Tag Archives: john gielgud

The History Boys and Girls

Your humble author and Philippa Waller in Stephen Jeffrey's 'Hard Times' at the Watermill Theatre, 2000. Dir. Guy Retallack

Your humble author and Philippa Waller in Stephen Jeffrey’s ‘Hard Times’ at the Watermill Theatre, 2000. Dir. Guy Retallack

Ah, ‘Hard Times’! What a show that was. Watermill Theatre, year 2000, Guy Retallack directing, wonderful cast. If only I could go back and do it again. But that’s one of the tragedies of a stage actor’s life. Theatre is a transient, fleeting thing. No matter how wonderful your performance might have been, no matter how successful the production, as soon as the curtain falls on the last night, it is nothing but a memory. There is no way to recapture the feelings you had, or the magic spell the show cast over its audience. John Gielgud used to bemoan the fact that he couldn’t revisit his old performances, or, as he put it, (to be read in the great man’s voice) ‘Awake in the night and admire it as it sat on the mantelpiece’.

These days, of course, many theatre performances are professionally filmed, and these screenings are a great way for people to see shows they might otherwise miss. But they never really capture the thrill of being in the same room as the actors – that intangible frisson that happens when the lights go down. Theatre is a true shared experience – the audience has as much influence on how the show goes as the director does; it is implicated.

There is no real way of bottling this particular genie, but I think some of the magic of a stage performance is best presented in a still image. It’s a far more subtle way of spying on a show, sneaking a peek at the actors at work. A great theatre photograph can convey so much about a production.

And there is a noble and fascinating history to the art. Lord Snowdon’s wonderful theatre images, for example, are an essential addition to the shelves of anyone interested in British theatre.

I recently stumbled across a wonderful book called ‘Theatre Year’, one of a series of books published in the late 70s and early 80s, which featured the work of a master of the art of theatre photography, Donald Cooper.

Theatre Year 1983

Along with fascinating overviews of the year’s work by the supremely knowledgeable critic Michael Coveney, they documented the notable productions of a particular year, in this case, 1981-82, and are hugely evocative of their time. There are some wonderful images here, which make me nostalgic for a time before I was regularly attending the theatre. There is a slightly cautionary aspect – many of the photographs come from shows I have never even heard about, and are filled with actors whose names I don’t recognise. In another 30 years’ time, if my photograph appears in such a compendium, will anyone know who I was?

Here is a brief selection of some of the most interesting shots from ‘Theatre Year’ – all are copyright of the photographer Donald Cooper, and I include them purely for reference. A far more extensive selection of his extraordinary images can be found at www.photostage.co.uk.

A wonderful cast for the first production of Caryl Churchill’s ‘Top Girls’ at the Royal Court:

Lindsay Duncan, Gwen Taylor and Selina Cadell in Caryl Churchill's 'Top Girls' at the Royal Court. Dir. Max Stafford-Clark. © Donald Cooper

Lindsay Duncan, Gwen Taylor and Selina Cadell in Caryl Churchill’s ‘Top Girls’ at the Royal Court. Dir. Max Stafford-Clark. © Donald Cooper

‘Oi For England’ at the Royal Court Theatre Upstairs, by Trevor Griffiths – part of the Young People’s Play Scheme. The play was also filmed. A young Paul McGann can be seen at the left:

Paul McGann, Dorian Healy, Robin Hayter and Peter Lovstrom in 'Oi For England' by Trevor Griffiths, Royal Court Theatre Upstairs. Dir. Antonia Bird. © Donald Cooper

Paul McGann, Dorian Healy, Robin Hayter and Peter Lovstrom in ‘Oi For England’ by Trevor Griffiths, Royal Court Theatre Upstairs. Dir. Antonia Bird. © Donald Cooper

A future James Bond as Hotspur, in Trevor Nunn’s production of ‘Henry IV part 1’ for the RSC at the Barbican. Hal is played by the amazing (and sadly missed) Gerard Murphy:

Gerard Murphy and Timothy Dalton in 'Henry IV part 1' at the Barbican/RSC. Dir. Trevor Nunn. © Donald Cooper

Gerard Murphy and Timothy Dalton in ‘Henry IV part 1’ at the Barbican/RSC. Dir. Trevor Nunn. © Donald Cooper

The first production of Julian Mitchell’s ‘Another Country’ at the Queen’s Theatre brought us the West End debuts of two remarkable actors:

Rupert Everett and Kenneth Branagh in 'Another Country' by Julian Mitchell at the Queen's Theatre. Dir. Stuart Burge. © Donald Cooper

Rupert Everett and Kenneth Branagh in ‘Another Country’ by Julian Mitchell at the Queen’s Theatre. Dir. Stuart Burge. © Donald Cooper

– and here’s a wonderful bit of archive footage from Newsnight, with Joan Bakewell interviewing  Mitchell and his two leads:

Peter Hall’s epic ‘Oresteia’ at the National:

Peter Hall's production of 'The Oresteia' by Aeschylus at the Olivier, National Theatre. © Donald Cooper

Peter Hall’s production of ‘The Oresteia’ by Aeschylus at the Olivier, National Theatre. © Donald Cooper

‘Boogie!’, or to give it its full title, ‘Boogie Woogie Bubble ‘N’ Squeak!’ – a pastiche musical about girl vocal trios – starred Sarah McNair, who later became one of London’s top literary agents:

'Boogie Woogie Bubble 'N' Squeak' devised and performed by Sarah McNair, Michele Maxwell and Leonie Hofmeyr at the Mayfair Theatre. Dir. Stuart Hopps. © Donald Cooper

‘Boogie Woogie Bubble ‘N’ Squeak’ devised and performed by Sarah McNair, Michele Maxwell and Leonie Hofmeyr at the Mayfair Theatre. Dir. Stuart Hopps. © Donald Cooper

This must have been extraordinary – Paul Scofield as Don Quixote, with the wonderful Tony Haygarth as his Sancho Panza:

Paul Scofield and Tony Haygarth in 'Don Quixote de la Mancha' at the Oliver, National Theatre. Dir. Bill Bryden. © Donald Cooper

Paul Scofield and Tony Haygarth in ‘Don Quixote de la Mancha’ at the Oliver, National Theatre. Dir. Bill Bryden. © Donald Cooper

Helen Mirren and Michael Gambon together in ‘Antony and Cleopatra’ for the RSC – can you imagine! I saw Ms Mirren return to the part at the National Theatre 15 years later, with Alan Rickman as her Antony. An extraordinary actress:

Michael Gambon and Helen Mirren in 'Antony and Cleopatra' at The Other Place/RSC. Dir. Adrian Noble. © Donald Cooper

Michael Gambon and Helen Mirren in ‘Antony and Cleopatra’ at The Other Place/RSC. Dir. Adrian Noble. © Donald Cooper

Finally, Robert David Macdonald’s play ‘Summit Conference’ imagines Hitler and Mussolini’s respective lovers, Eva Braun and Clara Petacci, meeting and clashing in Berlin. What an impressive line-up here – and a reminder of the magnetism of Glenda Jackson:

Gary Oldman, Georgina Hale and Glenda Jackson in 'Summit Conference' at the Lyric Theatre. Dir. Philip Prowse. © Donald Cooper

Gary Oldman, Georgina Hale and Glenda Jackson in ‘Summit Conference’ at the Lyric Theatre. Dir. Philip Prowse. © Donald Cooper

These wonderful books can still be found out there, and I’d encourage you to seek them out – they are surprisingly inspiring. Wouldn’t it be good if we could revive the concept?

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Close Encounters with the Third Age

pigeon fancier

Who has a job for life these days? That fondly-remembered (probably mythical) era when you’d start work in the factory at 17 – the same place your father worked, and his father before him – safe in the knowledge that you’d be clocking on until you were 65 and it was time to retire and give your days over to your racing pigeons or the rhubarb in your allotment… Those days have now gone. Nobody can really expect to stay in a job for very long. But at the same time, the ‘default retirement age’ as it is known, which had been set at 65 for decades, has been phased out, and UK workers are under pressure to work for longer.

They’re all getting a bit more like the humble actor. We theatricals must be more familiar than most with this sort of work landscape. Let’s face it, much of the time in our profession, as soon as we get a job we’re preparing for it to be over, eyes always on the horizon. Along with a flexible attitude to work comes a very loose approach to retirement. If you stay the course and battle through those difficult early years, chances are you’re in it for the long haul. Most of us are not waiting for the day we can throw in the towel – it’s far more likely that we are travelling hopefully, always waiting for the Big One and fully expecting to keep going until we finally peg out live on stage. Tommy Cooper, Sid James, Eric Morecambe; the profession is full of romanticised tales of seasoned pros breathing their last in front of a paying audience.

But as we know, the profession itself often has other ideas. Despite our ageing population, the acting world doesn’t seem all that interested in old people. In an industry that is passionately infatuated with Youth, is there a place for an actor over 50, 60 or 70?

sam and auriol

I spoke recently to directors Sam Walters and Auriol Smith, who founded the Orange Tree Theatre in Richmond, and ran it for 43 years. Sam retired as Artistic Director of the theatre in 2014, and although both he and Auriol are still active in the profession, he was sounding rather ground down. ‘My desire to be involved in the theatre at all has diminished enormously recently,’ he said. Describing himself as ‘considerably less enthusiastic’ about the profession, he decried the theatre world’s obsession with youth: ’The New is concerned with the Young. And the tendency is always to denigrate the past.’

Auriol Smith has always acted as well as directing, and says she is ‘just as enthusiastic, but more cynical about the way theatre is heading.’ The contribution Auriol and Sam have made to the profession over the past four decades can’t really be overstated, and yet they clearly feel side-lined.

There is much talk these days of the ‘Third Age’, which is defined as the period of ‘active retirement’, post middle-age. I imagine most actors in their late 60s and 70s would take issue with the suggestion that they are in any sort of retirement at all, rather that they are trying to engage with work in the same way as ever – we all know the stories of John Gielgud changing agents at 96 in his determination to keep working. But if the work isn’t there, how can actors stay engaged?

A number of recently-established companies are trying to grapple with this issue. The Visible Theatre Ensemble, under artistic directors Sonja Linden and Sue Lefton, is one such endeavour. Their intention is to create ‘exciting contemporary theatre that both represents and transcends issues of older age. Our vision is a future where the contribution of older actors is honoured by British theatre.’

WHO DO WE THINK WE ARE

Visible recently worked with playwright Sonja Linden and a cast of older actors to devise their very successful production, ‘Who Do We Think We Are?’, which was presented at Southwark Playhouse in 2014, and they are currently running a season of workshops under the heading ‘Gravitas’, for professional actors over the age of 60, led by seasoned practitioners such as Mike Alfreds and Max Stafford-Clark.

Visible contend that ‘there is a lot of negativity about being older in our society, and this is heightened for actors, continuously in the public gaze. What is missing is the recognition of what is their most powerful resource – life experience.’

james roose evans

Another company set up specifically to create work for older actors is Frontier Theatre Productions, led by veteran director James Roose-Evans. James’s extraordinary career spans 60 years; among many other achievements, he was founder of Hampstead Theatre, and adapted and directed the original production of ‘84 Charing Cross Road’ in the West End and on Broadway.

James told me that, while running a workshop in London with actors over 70, he’d had been struck by how open to exploration they were. ‘This set me thinking about what a huge bank of talented actors in their sixties upwards we have in this country, which is largely untapped.’

jake murray

James’s experience led to the establishment of Frontier with director Jake Murray, who was Associate Artistic Director at Manchester Royal Exchange from 2001 to 2007. ‘The Third Age is as rich and profound as any other phase in our lives,’ says Jake. ‘In the past, old age was seen as a great achievement, a time of wisdom and new insights. Now we have drawn a veil over it. As a consequence a vast amount of people have been made invisible. We must give them a voice.’

mercy

James and Jake hope to achieve this both by reviving plays, but also finding new writing. Their latest production is ‘Mercy’ by Clare Whitehead, part of the So And So Arts Club’s EverHopefull Repertory season. ‘Since Frontier was launched, we have been getting scripts from New Zealand, Australia, America, Canada, as well as from the UK,’ says James. ‘Clearly we have touched a nerve.’

James is also keen to involve younger actors in Frontier’s work, to give them the chance to learn alongside older actors. ‘Clearly older actors, if they have talent, have a greater experience of the craft of acting, which they can impart to younger actors.’

There are plenty of young actors out there, of course, but one of the industry’s main preoccupations has always been the need to attract young audiences. This in turn has fed a negative attitude towards older theatre-goers – the cliché of the ‘blue-rinse brigade’. During their time at the Orange Tree, Sam Walters and Auriol Smith built up a fiercely loyal – and very theatre-literate – audience. ‘Theatre-going is a habit,’ Ariol points out. Sam agrees: ‘It is something they have known and grown up with. For the older members of the Orange Tree audience, their theatre-going was an important and meaningful part of their lives. That is why I always reacted strongly to any disparagement of them.’

I asked James Roose-Evans if he thought theatre was generally more appealing to older audiences. ‘I don’t agree with this. When I directed Christopher Fry‘s ‘Venus Observed’ at Chichester, Patrick Garland included it in the season but not expecting it to do well at the box office. The production was sold out, and what amazed Patrick and myself was how many young people responded, discovering Fry for the first time‘.
Jake Murray believes it is a complex issue. ‘It’s partly generational, as theatre was part of the older generation’s landscape, educational standards were higher back in the day and theatre didn’t have to compete with Netflix, Playstation, Facebook, etc. But there is still a strong, dedicated young theatre-going audience out there who are excited by what they see on the stage.’

Maggie Gyllenhaal

Discrimination against older performers is also being raised more and more – actress Maggie Gyllenhall recently spoke out against ageism in Hollywood, and revealed she had been told she was too old to play the love interest of a 55-year old male actor. She is 37. It is certainly still true that women have a far tougher time of it as they get older. As James Roose-Evans observes, ‘After sixty, women tend to become invisible.’ His work with Frontier hopes to improve this state of things by producing new work specifically designed for older actresses. ‘One example which, to the best of my knowledge, has never been tested in the theatre,’ says James, ‘is the rich relationship between grandmothers and granddaughters who are in their late teens, early twenties.’

For his part, Jake Murray is optimistic. ‘There are more writers writing great parts for older women,’ he says, ‘and not just female writers, but men too. I tell writers to write for women, especially older ones, as there will always be more talented women in the profession than men.’

In cinema, as Murray points out, the ‘grey pound’ is being served targeted more than ever:
‘There is an increasing presence for big movies that deal with the older experience. The ‘Marigold Hotel’ films are a case in point, and movies like ‘Quartet’ and ‘Amour’. I think when people love a screen actor they enjoy seeing them still doing it in their old age, especially if they can be playful with their image.’

Diana-Rigg game of thrones

Television, most of all, seems willing to embrace its older audience. Shows like ‘Last Tango in Halifax’ and even ‘Game Of Thrones’ clearly recognise the value of casting older actors –performers like Diana Rigg and Julian Glover bring decades of experience, but also carry with them the weight of earlier roles.

The entertainment industry deals in dreams, ideals and fantasy, which often means avoiding the harsher realities of life. But we have an ageing population – a community which can’t be ignored and which has an abundance of life experience, time to consume entertainment and in many cases, more money than the young. And perhaps the tide is turning after all. Companies like Visible and Frontier are showing that the older actor still has an important place in the theatre, and one of the hottest tickets in recent years has been Theatre Royal Bath and Tricycle Theatre’s production ‘The Father’, starring Kenneth Cranham, which explores the devastating effects of dementia on an 80-year old man – although, there is a danger that the theatre treats older characters only in terms of declining faculties: as James Roose-Evans warns, ‘It is not all about Alzheimer’s.’

It’s time we embrace fully just how important stories about older people can be to our culture – and this means we need to support older storytellers, both actors and writers. Theatre should be a window onto the whole of life, not just the first part.

Frontier Theatre’s production of Clare Whitehead’s ‘Mercy’, directed by Jake Murray, is part of the EverHopeFull repertory season and runs from September 1st to the 26th at 6 Frederick’s Place, London EC2R 8AB. Tickets are priced at £10.

Portrait: #2 – John Gielgud

John Gielgud by Chris Naylor 2015

John Gielgud’s extraordinary 80-year career encompassed every possible style and form the acting world could offer, from the romantic Edwardian stage tradition in his earliest days as Romeo, Hamlet and Richard II, through the avant-garde at the Royal Court and the National in plays like ‘Home’ and ‘No Man’s Land’, to his fine cinema work in films such as ‘The Charge Of The Light Brigade’, ‘Providence’ and ‘The Elephant Man’. Gielgud was a magnificent actor, his work always subtle, intelligent and human.

Who’s The Greatest?

Generics

So, Wolf Hall! Very exciting, beautifully made, completely unmissable television after only one episode. It does make me feel even more guilty when I see the novel sitting on my shelf staring at me, saying ‘Why haven’t you read me yet?’, but still, what an achievement. Stunning design, locations, costumes; the script is thrillingly good. And as for the acting – Mark Rylance seems, on the evidence of the first part, to be delivering an era-defining performance. He shows us the warmth of the father and husband, the guile of the politician, the smoothness of the courtier.

Watching something as skilful as Rylance’s Cromwell, surely we can feel confident that we are witnessing truly great acting – a performance which will be remembered and studied for years – and that most observers would agree with that assessment.

Of course, each generation likes to crown its theatrical royalty – to bestow the mantle of ‘Great Acting’ – but, like every other art form, acting is subject to changing tastes and fashions. The years roll by, and sooner or later, what seemed cutting edge and the absolute pinnacle of theatrical perfection, when viewed with fresh eyes starts to look a bit – well, dated. What was once considered bold and exciting looks rather stagey and over the top, and the most tasteful, restrained performance suddenly seems mumbly and mannered.

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We are now deep in awards season, an odd time when one actor is rated over another and officially designated The Best. Will it be Felicity Jones or Julianne Moore, Eddie Redmayne or Benedict Cumberbatch? Often the choice of winner can be very divisive, with people becoming outraged that their own personal favourite has been overlooked – this year’s Oscar nominations being a case in point, as David Oyelowo’s performance as Martin Luther King failed to make the list. And looking back over past winners, can we really say that Tom Hanks in ‘Philadelphia’ was better than Daniel Day-Lewis in ‘In The Name of the Father’, or Anthony Hopkins in ‘The Remains of the Day’? Frances McDormand is wonderful in ‘Fargo’, but what about Brenda Blethyn in ‘Secrets and Lies’ or Emily Watson in ‘Breaking the Waves’?

marchlaughton

But more pertinently, would some of those past winners still be rated so highly today? Fredric March is wonderful in 1931’s ‘Dr Jekyll and Mr Hyde’, but I have a feeling his performance might seem a little too ripe for modern tastes. Similarly with Charles Laughton in ‘The Private Life of Henry VIII’ from 1933. It’s quite a conundrum. How can we communicate the effect a performance had on us, once tastes have changed? Can we ever really talk meaningfully about ‘Great Acting’?

laurence_olivier_gallery_new_8Richard Burton

Theatregoers in the 20th century spoke in awe of Laurence Olivier, renowned as the finest actor of his generation. But when you view his film work – the only real record we have of his acting – it seems rather strident, a little blunt and mechanical. Was this really the best acting of its time? In the 1950s, Richard Burton tore through the theatrical establishment with a series of electrifying performances at the Old Vic and the Royal Shakespeare Company, and established himself as the most exciting new actor for decades. But anyone looking at his screen work now might be hard pressed to locate this mercurial talent. There are flashes of it in ‘The Spy Who Came In From The Cold’ or ‘Who’s Afraid Of Virginia Woolf?’, and his later work has a wounded poignancy as hard living took its toll, but for much of the time he seems insincere, uncommitted, distracted even. There is a theatricality too, which these days we would probably judge as far too artificial.
But talk to anyone who saw these actors on stage, and they would give a very different account. There is something so much more powerful about being in the same room as someone, sharing the moment, being held by the spell of a performance, and it’s very hard to communicate these feelings after the event.

the-shining-jack_nicholson

As for screen acting, our current tastes are for underplaying, subtlety and above all, naturalism.
I wonder if we’re missing something. Jack Nicholson in the documentary ‘Making The Shining’ talks of his conversations with Stanley Kubrick about realism in acting. “They just keep seeing one fashion of unreal after the other that passes as real and you, you know, you go mad with realism and then you come up against someone like Stanley who says, “Yeah, it’s real but it’s not interesting.”

maggie s

A case in point can be found in the National Theatre’s 50th anniversary celebrations, where, amongst the host of brilliant performances from the leading lights of the British acting world, was a piece of footage from their 1964 production of ‘Hay Fever’, featuring Maggie Smith and Anthony Nicholls. Despite being 50 years old, and having been shot in a dark TV studio, it was still completely scintillating. Maggie Smith’s performance as Myra Arundel was, even in that brief excerpt, perhaps the most brilliant scene of the evening. Theatrical, stylised, but captivating – and most importantly, hilarious:

Does ‘Great Acting’ even really exist? Acting is such an ephemeral art. John Gielgud used to talk of his wish to capture some of his past performances, so he could wake in the night and regard them dispassionately as they sat on the mantelpiece. But perhaps Gielgud himself is the ultimate example of an actor who was able to work across different mediums with equal skill and success.

gielgud-between-charge

Contemporary theatregoers would swoon over his Golden Voice and romantic early performances, and he could have become a relic of the post-Edwardian West End theatre tradition. But he was able to jettison that part of himself and embrace the avant-garde, working with Lindsay Anderson at the Royal Court and Pinter and Peter Hall at the National. A whole new audience fell for him. He then slipped effortlessly into film, deploying an acting style that we can still appreciate today – an understatement and hesitancy – indeed, a distinct lack of theatricality from this great Knight of the stage. Watch him as Lord Raglan in ‘The Charge of the Light Brigade’ and see what I mean.

But this is just my opinion. Someone else will no doubt watch Gielgud and think, ‘What’s all the fuss about?’
So perhaps a term like ‘Great Acting’ is too subjective to ever really mean anything. The appreciation of acting, as with all creative work, will always be a matter of taste.

I still think Mark Rylance is great, though.

A Privileged Position?

Isis_top_hat

Next Sunday there will be a big toff-shaped gap in the television schedules – ‘Downton Abbey’ has come to an end. But all those upper-class types released back into the wild should have no problem finding their next gig. It seems there is a healthy appetite at the moment for posh actors playing posh characters in posh stories.

There has been a lot of debate about whether this means that acting itself has become – well, posher too. Ben Stephenson, the BBC’s Controller of Drama Commissioning, noted that ‘acting has become a very middle-class profession’, and Sir Peter Bazalgette, chairman of Arts Council England, says that public school-educated actors are ‘out of all proportion’ to those from less privileged backgrounds.

RADA-foundation-class-in--001

On the other hand, Edward Kemp, Principal of the Royal Academy of Dramatic Art, disputes this, pointing out in The Independent recently that ’36 per cent of last year’s intake of students at RADA came from families earning less than £25,000.’ He makes the claim that ‘there is absolutely no evidence that people from poor backgrounds aren’t coming to drama school.’ This is despite RADA charging fees at the upper limit, i.e. £9,000 a year. Mr Kemp also notes that his school is receiving more applications from ‘working-class’ students than at the start of the century.

To this I say: Fine – students from varied backgrounds may somehow find the money to pay their way through three years at drama school, but what happens next? I would be surprised, to put it mildly, if those students from low-earning families were able to cope on an actor’s salary.

Obviously actors need to be supported when they start out, and many colleges offer generous bursaries to help less well-off students, but the real problems can begin when those students are thrust out into a harsh profession. I would suggest that this is when actors really need help.

hair

It is increasingly expensive to embark on a career in the theatre. Many drama schools are based in London, the most expensive city in the UK, and we are told that we must stay here once we graduate in order to develop our careers. But the reality of attempting to survive on an actor’s wage can be absolutely prohibitive to many people contemplating a life in the theatre. I graduated from LAMDA in 1998, in a class of 29 people. Sixteen years later, probably less than a third of us are still pursuing acting in earnest. This is no great surprise; I’m sure the story is the same with every graduating year from every drama school. And things weren’t so pricey in my day, sonny.

The average monthly rent (note I don’t say mortgage repayment) for a one-bed flat in London is £1211 (January 20114 figures), whereas, according to the most recent Equity survey from December 2013, more than 56 per cent of its members earned less than £10,000 a year. This is officially classed as below the poverty line. Once you factor in utility bills, council tax, food, travel – it isn’t very surprising that many actors are forced to give up after just a few years. Faced with these obstacles, acting can start to look like an expensive hobby.

mckellen_1633697c

So who can afford to act? While I’m sure there are some actors lucky enough to go from job to job, peppering meaty stage roles with a bit of lucrative film and TV work, and paying their way from acting alone, I would respectfully suggest that this is not the norm. Most actors have gaps between roles which have to be filled with ‘day jobs’, and unfortunately the temptation to start relying on those jobs and say goodbye to acting can be all too powerful, especially if you want to start a family, save to buy a house, or just go on holiday once in a while – you know, normal stuff.

Some might say this is theatrical Darwinism at work, and that those who choose to step aside don’t have the necessary resilience, commitment or, dare I say, talent to succeed. But I’m not sure this is the whole truth. Far too many seriously talented people are lost to the profession because they simply can’t afford to support themselves.

maman

In recent years, however, I have noticed that many of the younger actors I have worked with seem not to be struggling that much. Indeed many own flats and cars. These are actors in their early twenties who can afford to buy property in London and, at the same time, are somehow able to take low-paid jobs in one of the lowest paid professions there is. And afford to buy lunch every day from Pret or Whole Foods – if I’m working in the theatre I survive on a packed lunch of a ham sandwich, a yoghurt and – my one concession to fine dining – one of those lovely Bonne Maman madeleines. Well, it can’t all be self-denial, can it?

On one recent theatre job I was thrilled to find that I could walk to work (40 minutes each way) thus saving myself nearly £30 a week in bus fares. But I still struggled to find any spare cash after paying the rent and bills. I have generally attempted to be pure in my approach to acting, never signing on the dotted line for a permanent ‘proper’ job, always ready to drop any other work as soon as acting comes up, always ready to say yes to anything, even in the face of red bills and a burgeoning overdraft. The result of this is that whenever I get an acting job, the over-riding emotion I often feel is not joy, but relief, much like the drowning man who manages at last to haul himself onto the life raft. But I wonder if it’s different for those Pret-munching young actors. Many of them are privately-educated and come from well-off middle-class backgrounds, so just don’t feel the same petty money worries.

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Now this is not a class war; I am not saying that working-class actors are better than upper-class ones. John Gielgud is my hero, and you couldn’t get posher than him. And anyway, I sit squarely in the very middle of the middle-class. No, this is about money, as it always is. It’s a simple fact that those who are able to afford an actor’s life are the ones whose careers will last longest. This could be because they work a lot, or perhaps they just don’t mind sacrificing everything else for their art. But more and more these days, it seems to be because they either have money already, or they are subsidised by their families. Lucky for them, but not so lucky for an art form that is meant to be about representing all facets of society.

Of course, the acting profession has never had enough work to sustain the number of people who want to be part of it; it’s always a minority of each graduating year that is able to maintain a career for life. But now that we have a higher number of drama graduates joining the profession than ever before, it does beg the question – do drama schools and the wider industry bear some greater responsibility to the acting community? Shouldn’t there be a more established mid-career support structure in place?

Of course we mustn’t go blindly into the profession, expecting money and fame to be drawn to us by the inexorable magnetic tractor beam of our talent. Just to be able to act for a living, even some of the time, is a privilege in itself. But after three years of very expensive training it sometimes seems as though the business is happy to leave us to the vagaries of fate. There is often so much clamour to identify the hot young talents, to be known as the school that produced the big new stars or the casting director that discovered them, that if you are an actor who doesn’t fit into that category, as most of us don’t, you are left to fend for yourself.

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Actors are the lifeblood of the entertainment industry. Surely those parts of the business which feed off that blood supply should feel obligated to do what they can to keep it flowing.

 

Interview With The Director… Joe Harmston – part 3

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Chris Naylor: Can you remember particular performances that inspired you?

Joe Harmston: Lots of things. I went to the National just endlessly, and the RSC in the Eighties, so for about ten years I saw everything that was on. I remember seeing a lot of things at the Cottesloe – things like ‘Lark Rise To Candleford’, ‘The Mysteries’, and actors who had a wild but also playful energy, people like Jack Shepherd, and Brian Glover –

brianJack%20Shepherd

CN: Real people.

JH: Real people, and very, very exciting. No tricks, no fuss, no pretence about what they were doing; it was really simple. And then I remember seeing Ian McKellen’s show for London Lighthouse, ‘Acting Shakespeare’.

mckellen

CN: I didn’t know about that.

JH: Yeah, it must have been ‘87, ‘88 something like that, at the Playhouse – he had this show raising money for AIDS research, and it was just him.

CN: Was it like Gielgud’s ‘Ages of Man’?

JH: Yes, but it was a bit more anarchic than that. At the beginning of the second act, I remember the house lights were on, and we were all chatting away, and a lot of people didn’t notice, but he just walked on and stood in the middle of the stage and he just gazed at his hand, and very, very slowly just raised it, and suddenly he literally had the audience in the palm of his hand. And it was just a wonderful moment.

I remember directing and producing a gala for John Gielgud’s centenary at the Gielgud theatre, and my cast was Paul Scofield – bizarrely, I was the last person to direct him – and Judi Dench and Ian McKellen, and Ian Richardson – I mean, it was just everybody who had ever worked with Gielgud. And Scofield was on doing ‘I’ll burn my books’, Prospero’s last speech, it was just unbelievable. And he came off and said, ‘Any notes?’

gielgud gala

But while he was doing his bit, I remember Judi was crouching there, Ian Richardson peering over her, and Ian McKellen down the side and everybody was just watching him. Then somebody did a bit of chat in between, and Judi and Ian and Ian were all sort of pissing about and giggling and gossiping about people, and then Judi heard her cue, kicked her shoes off and just turned round, stepped on stage and was Titania. I think all the actors that I really love, they could be, you know, swigging on a bottle of beer, or having a gossip about somebody, and turn 180 degrees and step on stage and be Macbeth or Titania –

CN: – and their concentration would 100 per cent.

JH: And it would be utterly real. I’m always dubious about actors who turn up two hours before the performance and start warming up and say, ‘you can’t talk to me until I‘ve done this’, because acting is about real people.

simon

This is a terrible confession, because you know, he’s so popular – but I can’t bear Simon Russell Beale. I never believe anything he does. I can never believe that this man has ever got on a bus, wiped his arse, had a cold, f***ed anybody, gone to Tesco’s to buy some milk, and therefore I don’t care. Technically wonderful actor but I just don’t connect with him. I love actors to be messy, to be human, to be real, to be vulnerable, and dangerous and frightening and fearful and I think sadly now our fixation is with actors who are sort of superhuman in some way, I mean Benedict Cumberbatch is a kind of uber-human –

benedict

CN: – and Tom Hiddleston.

JH: Something very interesting has happened in the period that I’ve been going to and working in the theatre. I‘m an old-fashioned, unreconstructed lefty with working class parents, who fell in love with the theatre because it was about people, and seemed to be dealing with issues. It was messy and exciting and human, and it was about communication. And the people who were part of the word I fell in love with were all kind of ‘working class heroes’. I mean, it was Jack Shepard and it was Tom Courtenay and Albert Finney. Actually it went too far – you know, you had to have a father who was coal miner in order to play a part on stage, whether in fact it was Caesar or a coalminer. Now we’re going through this much more patrician thing, where the only people who can play any part, whether it’s Caesar or a coalminer, have been to Eton. And casting directors I know stop going to drama schools, they go to Eton or Lancing.

CN: How do you think that affects casting? I can remember being very inspired when I was at school, by going up to Stratford – we saw loads of shows, and the one that really struck me was Gerard Murphy playing Doctor Faustus. It was incredible, a really visceral performance, but nobody knows who he is – nobody had heard of him; at the time he was an RSC actor, I guess.

dr_faustus gerard murphy

JH: I remember seeing Gerard in Henry IV parts 1&2 at the Barbican – they were the shows that opened the Barbican – and I thought he was just stunning. And interestingly, he was playing Hal, and his Henry IV, his father was Patrick Stewart, and then Patrick Stewart was the solid dependable actor to play those slightly dull parts. And very good. But you looked then and thought that Gerard was the person who was going to be… I mean he was, God, electric.

CN: I remember him crawling up, trying to get away, and being pulled down this wrought iron ladder back to Hell; it was extraordinary. But now, would you cast somebody from the ranks, an RSC regular, or would you cast Jude Law?

JH: Or Daniel Radcliffe. Simon Russell Beale, if you were at the National.

CN: But do you feel – as a director – that you have pressure on you from producers?

JH: Oh, endless, endless. I mean the first question that anybody ever asks is, ‘Who’s in it?’ and that means which of the 12 acceptable people are in it, and that‘s it.

CN: Are you aware of projects being constructed around somebody?

JH: Oh yeah. I mean look at the Mamet play with Lindsay Lohan.

CN: I wonder if audiences feel the same. Maybe I’m being completely naïve but I would have thought that audiences go to the theatre because they want to see the story that the play is about. Do you think that’s true?

JH: Well, I think some of the audience do. I think these days, particularly in the West End we’re in a period of sort of cultural materialism in a sense, that people have this idea that the next big show is a thing to acquire. Which I suppose is not a new thing, you know, ‘Have you seen O’Toole’s Hamlet?’ – I mean that’s always been there, but it’s back with a vengeance now.

CN: Thank you Joe.