Queen’s Theatre Hornchurch ‘Springs into Creativity’ with Clarion Futures partnership

Queen’s Theatre Hornchurch in partnership with Clarion Futures, the charitable foundation of Clarion Housing Group, are delighted to be launching a new project ‘Spring Into Creativity’ this week for residents of Orchard Village and Passive Close in Rainham, Essex.

The project provides positive creative activities residents can engage with from their home while social distancing restrictions continue. Designed for all ages, with specific focus on adults who are shielding, these free resource packs contain everything needed to join in. Activities include crafts to make, recipes to bake, adult colouring, games, quizzes and puzzles, creative writing challenges and competitions with prizes including 60 theatre tickets to Queen’s Theatre Hornchurch productions later this year.

Key to the project has been the ambition to generate something special, personalised to the local community and celebrating the huge number of brilliant partners who would usually be delivering activities and events but have been limited over the last year, including; the Mardyke Community Centre, Newtons Primary School, Rainham Foodbank, Queen’s Theatre Hornchurch, West Ham United Foundation, Havering Changing, the Y.M.C.A, the Youth Service and Sports Development teams and others at the London Borough of Havering.

Celebrating the local touch included supporting local artists and businesses, including Gemma Compton (Craftschmooze stationary), born on the old Mardyke estate (now Orchard Village) and still a Rainham resident, who was commissioned to generate brand artwork as well as resources for the pack.

‘Spring Into Creativity’ also aims to share valuable local resources such as London Borough of Havering’s #LookAfterYourNoggin campaign as well as signposting digital and non-digital community initiatives including Havering Changing and upcoming digital and telephone based creative workshops.

Clarion Futures has previously funded the Queen’s Theatre Hornchurch’s participation work though regular dance and drama workshops at the Orchard Village estate as well as commissioning digital and telephone based activities. Clarion Futures is also a member of the Havering Changing consortium, a partnership of 8 local organisations that will seek radical new ideas to engage local communities in arts and culture, support local decision makers and share learnings, led by Queen’s Theatre Hornchurch.

 James Watson, Head of Learning and Participation at Queen’s Theatre Hornchurch, said ‘We hope everyone will find something inside to make them smile, give them pause to think or a chance to explore something new. Spring is here, new opportunities and initiatives are starting up and we are so excited to be at the heart of it continuing this valuable partnership with Clarion Futures and delivering more creative projects within the community.’

 Matt Parsonage, Head of Communities at Clarion Futures, said: ‘We’re delighted to be continuing our partnership with Queen’s Theatre Hornchurch which has evolved to meet the changing needs of residents during the pandemic. The ‘Spring into Creativity’ project will be fantastic for local people, providing opportunities to take part in activities and engage with the community and I’m sure it will prove to be very popular.

Queen’s Theatre Hornchurch receives further funding for digital workshops from Clarion Futures

Queen’s Theatre Hornchurch is delighted to announce that it has received further funding from Clarion Futures, the charitable foundation of Clarion Housing Group, to reinstate its offering of two strands of free digital classes for the next six weeks. In addition, Clarion Futures is funding six weeks of weekly telephone based workshops.

The classes are aimed at connecting our shared community from their own homes while in lock-down, streaming live from the Queen’s Theatre Hornchurch Facebook page each week and via conference calls.

Clarion Futures funded six weeks of workshops last summer and these proved to be hugely beneficial in bringing focus and positive engagement to people of all ages, racking up 27,000 views from 1,700 individual households.

Participants stated that ‘Everyone needs dance right now for their mental and health wellbeing – thank you’ and ‘We’ve been safe at home for 17 weeks now and this means so much to [my husband] and I.’

Thanks to the funding received from Clarion Futures, the digital sessions will run for six weeks beginning Tuesday 6 April. Previous sessions are also available to catch-up via the Theatre’s YouTube and Facebook pages.

Dance workouts will be hosted by Choreographer and Movement Director Sundeep Saini from her living room every Tuesday at 11am, with a brand new routine to try each week. These sessions will be delivered seated to support access and mobility needs, subtitled, and audio described in delivery. Each session goes live on the Theatre’s Facebook and YouTube pages at 11am on a Tuesday.

Musical theatre sing-a-long’s return with local musician and Musical Director Andrew Linham every Thursday at 11am, (additionally supported by Ardleigh Green Learning Federation). Andrew will lead a warm up session followed by the chance to learn a classic musical theatre number each week.

In addition, non-digital telephone based workshops are being introduced on Wednesdays at 11am. Tiny Telephone Plays is an extension of a hugely successful initiative the Theatre ran online last summer and reimagined this January for people without access to the internet. Sessions will offer a playful introduction to storytelling and playmaking activities designed to help unleash creativity led by established Theatre Director Jules Tipton and will be exclusively for residents of Orchard Village and Passive Close in Rainham, Essex.

Clarion Futures has previously funded the Queen’s Theatre Hornchurch’s participation work though regular dance and drama workshops at the Orchard Village estate. Clarion Futures is also a member of the Havering Changing consortium, a partnership of 8 local organisations that will seek radical new ideas to engage local communities in arts and culture, support local decision makers and share learnings, led by Queen’s Theatre Hornchurch.

The digital classes and telephone based workshops have been made possible thanks to a grant from Clarion Futures’ Emergency Support Fund which has been created to offer direct financial support to some of its longstanding partners during the coronavirus outbreak.

James Watson, Head of Learning and Participation at Queen’s Theatre Hornchurch, said ‘We are so excited to be back, live in your living room and hoping to spread a little joy during this difficult and isolated period. We regularly hear from participants how important this digital and non-digital content has been in supporting positive wellbeing and social connection and remain incredibly grateful for the funding partnership with Clarion Futures that is enabling such valuable activity to continue.’

Matt Parsonage, Head of Communities at Clarion Futures, said: ‘Initiatives like this one run by Queen’s Theatre Hornchurch are so important in terms of keeping communities connected at the moment. We’re delighted to be building on our partnership and funding these new sessions which we hope will help improve the mental and physical wellbeing of local people.’

Queen’s Theatre Hornchurch reopens its doors in late May!

Queen’s Theatre Hornchurch is delighted to be able to reopen its doors to the public on Monday 17 May 2021 (subject to the Government’s Roadmap).

The new season of produced work at Queen’s Theatre Hornchurch gets underway with a new production of Tim Firth’s hit comedy Neville’s Island, from 20 May – 12 June and 22 June – 3 July 2021 (socially distanced seating will remain in place at least throughout May and June).

Four out-of-condition clueless middle managers are forced on the outdoor awayday from hell. Shipwrecked, wrapped in thick fog and cut off from civilisation with one cold sausage between them, Gordon, Angus, Roy and the hapless Neville‎ are about to experience the misadventure of their lives…

From the critically acclaimed Tim Firth, writer of Calendar Girls, The Band and Our House. This fresh new production of an award nominated West End comedy, is the perfect entertainment to welcome audiences safely back to live theatre, on their doorstep this summer.

From 30 July – 21 August 2021, the main stage will be filled with all the best of Essex pop throughout the heart of the summer as the postponed premiere of Love Letters, a brand-new jukebox musical, promises audiences an unmissable post Lockdown treat. It is the next step in the Theatre’s Essex on Stage programme, an ambitious new two year programme led by Queen’s Theatre Hornchurch and made possible by the generous support of The Clothworkers’ Foundation, championing positive notions of Essex, celebrating theatre made by working class people and raising aspirations for emerging artists from Essex and Outer East London.

In early autumn 2021, Romford-born David Eldridge (In Basildon) returns home with a ‘gorgeous new play’ (Independent) that takes a touching look at the first fragile moments of risking your heart and taking a chance. This tender‎ and funny critically acclaimed smash hit received its world premiere at the National Theatre before transferring to the West End. Beginning is being revived and relaunched by Queen’s Theatre Hornchurch from 3 – 18 September 2021.

Details of the rest of the Autumn 2021 season of productions, including a newly commissioned play, will be unveiled in late June 2021.

Finally, tickets are on sale for our traditional family pantomime Aladdin returning to Hornchurch this Christmas.

The Theatre is also offering a range of socially distanced comedy, dance and family guest shows throughout May and June 2021. Acts such as comedy favourites Scared Scriptless, Bring the Laughter, Queen’s Theatre Comedy Club and Shake It Up Theatre – the improvised Shakespeare show. Children aged 4 – 13 can join the Mad Science team for an exciting journey through the world of Chemistry! For dance enthusiasts the Theatre are hosting Ballet Central – the renowned company of young graduate dancers. The annual National Theatre Connections Festival, celebrating young people and theatre-making also takes to the main stage. Queen’s Theatre Hornchurch will be showcasing new work from local artist Maria Ferguson with Essex Girl as part of its Outer Limits programme on its newly renamed The Other Stage, as well as continuing the sing-a-long musical for people living with dementia and their carers, Down Memory Lane.

The popular community Café will reopen, and the Theatre’s impressive learning and participation programme continues with a range of online and in-person activities.

New musical film Cells to be released episodically from 19 April 2021

We are pleased to be partnering with Metta Theatre – one of the UK’s leading production companies devoted to British musical theatre – to announce the release of a film of a brand-new musical, Cells, written, developed and recorded entirely during lockdown by the award-winning writer/director P Burton-Morgan and composer Ben Glasstone and starring Metta’s recently announced Patron, the Olivier award-winning Clive Rowe alongside rising star Lem Knights.

A university science lab. A kebab shop at 2am. An online gaming forum. Two strangers’ lives become intertwined. Alan Bennett meets The Streets in this tender and uplifting new work, giving voice to the lives of two everyday blokes.

Metta are partnering with Queen’s Theatre Hornchurch and two other major regional venues – Royal & Derngate in Northampton and the Stephen Joseph Theatre in Scarborough – and we will being hosting episodes of the film on our websites. The first episode will be launched on Monday 19 April, with subsequent episodes released daily, and the full film will be available on Monday 26 April, along with the album to be released on Spotify and other digital platforms.

The film, in episode form and then in its entirety will be free to all to access via YouTube with a suggested donation (£3 per episode, £10 for the whole film) – all of which will go to the three theatres to help support their recovery.

Cells is written and directed by P Burton-Morgan (Madam Butterfly UK tour, In the Willows, UK tour, Jungle Book UK & International Tour)with music by Ben Glasstone, mixed and mastered by Simon Small and the Musical Director is Phil Cornwell. The Director of Photography is Jon Dickinson, the films are edited by Will ReynoldsPhil Cornwell plays keys and double bass and Curtis Volp is on guitar.

P Burton-Morgan, who in 2020 won the Writers Guild of Great Britain Award for musical theatre book writing for In the Willows explains, ‘I’ve been talking to Clive about writing something specifically for him ever since we met 4 years ago, so I’m thrilled to have this opportunity. It’s been a wild adventure creating a music video musical for this brave new world of ‘digital theatre’ in which we find ourselves. Hopefully we’ve succeeded in taking the best of both theatre and film to create something intimate and unique.’

Douglas Rintoul, Artistic Director at Queen’s Theatre Hornchurch said, Musicals are at the heart of our programme here at QTH, and so we’re thrilled to be supporting this innovative digital project from our exceptionally talented colleagues at Metta.’

Creative Estuary project callout

Calling out for directors, designers, choreographers, musical directors, composers, performers and stage managers, all living in South Essex

This summer, Queen’s Theatre Hornchurch is leading an exciting new collaborative project, a Creative Estuary Co-commission, stretching in impact across South Essex.

Together we’ll be creating a new piece of place making theatre that’s accessible and cross generational, touring to community venues, and reaching under served and under represented audiences.

We want to ‎make this with a diverse range of artists all living in the area itself, so it’s truly South Essex in its roots, helping build a regional community of creative practitioners, and fostering further relationships into the future.

So if you’re an artist living in South Essex – in the districts of Thurrock, Castlepoint, Southend on Sea and Basildon, plus the south of Brentwood district – and would like to find out more, please contact douglas@queens-theatre.co.uk with ‘Creative Estuary project callout’ in the subject line, explaining why you’d love to make collaborative work about the area in which you live, attaching your CV.

So we can consider your interest, please be in touch by Wednesday 31 March 2021

 About Creative Estuary Co-commissions

Creative Estuary Co-commissions is an ambitious creative programme taking place along the length of the Thames Estuary in Kent and Essex. The Co-commissions will support creative practitioners and organisations to make and present new work. These co-commissions will be delivered through a network of partners and at a range of scales, responding to local contexts and communities. From grassroots organisations to established cultural venues, as well as smaller-scale commissions working directly with local artists and collectives, the Co-commissions will create opportunities for creative innovation and new cultural production throughout 2021 & 2022.

CREATIVE ESTUARY has a vision to forge a new future founded on creative energy and innovation, along the length of the Thames Estuary. The project is supported by The Department of Culture, Media and Sport (DCMS) and led by a consortium of public sector and cultural organisations. They include the South East Local Enterprise Partnership (SELEP), Kent and Essex County Councils, the Greater London Authority, 11 local authority areas represented by Thames Gateway Kent Partnership and opportunity South Essex, South East Creative Economy Network (SECEN), University of Kent, University of Essex, Locate in Kent and cultural organisations Metal and Cement Fields. In early 2019 the University of Kent was awarded £4.3m from the DCMS Cultural Development Fund on behalf of the partners. The Department for Digital, Culture, Media and Sport funds the Cultural Development Fund which is administered by Arts Council England.

Queen’s Theatre Hornchurch announces new Board members

Queen’s Theatre Hornchurch is today delighted to be announcing the appointment of five new Board members, and a new Fundraising Board member too.

These new trustees join this vibrant and ambitious producing theatre, working in Outer East London, Essex and beyond, at an important time where the theatre is playing an ever increasing role at the heart of a changing community, as well as providing important leadership culturally across the sub region.‎ QTH was recently awarded London Theatre of the Year 2020 (The Stage awards), the first Outer London theatre to receive this prestigious award.

The new Board members are:

  • Andrea Cunningham – Assistant Regional Director at Metal in Southend, with a background in learning in national museums and galleries
  • Dominic Hedges – a theatre maker from East Ham, with over ten years experience creating work with children and young people
  • Dr Neha Issar-Brown‎ – director at one of the UK’s biggest medical research charities, and a Havering resident, who’s voluntary work reflects a broad commitment to diversity
  • Sonja Lahiff – an experienced fundraiser, working at English Heritage, living in Hornchurch, who has worked in the arts and culture sector for ten years
  • George Morgan – a drama teacher, actor and writer, living in Basildon, with a passion for inclusivity amongst young people in the arts

And joining the Fundraising Board, is Natalie Chan, an arts fundraiser and producer from Hong Kong, currently working for Creative Youth and The Bread and Roses Theatre.

These appointments follow Claire Gevaux stepping down as Chair in December, after four years of successfully steering the charity through significant change, alongside retiring Trustees Asma Hussain and Steve Moffitt. Sara Thompson, Deputy Chair, has taken on the role of Chair on an interim basis, and David Shearing the role of Deputy Chair.

The Theatre is currently undertaking the search for a new Chair.

Sara Thompson said: ‘The existing trustees and I are delighted to be working with Andrea, Dominic, Neha, Sonja, George and Natalie, and pleased that the Queen’s Theatre Hornchurch Board has members from an increasingly diverse range of backgrounds and lived experience. Despite the challenges of the last year, the Theatre has an impressive range of plans for the future, which as trustees we’re looking forward to playing our part in. We’re also exceptionally grateful to Claire, Asma and Steve for their considerable insight, support and dedication over the last four years.’

For more details about our board, click here.

An interview with Jack Scannell-Wood and Jessica Rothon who play Sharon ‘n’ Barry’s nibling in our up-coming comedy drama.

Jack and Jess, from our QYouth programme, are alternating as Sharon ‘n’ Barry’s rather helpful nibling in our up-coming comedy drama Sharon ‘n’ Barry Do ‘Romeo & Juliet’. James Watson, Head of Learning & Participation, took sometime out from assisting them with rehearsals to gain their thoughts on being in a Zoom production, Shakespeare and passing the time in Lockdown. 

Jack Scannell-Wood

My favourite part of being in the show has been meeting new people and working with David again – he’s really funny.

I’ve always been interested in Shakespeare, everyone talks about him. I’ve enjoyed it a lot more performing the words and learning to understand what they mean and how they feel. I can dive straight into his words now.

Doing this on Zoom is very different to being in Macbeth last year. It’s been fun to play around with the virtual backgrounds, but I would rather be on the real stage. I miss what happens off stage, being with other performers, and playing games with the chaperones in the dressing room. I am more nervous on Zoom than being in the theatre as there is no-one to help if something goes wrong – but at least I can’t accidentally fall off the front of the stage!

I’ve been a member of QYouth for about a year. It’s lots of fun.

I also love reading fiction books, especially books set around the war.

I’ve done lots of things to make Lockdown fun, like Zoom baking with friends. We all made an Oreo mug cake – it was really tasty. After Lockdown, I’m looking forward to starting my catalogue modelling which I was just starting to do before Coronavirus came.

Jessica Rothon 

My favourite part of being in the show is getting to do something so different – you don’t normally act over Zoom, and as you can’t go anywhere in Lockdown, it’s nice to still be doing something I enjoy.

In year 5 we learnt about Shakespeare and got to see a production in school. Some of the words nobody understood, but it was good. I thought he was strange to begin with, with lots of made-up words but it has been really interesting to learn what they mean and performing them.

Acting on Zoom is different to what I was used to doing. You can’t do as much but also it’s exciting because you can do different things. It was a really short rehearsal time and we had to learn a lot quickly which was good. It will be great to be back on stage and share it with other people. I get more nervous on Zoom because there is more to go wrong – like technology! Even a small problem can be bigger or harder to put right. And, you must  remember your own props and (virtual) backgrounds.

I’ve been a member of QYouth for over 3 years, since I was about 8, and have been in shows such as The T.I.P. and Icarus.

When I’m not acting, I like swimming and watching Heartland with my Mum. During the first Lockdown we did family quizzes every week and it was really fun. When Lockdown ends, I am looking forward to going swimming and seeing my swim friends again.

An interview with Joanne Seymour who plays Sharon in Sharon ‘n’ Barry Do ‘Romeo & Juliet

It’s the last week of rehearsals for Sharon ‘n’ Barry Do ‘Romeo & Juliet’, our up-coming new everyday comedy which previews this Thursday. We had a chat with Joanne Seymour who plays Sharon. She gives us an insight into rehearsals, her character and why people who reside in Essex will especially enjoy the show.

How are rehearsals going?

Really good. It’s starting to come together and look like a piece.  It’s been very, very hard work but it’s enjoyable and I’m loving being at the Queen’s Theatre Hornchurch for the first time.

How does preparing a show for Zoom compare to your experiences of rehearsing a show for the stage?

It feels very different, like a hybrid between TV/film and theatre. Your instinct is to act for the theatre because it’s a play, but you need to be conscious that what you’re acting to is the size of a television screen. It’s exciting.

Have there been any surprises/differences that you weren’t expecting from performing a show on Zoom?

You don’t need to be as big, so you need to try and remember to hold back a little bit which in this piece, is quite difficult because we’re playing characters with large personalities. That’s been quite a challenge! It’s a strange one as you know that the audience are watching the show live, but it feels like a TV show. It’s an odd feeling but a good and refreshing one.

Have there been any specific challenges that have come up during rehearsals?

We’ve created the roles of Sharon and Barry from scratch so that’s been amazing. It’s been challenging but very enjoyable. We developed and created everything that they are saying during the rehearsal process. There wasn’t a script at the beginning of rehearsals, just a concept. Everything has been improvised in the rehearsal room with the guidance of Douglas Rintoul, the Director. It’s been a great experience devising those characters from scratch. It’s felt natural, we’ve been able to get into character quite quickly. The characters now feel like an extension of ourselves.

It’s been very different to work with the Shakespearian language, which you need to be exact with, against the complete improvisation of Sharon and Barry’s lines. You use both disciplines which has been motivating.

What’s been your favourite part of the process so far?

Devising Sharon and Barry. Plus, I love Shakespeare! Although Sharon and Barry aren’t that good at Shakespeare, it’s been wonderful for me as an actor to play Juliet. It really has! I never thought I’d get the chance in my fifties so that’s been an incredible feat for me!

What are your feelings about performing to a Zoom audience?

Yeah… strange. I can’t imagine really. As I said, they’re going to be live and we’re going to be able to see them, but we won’t obviously get the feedback that you’d get in a live theatre, so I don’t know how that’s going to feel. I can’t even imagine. I’ve got a feeling it might be a bit nerve racking, but we’ll go with it.

Can you tell me about your character Sharon?

She’s wonderful! She’s a very confident person, she’s very secure in her own skin. She’s lovely, a proper salt of the earth Essex lady. I’m from Essex myself and I think that she’s a good representation of the County. A very positive representation! She’s a much more confident version of me. The very fact that she’s taking on this absurd idea to perform Romeo and Juliet as a Zoom performance shows that she’s fearless. She’s nervous at the beginning but fundamentally I think she’s a confident woman with her own business. She’s a good character to play.

You mentioned that you’re from Essex. Which part are you from?

Yes, I’m Essex born and bred. I’ve lived in Southend on and off. I’ve lived in Romford and then London for a bit, but I’ve been back in Southend since 1996.

Why should people book to see the show?

I think that particularly for Essex people, they’ll recognise Essex in the piece. I think it’s a bit of fun, it’s something totally different. You don’t need to know anything about Shakespeare to enjoy the show but if you do enjoy Shakespeare, that’s bonus as you’ll get the best of both worlds. I don’t think it’ll be like anything else you’ll have seen.

An Interview with Douglas Rintoul, Director of Sharon ‘n’ Barry Do ‘Romeo & Juliet

It’s the beginning of the tech week of rehearsals for Sharon ‘n’ Barry Do ‘Romeo & Juliet’, our up-coming new everyday comedy. We had a chat with Douglas Rintoul who is directing the piece. He gives us an insight into what inspired him to direct this show now and why you should book a ticket.

What inspired you to direct this piece now? 

In mid-January, when we knew we were in for another long lockdown, we decided to make another small piece because we wanted to keep up a connection with our audiences. A few weeks later we were in rehearsals for something we never planned to do. This is our fourth show since the first lockdown and our third online. This lockdown has been so hard for everyone, so I wanted to make something fun and joyous – something a bit daft.

I’ve been inspired by the creativity and sense of play of our community during the lockdown. One couple has engaged with lots of our digital workshops and posted pictures of themselves in costume and using props, and I thought, what would happen if they created a play in their living room?

People have done and experienced things they have never had to before during the last 12 months, home schooling, DIY, fundraising, isolating, musical instruments, Zoom parties, binge-watching Netflix, baking, online fitness and workshops, so it didn’t feel far-fetched that a household was being super creative to keep themselves occupied. I wanted to make something that celebrated this collective experience and endeavour to stay engaged.

During my career, I’ve always been blown away by how non-professionals can own Shakespeare quickly and can perform it with ease and freedom from the constraints of academic reverence. This has really influenced the piece. We don’t laugh at Sharon ‘n’ Barry; we laugh with them as they take claim and own Shakespeare in their own way.  I hope we imagine ourselves doing the same thing and seeing our own potential to do something daft and fun in our restricted circumstances.

Why should people book a ticket?

It’s fun, joyous, daft and touching – we get to hang out with two gorgeous yet familiar characters in their living room as they climb their own creative Everest.

 

An Interview with David Nellist who plays Barry in Sharon ‘n’ Barry Do ‘Romeo & Juliet

It’s the second week of rehearsals for Sharon ‘n’ Barry Do ‘Romeo & Juliet’, our up-coming new everyday comedy. We had a chat with David Nellist who plays Barry. He gives us an insight into the rehearsal process and creating a production for Zoom.

ARE YOU ENJOYING BEING BACK AT THE QUEEN’S?

I love it! I don’t notice it so much in the rehearsal room but when we break, put the masks on and go to our Dressing Rooms, rather than the Green Room, I do notice it and it’s a little bit more isolating, so I miss that social side things. I also miss the ‘welcome back’ hugs. However, it’s really nice to be back!

WHAT SURPRISED YOU ABOUT REHEARSING FOR A ZOOM PRODUCTION COMPARED TO A STAGE SHOW?

It’s quite a complicated production already because it’s like a double play. We’re playing Sharon and Barry who are playing the characters in Romeo and Juliet. So sometimes as you’re rehearsing, you’ll feel like that felt like Barry playing Romeo but then ahh…. you’re out of shot, so then you have to change that.

Also, all the things that you normally must hide from the audience like the props and costume changes, now just must happen out of shot rather than in the wings, so that’s different.

It’s anarchic which is good, the way we’re having to solve the problems. You get to a scene where there is three characters in it, and we as actors are quite used to doing that and improvising. Sharon and Barry wouldn’t be, so what will they do when they discover that they’ve got to play two characters in one scene, how would they approach it? That’s the ingenious and funny part about it.

It’s been quite fun to use the different tools of Zoom like different backgrounds. There’s a lot of humour to be had.

HOW HAS IT BEEN REHEARSING WITH YOUR ‘NIECE/NEPHEW’?

We met them on the first day in person and then we’ve only seen them over Zoom since. James Watson has obviously been doing great work with them in between the rehearsal sessions because when they come back, you can see that their performance is so much better than the last time we heard it. And of course, Jack was in Macbeth so it’s nice to be working with him again. They’re both really blossoming. It’s great to see young actors gaining their confidence. One of them performs their part and then you’ll see that the other one realises that they’ve got to raise their game a little more. They sort of buoy each other up.

THIS PIECE HAS BEEN DEVELOPED DURING REHEARSALS AND IMPROVISED. THE CONCEPT WAS THERE BUT THE SCRIPT IS BEING CREATED IN THE REHEARSAL ROOM. HOW ARE YOU FINDING THAT PROCESS?

There’s still a lot of Shakespeare that we’ve had to learn but this is harder because we’re playing multiply characters. I’m playing Romeo, then the Nurse and then Romeo again, and you’re talking to yourself back and forth whilst also remembering which costume you’ve got to have on for the next scene. Then Doug, the Director, will remind me that I forgot to put the music on!

The interaction between Sharon and Barry really developed from day one. Doug told us from the start what he wanted us to mention and then we improvised around it. Gradually Doug has recorded what we’ve said and then told us what to keep and what to cut. We now know the characters quite well. We know when it feels wrong and when they wouldn’t be saying or doing that. The modern parts aren’t going to be 100% scripted, it will be slightly different at every performance.

WHY SHOULD PEOPLE SEE THIS SHOW?

First and foremost, it’s funny! If you know Romeo and Juliet, it’s a different way to how you would traditionally view it. If you don’t know the play, it doesn’t matter, it’s a nice story. It’s a bittersweet comedy and there’s a lot of love in the show. We all need that at the moment!

AND FINALLY, WHAT WAS IT LIKE BEING IN BBC ONE’S SHERLOCK?

It was good…, it’s just good TV. I feel a sense of pride about the show because, as well as being in some later episodes, I was in the pilot when nobody knew if it was going to work at all. People thought that it should be set in Victorian London with foggy streets but when the show went out, it just grew. Martin and Benedict are both so good it in that you couldn’t imagine anyone else playing those roles, which is always the mark of good telly. They’re such nice lads, really lovely lads.

 

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