REVIEW
ARSENIC AND OLD LACE
Presented by Little Theatre Company
Dixon Studio, Palace Theatre, Southend-on-Sea
TUE 26 - SAT 30 MARCH 2024
ARSENIC AND OLD LACE
Presented by Little Theatre Company
Dixon Studio, Palace Theatre, Southend-on-Sea
TUE 26 - SAT 30 MARCH 2024
If you want a good laugh – see this play!
Arsenic and Old Lace is one of my absolute favourites ever since I saw the screwball comedy film with Cary Grant. I liked it so much that a few years ago I directed an amateur production, which was very successful. Therefore, I was looking forward to this production and I wasn’t disappointed, it is still extremely funny.
The play is about two spinsters who bump off their elderly lodgers, as they feel sorry for them, because they are ‘all alone in the world.’ We’re greeted with a catalogue of over the top characters and the Little Theatre Company really makes them larger than life. Firstly, there is Teddy who thinks he’s President Roosevelt, who spends all his time charging around with a sword, blasting out his trumpet, and digging the Panama Canal in the cellar. This was hilariously played by Dave Gardner. Then the nephew Mortimer who finds out there are bodies in the cellar. Jamie Redgate as the nephew runs around the stage like a headless chicken, desperately trying to protect his aunts. As the seemingly only sane person in the family, he’s a theatre critic who writes his critical reviews on the way to the theatre, which is a trifle suspicious. Meanwhile, his girlfriend Elaine (Ami Roberts) struts her stuff round the stage.
Add to the mix, the arrival of long lost brother Jonathan. He is an escaped murderer with the face of Boris Karloff, and is accompanied by his plastic surgeon, Dr. Einstein (not that one). He was drunk and had just seen a horror movie when he conducted the operation. These were excellent performances by Tim Cater and Joel Arnold. The former a cross between an old time gangster and Frankenstein’s monster, and Joel Arnold in Peter Lorre mode.
As a period drama, what is it about Arsenic and Old Lace that explains its longevity and appeal? Perhaps it is because it has never dated, and is a very funny screwball farce. In this production there are very strong comedic performances by the whole cast. It has high energy and pace, with bodies coming through windows, packed in window seats and, carted down cellars. Meanwhile the two aunts, as the only understated characters in the play, well played by Sally Lightfoot and Lindsay Blakesley, pour out their poisoned elderberry wine with impunity.
Scott Newcombe’s set design with functioning windows that people can climb through, stairs Teddy can charge up and doors that are flung open and shut constantly, is very effective.
Under the direction of Stephanie Wilson, the play moves along with great physicality and spot on timing. There is never a dull moment. Even the police are funny, with an hysterical scene as Officer O’ Hara (Scott McFall) acts out the novel he’s writing, unaware Mortimer is trussed up and is about to be murdered.
The whole evening was extremely enjoyable. If you want to see this great farce you had better hurry as the tickets are selling out fast, and some performances are already sold out.
Review - Jacquee Storozynski- Toll
Event Details
Wed 27 - Sat 30 Mar 2024
7.45pm, 3pm
Ticket Information
£16.50
A transaction fee of up to £3.95 may apply to your order
Palace Theatre Dixon Studio
Box Office: 0343 310 0030
The play is about two spinsters who bump off their elderly lodgers, as they feel sorry for them, because they are ‘all alone in the world.’ We’re greeted with a catalogue of over the top characters and the Little Theatre Company really makes them larger than life. Firstly, there is Teddy who thinks he’s President Roosevelt, who spends all his time charging around with a sword, blasting out his trumpet, and digging the Panama Canal in the cellar. This was hilariously played by Dave Gardner. Then the nephew Mortimer who finds out there are bodies in the cellar. Jamie Redgate as the nephew runs around the stage like a headless chicken, desperately trying to protect his aunts. As the seemingly only sane person in the family, he’s a theatre critic who writes his critical reviews on the way to the theatre, which is a trifle suspicious. Meanwhile, his girlfriend Elaine (Ami Roberts) struts her stuff round the stage.
Add to the mix, the arrival of long lost brother Jonathan. He is an escaped murderer with the face of Boris Karloff, and is accompanied by his plastic surgeon, Dr. Einstein (not that one). He was drunk and had just seen a horror movie when he conducted the operation. These were excellent performances by Tim Cater and Joel Arnold. The former a cross between an old time gangster and Frankenstein’s monster, and Joel Arnold in Peter Lorre mode.
As a period drama, what is it about Arsenic and Old Lace that explains its longevity and appeal? Perhaps it is because it has never dated, and is a very funny screwball farce. In this production there are very strong comedic performances by the whole cast. It has high energy and pace, with bodies coming through windows, packed in window seats and, carted down cellars. Meanwhile the two aunts, as the only understated characters in the play, well played by Sally Lightfoot and Lindsay Blakesley, pour out their poisoned elderberry wine with impunity.
Scott Newcombe’s set design with functioning windows that people can climb through, stairs Teddy can charge up and doors that are flung open and shut constantly, is very effective.
Under the direction of Stephanie Wilson, the play moves along with great physicality and spot on timing. There is never a dull moment. Even the police are funny, with an hysterical scene as Officer O’ Hara (Scott McFall) acts out the novel he’s writing, unaware Mortimer is trussed up and is about to be murdered.
The whole evening was extremely enjoyable. If you want to see this great farce you had better hurry as the tickets are selling out fast, and some performances are already sold out.
Review - Jacquee Storozynski- Toll
Event Details
Wed 27 - Sat 30 Mar 2024
7.45pm, 3pm
Ticket Information
£16.50
A transaction fee of up to £3.95 may apply to your order
Palace Theatre Dixon Studio
Box Office: 0343 310 0030
When Mortimer Brewster visits his sweet spinster aunts to announce his engagement, he makes a shocking discovery about his eccentric family. A gripping and farcical black comedy of kindly aunts and menacing brothers - all with murder in mind - Arsenic and Old Lace is one of the most iconic horror dramas of the mid-twentieth century. Tue-Sat at 7.45pm / Sat at 3pm All tickets £16.50
CURTAIN CALL with SALLY LIGHTFOOT, JAMIE REDGATE AND DAVE GARDNER
Sally Lightfoot, 77, from Hadleigh
How did you get involved in performing and how old were you when you first performed?
I got used to the idea of performing when very young when my large family of aunts, uncles and cousins would meet most Sunday evenings at one aunt’s house. She and my mother would play the piano and everybody would sing songs either together or as solos, plus say poems or dress up and dance and perform short scenes. So I was used to the idea of entertaining others well before I started school.
At senior school I was involved in many school plays, usually playing a leading character which was nearly always a male role: it was a girls’ convent school and I was tall and had a deeper voice than others.
I then went to the Guildhall School of Music and Drama to do an AGSM in drama followed by qualifying as a Speech & Drama teacher.
Who do you consider to be your acting role model whose career you would like to emulate, and why?
I have always admired Maggie Smith. She has played a complete range of characters over the years and continued to take strong parts as she has aged. (e.g. The Lady in the Van, The Exotic Marigold Hotel, Downton Abbey). These roles are not just stereotypical sweet old ladies, but interesting and memorable. She is brilliant at delivering one-liners, especially in comic roles.
I also think that Angela Lansbury used her acting and singing abilities to great effect and adapted as she aged. (Sweeny Todd, Blithe Spirit, The Manchurian Candidate).
I got used to the idea of performing when very young when my large family of aunts, uncles and cousins would meet most Sunday evenings at one aunt’s house. She and my mother would play the piano and everybody would sing songs either together or as solos, plus say poems or dress up and dance and perform short scenes. So I was used to the idea of entertaining others well before I started school.
At senior school I was involved in many school plays, usually playing a leading character which was nearly always a male role: it was a girls’ convent school and I was tall and had a deeper voice than others.
I then went to the Guildhall School of Music and Drama to do an AGSM in drama followed by qualifying as a Speech & Drama teacher.
Who do you consider to be your acting role model whose career you would like to emulate, and why?
I have always admired Maggie Smith. She has played a complete range of characters over the years and continued to take strong parts as she has aged. (e.g. The Lady in the Van, The Exotic Marigold Hotel, Downton Abbey). These roles are not just stereotypical sweet old ladies, but interesting and memorable. She is brilliant at delivering one-liners, especially in comic roles.
I also think that Angela Lansbury used her acting and singing abilities to great effect and adapted as she aged. (Sweeny Todd, Blithe Spirit, The Manchurian Candidate).
What techniques do you use to create a believable character?
When I start a part I look at what the person is saying and ask myself why they are saying it, and how they are reacting to the other characters and why. These are people, so they have a background. I think about how they would dress (why would they select those clothes and hairstyles), how they would move and sit. When I am given a part I always read the whole script first – not just my own lines – to establish the development of the plot. I check out the period in which it is set for any historical facts and for the style of that time. Unlike other people I know, I deliberately don’t look at previous versions/films of the plays as I want to create my character in my own way. I see no value in copying another actor.
Tell us what roles you’ve played in the past and describe your most challenging role to date.
I have been lucky enough to play many diverse roles over the years. In musicals these include:
Mame (Mame), Lady Thiang (The King & I), Bloody Mary (South Pacific), Mrs Lovett (Sweeney Todd), Connie (Made in Dagenham)
In plays:
Adriana (Comedy of Errors), Thelma (Farndale series of comedies), Chris (Calendar Girls), Mercy Croft (The Killing of Sister George)
The most challenging musical role was Mrs Lovett, due to the complexity of Sondheim’s amazing music and the sheer weight of the role, playing opposite the strength of Sweeney.
Chris (Calendar Girls) was a challenge as she was based on a real person and the storyline was very emotional. The character moves from comedy, through bossiness and ambition to sadness – I had to discipline myself to perform and not allow emotion to cloud my performance. Mercy (Killing of Sister George) was seemingly a comic role, but underneath she was scheming to lure Childie away from George, wrecking a relationship and George’s career. It was a challenging part to let this all gradually emerge and show her cold steeliness.
When I start a part I look at what the person is saying and ask myself why they are saying it, and how they are reacting to the other characters and why. These are people, so they have a background. I think about how they would dress (why would they select those clothes and hairstyles), how they would move and sit. When I am given a part I always read the whole script first – not just my own lines – to establish the development of the plot. I check out the period in which it is set for any historical facts and for the style of that time. Unlike other people I know, I deliberately don’t look at previous versions/films of the plays as I want to create my character in my own way. I see no value in copying another actor.
Tell us what roles you’ve played in the past and describe your most challenging role to date.
I have been lucky enough to play many diverse roles over the years. In musicals these include:
Mame (Mame), Lady Thiang (The King & I), Bloody Mary (South Pacific), Mrs Lovett (Sweeney Todd), Connie (Made in Dagenham)
In plays:
Adriana (Comedy of Errors), Thelma (Farndale series of comedies), Chris (Calendar Girls), Mercy Croft (The Killing of Sister George)
The most challenging musical role was Mrs Lovett, due to the complexity of Sondheim’s amazing music and the sheer weight of the role, playing opposite the strength of Sweeney.
Chris (Calendar Girls) was a challenge as she was based on a real person and the storyline was very emotional. The character moves from comedy, through bossiness and ambition to sadness – I had to discipline myself to perform and not allow emotion to cloud my performance. Mercy (Killing of Sister George) was seemingly a comic role, but underneath she was scheming to lure Childie away from George, wrecking a relationship and George’s career. It was a challenging part to let this all gradually emerge and show her cold steeliness.
What has been your most favourite role to date and why?
My favourite role has been Mrs Lovett as I was able to sing and act in an incredible musical, create her as a comic character with underlying scheming and play alongside an amazing Sweeney Todd.
Is there a role that you are desperate to play?
I am now too old to play many wonderful parts; I would have loved to play Goneril (King Lear) – again a strong, scheming woman in a powerful play. However, if Downton Abbey ever became available, I would love to play Violet Crawley as the overbearing grandmother.
Tell us about your character in Arsenic and Old Lace?
I play Aunt Abbey, seemingly a sweet old lady who is loved and respected by everybody for her kindness and thoughtfulness in the local community. However, she and her sister have dark secrets in their house which gradually become apparent during the play. Their reputation makes these revelations unbelievable to the public. The most interesting thing is that she doesn’t see the enormity of her actions. So, is she actually sane?
LTC are known more for their musical theatre productions, how different is it rehearsing for a play?
Preparing for a role in a musical involves learning music and movement/dancing as well as the dialogue. Usually lots more people are involved so the rehearsals are busy and noisy! It is almost like a jigsaw fitting everything together and ensuring that every fact is polished and working. Rehearsing a play is usually on a much smaller scale so you can get to know your fellow cast and crew quicker. Even the rehearsal hall/room is usually smaller so the whole atmosphere can become calmer and more intimate. There is more opportunity to work quietly on scenes.
I like both: I love the buzz of musicals and the quiet teamwork of plays.
Any tricks or advice on learning your lines?
Learning lines is always a challenge, whether it be a small part or a lead. I always approach it in the same way – I read the whole script every day from start to finish, usually twice. That way, I know what everybody else is saying and get my entrances and exits firmly in my head. I find it easier for everything to stay in my head after I have blocked each scene; then I know exactly where I am and what I am doing when I say particular lines. I also find line runs useful outside actual rehearsal sessions.
What advice would you give to anyone considering the acting industry?
Acting is a wonderful pastime and incredibly satisfying and uplifting. Working in the industry would be an amazing life for a talented person. However, the competition among actors is fierce: there are lots of good actors out there and a limited number of roles, especially for women. The roles also diminish as you get older. You have to be very versatile, very committed and be able to bounce back when you audition and don’t get a part.
Who’s the most famous person you’ve met?
I went to Guildhall and have seen many people I trained with, who were amazing actors, appear on TV and in films and in the West End. On a few occasions they have appeared at the Palace in Westcliff and we have met and talked. They haven’t always had another job lined up. It is a very precarious profession even if you are really good.
Are any other members of your family involved in performing?
None of my family are in the acting profession now. My daughter in law spent a couple of years touring with a company, performing Shakespeare around the country (she was mostly in leading roles) and playing parts on TV series - all before she married my son. Her son (my grandson) was involved in performing while at school, but has now trained on the film production side and is currently working as a production assistant on a new film at Elstree.
Have you had any embarrassing moments on stage?
I have had some great times on stage with the inevitable tricks that others play on you, (unexpectedly heavy suitcases, unspeakable items on a piano I was about to play, men with moustaches walking past me in the Sound of Music dressed as nuns), but probably the most alarming was when I was about to step on stage and make a speech in the final scene of a show. My zip suddenly came apart so the dress was about to slide off – the alert crew member next to me in the wings saw my dilemma and gaffer – taped me together. I was able to walk on and perform but only facing front.
What’s next?
I have no idea what, if anything, I will do after Arsenic. Who knows!
My favourite role has been Mrs Lovett as I was able to sing and act in an incredible musical, create her as a comic character with underlying scheming and play alongside an amazing Sweeney Todd.
Is there a role that you are desperate to play?
I am now too old to play many wonderful parts; I would have loved to play Goneril (King Lear) – again a strong, scheming woman in a powerful play. However, if Downton Abbey ever became available, I would love to play Violet Crawley as the overbearing grandmother.
Tell us about your character in Arsenic and Old Lace?
I play Aunt Abbey, seemingly a sweet old lady who is loved and respected by everybody for her kindness and thoughtfulness in the local community. However, she and her sister have dark secrets in their house which gradually become apparent during the play. Their reputation makes these revelations unbelievable to the public. The most interesting thing is that she doesn’t see the enormity of her actions. So, is she actually sane?
LTC are known more for their musical theatre productions, how different is it rehearsing for a play?
Preparing for a role in a musical involves learning music and movement/dancing as well as the dialogue. Usually lots more people are involved so the rehearsals are busy and noisy! It is almost like a jigsaw fitting everything together and ensuring that every fact is polished and working. Rehearsing a play is usually on a much smaller scale so you can get to know your fellow cast and crew quicker. Even the rehearsal hall/room is usually smaller so the whole atmosphere can become calmer and more intimate. There is more opportunity to work quietly on scenes.
I like both: I love the buzz of musicals and the quiet teamwork of plays.
Any tricks or advice on learning your lines?
Learning lines is always a challenge, whether it be a small part or a lead. I always approach it in the same way – I read the whole script every day from start to finish, usually twice. That way, I know what everybody else is saying and get my entrances and exits firmly in my head. I find it easier for everything to stay in my head after I have blocked each scene; then I know exactly where I am and what I am doing when I say particular lines. I also find line runs useful outside actual rehearsal sessions.
What advice would you give to anyone considering the acting industry?
Acting is a wonderful pastime and incredibly satisfying and uplifting. Working in the industry would be an amazing life for a talented person. However, the competition among actors is fierce: there are lots of good actors out there and a limited number of roles, especially for women. The roles also diminish as you get older. You have to be very versatile, very committed and be able to bounce back when you audition and don’t get a part.
Who’s the most famous person you’ve met?
I went to Guildhall and have seen many people I trained with, who were amazing actors, appear on TV and in films and in the West End. On a few occasions they have appeared at the Palace in Westcliff and we have met and talked. They haven’t always had another job lined up. It is a very precarious profession even if you are really good.
Are any other members of your family involved in performing?
None of my family are in the acting profession now. My daughter in law spent a couple of years touring with a company, performing Shakespeare around the country (she was mostly in leading roles) and playing parts on TV series - all before she married my son. Her son (my grandson) was involved in performing while at school, but has now trained on the film production side and is currently working as a production assistant on a new film at Elstree.
Have you had any embarrassing moments on stage?
I have had some great times on stage with the inevitable tricks that others play on you, (unexpectedly heavy suitcases, unspeakable items on a piano I was about to play, men with moustaches walking past me in the Sound of Music dressed as nuns), but probably the most alarming was when I was about to step on stage and make a speech in the final scene of a show. My zip suddenly came apart so the dress was about to slide off – the alert crew member next to me in the wings saw my dilemma and gaffer – taped me together. I was able to walk on and perform but only facing front.
What’s next?
I have no idea what, if anything, I will do after Arsenic. Who knows!
Jamie Redgate, 47, from Leigh on Sea
How did you get involved in performing and how old were you when you first performed?
I would say my first-ever performance was the part of Joseph, in a school production of 'Joseph' at age 11. But outside of school, and only a year later, I was a part of Fagin's gang in Benfleet Operatic's 'Oliver' in 1988/89.
The Deputy Head of my secondary school at the time, was playing Fagin, and they needed young people for Fagin's gang and me and a friend saw a notice and joined up.
Who do you consider to be your acting role model whose career you would like to emulate, and why?
I've never wanted to emulate an actor's career, but in terms of actors who have inspired me, I'd have to choose Rick Moranis as my number one. As 'Little Shop of Horrors' and Moranis' portrayal of Seymour made me fall in love with musical theatre. But mostly it's the actors around me that inspire me. I am in awe of some of my friends (past and new) and their performances, and it's these people who I learn from.
What techniques do you use to create a believable character?
I have to find or create a quirk or two in my character that becomes a kind of metaphorical pillar to lean on.
For the Baker in 'Into the Woods', I played him slightly nervous, unable to stand still, and always fidgeting with his hands.
For Dennis in 'All Shook Up', I played him very nerdy, naive, silly, and overly physical (big gestures and movement). But not shy.
In some ways, I make them into caricatures. I can't play subtle.
For me, once you've got brief descriptions of your character quirks, then it just builds over time throughout the rehearsal process.
I do sometimes have to adjust or change quirks because it doesn't always work the first time.
I would say my first-ever performance was the part of Joseph, in a school production of 'Joseph' at age 11. But outside of school, and only a year later, I was a part of Fagin's gang in Benfleet Operatic's 'Oliver' in 1988/89.
The Deputy Head of my secondary school at the time, was playing Fagin, and they needed young people for Fagin's gang and me and a friend saw a notice and joined up.
Who do you consider to be your acting role model whose career you would like to emulate, and why?
I've never wanted to emulate an actor's career, but in terms of actors who have inspired me, I'd have to choose Rick Moranis as my number one. As 'Little Shop of Horrors' and Moranis' portrayal of Seymour made me fall in love with musical theatre. But mostly it's the actors around me that inspire me. I am in awe of some of my friends (past and new) and their performances, and it's these people who I learn from.
What techniques do you use to create a believable character?
I have to find or create a quirk or two in my character that becomes a kind of metaphorical pillar to lean on.
For the Baker in 'Into the Woods', I played him slightly nervous, unable to stand still, and always fidgeting with his hands.
For Dennis in 'All Shook Up', I played him very nerdy, naive, silly, and overly physical (big gestures and movement). But not shy.
In some ways, I make them into caricatures. I can't play subtle.
For me, once you've got brief descriptions of your character quirks, then it just builds over time throughout the rehearsal process.
I do sometimes have to adjust or change quirks because it doesn't always work the first time.
Do you have experience acting in television or film?
I once did a short, independent war film, which was filmed on a Channel 4 set. But that's about it.
What’s the most interesting thing about you?
I was a participant on a TV show called the Hidden Talent Show, which was aired on Channel 4, that nobody has ever heard of.
What is the first thing you do to research and approach a role?
Jump onto YouTube. lol. A lot of actors don't like to do that, as they don't want to be influenced by other performances. But I'll be totally honest, it's the first thing I do. And I will find as many different performances from both professional and amateur to see a broad range. I can then see what might work and what won't work for me, and how I act. I'll then run aloud through some scenes in my living room, to see how the character feels to me, and how I might play it.
My current role for example was famously played by Cary Grant in the film. And I knew very quickly that I wouldn't be able to play the role in the same way. So I've had to put my own Jamie spin on it.
Tell us what roles you’ve played in the past and describe your most challenging role to date.
I've been so fortunate to have played many roles throughout my time on stage:
My favorites have been: Dennis 'All Shook Up', Princeton 'Avenue Q', Harrold 'Full Monty', and Robbie 'The Wedding Singer'.
There have been a few challenging roles for me for different reasons, so it's difficult to choose one.
Robbie 'Wedding Singer' was the most challenging for me vocally. As many of the songs were at the top of my vocal range, and I struggled to reach some of those top notes. By the final performance, I had pretty much lost my voice. Which was both upsetting and frustrating.
But about 5 years ago I played the leading man in a 3-act play called 'Last of the Red Hot Lovers'. And I've never had to learn so much dialogue.
I could never do Shakespeare; my memory wouldn't be able to handle it.
What has been your most favourite role to date and why?
Such a tough question. I think I'd have to choose Princeton 'Avenue Q'. It was so much fun to play and to manipulate the puppet, and the role had some great songs.
But I do have to mention Harrold 'The Full Monty'. Not for the role itself, but just being one of the 6 men in that show, you knew you were part of something special.
I once did a short, independent war film, which was filmed on a Channel 4 set. But that's about it.
What’s the most interesting thing about you?
I was a participant on a TV show called the Hidden Talent Show, which was aired on Channel 4, that nobody has ever heard of.
What is the first thing you do to research and approach a role?
Jump onto YouTube. lol. A lot of actors don't like to do that, as they don't want to be influenced by other performances. But I'll be totally honest, it's the first thing I do. And I will find as many different performances from both professional and amateur to see a broad range. I can then see what might work and what won't work for me, and how I act. I'll then run aloud through some scenes in my living room, to see how the character feels to me, and how I might play it.
My current role for example was famously played by Cary Grant in the film. And I knew very quickly that I wouldn't be able to play the role in the same way. So I've had to put my own Jamie spin on it.
Tell us what roles you’ve played in the past and describe your most challenging role to date.
I've been so fortunate to have played many roles throughout my time on stage:
My favorites have been: Dennis 'All Shook Up', Princeton 'Avenue Q', Harrold 'Full Monty', and Robbie 'The Wedding Singer'.
There have been a few challenging roles for me for different reasons, so it's difficult to choose one.
Robbie 'Wedding Singer' was the most challenging for me vocally. As many of the songs were at the top of my vocal range, and I struggled to reach some of those top notes. By the final performance, I had pretty much lost my voice. Which was both upsetting and frustrating.
But about 5 years ago I played the leading man in a 3-act play called 'Last of the Red Hot Lovers'. And I've never had to learn so much dialogue.
I could never do Shakespeare; my memory wouldn't be able to handle it.
What has been your most favourite role to date and why?
Such a tough question. I think I'd have to choose Princeton 'Avenue Q'. It was so much fun to play and to manipulate the puppet, and the role had some great songs.
But I do have to mention Harrold 'The Full Monty'. Not for the role itself, but just being one of the 6 men in that show, you knew you were part of something special.
Tell us about your character in Arsenic and Old Lace?
Mortimer is one of three nephews of the Brewster sisters. He's a likeable, professional, everyday man, who lights up the room. He's calm, poised, and in control. This is why it's so comical when the whole situation is quickly turned upside down, and he doesn't know how to handle it.
He is no longer in control, and he is definitely not calm or poised. I would say he's frantic. And the juxtaposition of his panic and his aunt's indifference to the situation that creates a lot of the comedy.
LTC are known more for their musical theatre productions, how different is it rehearsing for a play?
Totally different. Plays have more dialogue, more props, and maybe more stage direction to meticulous detail. Even with a small role, you might sometimes have more dialogue than you would as a leading role in a musical. So for me personally, I find plays far more difficult to learn.
With a musical you have big dance numbers, big songs, big set changes, flashy costumes. There's so much to shove in your audiences' eyeballs, and I think as an actor, you can get away with more in a musical. With a play, it's just you and your words. And that's scary.
Is there a role that you are desperate to play?
Not really. I've played so many great roles now. Every now and then a show will be announced and I'll see a part where I'm like, "Oooh, I'd love to play that role." But I have no role in mind right now that I feel I have to play.
Who’s the most famous person you’ve met?
Claim to fame. I've stuck my bum in Barbara Windsor's face.
Basically, and unbeknown to me, she was walking very close behind me in London, and she was very short. I bent over to look at something, and she walked face-first into my rear end.
What advice would you give to anyone considering the acting industry?
Well not being professional, I would first advise not taking my advice. But I do have some friends who are professional actors, and it's difficult. I think you have to absolutely love acting, and be prepared to go to many, many auditions. Remember, you'll be unsuccessful more than you'll be successful. It's a tough industry. Personally though, if you want to improve, watch other people. Learn from other performances, how they perform, how they characterise, and how they take direction. Always learn from others.
Any tricks or advice on learning your lines?
I could probably write a book on how I learn lines. I usually use what is called mnemonic word association, and physical association.
And I might use different techniques for different lines. So, physical association you won't pick up until you start to block the show. It relies entirely on where you're standing in relation to other people or set, on the stage. Word association you can use while running through the script. So you might use another actor's lines as a cue, or even one of your own lines as a cue.
Are any other members of your family involved in performing?
My younger brother used to be in a band when in his early 20s. But that's about it.
Have you had any formal training for acting/singing/dancing?
Dancing! Hahahaha. Absolutely not. Come and watch me dance and you'll very quickly see my severe lack of movement skills. I did attend a London stage school part-time. It was 6 hours a week for a year. And I've had quite a few private singing lessons in my time.
Have you had any embarrassing moments on stage?
I actually haven't as it goes. But being only a couple of weeks away from a performance, I probably shouldn't say that.
What’s next?
A long rest. lol. I don't have any upcoming shows, and I've done quite a few in a row. So I'm planning on taking a bit of time out. But I've said that before, and always seem to get roped into doing something. So we'll see.
Mortimer is one of three nephews of the Brewster sisters. He's a likeable, professional, everyday man, who lights up the room. He's calm, poised, and in control. This is why it's so comical when the whole situation is quickly turned upside down, and he doesn't know how to handle it.
He is no longer in control, and he is definitely not calm or poised. I would say he's frantic. And the juxtaposition of his panic and his aunt's indifference to the situation that creates a lot of the comedy.
LTC are known more for their musical theatre productions, how different is it rehearsing for a play?
Totally different. Plays have more dialogue, more props, and maybe more stage direction to meticulous detail. Even with a small role, you might sometimes have more dialogue than you would as a leading role in a musical. So for me personally, I find plays far more difficult to learn.
With a musical you have big dance numbers, big songs, big set changes, flashy costumes. There's so much to shove in your audiences' eyeballs, and I think as an actor, you can get away with more in a musical. With a play, it's just you and your words. And that's scary.
Is there a role that you are desperate to play?
Not really. I've played so many great roles now. Every now and then a show will be announced and I'll see a part where I'm like, "Oooh, I'd love to play that role." But I have no role in mind right now that I feel I have to play.
Who’s the most famous person you’ve met?
Claim to fame. I've stuck my bum in Barbara Windsor's face.
Basically, and unbeknown to me, she was walking very close behind me in London, and she was very short. I bent over to look at something, and she walked face-first into my rear end.
What advice would you give to anyone considering the acting industry?
Well not being professional, I would first advise not taking my advice. But I do have some friends who are professional actors, and it's difficult. I think you have to absolutely love acting, and be prepared to go to many, many auditions. Remember, you'll be unsuccessful more than you'll be successful. It's a tough industry. Personally though, if you want to improve, watch other people. Learn from other performances, how they perform, how they characterise, and how they take direction. Always learn from others.
Any tricks or advice on learning your lines?
I could probably write a book on how I learn lines. I usually use what is called mnemonic word association, and physical association.
And I might use different techniques for different lines. So, physical association you won't pick up until you start to block the show. It relies entirely on where you're standing in relation to other people or set, on the stage. Word association you can use while running through the script. So you might use another actor's lines as a cue, or even one of your own lines as a cue.
Are any other members of your family involved in performing?
My younger brother used to be in a band when in his early 20s. But that's about it.
Have you had any formal training for acting/singing/dancing?
Dancing! Hahahaha. Absolutely not. Come and watch me dance and you'll very quickly see my severe lack of movement skills. I did attend a London stage school part-time. It was 6 hours a week for a year. And I've had quite a few private singing lessons in my time.
Have you had any embarrassing moments on stage?
I actually haven't as it goes. But being only a couple of weeks away from a performance, I probably shouldn't say that.
What’s next?
A long rest. lol. I don't have any upcoming shows, and I've done quite a few in a row. So I'm planning on taking a bit of time out. But I've said that before, and always seem to get roped into doing something. So we'll see.
Dave Gardner, 41, from Westcliff
How did you get involved in performing and how old were you when you first performed?
In my early/mid 30s I decided to write a musical (that I didn’t finish) and thought that it would probably be wise to actually get some experience being in one, so I joined LTC when they did ‘Jekyll…’ Plus, I always thought acting looked like fun.
Who do you consider to be your acting role model whose career you would like to emulate, and why?
I think Philip Seymour Hoffman is a great actor, and Cate Blanchett and James Stewart etc etc - but I don’t necessarily aspire to be like them. I think if I could have any actor's career it would be Peter Lorre. And I’d really love to be the next iconic horror villain (like Robert Englund as Freddy Krueger) and just spend the rest of my life doing a series of so-so sequels and attending conventions where I repeat my catchphrase. It honestly seems like fun and I would hate to take myself too seriously and I think a campy horror villain is perfect for me.
In my early/mid 30s I decided to write a musical (that I didn’t finish) and thought that it would probably be wise to actually get some experience being in one, so I joined LTC when they did ‘Jekyll…’ Plus, I always thought acting looked like fun.
Who do you consider to be your acting role model whose career you would like to emulate, and why?
I think Philip Seymour Hoffman is a great actor, and Cate Blanchett and James Stewart etc etc - but I don’t necessarily aspire to be like them. I think if I could have any actor's career it would be Peter Lorre. And I’d really love to be the next iconic horror villain (like Robert Englund as Freddy Krueger) and just spend the rest of my life doing a series of so-so sequels and attending conventions where I repeat my catchphrase. It honestly seems like fun and I would hate to take myself too seriously and I think a campy horror villain is perfect for me.
What techniques do you use to create a believable character?
Most of the time I’m just trying to remember my line or hit my mark and I tend to camp it up, so believability isn’t my strong suit. But my advice would be to focus on your acting partner and deliver the lines with a verb/intention in mind e.g. to persuade them, or humiliate them etc.
Do you have experience acting in television or film?
I’ve been in some independent films and short films too.
What’s the most interesting thing about you?
I don’t think I am interesting.
What is the first thing you do to research and approach a role?
Read the script. Think about who they are. Learn the lines. I don’t remember consciously researching a role.
Tell us what roles you’ve played in the past and describe your most challenging role to date.
Biggest challenge was playing Brandon in ‘Rope’ – I was one of the leads and it was the first time I had a big part in a play. I also had massive monologues to learn that kicked off the show. That was tough – but playing a camp murderer wasn’t too challenging.
What has been your most favourite role to date and why?
Probably Brandon again. I also played Criswell in a musical of the ‘worst film ever made’ – Plan 9 From Outer Space, which was a lot of fun and very ‘me’.
Tell us about your character in Arsenic and Old Lace?
I play Teddy. One of the nephews of the 2 murdering aunties. He is delusional and thinks he is President Roosevelt. He’s adorable.
LTC are known more for their musical theatre productions, how different is it rehearsing for a play?
No dancing and no harmonies to learn – it’s a dream! To be honest, I do love sitting in rehearsals and hearing everyone sing in harmony, but always worry when it comes to my turn to sing.
Is there a role that you are desperate to play?
I’d love to play George in ‘Who’s Afraid of Virginia Woolf?’
Who’s the most famous person you’ve met?
I met Will Smith.
Most of the time I’m just trying to remember my line or hit my mark and I tend to camp it up, so believability isn’t my strong suit. But my advice would be to focus on your acting partner and deliver the lines with a verb/intention in mind e.g. to persuade them, or humiliate them etc.
Do you have experience acting in television or film?
I’ve been in some independent films and short films too.
What’s the most interesting thing about you?
I don’t think I am interesting.
What is the first thing you do to research and approach a role?
Read the script. Think about who they are. Learn the lines. I don’t remember consciously researching a role.
Tell us what roles you’ve played in the past and describe your most challenging role to date.
Biggest challenge was playing Brandon in ‘Rope’ – I was one of the leads and it was the first time I had a big part in a play. I also had massive monologues to learn that kicked off the show. That was tough – but playing a camp murderer wasn’t too challenging.
What has been your most favourite role to date and why?
Probably Brandon again. I also played Criswell in a musical of the ‘worst film ever made’ – Plan 9 From Outer Space, which was a lot of fun and very ‘me’.
Tell us about your character in Arsenic and Old Lace?
I play Teddy. One of the nephews of the 2 murdering aunties. He is delusional and thinks he is President Roosevelt. He’s adorable.
LTC are known more for their musical theatre productions, how different is it rehearsing for a play?
No dancing and no harmonies to learn – it’s a dream! To be honest, I do love sitting in rehearsals and hearing everyone sing in harmony, but always worry when it comes to my turn to sing.
Is there a role that you are desperate to play?
I’d love to play George in ‘Who’s Afraid of Virginia Woolf?’
Who’s the most famous person you’ve met?
I met Will Smith.
What advice would you give to anyone considering the acting industry?
Do it because you want to be good at acting and not because you want to be rich and famous.
Any tricks or advice on learning your lines?
I record them and listen to them in the car and then once I’ve largely got it, ask my wife to do read-thru's with me.
Are any other members of your family involved in performing?
None whatsoever. My sister always used to say I was adopted.
Have you had any formal training for acting/singing/dancing?
I did do singing lessons for a bit, but hated it. Never done acting or dancing though – if you’ve seen me dance, you’ll know.
Have you had any embarrassing moments on stage?
I got distracted by my wife getting up for a wee once and forgot my next line.
What’s next?
I’m directing a short horror-comedy film called ‘Surprise!’, that I co-wrote with Jo Overfield, later this year and I’m hoping to direct a play or 2 for LTC after that. No plans to perform on stage again, but if the right part comes along – I’m there!
Do it because you want to be good at acting and not because you want to be rich and famous.
Any tricks or advice on learning your lines?
I record them and listen to them in the car and then once I’ve largely got it, ask my wife to do read-thru's with me.
Are any other members of your family involved in performing?
None whatsoever. My sister always used to say I was adopted.
Have you had any formal training for acting/singing/dancing?
I did do singing lessons for a bit, but hated it. Never done acting or dancing though – if you’ve seen me dance, you’ll know.
Have you had any embarrassing moments on stage?
I got distracted by my wife getting up for a wee once and forgot my next line.
What’s next?
I’m directing a short horror-comedy film called ‘Surprise!’, that I co-wrote with Jo Overfield, later this year and I’m hoping to direct a play or 2 for LTC after that. No plans to perform on stage again, but if the right part comes along – I’m there!
