With a brand new cast taking over at The Comedy About a Bank Robbery from 27th February, we talk to the new Warren Slax
Peter McGovern
Describe the character that you’re about to take on in The Comedy About a Bank Robbery?
I play Warren Slax. He is an ‘eternally unfortunate man of 67 years old’ who is employed as a bank clerk at Minneapolis City Bank where most of the play is set. Unlike many of the other characters in the play he is an innocent. There is no hidden agenda with Warren – what you see is what you get. During the play we learn that he is having money problems and suffering from memory loss. He is totally devoted to his boss, Mr Freeboys, for whom he has worked tirelessly for thirty years, without complaint or promotion. Quite what keeps him there is anyone’s guess; but it may have something to do with his secret and unrequited love for Freeboy’s daughter, Caprice.
You have an impressive CV with a lot of work with the RSC – this is quite a different role for you, what brought it about?
Well, I have to be honest and admit that I’d never seen a Mischief show prior to auditioning for ‘TCAABR’ but I was familiar with the company and I had a sense of the style of work that they create. I’ve always been full of admiration for all that they’ve achieved, so when my agent called I jumped at the chance to come in and audition.
I don’t actually think it’s that much of a departure for me though. I’ve done a lot of comedy alongside the more serious stuff and I’m very used to working as part of an ensemble. I suppose one of the main differences is that the majority of the work I’ve done previously has very much been text driven. Mischief shows (as I’m learning very quickly) are incredibly physical so there is an entire physical language which runs alongside the text and the story is told using both.
I guess the major change for me, is the age of the character that I’m playing. I’ve spent a lot of my career playing characters who are significantly younger than I am, so it makes a change to be adding wrinkles rather than trying to cover them up. I knew that my casting was due to change soon but I didn’t expect to go from 16 to 60 without playing all the years in between!
Mischief Theatre have gone from strength to strength, what is it do you think about their particular type of humour that has made it so hugely successful?
Firstly, I think they’re tremendously courageous. Some of the stunts and set pieces in ‘TCAABR’ are incredibly daring and ambitious and so I think that part of the audience enjoyment comes out of them recognising the audacity of the stunt and enjoying the brilliance of its execution.
Secondly, I think that the Mischief brand of humour is wonderfully inclusive. The language is simple and is usually punctuated with physical action so it never risks being overly intellectual and not understood. Absolutely anybody, aged 8 – 80 could come along to a Mischief show and have a great time.
How would you describe The Comedy About a Bank Robbery in three words?
Bold. Fast. Unexpected.
What’s the most impressive piece of theatre you have seen and why?
What a question. I’ve seen many great pieces of theatre, particularly in the last few years. I adored ‘The Ferryman’ at the Gielgud and ‘Girl From The North Country’ at the Old Vic but in terms of the immediate effect it had on me and the way I felt when exiting the theatre I’m going to have to say ‘Yerma’ at the Young Vic. I went with a friend that I hadn’t seen in a while and we’d intended to have a good catch up post show but the play left us emotionally exhausted and incapable of small talk. I loved the intensity and ugly humanity of the performances from the two leads and I found the production totally unique and utterly exhilarating. Now I’m not saying that I think all theatre should be staged in a perspex box with actors whispering into radio mics – in fact that would be awful – but it certainly worked a treat for this particular production.
What initially got you into acting?
My Mum was a member of the local amateur dramatic society and I got involved when they needed kids. My first show was ‘Oliver!’ and then a few years later myself and five siblings were all in ‘The King and I.’ Mum was in the chorus, pregnant with number six! Then at secondary school I had an amazing music teacher who got me interested in singing which led to a passion for musicals. I discovered plays much later. In fact, I went to drama school having been involved in loads of musicals but only one play. I played Hamlet in Hamlet. I must have been awful!
Beach holiday or city break?
I’m a redhead – so the sun is not my friend. A city break is a far safer option.
You’re a sports fan – do you get to play any?
I’m a big sports fan – football, cricket and rugby union are my main loves – in that order. My claim to fame is that I once scored a try at Twickenham. Sadly, I don’t get to play much nowadays but I played all three to a good standard as a kid. I do like to keep fit though, in fact it’s essential for this particular play so I’m most likely to be found running or taking spin classes at Psycle London.
Is there a play / musical you’d like to see revived?
‘Me & My Girl’ – I’ve always wanted to play Bill Snibson.
What gets you through eight shows a week?
It sounds terribly dull but all the boring things: lots of water, plenty of sleep and a proper warm up. I’m also a firm believer in the transformative powers of a hot shower and a Berocca just before the half.
What advice would you give someone thinking of starting out on an acting career?
I think you need to make sure it’s all about the work. The social media generation often seem more concerned with getting verified on twitter or bagging themselves another hundred Instagram followers than they are with learning their craft and developing as artists.
I also think it’s really important to maintain a sense of perspective about your own ability. Just because you’re in work that doesn’t make you a genius. Equally, being out of work doesn’t make you a terrible actor.
I’ve heard it said that actors require a skin that’s thin enough to do the work but thick enough to do the job. I’d agree with that and would add that they also need to take the work seriously but not themselves. Always try and retain your sense of humour, keep the joy and remember why you wanted to be an actor in the first place. When I’m having a hard time I always ask myself if the 12 year old version of myself would be happy with the career that I’m having, and the answer tends to be a big fat yes.
If you could choose any role, which one would you most like to play and why?
Oh, just one? I have a list! As I said, I’ve always longed to play Bill Snibson in ‘Me & My Girl.’ I’d also like another go at Vincent Van Gogh in ‘Vincent In Brixton.’ by Nicholas Wright. I played him in a production in 2013 and enjoyed it so much that I’d love the chance to have another go. Iago in ‘Othello’, Mercutio in ‘Romeo & Juliet’ and Mozart in ‘Amadeus’ are also on my list.
What’s the best and worst thing about life in London?
The worst thing is definitely the cost. It’s absolutely criminal. I have seriously considered moving away from London on several occasions. We have to be very careful not to price working class actors out of a career in the arts. I’ve been acting almost ten years now, and I’ve been lucky enough to work more often than not – but if I hadn’t, I doubt I would still be acting today as I simply wouldn’t have been able to afford to live in London as an unemployed actor. It’s so important that acting doesn’t become a career exclusively for those with the financial support to stick out the periods between jobs.
The best thing about London is the theatre. No question. We do it better here than anywhere else in the world and we should be proud of that. There is so much variety and choice – something for everyone seven days a week. We must continue to celebrate this and support theatre makers both in London and the rest of the country.
It is estimated that around 100,000 children run away from home every year. Niall Ransome, member of Olivier Award winning Mischief Theatre Company, explores this important issue in FCUK’D: an alternative show for the festive period, dealing with abandonment, loyalty, family, and the real experiences of young working-class lads in Britain today.
FCUK’D tells the brutal and heartfelt story of a teenage boy who kidnaps his younger brother in an attempt to flee his decrepit council flat and escape his daily encounters with the authorities. This one-man show, written entirely in verse, switches between the innocence of childhood and the very real struggle of being fcuk’d by an unfair system.
With only each other to rely on and with nowhere to turn, the boys must keep on the move to avoid being found and the consequences that this entails.
We spoke to director and writer Niall Ransome about the show …
FCUK’D has already been to a few places in the past year including the Vault and Brick Lane Festivals – have you made any changes to the show since these?
Absolutely! What’s been great about performing the show a few times before is being able to see what works and what doesn’t. It’s grown from a 15 min monologue to an hour long piece. I’ve always looked for the best way to tell this story and think the show we have now for the Bunker is very exciting!
You’re more known for comedy roles and being part of the Mischief Theatre Company than as a writer of a dramatic work such as FCUK’D – do you see yourself following a particular path in the future or do you prefer the variety?
I’ve always liked variety to be honest. Since leaving drama school I have primarily done comedy and working with Mischief for years has been fantastic. But there are other avenues I want to explore. I grew up watching plays in Northern theatres like the Hull Truck and Stephen Joseph and it’s been nice to return to that with FCUK’D. There’s a lot that interests me.
Will Mytum is ‘one to watch’ – currently making a name for himself, what made you choose him for the show?
I’ve been friends with Will for years and always thought of passing the role onto him when I couldn’t do it anymore! He’s a fantastic actor and brilliant to work with. Being a Northern lad himself I knew he’d connect to the piece a lot more and having moved to London at the same time we both know what it’s like to have left it behind. I’m excited to have him on-board.
The show deals with some quite heavy issues – is it hard to express such topics clearly in verse rather than as a traditional play?
Not really, the verse sort of came naturally. I’ve always loved poetry and Hull has such a rich history with poets such as Philip Larkin and Stevie Smith that it sort of fits. I find it a nice way to write, it sort of rolls out onto the page then you can stretch it out and play with the words. I focus on the characters and the story most of all. The issues come through that, it’s important that the stories and characters are at the forefront which I think helps the audience understand the issues on a deeper level than if they were just reading a pamphlet.
The show is the story of two brothers – is there a reason why it’s presented then as a one man performance?
I think one of the beautiful things about theatre is its ability to suspend an audience’s belief. If the audience have the opportunity to imagine their own Mattie (the little brother) it’s makes the end all the more personal and sad. It’s exciting that by the end of the play the audience can see him although there’s nothing there! You invite an audience to play an active part!
Three words to describe the show ?
Fast, proud and bold.
What are your hopes for the show after The Bunker?
We’ll have to wait and see! We’re quite keen to take it to the Edinburgh Fringe and we have a few people coming to see the show at the Bunker. I think it’s a piece that could really benefit from moving around. I think it’s an important story.
Do you feel that the government and society in general could be doing more to assist in issues such as those raised in FCUK’D?
Absolutely, as long as issues are still being talked about they are issues. 100,000 children run away from home each year, of course these are for a number of reasons but if those children are running away from abuse or lack of care more must be done to ensure they are given the love and support they deserve.
What do you hope the audience takes away with them?
I hope it makes them think a bit more about how we view others from different backgrounds. There is still a huge stigma in class and I believe we don’t always take time to understand the full story. I hope they can enjoy the play and relate to the characters.
On a lighter note, how will you be spending Christmas this year and what are your hopes for 2018?
I’m still in Comedy About a Bank Robbery until February so will be doing that as well as FCUK’D then will be back into auditions. We have plans to take FCUK’D on and I’m currently writing my second play.
