[Slavyanka]

Кэт, я, конечно, дико иззиняюся, но... тут еще одно интервью, сегодняшнее

Richard Armitage interview on BBC Radio Northampton for Uncle Vanya (26/10/20)

Full transcript under cut

So he’s won awards for his role as Lucas in Spooks, as the dwarf prince Thorin Oakenshield in The Hobbit, and earlier this year he had us on the edge of our seats as the lead role in the brilliant Netflix series The Stranger. I love The Stranger. Did you see it? I thought it was absolutely brilliant. He’s brilliant in everything he does, I love Richard Armitage. Such a nice guy as well. Well with the pandemic interrupting it’s sold out West End run, Richard is part of an all-star cast bringing Chekov’s iconic play Uncle Vanya to our cinemas and homes as part of a brand new production. Ahead of today’s show I spoke to Richard about the play, and a bit about what it’s like to be a stage actor in Covid Britain.

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How you doing?

Very well, thank you. This is an absolute honour to speak to you. Congratulations on a wonderful production.

Thanks! Did you see it?

I did! I did! Um-

Amazing.

-if I describe my morning to you, I woke up with a slight whisky hangover pondering my place in the world, and the first thing I did was open my laptop and watch Uncle Vanya, and *laugh* I have to say it was quite-

Oh, how was Vanya on a hangover? That’s probably like most of the characters in the play have a hangover, don’t they?

*Laugh* Well this is the thing – I found myself thinking ‘this is quite life-affirming’, because I was reflecting how human experience hasn’t really changed that much since 1897, and I just wondered as an actor whether Chekov’s understanding of human feelings – it must appeal to you, hugely.

I think that’s why actors go to Chekov, and actually he wrote so few plays compared to other playwrights that what he did do was really define how we approach character. Really, I mean he worked with Stanislavski, it’s the root of, of Western theatre and, and how we construct characters because he’s focused on the lived experience, rather than the plot so much. So most people kind of say “what’s Chekov about?”, and it’s really hard to describe what it’s about. But it’s about human beings and how they – how they bounce off each other and how they attract and how they repel.

Is it completely mad for me to say that, that watching it, it was my first introduction to the play and my first introduction to Chekov, I, I found myself thinking ‘well, this is almost like Big Brother’. It’s like watching a group of people relate in various ways in a claustrophobic lockdown, getting on each other’s nerves, and digging into old wounds, and then I found myself thinking this is, this is so timely for the, the Covid world we’re living in. Did that strike you?

It’s – uh, I, I guess until we started to experience what lockdown was like, suddenly again the play took on a relevance. I mean the last week of performing, when the, the sort of talk of the virus was, was emerging y’know in, in our world, and y’know I’d been speaking these lines for ten weeks as the doctor talking about a pandemic, and he’s turned to drink and he can’t deal with the trauma of losing patients, and suddenly the relevance was, was very high. But also in lockdown, I suddenly realised ‘now I understand what these characters have been going through’. So the – the chance to come back and, and sort of bring all of that experience into y’know, the re-staging of the play film was, y’know, it was really special to be able to do that.

It was really moving at the beginning, because you see your fabulous co-cast members returning to the theatre in face masks, and it was quite easy to find yourself a bit choked. What it a very emotional reunion?

It was because I was not able to be there. *Laugh* ‘Cause I’d just flown in from New York like with, with literally hours to spare before I had to lockdown for two weeks quarantine. So I couldn’t do that, I – I had to join a read-through on a computer via. a Zoom call, so I felt like I was being held back away from my friends and fellow actors. Which was useful for the doctor, ‘cause when he comes back into that house, that’s sort of what’s been happening to him. But every moment there was something to hang on to in terms of the emotions and, and what we’ve all been through.

The – the dialogue is so brilliantly natural, especially from a, a newbie to this world. And I, I think you describe yourself at the beginning, as Dr. Astrov, as feeling a bit wonky-

Yeah.

-and then we hear Toby Jones’ Uncle Vanya complaining about various people wanging on, and-

*Laugh*

-it’s brilliant, it’s moments that make you giggle, and I just wondered how important you think these linguistic touches are to help the drama engage a new audience?

Well it’s always gonna be a translation because we’re not performing in the original Russian, and y’know, that depends on which playwright decides to tackle it, and we were so lucky with Conor McPherson, ‘cause there’s a little bit of the Irish kind of glint in his eye that comes through that dialogue um, so these, these little touches make it feel like we’re just – it’s just us, it’s not y’know, characters a hundred years ago in a stuffy drawing room. These are, these are – it’s us y’know. We’re still the same, and we’re still dealing with the same problems, um weirdly within the state of – within the space of three months those same problems seem to be sort of really prominent, and rather than watching people dealing with a pandemic in a collapsing environment and thinking ‘Oh, that was an interesting history lesson’, it feels like ‘Oh, this is now, these are still things that we are having to, having to navigate right now’.

Whilst I’ve – I’ve read that you don’t necessarily identify as purely a, a method actor, you have talked in the past about how deeply you try to embody the characters you play, and I just wondered how difficult it was to come back after the break and once again put on this skin of the frequently despairing Dr. Astrov?

Um, I came back with, *laugh*, with a taste for vodka that I’d-

*laugh*

-I’d maintained from doing the play, um I came back with no haircut, so y’know, I was – I was sort of *laugh*, I hadn’t put him down really to be honest. I’d, I’d thought about him a lot, and during the course of my research I’d found this diary of a doctor who had worked through his life and through various epidemics, and was really at the end of his tether as to what the point of medicine, and uh, I used a lot of his references to, to sort of try to understand what maybe our NHS workers were going through, and still are going through. Y’know, how do you – how do you go home at night after seeing people in such, y’know, such extreme circumstances without a cure. Y’know, that’s something that we find very difficult to get our heads around because there’s always a pill for something, there’s always a remedy. And these Russians were – were dealing with tuberculosis, for which there was no cure, and typhoid and, and having to, to y’know, having to deal with the fact that most of the time they were death sentences, and we – we have lost that, y’know, we – we have quite luxurious existences compared to them. So to, to be living with something which people don’t have answers has, has really shaken us up I think, and that’s contained in the play.

At the end of the production the matriarch, uh, Anna Calder-Marshall’s Nana, blows out the candles that light the stage and it, it felt to me as though she wasn’t only putting the – the play to bed, she was almost putting theatre life to bed in some way until this bleak winter is over. I just wonder how sad it is for you to see the way the arts are suffering in this pandemic.

It is really, really sad, and I – I, y’know, I’ve been able to carry on doing various kinds of work, but I, I know that there are a huge amount of people out there who work in those theatre buildings that only work in theatre, that can’t go back to work right now. But at the same time, I’m – I’m an optimist, and so I look towards Sonya’s speech about work, and we will endure this and we will come back. Y’know, it might be the middle of next summer, who knows, but I think when we’re – we’re all waiting to have those dust cloths pulled off us, y’know. Um, and we will see diamonds in sky and it, it will come back to us. But in the meantime we’ve just gotta find a way to survive this period, and most people that work in the arts do have ways of doing that, because there are periods of time where you find yourself not working and you have to be very resourceful. And I just hope people can hang on and they’ll – they’ll return when we all do.

Richard Armitage, I – I’m not surprised the run was sold out, Uncle Vanya, and my first experience with the play, my first experience with Chekov. It was absolutely brilliant and I loved every minute of it. I’m, I’m going to get my – my wife’s gonna watch it this weekend, and uh – I hope everyone takes the time to experience it, and just thank you so much for being on the program.

Thank you for having me. And just let me say that it’s the 27th of October and thereabouts for various screenings in your cinema, and going to the cinema is not a terrifying experience, I’ve done it. It’s – if you play by the rules and wear a mask, it’s, it’s actually like a little bit of normality.

Perhaps even sneak in a vodka *Laugh*

*Laugh* Absolutely.

Thank you, Richard.

Thank you.

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Ah, Richard Armitage, such a legend, lovely guy to speak to. And I’d really recommend it, I’d, I’d heard of Uncle Vanya, and of course I’ve heard of Chekov, but forgive me being a bit of a film philistine, it’s not something I would’ve taken the time to investigate. It’s REALLY good. It’s really funny, it’s really fresh, it feels like a – it’s not a history lesson y’know, it feels, as Richard said, like you’re enjoying character speaking to each other now, and all the issues that they raise feel very current and contemporary. I loved it. Um, you can go to unclevanyacinema.com to find out where it’s playing, but it does certainly look like the Odeon Kettering and the Savoy in Corby will be showing it.