David Oyelowo, speaking from Los Angeles, remembered a dusty (and intimidating) copy of Shakespeare’s plays in his family’s Islington council flat. He was later surprised to discover Kenneth Branagh’s film of Henry V was also written by Shakespeare, having watched it as a movie, not caring about the language. The real breakthrough for David, though, was seeing a live production at the National Theatre – the visceral production of Robert Lapage’s mudbath Midsummer Night’s Dream with Timothy Spall as Bottom. David started acting accidentally when he tried to impress a girl by joining a youth theatre and then standing in when another young actor couldn’t attend because of a tube strike. His Theatre Studies teacher, Jill Foster, encouraged him to consider acting as a profession and helped David audition (successfully) for LAMDA. His father fully expected him to “get it out of his system” when he was given small roles (seven lines in Antony and Cleopatra) at the Royal Shakespeare Company. But the bug had bitten and seeing someone like Mark Rylance in his fourth incarnation of Hamlet at The Globe deliver the language with “dexterity, musculariy and elasticity” further reinforced David’s conviction that Shakespeare is the “Everest of Acting… so dense, so juicy, so layered.”
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| Greg Doran of the Royal Shakespeare Talking Shakespeare with David Oyelowo, Helen Mirren and Ian McKellen |
Vulnerability and Frailty
He gave a very funny account of getting the role of Henry VI and loved “the journey” of his time on Michael Boyd’s production but became weary of the “pioneer” emphasis placed on him by the media wanting to interview him about being the first black actor at the RSC to play an English king. He detected a similarity between Dr Martin Luther King in the movie Selma and Henry VI where the abiding motivation for both characters, as he played them, was religious faith, leading to vulnerability and frailty. David felt that both MLK and Henry VI fully expected everyone around them to be imbued with the same values and were both destabilised when the. His other major Shakespeare role was playing Othello with Daniel Craig and Rachel Brosnahan (as Iago and Desdemona) in an intimate production in New York in 2015. Like Greg Doran, I hope he can be tempted away from Hollywood for more UK stage work in the future.
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| Selection of David Oyelowo roles: as Henry VI, Othello, Orlando in As You Like It and the movie Selma |
Queen Helen
Helen Mirren is a multiple award winner: she has carried home an Oscar, a Tony and an Emmy and has famously played a line of queens: Queen Margaret in the Henry VI trilogy; and on TV and film: Catherine the Great, Elizabeth I and Elizabeth II. She also has the distinction of playing Cleopatra three times, first at the National Youth Theatre in 1963 and then later playing opposite Michael Gambon (1982) and Alan Rickman (1998) as her Antonys. I was lucky to see the 1982 Adrian Noble production (in The Other Place in Stratford-upon-Avon) and for me it became a benchmark production of how epic plays can be staged in small spaces. Helen’s early memories of working at the RSC include watching the generous Ian Richardson from the wings in Coriolanus. She reminisced about working (warily) with the mercurial Nicol Williamson (on both stage and in the film Excalibur) and played Lady Anne, Julia in Two Gentlemen of Verona and Ophelia to Alan Howard’s Hamlet. She also vividly recounted the touring production of Troilus and Cressida which many argued brought the play back into favour in modern times and she described working with Peter Brook in the legendary project Conference of the Birds which toured the Saharan regions of Africa in 1979.
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| Helen Mirren as Cleopatra (three times), Cressida, Prospera in The Tempest and Rosalind in As You Like It |
Sir Ian ("You shall not pass....")
Ian McKellen has had recent experience of remembering his distinguished acting career as part of his touring one-man show which raised considerable funds for small venues throughout the UK. (Tolkien, Shakespeare, Others and You.) With Greg Doran he shared early memories of seeing and loving theatre and getting involved in amateur and school productions. He always thought Shakespeare seemed fun and enjoyed travelling down from Bolton for school Shakespeare camps in Stratford-upon-Avon. He saw Laurence Olivier, Peggy Ashcroft and Charles Laughton in their prime (but also confessed to sleeping through Olivier’s Corialanus – it was a school trip, after all.) At Cambridge he joined the Marlowe Society and came under the influence of George Rylands who has mentored many of today’s great theatre directors as well as John Barton who persuaded young McKellen he could play the ancient Justice Shallow in Henry IV Part Two. He gave a moving account of working at Nottingham Playhouse with Tyrone Guthrie who gave McKellen confidence about becoming an actor and credits Maggie Smith with recommending him to Olivier to join the Old Vic. He was waspish about Franco Zefirelli and had insights into the impact of Olivier and of touring Shakespeare in the provinces and abroad with Prospect Theatre. I’ve seen many of his stage performances and been lucky to meet him both backstage after Waiting for Godot and at a UK showing of the film Gods and Monsters at Bradford’s Pictureville Cinema. Always gracious and always energetic, with a significant place in popular film history with his portrayals of Magneto and Gandalf, Sir Ian continues to be an astonishing creative force for good in the UK.
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| Ian McKellen as Romeo, Macbeth, Toby Belch in Twelfth Night (which I saw in Doncaster!), Coriolanus, Richard III, King Lear (twice) and Prospero in The Tempest at Leeds Playhouse |
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