In a industry where budding actors and actresses will do almost anything to get their “big break” there is a lot of realization that, if you are not one of the lucky 2% of actors to be employed by the profession full time, the life of an actor may not be for you. Alice Haines, found acting after completing a degree in Physiology, she has however, decided against becoming a full time actress. I took the opportunity to find out why.
1. What is your earliest memory of Theatre?
Being taken to see a panto at Richmond Theatre when I was about four. Can't remember which one but I do remember wearing black patent leather shoes with white spots! Around the same time I remember going to see things at the Polka Theatre in Wimbledon.
2. What first interested you in the theatre industry?
My great uncle, Irving Davies, was a choreographer and I grew up hearing his stories of shows he had worked on and thinking what a fascinating life that would be and how wonderful it would be to get paid to entertain people. Not that that persuaded me to want to go into theatre in any capacity. At school I wasn't involved in anything remotely theatrical, gave up drama as soon as I could and ended up doing science A Levels and a degree in physiology.
3. What is your most beloved theatre memory?
It's become a bit of a joke in my family that my parents cannot go to the theatre without someone in the audience falling spectacularly ill. As I used to go with them quite often, I've seen quite a number of people staggering out of the auditorium or collapsing in the aisle. Each time it's happened I've been full of admiration for the actors ploughing on, seemingly oblivious to the hoo-hah going on - I'm incapable of taking my eyes off it. Anyway, to return to the question, it always makes me smile when I remember, during a performance of something rather dull (doesn't matter what), a woman sitting in the middle of a row suddenly standing up and looking round, meerkat-like, before projectile-vomiting over several people in the row in front of her. The ensuing fuss was one hell of a lot more interesting than what was going on on stage!
4. What is your favourite play?
I don't have a favourite play, as such. I love plays which make me laugh, whether the humor is physical, verbal, farce, I don't mind as long as it's funny. At the other end of the spectrum, I cannot stand anything that takes itself too seriously. I have no problem with serious plays which tell a good story but I loath plays which forget that their primary purpose is to ENTERTAIN. Same goes for musicals and operas - I want songs I can sing on the way home!
5. Who are your theatre idols?
I don't think I really have any "idols". There are certain people whose involvement in something would make me want to see it - Alex Jennings springs to mind, and Tamsin Greig - but without the sort of blind adoration that would leave me incapable of giving it a fair appraisal.
6. Who is your favourite Play- write and why?
Again, I'm going to have to sit on the fence. I like Noel Coward, Oscar Wilde, Ben Jonson, Michael Frayn, Alan Ayckbourn and I could go on. I won't because it would get rather tedious after a while.
7. What was it about acting that first intrigued you?
I got into acting by accident. After university I worked in film production and wanted to direct commercials. I started making some short films and realized very quickly that I had absolutely no idea what the actors I was working with needed from me as a director. I felt that the best way to solve this problem was to do some acting myself, so I enrolled on the foundation course at ArtsEd. Where I discovered that I really loved acting.
8. What made you decide against perusing a career as an actress?
Initially, after the foundation course, I did decide to pursue an acting career. But then it dawned on me that, boring but true, I'd probably spend more of my life doing jobs other than acting just to earn a living. And I really hate temping!
9. What do you think of the theatre industry?
That's a very hard question to answer as I'm really not sure what you're asking. Good, on balance.
10. If a play was to be made of your life; what would it be called? What genre would it be? And who would play you?
I once played a game with some friends where we had to write slogans to advertise each other. Mine was "Doesn't do things by halves". I think that might make a good title. Sort of sums me up. It would have to be a comedy. I mentioned earlier that I don't like plays that take themselves too seriously. Well, I don't take life too seriously, being a chronic optimist and usually keen to find an amusing side to a situation. As for who would play me, ideally I'd like to do it, although that might not be the best idea, either creatively or pragmatically. As an alternative, several people have told me that I remind them of Rosamund Pike. I think it's the English rose thing. She'd do very nicely, thank you very much!
Wednesday, 2 July 2008
Joseph
Adelphi Theatre
2/4/08 19.30pm
What’s it about?
“Way way back many centuries ago, not long after the Bible began.” Based on verses of Genesis. Joseph is the tale of a farmer’s son who discovers he is able to interpret and understand the meaning of dreams.
What’s good?
The performances in Joseph are, as you’d expect, excellent. Particular note has to go to Neal Wright, who, in the supporting role of Judah was able to steal the scene every time he opened his mouth. Lee Mead, the reason the majority of the audience have turned up to see the show, posses’ a boy next door charm, which he is able to exude in heaps as a more than capable leading man.
What’s bad?
The performance I saw was the second performance of the day, it seemed apparent to me that Lee Mead in particular struggled vocally at points. The sound operation was atrocious; frequently the actors were made un-audible by the lack of an ability to keep up with the play enough to turn the microphone on to the correct level at the correct time. The Adelphi theatre itself also hampered the production, with the audience being made to sweat in uncomfortably warm conditions and, if you were sitting in the Upper Circle, you were privy to a nice view of actor’s heads as you strained to work out what was actually occurring on stage. None of which, I might add, was mentioned when the ticket was purchased.
Overall
The audience went wild throughout the performance, from the first sight of Lee Mead in the title role to the final curtain. Joseph is a very entertaining family show, but with the traditional etiquette of theatre seemingly thrown out of the window because the audience present had voted for the lead in a BBC reality show. This reviewer found himself asking if the show and the experience was really worth the entrance fee.
2/4/08 19.30pm
What’s it about?
“Way way back many centuries ago, not long after the Bible began.” Based on verses of Genesis. Joseph is the tale of a farmer’s son who discovers he is able to interpret and understand the meaning of dreams.
What’s good?
The performances in Joseph are, as you’d expect, excellent. Particular note has to go to Neal Wright, who, in the supporting role of Judah was able to steal the scene every time he opened his mouth. Lee Mead, the reason the majority of the audience have turned up to see the show, posses’ a boy next door charm, which he is able to exude in heaps as a more than capable leading man.
What’s bad?
The performance I saw was the second performance of the day, it seemed apparent to me that Lee Mead in particular struggled vocally at points. The sound operation was atrocious; frequently the actors were made un-audible by the lack of an ability to keep up with the play enough to turn the microphone on to the correct level at the correct time. The Adelphi theatre itself also hampered the production, with the audience being made to sweat in uncomfortably warm conditions and, if you were sitting in the Upper Circle, you were privy to a nice view of actor’s heads as you strained to work out what was actually occurring on stage. None of which, I might add, was mentioned when the ticket was purchased.
Overall
The audience went wild throughout the performance, from the first sight of Lee Mead in the title role to the final curtain. Joseph is a very entertaining family show, but with the traditional etiquette of theatre seemingly thrown out of the window because the audience present had voted for the lead in a BBC reality show. This reviewer found himself asking if the show and the experience was really worth the entrance fee.
Carrie Walsh Auditorium Interview
At 20 years old, Carrie Walsh is about to embark on a three year degree in theatre design. With a prospective career behind the stage in the offing, I took the opportunity to find out what it is about theatre that is still driving generation after generation to want to be a part of this great industry.
What is your earliest memory of Theatre?
I have faint memories of putting the Nativity Play together as a six year old, my primary school despite being Catholic was never conventional in their putting on of traditional shows - I can't remember the exact point of the nativity play, but I do remember having to wear traditional Russian clothing and bowing to a classmate dressed in traditional French clothing! The first show I ever saw in the West End was Joseph and His Technicolor Dreamcoat at the Palladium back in the mid-nineties when Phillip Schofield was Joseph - I just remember the colour against the black set, and the rough red velvet seats.After that, I went on various trips to Christmas pantomimes at the Catford Theatre... Peter Pan and Cinderella...
What made you want to be a part of the theatre industry?
I had always wanted to become a costume designer after watching Titanic as a ten year old, but I didn't know theatre was for me until I started work as a theatre usher two years ago. The industry had a heart that I didn't feel the movie industry had. There was a perfect sense of community that is still alive today. However, I feel the West End right now is in utter tatters with all these awful productions taking over, shows like The Drowsy Chaperone coming to a premature end when shows like Grease extend their run before they've even opened! The state of the industry right now doesn't put me off pursuing a career in theatre at all - it's set alight a fire in me, and all I want to do is create shows and revolt against the awful show currently taking over the West End.
What is your most beloved theatre memory?
Goodness! The standing ovation last final performance of The Drowsy Chaperone received on the 4th August this year. I thought I lost all faith in theatre, this amazing show ending... But then I saw and felt the sublime atmosphere in the auditorium, people were stamping on the floor with pride and admiration for the show. Even if shows close early to accommodate jukebox musicals, I seriously doubt they'll cause audiences to react the way they did to Drowsy's final curtain call.
What is your favourite play?
Who's Afraid of Virginia Woolf by Edward Albee. A complete stunner.
Who are your theatre idols?
Bob Martin - An utter genius!
Who is your favourite playwright and why?
My good friend Steve Hevey, Tennessee Williams, David Mamet, Sarah Kane and nothing beats a Shakespearian comedy.
If you could design any play/ character in the world, which play/ character would you want to create and why?
I think it'd be one of my complete and utter imagination and creation, something that hasn't been thought up, something so original and theatrical it would blow people away!
How would you like your legacy in the industry to be seen?
I'd just like to be known in the future as a good designer and someone who was just passionate about good theatre.
If a play was to be made of your life; What would it be called? What genre would it be? And who would play you?
I doubt anyone would ever do that! I don't think I'd allow it, it's a bit self indulgent... There are far more interesting people to write about! But if they did it'd have to be a comedy, and I have no idea who would play me, someone with a lot of frizzy red hair?
What is your earliest memory of Theatre?
I have faint memories of putting the Nativity Play together as a six year old, my primary school despite being Catholic was never conventional in their putting on of traditional shows - I can't remember the exact point of the nativity play, but I do remember having to wear traditional Russian clothing and bowing to a classmate dressed in traditional French clothing! The first show I ever saw in the West End was Joseph and His Technicolor Dreamcoat at the Palladium back in the mid-nineties when Phillip Schofield was Joseph - I just remember the colour against the black set, and the rough red velvet seats.After that, I went on various trips to Christmas pantomimes at the Catford Theatre... Peter Pan and Cinderella...
What made you want to be a part of the theatre industry?
I had always wanted to become a costume designer after watching Titanic as a ten year old, but I didn't know theatre was for me until I started work as a theatre usher two years ago. The industry had a heart that I didn't feel the movie industry had. There was a perfect sense of community that is still alive today. However, I feel the West End right now is in utter tatters with all these awful productions taking over, shows like The Drowsy Chaperone coming to a premature end when shows like Grease extend their run before they've even opened! The state of the industry right now doesn't put me off pursuing a career in theatre at all - it's set alight a fire in me, and all I want to do is create shows and revolt against the awful show currently taking over the West End.
What is your most beloved theatre memory?
Goodness! The standing ovation last final performance of The Drowsy Chaperone received on the 4th August this year. I thought I lost all faith in theatre, this amazing show ending... But then I saw and felt the sublime atmosphere in the auditorium, people were stamping on the floor with pride and admiration for the show. Even if shows close early to accommodate jukebox musicals, I seriously doubt they'll cause audiences to react the way they did to Drowsy's final curtain call.
What is your favourite play?
Who's Afraid of Virginia Woolf by Edward Albee. A complete stunner.
Who are your theatre idols?
Bob Martin - An utter genius!
Who is your favourite playwright and why?
My good friend Steve Hevey, Tennessee Williams, David Mamet, Sarah Kane and nothing beats a Shakespearian comedy.
If you could design any play/ character in the world, which play/ character would you want to create and why?
I think it'd be one of my complete and utter imagination and creation, something that hasn't been thought up, something so original and theatrical it would blow people away!
How would you like your legacy in the industry to be seen?
I'd just like to be known in the future as a good designer and someone who was just passionate about good theatre.
If a play was to be made of your life; What would it be called? What genre would it be? And who would play you?
I doubt anyone would ever do that! I don't think I'd allow it, it's a bit self indulgent... There are far more interesting people to write about! But if they did it'd have to be a comedy, and I have no idea who would play me, someone with a lot of frizzy red hair?
Grease
Piccadilly Theatre: 27th March 2008: 7.30pm
Grease has been revived for its current incarnation by the reality TV show, Grease is the word.
What’s it about?
Set in 1955, Grease is the tale of love between ultra hip T-Bird Danny and the sweet hearted Sandy.
What’s good?
The play is fun family entertainment; the audience were clearly less interested in the play itself and more interested in seeing the stars of the TV show.
The support cast assert themselves firmly in the production, holding it up as best as they can. Particular mention goes to Richard Hardwick and Laurie Scarth as Roger and Jan respectively, who perform with an underlying sweetness and genuine affection for each others characters.
What’s bad?
This incarnation of Grease has been re- written for a more family friendly audience the producers clearly assuming that the audience for Grease will be less fans of the play, but more fans of the TV show. As a result the show has been cut down to a pantomime-esque tribute to the original material, with all the sex and bad language of the original removed. Susan McFadden performs her best possible Olivia Newton John impersonation but brings nothing else to the role of Sandy. Danny Bayne on the other hand, does possess a star quality, which becomes apparent when he dances, the rest of the time however, his talent is shown to be painfully raw and incapable of leading a West End cast.
Overall
At a time when West End theatre has some of the best musical productions in the world on its door step, you would be wasting your money on seeing Grease as, although an entertaining show, is as empty as a theatrical performance can get.
Rent 'Remixed'
Duke of York’s Theatre - 5/11/07
7.45pm
When part of a plays’ soul is removed it rarely has a chance for survival, this is what has happened to RENT. The late Jonathan Larson’s play about a group of New Yorkers who live and survive while suffering in poverty under the shadow of AIDS.
‘Remixed’ by William Baker, the creative force behind pop concerts such as Kylie Minogue’s Showgirl tour. RENT is a shambolic cabaret of its former self, with direction so poor the actors seem completely unaware of what they should be doing while they are onstage.
In his programme notes, Baker explains his decision to ‘remix’ the show, arguing that, “The world is a very different place now to what is was when RENT first opened.” He also goes on to say that, in his opinion; RENT is about, “connection in an isolating age”.
Both points he makes are very valid; however, Baker fails in attempting to convey either of these points on stage, the only real suggestions we are given that this version of RENT is based in 2007 rather than 1996 is that the character of Mark uses a Hard Disk camcorder rather than an 8mm film camera.
RENT appears in my opinion to have actually been remixed to allow Baker to cast actors who are completely wrong for the character they are portraying.
The key example of this being Mark Cohen, the Mawkish, Broke, Angry, Jewish, New Yorker; who obsessively films everything he sees and acts as narrator to the entire show. In this ‘remixed’ version we are introduced to a flamboyant upper class Englishman who doesn’t seem to understand what either poverty or obsession are. The casting works about as well as if Dame Edna was cast to play Juliet.
The actors do their best with the confusing mess that Baker has given them; however they are constantly shown to be faltering when it comes to showing any real emotion as their character, the only exceptions coming from Francesca Jackson as Joanne and understudies Craig Stein and Jamie Sampson as Angel and Benny respectively.
RENT ‘Remixed’ is solid proof that a winning formula should never be messed with.
7.45pm
When part of a plays’ soul is removed it rarely has a chance for survival, this is what has happened to RENT. The late Jonathan Larson’s play about a group of New Yorkers who live and survive while suffering in poverty under the shadow of AIDS.
‘Remixed’ by William Baker, the creative force behind pop concerts such as Kylie Minogue’s Showgirl tour. RENT is a shambolic cabaret of its former self, with direction so poor the actors seem completely unaware of what they should be doing while they are onstage.
In his programme notes, Baker explains his decision to ‘remix’ the show, arguing that, “The world is a very different place now to what is was when RENT first opened.” He also goes on to say that, in his opinion; RENT is about, “connection in an isolating age”.
Both points he makes are very valid; however, Baker fails in attempting to convey either of these points on stage, the only real suggestions we are given that this version of RENT is based in 2007 rather than 1996 is that the character of Mark uses a Hard Disk camcorder rather than an 8mm film camera.
RENT appears in my opinion to have actually been remixed to allow Baker to cast actors who are completely wrong for the character they are portraying.
The key example of this being Mark Cohen, the Mawkish, Broke, Angry, Jewish, New Yorker; who obsessively films everything he sees and acts as narrator to the entire show. In this ‘remixed’ version we are introduced to a flamboyant upper class Englishman who doesn’t seem to understand what either poverty or obsession are. The casting works about as well as if Dame Edna was cast to play Juliet.
The actors do their best with the confusing mess that Baker has given them; however they are constantly shown to be faltering when it comes to showing any real emotion as their character, the only exceptions coming from Francesca Jackson as Joanne and understudies Craig Stein and Jamie Sampson as Angel and Benny respectively.
RENT ‘Remixed’ is solid proof that a winning formula should never be messed with.
Treats
Christopher Hampton’s classic play Treats is currently showing at the Garrick Theatre on Charring Cross Road, Starring Dr Who actress Billie Piper alongside My Family’s Kris Marshall and The Hole star Laurence Fox, it is the tale of a love triangle between Ann (Piper), a translator, her co worker and live in boyfriend Patrick (Fox) and Ann’s ex; alcoholic womanising journalist Dave (Marshall)
The stage is designed well, as are the lights and sound. Creating a genuine sense of Ann’s flat, the choice of songs throughout the play also work well in suggesting the emotions that the characters might be experiencing. This however is where the positives end.
Treats is anything but a treat to watch, with over acting from Kris Marshall and Billie Piper doing little to assist a confusing script which alienates the majority of the audience and direction which was so poor the actors were unsure of how they should really be feeling from scene to scene.
With actors and audience baffled alike, I would strongly recommend avoiding treats, as it will leave you asking questions such as “Why did I spend my money on that?”
The stage is designed well, as are the lights and sound. Creating a genuine sense of Ann’s flat, the choice of songs throughout the play also work well in suggesting the emotions that the characters might be experiencing. This however is where the positives end.
Treats is anything but a treat to watch, with over acting from Kris Marshall and Billie Piper doing little to assist a confusing script which alienates the majority of the audience and direction which was so poor the actors were unsure of how they should really be feeling from scene to scene.
With actors and audience baffled alike, I would strongly recommend avoiding treats, as it will leave you asking questions such as “Why did I spend my money on that?”
Mary Poppins
Prince Edward Theatre
Thursday 14/6/07 – 2.30pm
Mary Poppins is a phenomenon, as a series of books by P.L. Travers and most famously as a film character portrayed by Julie Andrews. The premise is relatively simple; Jane and Michael Banks love causing trouble for their nannies. However, when the wind changes, Mary Poppins appears as if out of nowhere, and proceeds to show Michael and Jane that there is more to life than they can see with their eyes.
What’s good?
With incredible sets and truly brilliant choreography from Matthew Bourne, it is actually hard to find anything with Mary Poppins that isn’t like the character’s description, “Practically perfect in every way"
Overall
Mary Poppins truly is a magical tale that hasn’t lost any of it’s brilliance after all of these years, a real treat for all the family. Mary Poppins is very definitely one of the best shows on in the West End. When it closes next summer, it will be a real loss to the world of theatre, lets just hope the wind changes and she returns once more.
Thursday 14/6/07 – 2.30pm
Mary Poppins is a phenomenon, as a series of books by P.L. Travers and most famously as a film character portrayed by Julie Andrews. The premise is relatively simple; Jane and Michael Banks love causing trouble for their nannies. However, when the wind changes, Mary Poppins appears as if out of nowhere, and proceeds to show Michael and Jane that there is more to life than they can see with their eyes.
What’s good?
With incredible sets and truly brilliant choreography from Matthew Bourne, it is actually hard to find anything with Mary Poppins that isn’t like the character’s description, “Practically perfect in every way"
Overall
Mary Poppins truly is a magical tale that hasn’t lost any of it’s brilliance after all of these years, a real treat for all the family. Mary Poppins is very definitely one of the best shows on in the West End. When it closes next summer, it will be a real loss to the world of theatre, lets just hope the wind changes and she returns once more.
Subscribe to:
Posts (Atom)