Best known for 2004 Perrier Award winning Jackson’s Way and latterly the 26 date tour of the same, The London Jacksathon (2010) Will Adamsdale has collaborated on a wide of theatre projects including the multi-award winning The Receipt (with Chris Branch). Films include Pirate Radio (The Boat That Rocked) and Four Lions. He has recently appeared as a magician with The London Snorkelling Team and also is a regular in Channel 4’s Campus. Run Riot caught up with Will for a man-to-man chat about his latest collaborative production The Summer House that runs at the Gate Theatre from 28th February to 24th March.

RR: How are you? How are rehearsals going?
WA: We're good. This shows a bit hectic though as we believe in doing everything the hardest way possible at every turn and running everything by committee.

RR: What fears does The Summer House play on to dramatic effect?
WA: It plays on the fears of being alone in a house in the middle of nowhere. Also I guess there is a lot of fear underneath the tough appearances men like to put up. Fear of failure, of being found out...

RR: Why Iceland?
WA: Iceland because John and Neil know it quite well and their descriptions of it were captivating. It sounded so otherwordly, like another planet; fire and ice and geysers and mad green skies, single lane roads going across glaciers for ages. They could've said anything and I would've believed them. In fact I suspect they made lots of it up (which wouldn't have mattered as it s just this idea of somewhere magical that feels right for modern 30-something Brits feeling removed from their moorings). You don't have to have been there; can imagine whatever fairytale landscape or culture you want. With Reykjavik being the stag party capital it was a good way of getting them there.

RR: How would you define modern masculinity?
WA: We've talked about this. Matt suggested that, to be real man, you have to have been on your own roof.

RR: Where are the women of The Summer House?
WA: I suppose it's about men in the end, and what we're like with each other. We talk about women a bit, but not much, which is I think fairly true to life. Men regress alone; either get macho or talk about album covers. Either way it doesnt sustain for long.
We read a book called 'Iron John' which was a seminal book on masculinity in the 80s, promoting getting in touch with your ' wild man'. for a time this led to lots of suburban men doing drum circles and sweat lodges and burying themselves in the countryside. which is a pretty funny picture. this show is kind of a take on that.
On tour a woman in Newcastle said she enjoyed this aspect, that she wanted to know what men were like on their own and this show attempted that. But then that was one woman, in Newcastle. I hope other women feel the same.
Mostly the show s a bit of a caper though; there s a lot more running into things than seriousness. And there are vikings. Neil plays the only woman in the show, a giantess, in fact. It's a very well rounded portrayal of womanhood, I feel.

RR: What has the devising process been like? What have been the pros and cons of working with such a great team of established creatives?
WA: I've loved this collaboration. All collaborations seem to be different. I'm not sure that there are rules, you develop a way of doing things. John's great at working with whatever you're bringing to him, not imposing himself too much. And you can't rush (that said it'd be nice if it didnt have to take three years next time!).
Cons of working with these guys: they dismiss my amazing ideas. Pros of working with these guys: they dismiss my amazing ideas.

RR: Can you tease us with a sample offering of a comic moment from the play?
WA: There's a moment that makes me laugh when a character breaks an artwork and then, pathetically, stands in front of it to hide it from another character. They end up discussing art by mistake, which is not really an urgent issue as there are potentially life and death things happening at the same time.

Fuel presents
The Summer House
A New Comedy Thriller
Devised by Will Adamsdale, Neil Haigh, Matthew Steer and John Wright
Directed by John Wright
Gate Theatre, London 28th February to 24th March 2012