Octagon Theatre artistic director Mark Babych became involved in its latest production the very second the decision was taken as to what it was going to be.

Mark, who has been in his current position at the theatre since 1999 and has been nominated for numerous awards, has a cast of 10 for Shakespeare's Twelfth Night, which will run at the Octagon between September 23 and October 16.

A former associate director of the Worcester Swan Theatre and a current associate artist of the Coventry-based new writing company Theatre Absolute, Mark will next year direct three plays under the banner of Street Trilogy for a national tour before a London run.

But for the moment his attention is fully concentrated on Twelfth Night, which he chose.

Mark said: "It's a long time since the Octagon has done any Shakespeare and I wanted to do a comedy. And this is the most beguiling of all Shakespearian comedies."

After deciding on Twelfth Night, the next step was talking to the designer and then casting.

Some auditions were held, but a small number of actors were actually invited to perform.

"With some actors I thought how brilliant it would be to have them in a particular part," he said.

Sometimes agents are approached or they send submissions, then there is about a month of auditions before the cast is picked.

Some actors can be involved in two recalls before a decision is made.

And it is entirely Mark's decision. He admitted it is "terrible" to reject actors and described it as "the worst part of my job". He spends some time with people in auditions because he wants to find out how he will "spark off" with an actor.

Unlike some directors, Mark ensures that every actor who auditions gets a reply. Some actors are left waiting in limbo and only realise they have lost out on a part when they learn rehearsals have started and they are not part of them.

Actors approach him directly "all the time" when they know a play is being cast.

"It is difficult when actors are friends but you have to maintain a professional perspective. Turning friends down who have auditioned for you is horrible," he said.

Once cast there are a series of production meetings for the play about the staging and themes.

"Quite often we find we are over budget and we work to find what little nips and tucks can be made to bring it in on budget," Mark said.

Then the rehearsal period starts.

"The first day is when everyone meets for a read-through and all taking part are nervous," Mark said, "including me".

There are chats about initial ideas and to get people into the world of the play.

Mark expects every actor he auditions to have read the play -- if they have had sufficient time.

Sometimes by the read-through actors have learned their lines, but others do not feel this is of benefit.

Mark said: "There is a substantial difference between reading and performing a play."

But after the first week actors need to get off the "book" -- the script for the play -- as soon as possible.

There are never prompters at Octagon productions. There have been occasions, Mark conceded, when actors have "lost" lines, but he believes if performers are good enough they are able to get themselves out of such situations.

There are four weeks of rehearsal for Twelfth Night which has a complex narrative. People need to understand the story and how it is released through the language, Mark said.

"We have worked a lot on the clarity of the language.

"This play has the most fabulous language and when done right should be as stunning as the visual elements of the play," he said.

The shape of the play begins to emerge during the second week of rehearsals.

Sometimes a scene may be rehearsed for three hours. But Mark admits that at times the direction a scene takes will change during a rehearsal period.

"Directing is about being alive to the possibilities of change," he said.

He takes on board suggestions from actors "all the time" but said directing is about the ability to "sift" through these suggestions.

As the rehearsals progress, not all the actors are needed every day. But they are welcome to watch their fellow actors in scenes.

Sometimes there are up to three dress rehearsals.

"People expect perfection on the first night and they have every right to do so," Mark says.

"We are constantly trying to make the play better and better and don't stop until it finishes its run."

Factfile:

The Octagon Theatre was established in 1967 and has won many awards, including the City Life magazine prize for best production for Rat Pack Confidential two years ago.

The theatre's auditorium seats up to 380 and no seat is more than nine rows away from the stage.

The Octagon Theatre building is actually hexagonal, but the main auditorium is an elongated Octagon.

Tickets for all productions, including Twelfth Night, can be bought on 01204 520661.

More information can be obtained at www.octagonbolton.co.uk