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.
Jack Ellis played Deputy Governor Danforth in Yaël Farber's acclaimed production of The Crucible at The Old Vic.
Jack describes his approach to character and performance, exploring the emotional history of the character and how his interpretation darkened as rehearsals progressed.
Jack Lowden won an Olivier Award for playing the cocksure, but terminally ill Oswald Alving in Richard Eyre's revival of Ibsen's Ghosts.
He discusses how playing a role like Oswald enabled him to show a wide range of attitudes and emotions, how the text allows for freedom of interpretation and why confidence is key.
Jake and Danny-Boy share their experiences of growing up, being 16 and how they drew upon their own backgrounds to bring Jonathan Harvey's story of identity, friendship and love to life.
The long-suffering, warm-hearted Mary Flynn is a wonderfully rich part for a performer and Jenna Russell draws out all her complexity in the hit show Merrily We Roll Along. Jenna talks about how she approached the role and the challenge and joy of singing Sondheim.
How do four very different looking actors convince an audience that they are two sets of identical twins? The Royal Shakespeare Company's Jonjo O'Neill, Dyfan Dwyfor, James Tucker and Richard Katz reveal how they did it.
Julia Ford took to the Liverpool Everyman to play opposite David Morrissey in Gemma Bodinetz’s post-apocalyptic reimagining of Macbeth. Ford reflects on the clues in Shakespeare’s writing and how she makes use of the spaces in between, as well as explaining her interpretation of this controversial character.
Katy Stephens, who plays Rosalind, helps us to understand one of Shakespeare's most complex female characters. She examines the difficulties in attempting to mask femininity onstage and her approaches to Shakespearean text.
Richard Goulding and Kieran Bew talk to us about the differences between working on a Shakespeare production versus a production by a contemporary playwright. They look at creating character and the varying interpretations Shakespeare's text can unfold.