?

Jonathan: Absolutely. You have to respond to the space you’re directing in, and the Hope Mill is a very specific space with its own unique challenges. I think about the space at every stage of the process, from the casting to the design to the lighting rig to the sound design. Every choice I make has to be for the theatre.

ON: The reviews have been absolutely phenomenal, people are really responding to the show, this must be very gratifying to the cast and creative team?

Jonathan: It’s been incredible yes. We’re all thrilled with how it’s gone down. I’m so proud of the brilliant cast and creative team. We had a joyous rehearsal process (one of my favourite so far) and we said – if no one gets it, at least we had a great time rehearsing it! Thankfully, the audiences are responding to it in the way I’d hoped. I’m in constant awe of the cast and their talent.

We never presume it’s going to be good. In fact, I never know what the audiences are going to make of it or how it’s going to be received until we get an audience in the room. I trust my instinct and hope it resonates with people.

ON: This is your third production at Hope Mill Theatre – what makes this space/team so appealing to direct in?

Jonathan: I love the theatre and the team there. They’re all so welcoming and it’s always a pleasure being back. I’m from Derbyshire myself but my parents grew up in Salford and Rochdale, so I’ve been going to Manchester all my life. I love the vibe and the people there, so Manchester feels like my second home.

ON: Your previous shows at Hope Mill – Hair and Pippin – have both transferred to London. How much of a challenge was restaging them for London? Do you have a favourite of the three?

Jonathan: It is challenging re-staging for a different venue, primarily because the space is never the same and there are often idiosyncrasies that pop up here and there. What’s so brilliant though, is revisiting the material with the company and developing the show even further. You’re able to improve on things from the first time and the actors often find a deeper connection with the show and their characters.

They’re all so different! They had different challenges and were very different in tone. It’s hard to pick between them because I loved all three companies.

ON: What’s next for you?

Jonathan: I’m currently directing the UK Tour of Rain Man starring Mathew Horne and Ed Speleers. Then later in the year I’ll be directing the UK premiere of Ken Urban’s A Guide for the Homesick at Trafalgar Studios and Peter Pan at The Park this Christmas.

Catch Aspects of Love at Hope Mill Theatre until 9th August tickets available here.