Artistic Director of Frantic Assembly, Scott Graham, discusses the collaborative process of working with writer Andrew Bovell on Things I Know To Be True, and how he came to incorporate a physical language into the production.
In this interview, David Crystal, Honorary Professor of Linguistics at Bangor University, explores the origins and development of the English language from old English to the present day.
Adrian Lester talks to Digital Theatre+'s Creative Producer about the roles and industry realities he has encountered in his career, from speaking without words to walking in women's shoes. Lester explains how drama school teaches aspiring actors about graft, how mastering Taekwondo helped focus him as a performer, how roots aren't necessarily geographical, and how he will always, ultimately, return to the stage.
Declan Donnellan is a co-founder and joint Artistic Director of british theatre company Cheek by Jowl, whose award-winning theatrical technique reimagines classic works to put actors firmly at the centre.
Jenny Sealey has lead Graeae Theatre Company for 19 years as its Artistic Director. Renowned for pioneering work with emerging and established deaf and disabled theatre makers, Graeae has been instrumental in improving accessibility across the industry.
As a highly experienced voice and text coach, Barbara understands the difference between intellectually and experientially connecting with the language of a piece. She explores the voice as an instrument like any other, explains the physical movement of breath and sound through the body, and how there is no one-size-fits all approach to voice work.
Artistic Director, Scott Graham, describes the typical elements and intentions that make up a Frantic Assembly warm-up, considering why movement is invaluable in playing subtext and drawing an audience into a piece.
Julia Ford took to the Liverpool Everyman to play opposite David Morrissey in Gemma Bodinetz’s post-apocalyptic Macbeth. Ford considers how Lady Macbeth was able to persuade her husband to commit murder, and explains how she, as an actor, interprets Shakespeare’s words – and silences.
Adam Kotz starred as Pastor Manders in Richard Eyre's award-winning revival of Henrik Ibsen's Ghosts.
Adam discusses playing a character with a fractured sense of self and a strongly held dogma, and explains how, in giving Manders a complex inability to govern his emotions, Ibsen succeeds in fleshing out the familiar literary figure of 'the Pastor'.
Adrian Schiller played Reverend John Hale in Yaël Farber's acclaimed production of The Crucible at The Old Vic.
Adrian reflects on Hale's struggle with Deputy Governor Danforth and the challenge of fighting for the truth within a suspicious and paranoid community.
Scottish actor Alex Ferns played Lee in Phillip Breen's acclaimed production of Sam Shepard's True West.
Ferns shares how his childhood experiences helped him identify with Lee’s wild behaviour and why observing coyotes enabled him to access the character's physicality on stage.
Contains strong language.
Amanda Drew plays Joy, a character whose lacklustre life pushes her to the edge of social and moral boundaries. Amanda gives a frank and detailed account of her work on the part in the acclaimed production of Parlour Song.
Contains references to sex.
Anna Chancellor shares her feelings about the character of Amanda in Private Lives and what she does to prepare to bring her to life in all her glory on stage.
Anna Madeley played Elizabeth Proctor in Yaël Farber's acclaimed production of The Crucible at The Old Vic.
Anna describes how integrity is essential to her character, the role Mary Warren plays in her secluded life, and the rehearsal exercises used to build intimacy between John and Elizabeth in performance.
Sibil's honeymoon happiness is short-lived in Private Lives as she's thrust into the chaos of Amanda and Elyot's tempestuous relationship. Anna-Louise Plowman talks about love, hair and heartache.
Victor Prynne is a thoroughly decent man and Anthony Calf presents his case and discusses the character's role in Private Lives.
Damian Humbley plays Charley Kringas, the let-down best friend and creative collaborator of Frank Shepard and Sondheim gives his character one of the best and most difficult songs in Merrily We Roll Along. Damian chats about creating Charley’s look and how he prepares for his performance on stage.
Liverpool Everyman Youth Theatre alumnus David Morrissey returned to the iconic venue to take on the title role in Macbeth. Morrissey considers Macbeth’s psychological decline, the character’s relationship with the audience and explains why, in times of political turmoil, Shakespeare remains as relevant as ever.
David Suchet is one of the UK’s most acclaimed actors on stage and screen. He is a brilliant character actor who transforms himself from person to person. He has played many of the greatest characters ever written and here he discusses the mammoth task of bringing James Tyrone to life in rehearsal and through performance.
Dominic Rowan played Torvald Helmer in Carrie Cracknell’s acclaimed production of Henrik Ibsen's A Doll’s House.
Rowan reveals how extensive research and improvisation methods played a pivotal role in the development of his character, and provides an in-depth analysis of the relationship between Nora and Torvald.
Dudley Sutton chats about playing the young and old Billy in Billy the Kid and how his own life experience helped bring the character to life on stage.
Bennett and Cox consider the difficulties of two actors sharing one role, explaining their approach to creating the character and revealing the processes they went through in order to get in sync.
Eugene O’Hare played aspiring screenwriter Austin in Phillip Breen’s revival production of Sam Shepard's True West.
O’Hare explores the complicated relationship between brothers Austin and Lee, explains how silences are an integral part of dialogue, and how the play’s themes, set and audience impact and inspire his performance.
Forbes Masson who plays the melancholic anti-hero Jacques gives us insight into what makes Jacques so depressed. He identifies parallels between people in the play and provides in-depth analysis to characters and contextualisation.
Hattie Morahan played the iconic Nora Helmer in Carrie Cracknell’s critically-acclaimed production of Henrik Ibsen’s A Doll’s House.
Morahan explains how improvisation can help create and develop relationships between characters, and delves into the processes and challenges of bringing Nora to life.