Can you describe the differences in preparing for a film or theatre role?

Theatre is always is associated with rehearsal, and the nature of it means you have to be fully prepared before appearing in front of an audience. Film is more spontaneous – I normally prepare for a scene the day before. The time span is shorter, and you find yourself working alone more often. I’m not sure why film has the arrogance to think it doesn’t need as much rehearsal as theatre – perhaps sometimes it would benefit from it! 

What advice would you give a young actor wanting to get into film or theatre?

You’ve got to really want to do it. You have to have a passion to survive all the knock backs. The world has changed; celebrity culture finds people becoming famous overnight, which fools people. Acting is a very, very hard graft and you have to work hard, keep your eyes and ears open, and learn as much from every experience as you can. You must have a very strong desire: it will be tested. The profession is merciless.

Do you have a different approach to film than to theatre?

Film is about an interior world, theatre about the exterior. You have to create the visual on stage – if you are looking at a lake, the audience has to believe that is what you see. In film, they just show you a lake! On film you have to be relaxed, camera-comfortable and willing to be spontaneous.

What was your big break - and how have you stayed motivated since?

My big break was a six-part series called The Fear. It was my first role down south; I was a Scottish, middle class actor playing a London gangster. It's important that you are never type cast. You have to stay curious. I’m as curious now as when I first started. I’m always learning something.

Can you describe the creative process preparing for and rehearsing Uncle Vanya?

Chekhov is renowned for being equally actor and audience friendly – the writing has a reality to it. It's proper ensemble work. Each day you find little glimmers of how it can be, portraying a subtlety that is enchanting for an audience. It's great to look at everything else he wrote too – like his short stories. He wrote all the material you need for the role – society, Russia, the attitudes of the time. There’s a wealth of information in everything he wrote.

Is it trickier preparing for a "classic" role like Chekhov, a new part like in Downton Abbey, or playing a real person as in The Iron Lady?

It's different – with real people you feel a curious responsibility. Classical theatre is the biggest challenge you face as an actor: vocally, physically and creatively. I like the demanding nature of it: it’s a marathon not a sprint. For me, a new part in TV is always the easiest – there’s nothing to compare the character against. You don’t have the weight of tradition and a live audience’s expectations on your shoulders.

Uncle Vanya runs at The Print Room from 21st March to 28th April.

Photo by Sheila Burnett.

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