Meet Debbie Isitt, writer and director of Military Wives – The Musical

We caught up with Debbie Isitt, writer and director of Military Wives – The Musical which has its world premiere at York Theatre Royal this week.

What inspiration did you take from the film when creating the musical?  

I was very inspired by the beautiful film of The Military Wives story. I loved how authentic and meticulously researched it was with a brilliant script, top notch cast and the perfect tone of comic-tragic storytelling.  Having seen the fantastic original Gareth Malone documentary series too it felt like I had a wealth of amazing material to use as a jumping off point for a new stage musical. Of course, theatre is such a different medium to both film and documentary that it felt right to create a story that was very much its own standalone creation with new characters and a fresh perspective from my own personal research and point of view. I was also lucky enough to create the production with an incredible cast who contributed their own character improvisation to help bring the story to life. 

Can you talk about the process of working with real military wives and communities during development- how did their stories help shape the show? 

I was very privileged to meet some real members of the Military Wives Choir, to hear their stories and attend choir rehearsals.  They invited me into their homes; I met their families and was also taken behind the wire into the soldiers barracks.  It was an honour to have first-hand experience of life on the ‘patch’. I found meeting the women profoundly moving and inspiring.  

The women I encountered were so welcoming and open and honest and they answered all my questions with courage and vulnerability. My time with them helped to shape the characters and chart their emotional journeys, but perhaps most importantly gave me immense respect for the way they overcome their challenges and made me understand how vitally important the choir has become for these women’s self-confidence and sense of community in an often isolating and transient environment.  

 You’ve worked across film and stage – does your creative process differ when directing for theatre versus film? 

Directing theatre is much warmer! I don’t have to spend hours on location in the freezing cold, battling snow blizzards (my own fault for making so many Christmas films!) But theatre for me is all about the power of imagination and suggestion – I love the freedom of being able to mix heightened, abstract ideas with emotional truth and relatable characters. 

The process of creating theatre is in many ways simpler than film, but naturally it has limitations too. We can’t get on a coach to shoot a scene in London or fly to Afghanistan for a combat scene – we must create a new visual language with design, sound, lighting and movement to suggest those places – we have to be more inventive and less literal. With film the editor and I can edit a scene with a cut or dissolve but with theatre the transition is through music or a shift in light or movement to change location.

My process in both mediums is very actor centric so my use of improvisation and encouraging actors to ‘own’ their characters and take risks is something that I am passionate about in any medium – and the ingredients of story, colour, truth, humour, emotion and joy are present in both too. Luckily, I work alongside highly skilled experts in both art forms to help me realise my vision.  

How did you go about selecting the songs for the production, and what role do they play in telling the story? 

Music supervisor genius George Dyer and I have collaborated on previous musicals and have found a way of selecting songs that come from story – that connect to the women’s lives and have personal meaning to the characters.  We wanted a musical experience that uplifts and empowers not only the characters but also the audience.

Just as the real Military Wives Choir has an eclectic mix of upbeat, feel-good songs mixed with more poignant, emotional ballads in their repertoire, so the musical needed to reflect the broad church of the women’s tastes and experiences.  We aimed for songs that are in turn rich, joyful, fun, devastating and heartfelt. They are not shoe horned in by us but rather come from the authentic choices we feel the characters would make.  

The songs offer us an insight into the women’s journeys and their vulnerability and helps chart their transformation from stoic, sometimes lonely often anxious women to strong, bonded, confident ‘sisters.’ 

Why do you think it’s important to create new musicals in regional theatres rather than always starting in the West End? 

I am born and bred in the West Midlands and access to a thriving regional theatre scene was a vital part of my growing up and one hundred per cent the reason I am a creator of theatre today.  Having access to theatre that is local gives us all a sense of belonging and gives voice to our local communities – having access to more affordable theatre on our doorstep made primarily by our tribe for our tribe means we as a nation are represented with all of the richness that our regions offer. Regional theatre is the birthplace of some of the best theatre in the world and an integral part of the global theatre ecology.

 What would you like the audience to take away from seeing the show? 

I would like the show to inform, inspire and entertain the audience, but mostly I hope the audience take away a feeling of empowerment – the universal truth that community, song and friendship can help us all overcome challenges and adversity in our lives. Also a new found respect for the amazing women who live with or are married to members of the military and all that they endure and overcome. 

 What do you do when you’re not directing/writing? 

Sleep!  

 Favourite karaoke song? 

Islands in the Stream.