Simon Stephens’ Port makes its Australian debut at KXT on Broadway, treating audiences to a heartfelt exploration of family, identity and the complicated ties to home. Set in Stockport, UK, from the late 80s – 2000s, the play brings together a phenomenal team of NIDA graduates, including Director Nigel Turner-Carroll (Acting, 2008), Actor/Producer Grace Stamnas (Musical Theatre, 2017), Costume Designer Benedict Janeczko-Taylor (Design for Performance, 2022) and Production Lead/Associate Producer Bella Thompson (Technical Theatre and Stage Management, 2022). In this interview they reflect on the creative process, the challenges of independent theatre, and the lessons from their training that continue to guide their work.
Costume Designer, Benedict Janeczko-Taylor (Design for Performance, 2022):
How do you approach designing costumes that show the shift in time while also reflecting the individuality of each character?
Thorough research is essential to authentically capturing any historical period. Port offers a particularly rich opportunity in this regard, as Stockport and the greater Manchester area were culturally vibrant at the time. After closely analysing the script to understand each character’s needs, the next step is to immerse oneself fully in the social and historical context of the setting. As the narrative progresses and the characters evolve, the costume design must not only reflect the era but also support each character’s personal journey – capturing their internal growth and shifting identities through what they put on, rather than strictly adhering to period accuracy.
Has there been anything that’s surprised you while designing costumes? What has been the most fun and the most challenging part of this process?
The most enjoyable aspect of this process has been exploring archival photographs of Greater Manchester from the 1980s through to the early 2000s. I’m fascinated by the ways people choose to construct and display their identities. There are always surprises at the start of any design process – sometimes it’s time, sometimes it’s budget, and sometimes it’s not even knowing what the problem is until it suddenly appears. The real challenge (and joy) lies in negotiating the balance between the subtle discoveries Nigel, the actors and I uncover together: what the characters want to reveal, and what we decide to show. At KXT, the intimacy of the space means audiences can really catch those details in a way that larger theatres often can’t.
Actor/Producer Grace, Grace Stamnas (Musical Theatre, 2017):
You’re both on stage and behind the scenes as producer for Port. How has balancing these two roles influenced the way you connect with the story and the team?
Balancing the two roles has given me a really unique perspective. As a performer, I get to live inside the story and explore April’s world from the inside out. As a producer, I’m constantly holding the bigger picture in mind; how all the creative elements fit together, how the team feels supported, and how we make sure the production reaches an audience. I think the two roles actually feed into each other: producing has made me deeply conscious of the value of everyone’s work and the practical realities of making theatre happen, and acting has kept me connected to the heart of the story, which is why we’re all in the room in the first place. It’s a big job juggling both, but I believe it’s strengthened the trust and collaboration across the team, because I’m experiencing the process from both sides.
The team behind Port is full of NIDA-trained talent, like yourself. What has this collaboration been like?
It’s been such a rewarding collaboration. There’s a kind of shorthand that comes from training at the same place. But what’s most exciting is that everyone has gone on to develop their own voice and practice since graduating, so we’re bringing different perspectives and experiences back into the room. There’s a real generosity and curiosity across the team.
In my second year at NIDA, I was on the student council, and that’s where a lot of my connections on this team began. Bella Thompson, who is now our associate producer and production lead, was someone I worked very closely with on SCON. Being on the student council also meant collaborating with students from other disciplines and across different year groups, not just the actors in my cohort. I think that experience was a big step towards producing as it gave me the skills to work across teams and, just as importantly, it helped me form the personal and professional relationships with NIDA graduates that have led me to this point.
Director, Nigel Turner-Carroll (Acting, 2008):
Port is a deeply moving story about family, identity, longing and belonging. What drew you to directing this play and what do you hope audiences take away from it?
Initially what draws me to any work are the people. I had directed Grace on a project at NIDA and when she approached me to direct this work for December Theatre Company, I felt that working with her again would be a hugely positive experience-which it has been. In terms of the work, it mirrors much of the town in which I grew up in. I thought ’I know these people’. A working-class piece, that is raw and doesn’t pull punches. We see the best and worst of humanity. This is the work I like.
What I hope audiences take away from this – either a slice of life from a part of society, that they either know well, or we are introducing to them for the first time. An exciting night in the theatre.
As a NIDA-trained actor, how has your background in performance shaped the way you work with your cast and creative team on Port?
My background in performance, I feel, allows me to have a greater understanding of where the actor is emotionally, mentally, and physically throughout the process and where I might be able to help them in their journey through rehearsals. Working with the creative team, that’s something I’ve learned along the way from over a decade of directing.
Production Lead/Associate Producer, Bella Thompson (Technical Theatre and Stage Management, 2022):
As Production Lead and Associate Producer, you’re responsible for bringing the moving parts of Port together. What have been some of the most rewarding moments in rehearsing this production?
In any production there are going to be challenges, but when you don’t have the budget of a huge commercial show, or a team of dozens of people in each department, you have to come up with some creative solutions. Knowing some of the work that the Port team do outside of this show and watching everyone bring such a variety of experiences to the table has been so exciting. It’s easy to make something amazing when you have the resources. When you’re working with all the limitations and hurdles that independent theatre comes with it’s very impressive to create something out of nearly nothing.
How has your NIDA prepared you for putting on a show like Port? Are there any lessons you still lean on?
NIDA was a great way to learn how to knuckle down, simply because everyone was just as busy as you are and sometimes you have to help paint the floor. In an indie show like Port we’re really lucky that everyone is amazingly hard workers, and care so much about the work they make that they’re willing to help out with things and make it work no matter what. I really respect people who are willing to sweep the stage even when they’re wearing fancy shoes.
Port is playing at KXT on Broadway from 19 September – 4 October.