It all sounded like it was up my street so I thought, why not? A one man play based on the classic, The Call of Cthulhu, to take to Edinburgh later that year. The advert was for the Cthulhu based role playing game (never played it btw) and showed picture of an old haunted house (you know, like in Psycho) and all around it were weird tentacle like creatures and men in trilby hats so I got a kind of latent ‘dark Indiana Jones’ vibe from that first book and the instant visual memory that must have lingered in my mind since I was sixteen.Īll I knew really was that the material was weird, science-fiction horror based and very VERY dark. At this point I had never read any Lovecraft and the only connection I had to him was a very distant teenage memory of an advert in White Dwarf magazine. Well, it turned out that the shop was out of Kipling but as I looked over the shelves, I came across this Lovecraft anthology with, The Call of Cthulhu, prominently on the front cover.
Warped reality cthulhu movie#
Originally I thought that I could perhaps do an adaptation of the Rudyard Kipling story, The Man Who Would Be King, as I had always loved the movie and I remembered reading the book years ago. I would at least think about it for a while.
Why not? At this point, I had no knowledge of the logistics, the cost or anything for that matter to do with The Edinburgh Festival but the seed had been sown and a fire lit beneath it. The thought was that I had always day dreamed about going to Edinburgh and doing a show in the festival. It was one of those moments where you are kind of desperate and don’t think that logically save for having or rather needing to do something that you truly believed in. Back on the audition trail, I supposed…but then I had another thought. Four months of company, four months of travel and four months of paying the rent but…I turned it down. Now, this is a tough decision for a jobbing actor as essentially you are turning down four months of secure work in an already overpopulated profession with not enough work to go around. As it happened, I wasn’t offered a part in that play but in another one but after a bit of soul searching, I decided to turn this down as I felt it wasn’t really for me. During this time, I was also waiting to see if I would be offered a part in a particular play for the long, summer tour that I had auditioned for earlier in the year. MS: Weeeel, it’s a bit of a tale to tell really and an unexpected one…īack in March 2010, I was working for a theatre company for the whole month working with a close knit team devising a handful of short pieces for various projects.
I was interested to know more about Michael’s career so far and he’s been kind enough to give us this interview.īAH: You’ve adapted several Lovecraft short stories so far…my first question is, where did the idea to adapt Lovecraft for the stage come from, and what sorts of challenges are involved with the process? I reviewed the show at the time and since then, I’ve become a big fan of Michael’s other work his ambitious, atmospheric and pitch-perfect adaptations of Lovecraft’s stories deserve to be seen and enjoyed, so well do they capture the otherworldliness of the source material. A couple of years ago, I was fortunate enough to catch a theatre performance which made a sizable impression on me this was an adaptation of a lesser-known H P Lovecraft story, ‘The Temple’, and the writer & performer behind this one-man show was Michael Sabbaton.
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