Q&A with actor David Sturzaker about 23.5 Hours

Exploring the wider implications a conviction has on family and friends, the European premiere of Carey Crim’s family drama focuses on what happens when a high school teacher who’s found guilty of sexual misconduct returns home from prison. 23.5 Hours provides an intimate look into testing relationships and delves into the complexities of collateral damage of past and present actions, trust, and the pursuit of justice. 23.5 Hours has previously been performed in North America and received a nomination for Best Play at the Ovation Awards Los Angeles in 2015. We spoke to actor David Sturzaker.

Tell us a bit about 23.5 Hours and your character Tom

This is the UK and European premiere of 23.5 Hours having been performed a couple of times in America. I play Tom Hodges, a high school teacher accused of inappropriate conduct with one of his students. The plays follows Tom's family and their friends as they to try to negotiate the repercussions. 

How does the dynamic between Tom and his family shape the story in 23.5 Hours?

The dynamic is central to the story. The play explores how the fallout from the accusation has a ripple effect that impacts the entire family and beyond. Even though the initial event is the same, it is felt in different ways depending on each person's perspective and their individual experiences. So a family previously in harmony with each other are suddenly thrown into chaos.

The play only gives the audience as much information about Tom's innocence as his family has. How does that ambiguity affect your performance?

The ambiguity is a great feature of the play. It raises questions, provokes discussion, but doesn't provide any easy answers. To fulfil that in performance it means playing each moment of writing as truthfully as possible.

Can you tell us a bit about your approach to preparing for a role like this? How do you step into the mindset of someone dealing with the consequences of a serious conviction?

As with many plays, a lot of research has gone into the writing, so by the time the script arrives with me I'm able to benefit from other peoples' hard work! On top of that I then do a lot of work to understand the character. Some of this is relatively straightforward - reading the books and listening to the music referenced in the play; but a lot of the preparation is imagining the situations that the character is in, how those situations would affect them and how they're dealt with. Ultimately all research is about getting into the frame of mind that gives rise to the words and actions in the play.

Given the heavy subject matter, do you find it challenging to leave the character behind when the show is over for the day? How do you unwind after such intense performances?

Don't know yet! At the moment we're still in rehearsals. Exploring the themes and the emotions is certainly challenging and it is important not to hold onto those feelings beyond the rehearsal room. When performing, the curtain call is an in-built way of starting to move away from the play and character. Then the routines of changing out of costume, chatting with cast mates, and the journey home, all help to unwind. 

What do you hope audiences take away from 23.5 Hours?

I hope they enjoy it despite the subject matter, that they feel they have seen an entertaining play. But it’s also a play that provokes new thoughts about the topic. Hopefully audiences will respond to the nuances that are presented and feel challenged by the different perspectives.

23.5 Hours is presented by Blue Touch Paper Productions, OPM Productions and Adam Kenwright in association with Park Theatre. It’s at Park Theatre 4 Sept – 5 October https://parktheatre.co.uk/event/235-hours/