Lotte's Gift

Based on the memoirs and recollections of Lieslotte Reinke and the recollections of Isolde & Karin Schaupp and Trudy von Stein, Lotte's Gift was written by David Williams especially for Karin Schaupp. Telling the story of Schaupp's grandmother, a talent musician whose career was frustrated by the drama of the twentieth century, it looks at the way politics and warfare can impact on one person's life.

Classical guitarist Karin Schaupp is one of Australia’s most esteemed musicians and has performed with international orchestras, and it was Lotte who gave her her first guitar at the age of three.

This seems to be a very personal story for you. What made you feel that Lotte's story would make a good performance, rather than, say, a novel?

It was actually the playwright, David Williamson's idea, to use this story. We were having a chat about what we might do and he started asking me about my family. The more I told him of my grandmother Lotte, the more excited he became and said, "that's it! That's the story we have to tell!" The play is in an unusual form in its combination of music and words, but for me it's turned out to be a wonderful way to tell this story, as music was such a big part of my grandmother's life and some things can be said in music better than in words.

 

Since you are already acclaimed as a guitarist, why did you begin to act as well?

It had been a secret lifelong dream to do some acting. I guess it's often the other way around - actors want to be musicians! I finally decided to take some courses and found it intoxicating to be able to communicate so directly, as music is much more abstract. I then moved onto very serious private coaching for the last few years and found my teacher to be a huge inspiration. It kind of snowballed from something I thought would be a bit of fun, to realising that combining the two artforms - music and theatre, would be immensely satisfying professionally. I guess I took a bit of a professional risk but luckily it's paid off... I would never stop being a guitarist of course but I LOVE being able to communicate in two languages (music and words) on stage!

Are there any "transferable skills" (horrible phrase, sorry) from playing to acting? Does your ability as a musician lend you anything that would be perhaps unfamiliar to a more classically trained actor?

I did find acting very natural and yes in many ways it is very similar to musical performance. Both require you to bare your soul, and it's really only when you do that, that the performance really moves people. I think having had so much stage experience in different contexts - solo and with other musicians - has informed my acting and given me a certain level of comfort with being on stage. I have always "played myself" on stage as a musician and that's something that actors often find very challenging. It just so happens that I play myself (as well as my grandmother) in this story, so that was handy!

 

How close is your collaboration with the author? What sort of process developed Lotte's Gift?

We collaborated closely in the sense that David got all the information for the story from my family, as it is all true. He interviewed my grandmother, my mother, aunt and me. He also had my grandmother's memoirs to work with. He then shaped the story and identified where the musical moments should be. I then chose the music, but of course we consulted each other all the way, and since the first version in 2006, the show has developed and been refined significantly.

Why did you decide on the Fringe for the run of the play?

This is a showcase for new theatre and since this is such an unusual form for telling a story, the Fringe seemed an obvious choice. I am privileged that one of Australia's leading producers, Christine Dunstan, has brought us here. We have toured the play extensively back home - we've done about 120 shows, so the time seemed right to bring it overseas for the first time.

How do you find audiences around the world, both for playing guitar and acting? Are there any marked national differences in response?

On the whole, American audiences tend to be really vocal, while Asians tend to be much more reserved, though not necessarily less appreciative. The wonderful thing about playing the guitar in foreign countries is that music crosses cultural and language barriers. It's a cliché but it's true and it's wonderful to experience that.