MEASURE FOR MEASURE
By William Shakespeare
Dixon Studio, Palace Theatre, Westcliff-on-Sea
22nd November - 26th November 2016
Tue/Wed/Thu/Fri/Sat at 7.45 p.m. Sat 3.00 p.m.
By William Shakespeare
Dixon Studio, Palace Theatre, Westcliff-on-Sea
22nd November - 26th November 2016
Tue/Wed/Thu/Fri/Sat at 7.45 p.m. Sat 3.00 p.m.
"Haste still pays haste, and leisure answers leisure;
Like doth quit like, and Measure still for Measure."
Like doth quit like, and Measure still for Measure."
The scheming Duke, in disguise, has to manipulate proceedings when his Deputy seizes the chance to impose his own puritan values on the town that throbs with lust and lechery.
This little produced bawdy comedy always carries the threat of imminent executions and the pious revealed as the greater sinners..
This little produced bawdy comedy always carries the threat of imminent executions and the pious revealed as the greater sinners..
Southend Shakespeare Company's Dave Lobley, 59, from Hadleigh took some time to answer a few questions for us. He will be playing the challenging role of Angelo in the production
When and under what circumstances did you start taking part in dramatics?
I dabbled at SEEVIC College as a student and later in works pantos and reviews. But it was not until I gave up playing competitive rugby at 49 and joined an Adult Education Singing Class that I got seriously involved. The teacher was Pauline Curtis Musical Director for Thundersley Operatic and Dramatic Society. She asked me to join for Fiddler On The Roof. I played Mendel the Rabbi's son and my daughter Ali stood in at late notice for us as 'The Fiddler'. We played at the Eastwood Studio Theatre and I had such a wonderful time I was hooked.
Are or were any members of your immediate family involved in drama?
My mum and dad met at a singing class which he joined after being demobbed. I have pictures of them playing Edith and Frederick in the Pirates of Penzance in Hampstead circa 1946. Dad was also a Punch and Judy Man in the East End after the war. My daughter Ali is a professional actress, singer and improviser and also teaches Acting at Masters College, Rayleigh Weir. My son Jim plays guitar and drums, has been in a band and appeared for Leigh Operatic Society under the direction of Sallie Warrington and Helen Sharpe. Sarah my partner has also played many roles for LTC, which is how we met.
I dabbled at SEEVIC College as a student and later in works pantos and reviews. But it was not until I gave up playing competitive rugby at 49 and joined an Adult Education Singing Class that I got seriously involved. The teacher was Pauline Curtis Musical Director for Thundersley Operatic and Dramatic Society. She asked me to join for Fiddler On The Roof. I played Mendel the Rabbi's son and my daughter Ali stood in at late notice for us as 'The Fiddler'. We played at the Eastwood Studio Theatre and I had such a wonderful time I was hooked.
Are or were any members of your immediate family involved in drama?
My mum and dad met at a singing class which he joined after being demobbed. I have pictures of them playing Edith and Frederick in the Pirates of Penzance in Hampstead circa 1946. Dad was also a Punch and Judy Man in the East End after the war. My daughter Ali is a professional actress, singer and improviser and also teaches Acting at Masters College, Rayleigh Weir. My son Jim plays guitar and drums, has been in a band and appeared for Leigh Operatic Society under the direction of Sallie Warrington and Helen Sharpe. Sarah my partner has also played many roles for LTC, which is how we met.
|
Have you done any formal theatre or musical training?
No. I have been to The National Operatic and Dramatic Association's Summer School and last weekend attended a number of workshops with The Royal Shakespeare Company at Stratford Upon Avon. I have also done a couple of my daughters improvisation workshops but that's it. Do you have any special skills, from juggling to speaking German, that have proved useful on stage? I can do well over fifty flick ups (including headers) and say 'eine grosser bier bitter'. Currently I am still waiting excitedly to use them in audition. My other special skill is 'tries hard' Do you do any accents or impressions? I am pretty good at accents across the world. My mate Paul Vaughan and I once managed to chat up a couple of girls at the Zero Six Disco posing as Welsh Miners on Holiday. Impressions I'm not so hot. Many have said my impression of an actor is particularly dodgy. |
Which experience/role do you regard as the highlight of your time in the theatre?
I directed Jesus Christ Superstar for Little Theatre Company in 2011. On opening night I sat with my assistant choreographer Sharon Allwright at the back of the Palace Theatre. We had built a long period of silence into the bows as the 53 strong cast and choir filed on and stood looking upstage at the cross. The absolute eerie silence was so moving. Our wonderful Jesus and Judas (Simon Bristoe and Scott Roche) entered and embraced, then the whole cast turned and Simon led the company bow. The audience spontaneously leapt to its feet applauding and continued to do so each night. It felt like we had created something really special. What was your most gratifying moment in terms of response from an audience? I played John (the husband who dies from cancer) in Calendar Girls for Little Theatre Company. Director Stephanie Wilson created a beautiful exit (death) scene which saw John move slowly from his wheelchair through the girls and out of sight upstage. We all got choked up every time we rehearsed it and I could feel the huge audience impact during the run. Again through a powerful silence you felt you could almost touch. A wonderful moment where the whole theatre back and front of the footlights were emotionally connected. |
Dave, with Michael Corbidge and members of the SSC
Who is the most inspirational person you have worked with/been taught by, in your stage career?
Michael Corbidge Senior Voice and Text Coach at the Royal Shakespeare Company. I attended a NODA summer school on Directing Shakespeare tutored by him. He then came to our Southend Shakespeare Company for workshops and I met him again at the RSC last weekend where he was teaching as part of 'the big amateur weekend event'. He is simply brilliant at bringing any text alive within the actor, whether classical or modern. Meeting him gave me the confidence and some great tools to direct The Merchant of Venice (SSC) and Into The Woods (LTC).
When was your most embarrassing theatrical moment on or off stage?
I was incredibly fortunate to be cast as Banquo in Macbeth for my Southend Shakespeare debut.
On arriving at my first rehearsal, not knowing anyone, Jim Carter handed me a huge broadsword and said 'you are fighting him'. Him being SSC legend Steve Jones. I immediately proceeded to stab Steve in the leg with my first over enthusiastic sword thrust. He took it very well and was even somewhat amused at my embarrassment. What he said in private I don't know.
I was incredibly fortunate to be cast as Banquo in Macbeth for my Southend Shakespeare debut.
On arriving at my first rehearsal, not knowing anyone, Jim Carter handed me a huge broadsword and said 'you are fighting him'. Him being SSC legend Steve Jones. I immediately proceeded to stab Steve in the leg with my first over enthusiastic sword thrust. He took it very well and was even somewhat amused at my embarrassment. What he said in private I don't know.
Ever corpsed on stage? What happened?
I followed Tim Cater on stage on the night he slipped and fell spread eagled and butt naked in the middle of the stage at the Palace during LTC's South Pacific. Every actor on stage was corpsing. In fact roaring with laughter, but so we're the audience. It just went on and on 500 people in mass hysteria. Truly hilarious and part of LTC folklore.
What do you do for a living, when not acting?
I'm a 40 year Civil Servant. Post my rugby career, theatre has become my escape and I have always enjoyed being part of a team, which is the same in sport and dramatics.
Has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage roles?
Numerous times. I have hosted quite a few conferences and myriads of meetings in my time. Having the ability to stand up and communicate confidently clearly and directly with an audience is really useful.
I followed Tim Cater on stage on the night he slipped and fell spread eagled and butt naked in the middle of the stage at the Palace during LTC's South Pacific. Every actor on stage was corpsing. In fact roaring with laughter, but so we're the audience. It just went on and on 500 people in mass hysteria. Truly hilarious and part of LTC folklore.
What do you do for a living, when not acting?
I'm a 40 year Civil Servant. Post my rugby career, theatre has become my escape and I have always enjoyed being part of a team, which is the same in sport and dramatics.
Has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage roles?
Numerous times. I have hosted quite a few conferences and myriads of meetings in my time. Having the ability to stand up and communicate confidently clearly and directly with an audience is really useful.
Ever thought of going professional?
No. I'm sure there is enough ham on stage and screen around the world without me trying to add to it.
Tell us about your current production, Measure for Measure, and how you have approached your role.
I knew nothing of it before auditioning but I like working on the large cast Shakespeare's and with Peter Finlay who is directing. But like a lot of plays once I read it I loved the poetry of the language. It is a typical Shakespeare comedy with twists and turns throughout and some great knock about low life characters. My role is at counterpoint to them and is a very serious and unswerving law enforcer who becomes consumed with his desire for a young girl, with potentially dire consequences. It's a bit of a dark role but I find that a more villainous persona is often great fun. I am lucky enough to be playing opposite a talented new young actress Edina Fisher-Allen. She is excellent, which gives you more confidence in your scenes together. My character is called Lord Angelo and he is a very naughty boy indeed.
No. I'm sure there is enough ham on stage and screen around the world without me trying to add to it.
Tell us about your current production, Measure for Measure, and how you have approached your role.
I knew nothing of it before auditioning but I like working on the large cast Shakespeare's and with Peter Finlay who is directing. But like a lot of plays once I read it I loved the poetry of the language. It is a typical Shakespeare comedy with twists and turns throughout and some great knock about low life characters. My role is at counterpoint to them and is a very serious and unswerving law enforcer who becomes consumed with his desire for a young girl, with potentially dire consequences. It's a bit of a dark role but I find that a more villainous persona is often great fun. I am lucky enough to be playing opposite a talented new young actress Edina Fisher-Allen. She is excellent, which gives you more confidence in your scenes together. My character is called Lord Angelo and he is a very naughty boy indeed.
|
Which actor (s) do you most admire and why?
That's easy. My daughter Ali. I have seen her playing West End and Nation Tour leads in big musicals, masses of huge panto's and creating wonderful laughter at the Edinburgh Festival year on year. She has travelled the world entertaining on Cruises and is now a master improviser working with the Olivier Award Winning Company Showstopper. I am always knocked out by her talent, creativity, versatility, drive and determination. What role would you most like to play and why? Tevye (Fiddler on the Roof) In my first big show Chas Browne played him superbly and I loved the complexity of his emotional journey. I later saw Henry Goodman play the role magnificently at the Savoy. His sheer humanity is simply wonderful. |
What future roles have you got lined up? Peter Finlay has written a play L'Occupation about Paris in the Second World War and I have just been cast as the character Abel. It goes on in March 2017 at The Palace Theatre, Dixon Studio and it will be a privilege to create a character on stage for the very first time and particularly for my friend Peter. Any tips to pass on for learning your lines? Buy a dog and take it out for walks. Recite your lines as you go. Great for you and the hound. |
Any other tricks of the trade to pass on?
Run your lines in your head while doing stuff. If you can remember them when painting the lounge or doing the shopping you should be able to remember them on stage (I hope). That and turn up regularly for rehearsals. Drama is a team game so think of the others as well.
Run your lines in your head while doing stuff. If you can remember them when painting the lounge or doing the shopping you should be able to remember them on stage (I hope). That and turn up regularly for rehearsals. Drama is a team game so think of the others as well.
Below: the cast in rehearsal Photo credits: Jim Carter
For more information and tickets to see Measure for Measure go online to www.southendtheatres.org.uk or call the box office on 01702 351135
Tickets £14.00 including booking fee. Concessions £1.50 offer. Groups of 10+ please call 01702 351135 to buy fee-free.
Discounts for SSC members
Discounts for SSC members