Tag Archives: Interview

INTERVIEW: Scottish comedy legend Janey Godley

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She’s been dubbed the ‘godmother of Scottish comedy’ and numbers Billy Connolly among her fans. Now, Janey Godley is set to spread her appeal across the nation as this quintessentially Glaswegian comic takes the Soup Pot Tour over the border and down south. “There will be a different demographic politically at these shows, but remember Nicola Sturgeon gets it in the neck from me as well. I will have to speak slower and make sure that it’s not all about just hating the Tories, though that will be difficult. But by and large, people who come to stand-up are open-minded people, they tend not to be died-in-the-wool Brexiteers who hate the Scottish.”

This tour has Janey wielding a variety of talents, as she delivers the kind of forthright stand-up which has earned her a strong reputation on the comedy circuit and a loyal band of followers. But she will also be displaying her skills at improv, as she stands by a screen and narrates adlibbed voiceovers of people (many of whom are today’s crop of politicians), giving them a heavy Scottish accent and inventing a story, many of which involve making soup for the community.

“The soup pot is very universal: if you’re in Australia, America, Brazil, France Germany or Alaska, and someone dies or gets married, people will make soup. The soup pot is the hub of the community. When somebody died near us when I was a kid, somebody would make the big soup pot so all the visitors had something warm to drink and eat. It’s part of us all being in it together. Of course, that was before people discovered they were gluten free and worried about being allergic to lentils.”

Janey first discovered that she could develop this new strand of her career on the night of the Scottish Independence vote in 2014. “I first did the voiceovers live at the Wild Cabaret club in Glasgow where the big screens were up. When the news came through and it was all looking a bit bleak, we turned the volume down and I started talking over the top of people. The audience loved it and I realised this was something I could do really well.”

 

She then poked fun online at the likes of Theresa May, Ruth Davidson and Nicola Sturgeon, replacing their talk of policy and elections with chat about big Isa and her soup pots. A recent piece she did on Kim Kardashian (largely mocking her for walking backwards) also went down spectacularly well, while clips of supermodels, Pathé newsreels and Fanny Craddock (the original celebrity chef) are given the Godley treatment. “I started off doing it for me, really. I liked the fact that I could give those politicians a whole new background persona and the idea that they might have these ordinary conversations; I love the idea of that normalcy which cuts through all that bulls**t. The ones that are the hardest to do are of Katie Hopkins, because the audience just boo like they’re at a pantomime.”

Since the voiceovers took off, an unusual trend started which reminded Janey of the halcyon days of Spitting Image when politicians would tune in avidly on a Sunday night, desperate to see if they had been captured in wax and caricatured in song. “MPs will say ‘are you going to do me?’ I’d like to do some international ones; I do Trump but I want to do Australian and Canadian politicians. There’s a lot of fodder to go on.”

When she started performing comedy in the mid-90s, there were very few female acts kicking about, but Janey Godley has now become a standard bearer in Scotland for young women who might fancy a career in stand-up. “I did Have I Got News For You and I was the first working-class Scottish female comic to do that: the first and last. There are girls from Glasgow who saw comedy and it would be Kevin Bridges and Frankie Boyle, so they all thought ‘that’s not our job, that’s for Scottish men’. But when they see me and they see someone like Fern Brady, they think ‘yeah, that’s also a woman’s job.’”

Recently, Janey has ramped up her acting CV, appearing in Wild Rose (staring Jessie Buckley, Julie Walters and Sophie Okonedo) about a young woman trying to make her way in the world of Country music, and has written and directed a short film entitled The Last Mermaid. She’s also had a one-woman play run Off-Broadway, and will be on TV screens soon playing the lawyer of Martin Compston’s character in Traces, a crime drama from an original idea by Val McDermid.

But for now, she’s enjoying making people laugh all over the country with both her no-holds barred stand-up and the unique nature of these new voiceovers. “The most important thing is that this has never been done before, no other comic in the world is doing this. I’ve been doing stand-up for over 20 years but it took a Tory called Theresa to make me famous.” Mrs May might now be virtually out of the public eye, but the moment has surely arrived for Janey Godley to take centre stage.

Contributed by Brian Donaldson

Images: Murdo Macleod

INTERVIEW: Foil Arms & Hog

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Foil Arms and Hog will be heading to the  King’s Theatre, Glasgow on Sunday, 23rd February 2020.  Here they talk about their new show Swines.

Sean Finegan, as befits his status as the straight man in the Irish sketch group Foil Arms and Hog, is the spokesman for the trio off stage. It makes life easier for us to speak directly, he says, adding drily: “Otherwise I might say something witty and you’d attribute it to one of the other guys.”

We chat about their latest show, Swines, which is touring the UK after a sell-out season at the Edinburgh Fringe, but first Finegan explains how the trio met and got their distinctive name.

Finegan (Foil), Conor McKenna (Arms) and Sean Flanagan (Hog) were studying at University College Dublin (reading architecture, engineering and genetics respectively) 12 years ago, when they met through their shared love of performing.

“We were friends through the drama society but it was Sean Flanagan writing a play based on Father Ted that led to us forming the group,” says Finegan. “He was Dougal, I was Bishop Brennan and Conor was Father Ted. We had permission to tour round Ireland from [Father Ted’s creators] Graham Linehan and Arthur Mathews, and when the play finished we decided we should do a sketch show together.”

And the memorable name for the trio came out of good-humoured banter. “We came up with loads of naff names that punned on the word ‘sketch’ and rejected them. And then we were at a party one night and we were slagging each other off and came up with them.

“I’m the straight man, so I’m the foil; Conor is all arms and legs and very clumsy on stage; and Sean always hogs the limelight and steals all the laughs. They’re roles that we very easily fall into on stage.”

Finegan admits that some of the sketches they wrote and performed back then “we wouldn’t get away with now, they were quite insulting to all sorts of people”, but that over the years the humour has become more sophisticated.

That’s probably down to their work ethic; they write separately and then meet almost daily to develop the ideas. “Ideas get torn to shreds in the process and then we jump on to the idea and add more jokes and develop them. It sometimes takes months to nail a sketch.” Do they ever argue? “Well there are three of us, so it usually works out as two-to-one. No one has ever stormed out, put it that way,” Finegan laughs.

Finegan recalls when the group started out. “In the UK there’s a big sketch comedy scene but in Ireland that doesn’t exist. In our early days a lot of people would see three guys come on stage looking like Boyzone or something and they’d be instantly against us. But performing on the same bill with stand-up comics, we learnt so much about audience interaction. As any stand-up comic will tell you, you need to engage with the audience quickly and get them on your side.

“So we learnt pretty quickly and our comedy has become a sort of weird hybrid of sketch and messing with the crowd.”

But Foil Arms and Hog’s audience interaction is not cruel or humiliating. “I hope we’re not,” says Finegan, “because the intention is to bring everyone on board as it can be terrifying for some people [to be picked on]. But we love doing it because you never know what the audience may do, and we get a bit of a buzz from it. It’s the element that makes every show unique.”

In their second year at the Fringe they saw Edinburgh Comedy Awards winner Dr Brown (clown performer Phil Burgers). “I think we had thought clowning was the ‘honk honk’ kind of thing but then we realised that it’s about going with the flow. A couple of years later we attended one of his courses and it’s one of the toughest things I’ve ever done. It was brilliant stuff.

“It helped us so much on stage, particularly when things go wrong, as we might get to a funnier place with those skills we learned.”

Foil Arms and Hog have a dedicated following that they have built up over 11 Edinburgh Fringe shows, and for the past six years have posted short films on YouTube – they have clocked up an astonishing one million hits and have nearly 950,000 followers on Facebook. They have a broad demographic and, as Finegan says: “When we look out into the audience and see people from eight to 80 it gives us such a buzz. We have people tell us after a show that their son or daughter has found us online and introduced them to our comedy, and they come to see us together. It’s great.”

Thanks to YouTube, the group’s reach is global – and sometimes unexpected, says Finegan. “We were worried that one recent sketch – about Irish people not really being able to speak Irish – may not necessarily appeal to non-Irish people. But then we got an email from a fan in Sri Lanka saying he loved it because, ‘We’re all forced to learn Tamil when we go to school, it’s exactly like this’.”

But Swines – like all Foil Arms and Hog’s live shows – doesn’t contain any sketches fans may have seen online. “Some people may think they’re going to see the YouTube videos performed live on stage, but absolutely not. We make a point of never performing the online videos live. What works online usually doesn’t work on stage. It’s a very different kind of comedy, and much more surreal live.”

They also have more songs in their shows now than when they started. “They crept in,” Finegan jokes. “My singing’s certainly improved – the lads were carrying me in the beginning – but Conor is a very good singer and Sean knows all about harmonies because he’s been in choirs and stuff. The songs help the flow of the show and we like doing them. Who knows, in 10 years’ time we may be topping the charts.”

Contributed by Veronica Lee

 

INTERVIEW: Jonny Quinn on Snow Patrol’s Return

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After seven years out in the pop wilderness, Snow Patrol are set to make triumphant return with their brand-new album, Wildness. Drummer Jonny Quinn talks chaos, the joy of live performance, and reveals just why it’s taken then so darn long.

In life, there are several milestones that swirl up an array of complex and conflicting emotions. Your first day at school, your wedding day, or the birth of your first child, and, if you’re a musician, the release of every single record throughout your career. “It’s a combination of trepidation, excitement and relief,” says Snow Patrol’s drummer Jonny Quinn, of the impending release of Wildness, the band’s seventh studio album.

Adding: “People as what you hope for the record, but the truth is that you just down know. It’s mostly just a relief to be back at it and playing gigs after five-and-a-half years. And so far, everyone seems to be really happy that we’re back.”

You might wonder why artists of such esteem would be feeling any doubts given their triumphant track record. This is the band whose major label debut, Final Straw, was certified five-time platinum in the UK and eventually sold over three million copies worldwide. Whose anthemic hits, Chasing Cars and Run, were the antidote to a generation’s glorious melancholy. Who have successfully held their own for over two decades in industry which has slowly been coming apart at the seams around them.

Inherently humble, it’s not surprising that the Northern Irish rockers haven’t ridden back into the music scene on a gold chariot fuelled by hype and braggadocio, however much of their introspection seems to be down to the sheer amount of time that has passed since Fallen Empires (their last album). Seven years in the music industry is a long time, particularly when those years have been some of the most turbulent for labels and artists alike. However, if there was ever a time the world needed a Snow Patrol album to galvanise and uplift our spirits, it’s now, and fortunately, Wildness is fits the bill perfectly.

Emotionally complex, intelligent and bruisingly honest, the album skimps on none of Lighbody’s soaring melodies. The lead single Don’t Give Up is a straightforward call-to-arms for the lost and weary, Life on Earth is an existential triumph, and the entire record vibrates with an earnest, open rawness. “‘Wildness’ being that the world feels wilder. There feels like there is more chaos than there used to be,” explains Quinn. “A lot of the songs are also about Gary’s own depression and frustration about not being able to write songs and that fear that hits everybody at some point, in a creative sense.”

For lead singer Lightbody, the last few years have been particularly brutal as his ongoing battle with alcohol abuse and depression manifested itself in crippling writers block. Quinn reveals that the band actually were in the studio around two years ago with most of the musical aspects of the album in place, but Lightbody simply couldn’t verbalise his experience. “Maybe he was trying to write songs without having a reason to, and he’s not that kind of writer. So, there was a big gap. But it had to be right; the songs couldn’t be forced,” concludes Quinn.

Certainly, Wildness wouldn’t be the record it is had Lighbody not dug so deep, for that kind of vulnerable grace and candour cannot be faked. In his own words, the 41-year-old frontman says it is the first record he has written where he didn’t just ‘ask a bunch of questions’, adding: “I actually tried to figure out why I was unhappy, why I feel out of place, why I’m afraid.”

Now fully recovered, Lighbody and co. are eager to release the record and crack on with what is arguably the most rewarding part of the process, touring. “That’s what we’ve been doing for 20 years and we’ve all missed that part of it. We like the studio but getting to go out and play all over the world is the most thrilling part,” says Quinn.

“We also put a lot into the live aspect of it, and I want people to walk out of shows feeling like it changed their life a little bit, and they forgot about everything that was bad that day… playing live and having that experience is really special.”

But before the band leave us to traverse the world, there is one burning question that needs to be asked: Are Snow Patrol back for good this time? “Yes,” replies Quinn emphatically. “We won’t have another seven-year break this time.”

SNOW PATROL RETURN WITH THEIR NEW ALBUM WILDNESS ON MAY 25TH VIA POLYDOR RECORDS

INTERVIEW: Kieran Brown, Scottish star of Titanic the Musical

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Scottish actor Kieran Brown has an enviable theatrical CV, having appeared in Phantom of the Opera, Love Never Dies, Les Mis, Wicked and our own Glasgow King’s Theatre pantomime, to name just a few. He’s a member of the hugely successful Barricade Boys and a concert star in his own right. Kieran from Larbert, returns home to Scotland this week to appear in Titanic – The Musical at Glasgow King’s and at Edinburgh Playhouse from June 12th – 16th. I had a chance to catch up with him about life onboard the world’s most famous ship before it sets sail in Glasgow!

Can you tell us a bit about what we can expect in Titanic the Musical?

It is a multiple Tony award winning musical written by American composer Maury Yeston with book by the late Peter Stone. It tells the tale of some of the real life passengers and crew onboard the ill fated ship. It was first produced by Danielle Tarento with direction from Thomas Sutherland and musical staging by Cressida Carre at the Southwark Playhouse in London, before transferring to the Charing Cross Theatre, and then crossing the Atlantic to Canada. This is the first major professional production of the show in the UK. I should state, it has absolutely NOTHING to do with the 1997 James Cameron movie…! It has a stunning score with not a hint of Celine Dion..!
What about your role?

I play First Officer William McMaster Murdoch, who was essentially second in command of the ship, and was in charge at the time it hit the iceberg. He was Scottish, from Dalbeattie. He was treated quite unfairly in the film (which Cameron apologised for), but this is a much more sensitive treatment of his character. He very much blamed himself for the tragedy that unfolded. In actual fact, there were a great number of factors which led inevitably towards the sinking. It’s fascinating to learn throughout the show exactly what went on, but without ever placing judgement on anyone…

What songs or scenes should we particularly look out for?

The opening is really pretty epic..! It’s about 20 minutes long, and doesn’t pause for breath..! To be honest, it is such a stunning score and the sound of our 25 strong ensemble make accompanied by our 6 piece orchestra under direction of musical wizard Mark Aspinall is incredible! The audience are frequently blown away by the wall of sound that washes over them. It’s so humbling to be part of it!

How has the show been received as it’s toured around the country?

Phenomenally. Instant standing ovations practically every show. There’s the odd grumble about people expecting the film onstage, but those who have either informed themselves or allow our beautiful touching story to be told are usually left very affected by it. It’s a very emotional night at the theatre – because it’s not just a film – it’s true – I often wonder if people have forgotten that! We all know the ending of course but the final scene features direct quotes from the survivors – It’s very touching, but ultimately uplifting.

What’s life like on tour/backstage with such a large cast?

It’s been a while since I’ve toured and I actually enjoy it. We have a very mixed company age wise, but we do genuinely all get on great, and organise nights out, day trips to the countryside castle hunting etc. It’s a very supportive company onstage and off, and it’s a real joy to share this experience with them all.

Why should we come along to see the show?

It’s a story we all think we know, especially those who have seen the film (much of which was fiction), so I think it’s important to retell the story with tremendous respect and honour those who died (and survived). It’s not tap dancing and feathers, there are no hydraulic lifts and razzle dazzle spectacle, but there is a poignant layered story, accompanied by a beautiful, beautiful score, told by one of the most talented bunch of actors and musicians I’ve had the honour to work with. I think of all of the jobs I’ve done, this really ranks as one of those I’m most proud of. I love it. And I am particularly proud to be telling this story at the Kings in Glasgow. Last time I was here I was riding a magic carpet as Aladdin! I love the city (I lived and studied here at the RCS) and it feels very much like home. I’m curious to see how Scottish audiences respond to it…

Any roles you’d love to perform/shows you’d like to be in that you haven’t yet?

To be honest I’m keen to do a play – it’s been 7 years since I last did a play (The Woman In Black in Vienna). I love singing and musicals, but I’d love to do something where I don’t have to worry about my singing voice for a while..!

What’s been your favourite role to date?

I think playing the Phantom probably ranks as a major career tick and I was lucky that I managed to get on a lot during my two years at Her Majesty’s. The feeling I had inside when I stepped on to take my bow at the end of my first show was something I can’t really describe..!

What’s next after Titanic?

Who knows! The life of a jobbing actor..! TBH we are all loving this Titanic experience so much we are all hoping it may not be ending mid August in Hamburg! Crossing everything there is another life, whether continuing the tour or sailing into the west end, who knows…!
You can catch Kieran in Titanic – The Musical at Glasgow King’s Theatre from Monday 28 May until Saturday 2 June 2018 – tickets here
Edinburgh Playhouse from Tuesday 12 June until Saturday 16th June 2018 – tickets here.
Titanic photography: Scott Rylander
Kieran Brown headshot in article: Kate Scott

INTERVIEW: Rebecca Norris, actor and co-deviser of The Wedding Reception coming to Eastwood Park Theatre’s Carmichael Hall in May.

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Glasgow Theatre Blog had the chance to talk to Rebecca Norris, co-creator of The Wedding Reception coming to Eastwood Park Theatre this May.

Tell us a little bit about the play.

The Wedding Reception is a unique immersive theatrical dining experience. It invites you to be a guest at a surprise wedding reception for newlyweds William and Kate. You join the family (and a few uninvited guests) through two hours of a muddled attempt at traditional wedding celebration rites where nothing seems to go as planned. They cry, laugh and dance, and hopefully you will too! (maybe not the cry bit).

And your role…

Four actors play nine roles in The Wedding Reception. I play two roles: Lynn (the mother of the bride) and Marge (the groom’s aunt). Lynn is a great role to play She’s a wonderful and warm northern lady. A bit of a mum to everyone and will talk about anything. Nothing is off limits with Lynn. Aunt Marge is much colder. A stuck up ‘wanna-be’ who’s faked most things in her life to get her where she is today.

 

How has the play been received so far, has it been different in different locations?

The Wedding Reception has been performed all over the UK, including Scotland and Wales – although this is our first time in Glasgow. We have even been lucky enough to do tours across Australia and a show in Singapore. Depending on the location, we change a few references in the show for audiences to relate to but on the whole we’ve found wherever we are the universal truth is that everyone loves a good wedding so everyone always has a great time.

What is life like backstage on tour?

Backstage on tour can be a bit crazy, really. We have a lot of quick costume changes throughout the show so backstage can be manic. Especially when we are out and about on tour and the size of our changing area can vary quite some bit. We’ve all been very close together in some shows.

Touring can be demanding, how do you keep your performance fresh/look after yourself when you’re having to travel as well as perform on stage at night?

Keeping this show fresh isn’t so much of a challenge, as it’s very different to traditional theatre shows. The audience members are not just watching a show, they become an integral part of it so with their input we never perform never same show twice. It certainly keeps us all on our toes. Good planning and keeping it all in good fun is key to staying healthy and fighting fatigue on the road. We spend a lot of time in each other’s company so trying find ways of making long journeys and mundane jobs fun is really important.

Can we go back a bit and talk about what inspired you to become an actor and the path you took to become one?

I didn’t get into acting until quite late – I was 30 before I’d even considered it. Although I remember having a love of theatre when I was younger, I never considered it to be an option. It was only by chance that I did a workshop in Brighton which actually changed everything. Suddenly my sole focus and drive was on acting. I went to drama school and worked full-time while attending to fund myself. Once I graduated I tried to make sure each job I got would lead to another until it became my full-time job and I’ve never looked back.

Any advice for aspiring performers?

It’s never too late! If it’s something you have a passion for then go get involved. Maybe do some courses and see where it takes you.

Finally, why should people come along to see the play? And where else can we see it?

Everyone should come to see this play! – though it’s PG, because of some sexual innuendo and partial nudity. That aside, each show is truly different as audiences react in various ways to being swept up in the raucous action. Whatever happens though, one thing’s for sure – it will be an unforgettable experience.
You are all invited to the most madcap marital celebration of them all and get to eat a 3-course meal as well.

We are playing at Carmichael Hall in Eastwood Park Theatre on Saturday 12 May at 7:30pm.

We’re also visiting:

Birmingham REP (10-11 May)

Greshams in Ipswich (18 May)

Bedford Swan Hotel (also 18 May)

Hadley Park House in Telford (19 May)

AFC Portchester Club House (22 June)

Nottingham Theatre Royal (6 July)

– and Edinburgh Fringe 2-27 August.

INTERVIEW: Paul Beeson on playing Robert Burns in Ae Fond Kiss at Eastwood Park

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The first tour of new Robert Burns show Ae Fond Kiss, is touring around Scotland this February. Featuring many of Burns’ famous poems and songs, including Red, Red Rose, Ae Fond Kiss and Auld Lang Syne, it will be a show to remember whether you love literature or just want to find out a bit more about the Bard.

Rabbie Burns is played by Paul Beeson who will guide you through the show with amusing and poignant interactions with key characters, played by cast members Gilchrist Muir, Shawney Henderson and Zoe Halliday. Glasgow Theatre Blog had the chance to catch up with Paul to answer some quick questions about the show.

Tell us a little bit about the play.

Ae Fond Kiss is a play with songs that tells the fascinating story of the life of Robert Burns. It does this using modern original verse, interspersed with Burns’ traditional writing and songs; a Burns’ Greatest Hits if you will! We get to meet the family, friends and (many) women who shaped his life and work along the way.

And your role…

I play Robert Burns himself, at various ages and stages of his life… it is a challenging role but one I am relishing playing!

How has the play been received so far, has it been different in different locations?

The last time the play was produced was nine years ago during the Edinburgh Fringe Festival, where it was performed at the Mining Museum in Newtongrange. It was received extremely well then; however being outside the city centre meant it did not get the audience it truly deserved. This newly staged version boasts a completely new set and directorial approach, and will touring in major venues across the country.

What is life like backstage on tour?

Being part of a small-scale touring company is incredibly rewarding and so much fun – if a little challenging at times! The cast and stage manager are responsible for driving the tour vans between venues, unloading and building the set before a performance and loading the set back in the vans afterwards… oh, and performing of course! It’s a valuable experience, as everyone involved takes ownership of the production to make it the best it can be and becomes completely invested in it. You do feel like you are in a little tour bubble at times, as you are living the show (and in each other’s pockets) almost 24 hours a day… but that’s why we love it so! Your cast mates become like family and some of my greatest friendships have been made this way.

Touring can be demanding, how do you keep your performance fresh/look after yourself when you’re having to travel as well as perform on stage at night?

Every audience is different and responds in different ways… some are incredibly noisy and responsive, some are absolutely silent! As performers, we respond to the energy the audience creates and feed off it, so every performance is fresh in that respect. Also, when you get on the road after the rehearsal process, you start to find the moments that the audience really love and perhaps moments that pass them by. We have to tweak moments like these to ensure we are doing the piece justice and that can keep us on our toes!

As for looking after yourself, it’s finding a balance in your touring life… Eating healthily can be tough when the only eatery near your hotel is a fast food joint! I try to make sure I get enough sleep, drink lots of water, eat a banana for energy and regularly steam the vocal chords… and you just have to be careful that the post-show socialising doesn’t get too out of hand!

Can we go back a bit and talk about what inspired you to become an actor and the path you took to become one?

I chose to do Higher Drama when I was in 6th year at high school. I had no aspirations, needed another subject to study and thought Drama would be fun (and if I’m completely honest, a bit of a skive!) After the first few lessons, I realised how much fun it was and it was far from being easy… it was also the first time in my life I found something I felt I was really good at and capable of taking further. A good friend of mine had left school a couple of years before and done a Year Out Drama course in Stratford-Upon-Avon. So, after I left school, I applied and was accepted, then progressed to Drama college the following year.

I became a Drama teacher a few years after graduating, as I struggled to find work and decided to get a full time job where I could use my skills. I taught for ten years before getting back into performing. Towards the end of my teaching career, I began dabbling in amateur theatre and remembered my love of performing… the pull was too much for me!

Any advice for aspiring performers?

It may be a cliché, but never give up, believe in yourself and be prepared to work extremely hard! When I first left college, I think I was too lazy to truly pursue a career in performing… you have to be proactive, the work won’t come to you! Every performer is unique, so play to your strengths. Do not shy away from what makes you ‘you’. Take risks when you can… Despite my performing experience, I had a fear of singing in front of an audience until very recently… and I am 38! I have had to work very hard to get past that and I am all the better for it.

Finally, why should people come along to see the play? and where else can we see it?

Ae Fond Kiss has everything; it’s entertaining, heartfelt, funny, sentimental, sad, exciting… it is crammed full of facts about Burns’ life, so everyone will learn something they never knew before… some of the poems and songs will be familiar to the audience and participation is encouraged… and everyone loves a bit of Burns don’t they!

Ae Fond Kiss is touring around Scotland this February and comes to Eastwood Park Theatre on Tuesday 13 February. Tickets cost £15 standard and £12 for concessions and are available to book now: www.eastwoodparktheatre.co.uk/boxoffice.

INTERVIEW: Phil Hardie circus performer & entertainer on his original take on the Frankenstein tale

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I had the chance this week to catch up with renowned circus performer Phil Hardie just as he embarks on a tour with his original take on the Frankenstein story: Welcome My Son.

Frankenstein is one of the best-known works in the literary world, tell us about your approach to telling this story in a new way in Welcome My Son.

The Frankenstein story is timeless. The moral and ethical issues it brings up surrounding humans playing God have not only remained relevant but have in many ways become more acute. With Welcome my Son I wanted to focus on the issue of neglect and how it destroys both parties in the relationship. How in the absence of love a human will turn to hate perhaps as the only possible alternative, but also how our apparent obsession to master control over the natural world can lead to our own isolation and ultimately our demise.

Tell us about your role…

I play both Frankenstein and his Creature. I wanted to give the Creature and the neglect he suffers real substance and ultimately I have sought to cast Frankenstein as the true ‘monster’ as it is his selfish neglect that creates a cycle of destruction.

How much preparation and rehearsal time did you get before the tour started?

The final rehearsal period has felt very short. I developed the show throughout June working over three weeks with my creative team. However, before the tour we have had just three days to re-rehears the piece and get it tour ready.

How has the work been received so far, has it been different in different locations?

I have performed the first development/version of the show in three different locations, Edinburgh, Banchory and Dumfries. Generally, I think it has been very well received every time. However, my use of dialogue and more traditional theatre acting in such a physically driven piece has had a mixed response. Some people would like to keep these elements separate from one another it would appear while, gladly for me, some are happy to see the genres mixed together. As we set off on the first dates of the tour, I hope that the show is well received but that is still to be discovered.

The amount of physicality in your work is astonishing, and I can image it makes huge demands on your body, how do you keep your performance fresh/look after yourself when you’re having to travel as well as perform on stage at night?

The physical demands of the show are punishing. Eating well and keeping well hydrated are key. For years now, I have started every day with a pint of warm water with half a lemon squeezed into it. It really helps to wake up all your systems. Of course coffee comes immediately afterwards. Obviously it’s critical that I warm up and stretch well before and after each performance. On tour I have a fantastic technical team to support me and they help to minimise the amount of physical work I do with regards to load in, rigging the equipment and setting up the stage in order that I am physically ‘fresh’ for the performance.

Can we go back a bit and talk about what inspired you to become a performer and the path you took to become one?

I have a very profound and clear memory of going to see a traditional ‘Big Top’ circus when I was about four or five years old. It included animals, tigers, zebras, etc. I had no interest in any of this but the clowns that segued each performance captivated me and the acrobats; both aerial and floor simply blew my mind. I remember saying to my parents as we left that I wanted to be an acrobat and I made them hang around just to see if we could catch a glimpse of the performers back stage…we didn’t. In honesty it’s not that I obsessed over this but I have always loved testing myself physically and throughout my life I’ve pursued street skating, skiing, climbing, basically any sport that you’re competing against yourself. I began performing professionally using circus arts in my first year of art school and have continued ever since. I’ve used juggling, balance art, clowning and character acting and acrobatics to create performances and shows since the year 2000. In the end I felt I needed to push myself to try and create a full-length show which brings all this experience together.

Any advice for aspiring performers?

My advice for aspiring performers is deliver your performance with uncompromising conviction and your audience will be drawn in.

Finally, why should people come along to see the work? 

Come and see my show because it is a new approach to creating theatre which draws on circus techniques as heavily as it does physical and traditional theatre. It is, I hope, a true collaboration of the performing arts. You can see it at Platform in Glasgow on Monday (9 October 2017) and the rest of the tour dates can be found below:

INTERVIEW: LOCAL TALENT CHRISTOPHER JORDAN-MARSHALL MAKES WEST END DEBUT IN MAMMA MIA!

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It seems like a short while ago I saw you as a student at the Royal Conservatoire of Scotland starring as the Emcee in Cabaret. Tell us what happened between then and starring in the West End.

Ahhhh amazing, you got to see Cabaret! Definitely one of my favourite parts I ever got to play. So, round about that same time I also signed with a London agent and started to get auditions coming through, including auditions for Mamma Mia! in London and for the tour. I didn’t get past the first round and just kind of forgot about it. I graduated in July 2016, and almost immediately booked my first professional job in London, Floyd Collins at the Wiltons Music Hall. Once that finished, I was back in Scotland at the Tron Theatre for Christmas, in the The Snaw Queen, followed immediately after by Still Game:Live at The SSE Hydro. Luckily, I hadn’t really stopped, and so made the move back to London to start auditioning again. Cut to two months later, and a few rounds of auditions for Mamma Mia! again, and suddenly I was going to be Sky in the West End!

Georgina Castle & Christopher Jordan-Marshall as Sophie and Sky
London Cast 2017/2018

Tell us how you felt when you got the call to say you’d be making your professional West End debut.

Well it was about a week after the finals for Mamma Mia!, and I was sort of waiting to hear about a couple of things. When my agent phoned, she said ‘So, do you want some good news?’ and I’m pretty sure I swore at her down the phone and yelled a bit. I was honestly jumping about my house, totally ecstatic. Cliché as it is, this was something I had been wanting and dreaming of ever since I was little and so for that dream to become a reality at the age of 22 is just really special for me. I’m grateful every day.

How are you enjoying playing Sky?

It’s bloody brilliant! I’m honestly having such a good time. Everyone that works at the Novello, the cast, creatives and crew are an absolute joy to work with, and there is a total family vibe amongst us all. We get such amazing audiences every night, and even though it’s been running in the West End for 18 years, there is still something really fresh and new about our cast which is so exciting. When we first took over in June, we performed a slot at West End Live, which is sort of a concert weekend in Trafalgar Square where musicals all around the UK and in central London perform. That was a pretty special moment, singing and dancing an Abba megamix to thousands of people.

Christopher Jordan-Marshall as Sky (front centre)

What do you think makes Mamma Mia! so enduringly popular?

There are so many elements I think. The songs come first obviously. You get the sexiness of things like Gimme Gimme! and Voulez Vous, and then also the heart from songs like Slipping Through My Fingers and The Winner Takes It All. Then you have the story which interweaves these songs seamlessly in a way that lots of jukebox musicals are unable to do. It’s a story about mothers and daughters, about strong female friendship, and about empowerment of women. Certainly back when it was first conceived, there wouldn’t have been many stories like it, and only really now is that starting to change. It’s just such an awesomely feel good show, which makes every audience member leave with a huge grin on their face. They get to escape to a beautiful Greek island for two and half hours, what’s not to love?! People need escape like that more than ever these days, so I’m glad I can contribute to that.

What is life like backstage at the Novello?

Well I’m lucky enough to get a dressing room to myself next to the stage on the ground floor. It’s not a huge room, so I tend to keep the door wedged open and slowly over time it has sort of changed into a mini green room for the other company members to chill in when they aren’t needed on stage. I have a bit of time in between the things I’m involved in on stage so I’m happy for the chat. Usually backstage totally runs like clockwork, everyone knows exactly where they are supposed to be but every so often it becomes a bit hectic. We have two large set pieces that are moved around on stage with handles to create different scenes and environments. One Saturday one of the handles broke off and the pieces couldn’t move. We had to completely make up the rest of the show without them working or moving, which was fun!

MAMMA MIA!
London Cast 2017/2018

How do you keep your performance fresh when you’re on stage eight times a week?

Good question. This is first contract I’ve had which is a year long, so I’m still finding that out to be honest. Something I try to do before going on every night is remind myself that all the events that happen during the show are happening for the first time, so I don’t pre-empt anything, and that usually makes me present. That, and just constantly being open to reacting to whatever Sophie or whoever I’m with and what they’re giving me. That makes it fun every night because you don’t know what you are going to get. And if something is a bit rubbish one night, or something goes wrong, you get to try again tomorrow and be better!

Can we go back a bit and talk about what inspired you to become an actor and the path you took to becoming one?

I don’t know if anything particularly inspired me to become an actor, I think I was always pretty sure that was what I wanted to do since I was a little guy. I was put into local amateur shows and went to youth drama groups/theatre schools. Music and drama was something I always kind of excelled in at school, so it started to become obvious what path I was going down. It was a way to express myself whilst growing up, when I didn’t particularly know how to yet. If I didn’t have those groups and shows, I think being a teenager would have been a lot harder. I guess the teachers and friends that were in my life during that time inspired me to pursue it professionally. Oh and my uncle Alan. He was the one who introduced me to a lot of theatre and has always been my biggest fan. He’s a big inspiration for all this.

Do you have any advice for kids back home who aspire to become a performer?

If you love it, pursue it. There are so many ways to become part of theatre and the arts professionally, which many kids aren’t made aware of in schools. Actors, musicians, hair and makeup, production, agents, casting, it’s all out there. Do not let your parents try and choose your pathways for you, and make you do something you don’t want to; you’ll be unhappy. I was lucky enough to be fully supported by my family in all my endeavours but sometimes that doesn’t happen. I remember my guidance teacher told me that I shouldn’t do music AND drama at the same time in school, and made it out that it was practically impossible to pursue a career in it. Needless to say, I didn’t listen to her. Even if you aren’t the best at everything to begin with, keep learning and growing and trying, because you eventually start to get somewhere. Don’t settle, and go chase your dreams; it can happen!

Christopher Jordan-Marshall (front centre) Mamma Mia! 2017/2018 Cast

Finally, why should people come along to see you in Mamma Mia!?

Our cast is amazing, there’s topless boys, and the tunes are amazing obviously. I also keep my Scottish accent so SCOTLAND REPRESENT. Come get drunk (if you’re over 18) and dance!!

You can see Christopher at the Novello Theatre – more information here

Image credit: Brinkhoff/Moegenburg

 

INTERVIEW: Medhavi Patel star of We Are The Lions, Mr Manager! – currently touring the UK

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Medhavi Patel is taking on the role of Jayaben Desai in the world premiere of We Are The Lions, Mr Manager!, which is currently touring the UK.

Patel’s previous stage work has seen her star in Tales of Birbal, Trident Moon and Fragile Land, and she has starred in TV shows including Doctors and Holby City. The role of Jayaben Desai holds particular significance to Patel after she learned she is a distant relative of the iconic leader.

The play will be at Eastwood Park Theatre on 29 October 2017.

Tell us a little bit about the play.

We Are The Lions, Mr Manager! is a beautifully written play by Neil Gore about the Grunwick strikers back in 1976. The play is based on the strong and courageous journey of Jayaben Desai, a South Asian women of Gujarati descent. Jayaben fought along with the many that supported her for the right to have a union represent them in the factory they worked for – this was due to the mistreatment of immigrant workers at the factory.

Medhavi Patel as Jayaben Desai in We Are The Lions, Mr Manager

And your role…

I will be playing Jayaben Desai. She was a woman of incredible strength, courage and determination. She fought a battle at a time where the odds were against her, simply because she was a woman and an immigrant. Many say she was ahead of her time and strived to show that Asian woman can be strong and outspoken too.

The real Jayaben Desai

How has the play been received so far, has it been different in different locations? 

Many are excited at the prospects of such a strong play based on real-life experiences which are still a struggle for many in today’s society. I believe it will be received strongly everywhere we go, as we have kept the energy levels high and used elements of humour and emotion at the right balance.

What is life like backstage on tour?

Rehearsals are fun but gruelling and trying to get the right tone of the play and characters is important. Louise Townsend (Director) and Neil Gore (Playwright and Actor) have gone to great lengths to ensure the production is as close to real life events as possible. There have been many moments of laughter but equally many moments of discussion and thought about why the play is so important right now. Life backstage can be tiring but when you love what you do, that feeling takes second place.

Touring can be demanding: how do you keep your performance fresh/look after yourself when you’re having to travel as well as perform on stage at night?

I try to be as active as possible on a regular basis, whether this means walking, going to gym, for a gentle run, dancing in my room, practicing yoga and even getting enough shut eye. I also make sure I drink plenty of water and keep healthy snacks to hand. I warm up before performances and ensure I have time to silence the world from my thoughts before the show in order to go on sharp, focused and energised. Rest and play should be in the right balance and looking after oneself is essential to any performer as we are our tools.

Can we go back a bit and talk about what inspired you to become an actor and the path you took to become one?

I chose this path as I always loved performing from a young age. I didn’t see it as something particularly unique or special, as it feels like home when I’m performing – it really feels like I’m doing what makes me happy and that is my life’s mantra.

People spend so much time working and worrying that they forget about feeling, whether it’s happy or sad. When you incite feelings in your audience and bring them into your world it is the most amazing feeling. When you are able to touch people and make them aware of these feelings, it’s a job well done. I love the physical, mental and emotional challenges, the creativity, the people and the experiences that being a performer brings.

Any advice for aspiring performers?

Keep learning and be open to new challenges, don’t let yourself fit in just one category as you’ll never know your true potential.

Know your value and never be scared to question if you don’t understand or you don’t agree with something. An actor never stops learning and developing as their environment and life is their inspiration. Keep your craft alive through moments of quiet through attending workshops, shows or even trying to learn a new skill. You’ll never regret it.

Finally, why should people come along to see the play? And where else can we see it?

I think it will touch anyone who has ever had to fight for something important. It shows that together any difficulty can be faced and overcome. To see and know the story of a strong South Asian woman who has fought so valiantly for the rights we have today, to understand that we can question the systems in place and strive to make changes not just for ourselves but also for the people around us.

The play will also be on tour UK-wide and comes to Glasgow’s Eastwood Park Theatre on 29 October. Tickets are on sale now, priced £15 standard and concession £12 from: http://www.eastwoodparktheatre.co.uk/boxoffice .

Further dates and show locations on can be found: www.townsendproductions.org.uk

 

INTERVIEW: Gina Isaac star of Rapture Theatre’s Streetcar Named Desire

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Gina Isaac is currently starring in Rapture Theatre Company’s new production of A Streetcar Named Desire as Stella. I caught up with Gina just before the final week of the production at Edinburgh King’s Theatre.

A Streetcar Named Desire is an American classic, for those who are less familiar with it could you tell us a little bit about the play. 

It’s a story full of the heat and vibrancy of the city where it is set, in New Orleans. Blanche and her sister Stella, who is married to the brutish Stanley, find themselves thrown together and the story unfolds from there. You see the old world and the new clashing up against each other in the various characters in the play. There are too many spoilers in there to go into detail but it’s a wonderful story.

And your role…

Blanche is a fading Southern Belle who is desperately trying to hold onto a world that no longer exists. Like all of Tennessee Williams characters she is deeply flawed and yet striving with hope for something more.

How much preparation and rehearsal time did you get before the tour started? 

The rehearsal period was four weeks, with a week of sitting around a table discussing and then ‘getting it on it’s feet’. Streetcar is a very complex play with layers upon layers for the actors to discover. It was a very intense but satisfying process.

How has the play been received so far, has it been different in different locations? 

We’ve had a really terrific reception from all of our audiences, and every audience is different of course. The play is quite ‘light’ in the first act, and the story is very engaging, which seems to invite the audience in and they are really with us. Come the second act, things get dark pretty quickly but by then the audience seem to have really invested in the characters and you can hear a pin drop…with the occasional rustle of sweet packets.

What is life like backstage on tour? 

I wouldn’t know on this job as I never leave the stage or the wings. I’m pretty sure they’re having a good time though. It’s normally a strange mixture of high and lows on any tour – it can be quite an intense experience working in such a bubble for months at a time.

Touring can be demanding, how do you keep your performance fresh and look after yourself when you’re having to travel as well as perform on stage at night? 

Touring actually really helps to keep a performance/play feeling fresh. Every venue and auditorium is different with it’s own set of challenges, so you never really ‘settle’, which is great. You learn to listen to your body as an actor, as it will always let you know if you’re burning the candle too much. Some parts that you play will demand you look after yourself more than others…it’s a delicate balancing act but common sense really.

Can we go back a bit and talk about what inspired you to become an actor and the path you took to become one? 

I used to watch a lot of the old MGM movies when I was a kid and I guess that’s what sparked things for me. I was lucky, in that I never wanted to do anything else so I was quite a clear about the path I wanted to take. I studied drama at school and attended a group at weekends. I knew from a very young age that I wanted to go to a drama school as opposed to university and I spent three years at the Central school of Speech and Drama and then entered the industry from there. The hardest part about being an actor is once you’ve graduated and become part of a very big, very competitive industry. You learn quite quickly if the life of an actor is for you.

Any advice for aspiring performers?

Gosh, that’s a tricky one. I guess one of the main things I have realised, is that every job you do informs and moulds you as an actor. You are constantly learning as an actor, always. It doesn’t matter how long you’ve been doing it for. You take something from every job, the good ones and the ‘not so good’ ones. Also, always brush your teeth and if you’re on an OK wage, get a round in now and then.

Finally, why should people come along to see the play? and where can we see it?

Because ‘Streetcar‘ is the most brilliant story…and everyone loves a good story. It’s totally engaging from the off and I think you really care about the characters and what happens to them. This is our final week at The Kings, Edinburgh, so do yourself a favour and come see it.

Gina will be appearing in Rapture Theatre’s production of A Streetcar Named Desire at the King’s, Edinburgh from 3 – 7 October 2017.

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