Mother and daughter Capricorns, born within seven days – and 23 years – of each other. We can promise much laughter, lots of cooking and the occasional insight. Welcome to the little world of The de-la-Haye Girls.
L gives us her round up of the top shows you should be supporting now!
With the news that 17 May has been given the green light for socially distanced performances, L gives her round-up of the top shows you should be supporting now!
Les Misérables – The Staged Concert: Do you hear the people sing? Well officially from Thursday, 20 May you can – live! Les Mis has always been one of my favourite scores and this staged production has an all-star cast that will ensure you leave the theatre dreaming the dream. https://www.lesmis.com/concert
Pretty Woman – The Musical: If you love the film as much as I do then I’m sure you’ll love this show too. I have a couple of friends in the cast and I had heard amazing things from them about the production. When the pandemic hit and Pretty Woman closed, I was gutted to have missed it. Well, with tickets from just £18 and a new home at The Savoy, to miss this would be a big mistake. Big. HUGE. https://prettywomanthemusical.com/
Heathers – The Musical: Again, this is another film favourite but the musical has cultivated its own fan following. There are tickets available for a run at both Theatre Royal Haymarket and a UK Tour, but don’t dally as they will sell out very quickly! https://www.heathersthemusical.com/
This Is Going To Hurt – stand-up show from Adam Kay: I devoured this book during the first lockdown, and doesn’t that feel like a 100 years ago? I’m ready to fall in love with Kay all over again, especially as the TV series is due to be aired soon! How apt to hear tales from the NHS, whilst wearing a mask. https://www.adamkay.co.uk/
Witness for the Prosecution – play of Agatha Christie’s novel: Vince and I had just missed out on booking tickets for this production, pre-pandemic, and I’m thrilled that it will be back this Autumn. We love a whodunnit and this one is performed in the magnificent London County Hall. https://www.witnesscountyhall.com/
Later in the year we’re really looking forward to seeing Laura Marling in Brighton, (I know E is also hunting down some Billy Bragg tickets for the same venue) and the Van Gogh Exhibition in the new year. There’s so much to see and do over the next coming months but it goes without saying, do be gentle with yourself as we ease out of this hibernation. Personally, I have found pencilling events into my diary to be such a tonic the last couple of weeks. I can’t believe we can finally have things to look forward to and there are so many artists who are going to need our support now more than ever. For me, buying tickets for arts events now is my way of paying it forward, after all, I’m hoping some people will want to do the same when I open in The Phantom of the Operain June!
What are you looking forward to seeing in the next few months? ~ the de-la-Haye Girls.
We do hope you read that title in a Welsh accent so that it rhymes…a la Emily in Paris in a French accent. The next post in our love letter series, inspired by Valentine’s Day, is L’s love letter to theatre. We hope you enjoy reading it.
Where do I begin? What a year we’ve had. I suppose, rather than dwell on the present too much, I’ll think of fonder times. It began, as most of my best stories do, at my Nan’s house.
Growing up, I’d spend endless summers and half terms at my grandparent’s home in Wales. My favourite pastime was to watch Disney films in the conservatory while I doodled drawings and did my colouring-in. Once I’d grown out of princesses and talking animals (as if I ever have), Nanny Val pointed me in the direction of the great movie musicals. I devoured The Wizard of Oz, Calamity Jane and Seven Brides For Seven Brothers, but then came the real lightbulb moment: Julie Andrews in The Sound of Music. The version we had was taped from the telly by my lovely and much-missed grandfather, known to his grandchildren as Lloydie, which resulted in a lack of crispness in quality, wonky alignment in the credit sequences and the entire film having a slightly brown hue, but I didn’t mind in the slightest. Once I had the bug, that was it.
I became obsessed with cast recordings, thanks mainly to the musical, Annie. It was a childhood favourite and we played the cassette of the original Broadway cast recording every morning, literally every morning of Year 4, on the hour’s journey from home to my school in South London. It was around this time that I also started the heavy lobbying of my parents to send me to a performing arts boarding school. I also have a vague memory of announcing to my mother that I wanted to “become an orphan” (well, Annie, Anastasia and Harry Potter were, so why couldn’t I be?). The response from E? “Lily, do you know what an orphan is?” I remember replying along the lines that of course I did: orphans were children who lived in a house with all their friends and got to sing and dance and have adventures all day long.
E relented and off to a part-time stage school I went. This progressed to full-time performing arts education from the age of 14, and although I never wangled the boarding school bit, it was heaven. At the end of each term we got to perform in a theatre; my entire reason for being at this point. I remember walking through the rows of seats in the dark auditorium. Theatres were dangerous, our teachers warned, things could go wrong. For me though, theatres were exciting, terrifying, huge and beautiful. We were always chaperoned backstage, but once you were out in the warmth of the footlights, that was it – you were on your own. That sense of independence and control was palpable, and exhilarating, and wonderful!
Oh, my theatre. How I love your traditions. The opening night cards and flowers lining the corridor to the dressing rooms. The hunt for the “best spot” in the dressing room. Ideally this is at the end of the row, near the window, next to the coffee machine and as far away as humanly possibly from the door and showers. I love: the hushed whispers backstage when an understudy gets to step into the spotlight; the onstage physical and vocal warm-up, everyone bare-faced and wig-capped like an alien army; signing in and out at the stage door; getting post (and Amazon Prime) deliveries to the theatre because it is quite honestly our second home and where you’ll always find us; the rush to get on the road and home on the final night in a regional venue; the tiredness-induced delirium of a panto three-show Boxing day schedule; Facetime calls with other theatrical friends who are working as you prepare for “the half”; grabbing a “medicinal” wine – just the one – after the show; travelling home on the Tube with a full face of stage make-up; the bows and panto’s celebratory “walk down”; and the overture – oh how I love the overture!
My love of the theatre doesn’t just exist as an actor, I am a passionate audience member too. Settling into those plush seats or having to lean forward in the Gods as the lights go dark. There is nothing like that feeling. Grabbing a drink at the interval and swapping thoughts, being moved to tears in Act 2 and trying to stifle a whimper (thank you Hamilton; as impressive on the small screen at home as it was on stage). I enjoy the moments of leaving the theatre after final curtain, having stayed to listen to the outro in full and having applauded the orchestra, obviously, and rejoining the real world in the frosty London air. The memorable moments of quickly orientating myself to whichever street the theatre exit has landed me on and from there finding my way to stage door to wait for the departure of the cast, crew and musicians, to cheer them and thank them for their work. A late evening train snack, while reading the production programme from cover to cover is a critical part of the routine, as is thinking and talking about the production over the following days and, ultimately, falling more in love with the show as you re-listen to and compare and contrast a variety of cast recordings. More magical than all of this though, is getting to share that experience with someone for the first time, whether it’s a little one’s first pantomime or seeing my Dad’s reaction to Billy Elliott; there is nothing quite like it.
I’ve always known that this world is fragile. As an actor, your career is precarious. Growing older changes the roles you’re suitable to play and one injury, including vocal injuries for those of us who sing, can prematurely end that once-in-a-lifetime role. Jobs are lost, shows are closed and reviews can sting. I knew this age-old truth when I entered this industry. What I – what none of us – could have anticipated is what has happened in the last 12 months, and exactly how devastating it would feel.
In June of 2019, I booked a job in the new Cameron Mackintosh UK tour of Andrew Lloyd Webber’s The Phantom of the Opera. It was a job I had dreamed of doing since I was a little girl. I had been auditioning for it since I graduated drama school in 2012. Finally, finally, I had done it! On 16 March 2020, the day my Nan had travelled to Leicester to watch the show, we were called on stage about an hour before curtain-up for the evening’s performance and advised to go home for the rest of the day. The pandemic was progressing at such a rate that the theatre and production company had no option but to suspend the show until further guidance could be obtained from the Government. That was it: despite exhaustive and, I’ve no doubt, exhausting work by the production company to try and save our show, we didn’t manage to reopen. The pandemic has been devastating for many thousands of people and this is no “woe is me” story, but the day our beloved show closed and the weeks following, I shared that sense of devastation. Actors are nothing if not resilient and in the year since Phantom had to close in Leicester, I’ve appeared in online concerts. I’ve also felt the security and excitement of having booked three more acting jobs – a commercial, an international tour and a pantomime – only to have all three delayed or cancelled entirely as Covid 19 has continued its rampage. But I’m not giving up and I have hope and optimism: I know theatre will return eventually and I promise to be there as an actor and, more importantly, as an member of the audience when it does. How could I not? It is at my very core and simply my favourite way to spend an evening.
Theatre, I’ve not forgotten you. I miss you. I can’t wait to see you soon. You have my heart ~L.
Please, please do return to theatres once it is safe to do so; it will be curtains without you. In the meantime, here are some helpful ways you can support the arts industry:
Once upon a time there was an actress…and then the global pandemic hit.
Once upon a time there was an actress. She spent her days popping in and out of the city, attending auditions and meeting other actors and creatives. Sometimes, she would even book those meetings she attended and wouldn’t have to audition for months on end. Life wasn’t perfect, but it was pretty close. Then the year 2020 happened…
Oh, it’s been a funny one, hasn’t it? What I am grateful for is all the new skills I’ve gained thanks to this pandemic which now include sound engineer, director of photography, editor, creative director, camera operator, broadcast producer and lighting technician. This is all thanks to the rise of the dreaded “self-tape”, my least favourite “s” word.
A “self-tape”, for any readers who aren’t familiar with the term, is essentially a filmed audition that we actors create and then submit to a creative team for their consideration. Now there are plenty of benefits to this style of audition. Firstly, we don’t have to commute into town which saves everyone money and helps us not catch Corona – or something worse – on the Tube. We can also do as many “takes” or attempts to get the performance we want. In my case, this is absolutely a blessing and a curse. Being able to watch an audition back means I obsess over the smallest detail, a hair out of place, a distorted shadow in the background, one note that was held longer in the previous seven takes. Therein lies the danger: my inner perfectionist takes over and I lose all sense of authenticity with infinite takes of the same material. It also sucks the life out of both my phone memory and battery.
Since March, nearly all the auditions I’ve been submitted for have transitioned to self-tapes and let me tell you, it’s been a journey. There was an excellent occasion when I had less than 24 hours to get a tape filmed, edited and successfully dispatched via “We Transfer” and all on the hottest day of the year. When filming, it’s important that no extraneous noise is picked up by the microphone and, obviously, to achieve this I normally close all the windows and doors. This is very much less than ideal in the middle of a heatwave. Estimate how quickly the prickle of SULA (sweaty upper lip alert) began in this airless room once I’d added a ring light, a face full of make-up and a healthy shot of audition adrenalin to the mix. I grabbed a towel to dab my shiny face between takes, but completely forgot about my neck. It wasn’t until later, when I was editing the footage, that I realised that my neck and entire décolletage were slick with shiny perspiration. To quote the old adage, I was simply glowing!
Another fun memory was the day that my tripod broke during the middle of shooting. I was already in a terrible mood as the brief I’d been given was really complicated and involved lots of scenes where I had to mime the action, which is always tricky to make look convincing. I’d banished poor Vince to working from home in our bedroom so I could have full access to our lounge and all was going well until I heard the crash of my tripod hitting the floor. Miraculously my phone was intact, it was actually still filming but the tripod had completely shattered, meaning I had no way of stabilising my camera. In a wave of panic, I phoned E, seeing if she had anything that could work as a replacement. Although she wasn’t able to lend me anything, she did manage to calm me down sufficiently to allow me to get my thinking cap on and I created a Jenga-like tower of coffee tables, piano stools and cook books. I balanced one of my Stan Smith’s at the top of the makeshift mountain, like an angel atop a Christmas tree, and nestled my phone into its new bed. All this Blue-Petering was worth it as I booked the job.
I wish I could say things were less comical once I moved and had a whole house to use as a studio. Sadly this is not the case. Just this week I had to film several scenes for a big commercial campaign but they were all set outside. I grabbed my phone as I only had a few hours before the sun set and rushed out to film. I can now add location scout to my list of skills! All was going well until my new neighbours caught me filming one scene in my car where I had to cry on cue. They rapped on my passenger window to see if I was ok…”no, no, I’m fine – I’m just filming something”; “yes, I’m an actress”; “oh, no, I haven’t got the job yet, this is the audition”; “yes, it will be on TV…if I get it”; “yep-I have been on TV before”; “I don’t know if I’ve been in anything you’ve seen”. I really do hope I get this job now, if only to validate my explanation!
I’ll leave you with a sneaky snippet of this day. I was hunting for a background which was pretty and scenic, but far enough away from any road so I avoided vehicle noises in the background. I stumbled across this field and began filming, just before a local farmer and his dogs arrived to hasten my departure. Oh, the glamorous life! ~L.
For more theatrical insights and horror stories, connect with me on Instagram!