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Serin Ibrahim and Cassandra Hercules the stars of Hannah and Hanna at Greenwich Theatre talk to us about the thrill of the theatre

Serin Ibrahim and Cassandra Hercules the stars of Hannah and Hanna at Greenwich Theatre talk to us about the thrill of working OffWestEnd

What first attracted you to the theatre?

SI: I’ve wanted to be an actor since I was very young, and in theatre in particular. I desperately wanted to go to a secondary school that taught drama, and when I was a teenager I joined Greenwich Young People’s Theatre (still going, but now called GLYPT and working in Lewisham too). When I finally went to university to study drama I managed to get a job working front of house at Greenwich Theatre and I’m excited to now be going back there as a performer!

CH: I’m the same, I’ve probably wanted to act since I was 6 years old. I’ve always enjoyed the buzz of acting to an audience. There is nothing like being on stage, in the presence of the audience, feeding off their every response, almost as a third scene partner. It’s a ‘living feeling’ that the camera does not give you.

If you could pick any one person or theatre company to work with on your next project, who/which would it be?

CH: Probably Theatre Movement Bazaar. They’re an LA based Theatre company, also supported by Greenwich Theatre, who we met in Edinburgh. They have the most incredible ability as an ensemble to viscerally and visually tell a story. I would be interested in pushing the boundaries of political theatre through visual story-telling.

SI: I’m a big fan of Theatre Movement Bazaar too – I’ve followed them since Anton’s Uncles in Edinburgh five years ago – but for me I think Kneehigh would also be a dream collaborator. They absolutely produce the kind of theatre I love to watch.

What is your opinion of Off West End theatre, in general?

CH: It is so important that theatre attracts a diverse range of audiences, from different cultural backgrounds and economic circumstances and views, and Off West End theatre is in a strong position to do that, with cheaper ticket prices than the West End, and such a range of companies and artists making work.

SI: The Off West End sector must be one of the most vibrant theatre environments in the world. There is such a range of work being produced, and artists from the newest companies, like ours, to the likes of the Royal Court and the Almeida with huge levels of experience making world class theatre. The most exciting thing is probably the ladder of opportunity that exists, with companies starting making shows in the smallest venues like the Old Red Lion or the New Diorama, and growing into venues like Greenwich or Battersea Arts Centre.

What was the most inspiring performance you have ever seen? Why?

SI: I think probably Kneehigh’s Don John. I saw the show twice, and when there’s so much to see in London that’s a big decision, and it really did make clear to me the sort of theatre I want to be involved in. I still remember the music now. There was also a show at the National Theatre called Or You Could Kiss Me that has stayed with me – it was a collaboration with Handspring Puppet Company, and it was one of the shows that inspired me to train as a puppeteer.

CH: Probably a show called ‘Blind Man’s Song’ performed by Theatre Re. I was moved by how the human body can communicate so much emotion and meaning without speech. It was probably the most beautiful performance I have ever seen. I was literally moved to tears.

What piece of work are you the most proud of?

CH: I would have to say Hannah and Hanna (our debut show). You put your work out there, and hope that people will get it. And the audience have.

SI: I agree. Launching a new company as we’ve done, making our first show and being invited to take it to Assembly, one of the most prestigious venues at the Edinburgh Festival, was a huge privilege for us. We could not have hoped for a better start.

6. What things in your personal life do you draw from when you perform?

SI: Every show is different, and to be honest every scene is different. Playing Hannah, a sixteen year old girl, meant looking back to try and remember what was important to me as a teenager, trying to rediscover that heightened sense of the world, that inflated sense of injustice and the way in which every relationship can come to feel life-changing when you are that young.

CH: Yes, that’s right. Everything in life can contribute to a performance. One commentator once said that there is no such thing as a character on stage, just the actor in different circumstances, and this has stuck with me. However I feel, whatever I am going through, I try to acknowledge it and not shut it out.

7. Who is the best actor/actress performing on Off West End today?

CH: There are so many talented performers out there!

SI: I know – it’s an impossible question! It’s easy to focus on the famous actors who are appearing across London but the lesser known performers at the smaller theatres are often the ones that I watch and am inspired by. They’re starting small, the way most actors do, but they’re doing what they love and sharing stories with audiences.

8. Musical, comedy or drama- what’s your preference to watch?

SI: I’d say probably drama, but you can’t beat the escapism of a good musical!
CH: I’m a sucker for comedy. I just love to laugh!

9. Can you tell our readers about what you’re doing now/next

SI: We launched our new company CultureClash this Summer with a revival of John Retallack’s 2001 play HANNAH AND HANNA. It’s set in 1999 and tells the story of a young Kosovan asylum-seeker who arrives in Margate at a time of huge local tension and National Front activity, and who tries to befriend a local girl. When we went into rehearsal in July we were aware of just how timely our revival was, but it’s getting more and more relevant every day with the plight of refugees hitting the headlines over and over again.

CH: It’s such an important story and audiences came and spoke to us after the show almost every day in Edinburgh, but whilst it’s certainly dramatic and deals with some serious issues the play is full of fantastic 90s pop music – the thing that the two main characters both love – and we’ve tried to fill it with all the energy that exists in a new friendship between two teenage girls.

SI: After previewing the show at the New Diorama Theatre in London and then taking the show to Edinburgh, we’re back in London for five nights at Greenwich, from 29 September to 3 October – after the excitement of the Fringe we’re looking forward to sharing our new company’s debut show with London audiences.

Hannah and Hanna, 29 Sep-3 Oct, Greenwich Theatre
Box Office 020 8858 7755
www.greenwichtheatre.org.uk






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