From Book to Stage: Eva Di Cesare’s Masterclass

What inspired you to lead this masterclass, and what did you hope participants would take away from it?

Eva: That’s a really great question. The inspiration for running a masterclass on adaptation came from my nearly 30 years of experience with adaptations at Monkey Baa. I’ve learned so much over that time and really wanted to give something back to artists who are thinking about creating their own adaptations.
There are so many facets to the process - from how to get the rights to someone else’s work, all the way to turning a 350-page novel into a one-hour play. It felt like the right moment to share that knowledge and help others who are interested in this kind of work.

Were there any unexpected discoveries or reflections during the masterclass?

Eva: Yes! I was really delighted to see how ambitious the participants were. The kinds of works they wanted to adapt were bold and imaginative, which was so inspiring.
As someone who’s been doing this for a long time, I often dismiss certain books straight away — thinking, “Oh, that would be too hard.” But it was beautiful to be reminded of that early spark and courage that artists bring when they follow what’s in their hearts.

How do you navigate the balance between artistic vision and collaboration within the creative team?

Eva: Collaboration means putting your ego aside. In Where is the Green Sheep?, for example, I was both writer and director, and I had strong ideas about what I wanted. But I also left space for the team, the performers, and Judy Horacek, our visual art director, to bring their creativity into the room.
Everyone has to leave their baggage at the door and focus on creating the best work possible. As a director, you set that tone, but once it’s established, truly collaborative magic can happen.

What advice would you give to emerging artists or adaptors?

Eva: Be honest and consistent. If you tell an author what you intend to do with their work, stay true to your word. And if things change, communicate openly. Clear, respectful communication is everything.

How does Monkey Baa nurture the next generation of theatre-makers?

Eva: We’ve been doing that for many years, and it’s deeply rewarding. I often meet artists who tell me their very first theatre experience was a Monkey Baa show when they were five years old. Through our Creative Associate Program, we’ve supported emerging artists like Felicity Nicol and Mayu Iwasaki, giving them space to test ideas, take creative risks, and develop their own projects in a safe environment. Mentoring and creating pathways for artists remain a big part of what we do, and watching them grow into independent artists and producers has been incredibly rewarding.