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"More and more as the higher end gets squeezed by commercial interests and stunt casting and subsidised theatre disappears into the mist, particularly in the regions, the really talented and passionate individuals need to find an outlet and that is Off West End’s gain and the mainstream’s loss."
Biography
Trained at LAMDA. In 1984 he won the Laurence Olivier Award for Actor of the Year in a Musical in ‘The Hired Man’. He also created the role of Harry Bright in ‘Mamma Mia’ at The Prince Edward Theatre, London. He is currently to be seen as Zoe and Archie’s Dad, Graham Carpenter in ‘Hollyoaks’. Television includes: ‘Bedtime’, ‘Trippers Day’, ‘The Manageress’, ‘Drop the Dead Donkey’, ‘Underworld’, ‘Kavanagh QC’, ‘McCallum’, ‘Kiss Me Kate’ and ‘Heartbeat’.
He has directed at Derby Playhouse, Worcester Swan Theatre, Birmingham Theatre School, Birmingham School of Acting and Bristol Old Vic Theatre School.
What first attracted you to the theatre?
I was invited onto the stage, as a child, to roll some giant dice during a David Wood children’s show, ‘The Plotters of Cabbage Patch Corner’ at The Swan Theatre Worcester. That was in the early 70’s and I thought it was brilliant. The relationship between audience and performers was one that seemed so exciting and so unique.
If you could pick any one person or theatre company to work with on your next project, who/which would it be?
Apart obviously from Ben De Wynter and Regan/Wynter productions, I think it would have to be Emma Rice and Kneehigh. I have seen a lot of their work and the sheer joy of what they do makes it look such a brilliant experience. The idea of devising a new piece locked in a barn somewhere in the middle of Cornwall with like minded playful performers sounds wonderful!
What is your opinion of Off West End theatre, in general?
I think it’s where the really exciting and daring stuff is happening. More and more as the higher end gets squeezed by commercial interests and stunt casting and subsidised theatre disappears into the mist, particularly in the regions, the really talented and passionate individuals need to find an outlet and that is Off West End’s gain and the mainstream’s loss.
What was the most inspiring performance you have ever seen? Why?
My wife Julia Hills as Edwin Drood in ‘The Mystery of Edwin Drood’ at The Savoy Theatre in 1987. I know I love her, but my goodness she was brilliant! Talent, energy and exuberance in such a perfectly formed little package! Apart from that I saw Donald Sinden play King Lear at Stratford when I was at school and that made a real impression. Michael Williams played the Fool and Dame Judi Dench played Regan in the same production. Anthony Sher as Singer in Peter Flannery’s play of the same name at the Swan again at Stratford was also brilliant.
What piece of work are you the most proud of?
Apart from ‘The Hired Man’ which seems such a long time ago now. I did a three hander called ‘Upside Down and Back to Front’ set in rural Worcestershire at the turn of the last century by a wonderful writer, Lance Woodman. We only played it for two performances at a tiny community venue in Pershore, Worcestershire, but we had such fun. I wish it could have had more of a life.
What things in your personal life do you draw from when you perform?
The security and love of my wife and children. Knowing they are always there at the end of the day and that all else is ultimately unimportant really takes the pressure off.
Who is the best actor/actress performing on Off West End today?
At the moment, invidious though it is to choose and I have seen so little, Jane Horrocks in ‘Annie Get Your Gun’ at The Young Vic and Reece Shearsmith would be worth seeing in ‘Comedians’ at the Lyric Hammersmith.
Musical, comedy or drama- what’s your preference to watch?
Musicals have such a bad press and there are some shockers out there but at the same time there are some really talented people expressing themselves through the form in exciting and innovative ways. Howard Goodall of course has done some really exciting work with the National Youth Music Theatre and Youth Music Theatre UK and Stiles and Drewe are really undervalued in this country. I loved the original ‘Blood Brothers’ and ‘Spend Spend Spend’ was another example of the great British Musical. I also love comedy and there is nothing better than a good laugh. I do find harrowing subjects difficult but really admire the way people like Mark Ravenhill, The Presnyakov Brothers and Vassily Sigarev deal with dark themes and difficult issues with humour and sensitivity.
Can you tell our readers about what you’re doing now/next?
I am working on a wonderful piece. A musical version of ‘A Man of No Importance’ at The Union Theatre, Southwark. It was originally a film with Albert Finney set in 1960’s Dublin about a seemingly ordinary bus conductor and his passion for amateur theatricals and Oscar Wilde in particular. It is a moving, tender and funny story about the bigotry of the time and the ultimate triumph of self knowledge, community spirit and friendship.
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