Harlequinade 'is a love affair with the theatre of the past,' Zoë emphasises in new interview

30 October 2015 00:55

London newspaper the Evening Standard has interviewed Zoë about starring in the Kenneth Branagh Theatre Company's productions of All On Her Own and Harlequinade at the West End's Garrick Theatre, praising her as 'a peerless tragedian and comedian'.

Discussing the intriguing, tension-filled monologue All On Her Own, Zoë emphasises that she'd 'never seen anything like it' before. The second part of the Terence Rattigan double bill, Harlequinade, also captured her attention. The comedy about a touring theatre company, she explains, 'is a love affair with the theatre of the past'.

Zoë shares fond memories of the period during which her father, Sam Wanamaker, performed in Stratford with the Royal Shakespeare Company. She recalls him rowing to work and describes herself as 'totally blown away' by the wonderful atmosphere backstage.

Zoë's enthusiasm for theatre clearly remains very strong. She remarks that the reconstruction of Shakespeare's Globe, which her father built on London's South Bank, is a 'magical space'.

Tickets are available for All On Her Own and Harlequinade, which are currently in previews and receiving hugely positive comments from theatregoers on Twitter (I'm endeavouring to retweet them). Performances are scheduled until 13 January.

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Zoë returns to the stage tonight!

24 October 2015 17:58

The wait is almost over! Tonight Zoë will return to the stage for the first time since May, in order to star in All On Her Own and Harlequinade at London's Garrick Theatre.

Performances of the Kenneth Branagh Theatre Company's double bill of Terence Rattigan plays – which encompasses both drama and comedy – are scheduled until 13 January. Tickets are available.

Let's wish Zoë and her fellow cast and crew members much success!

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Photos of Zoë rehearsing All On Her Own and Harlequinade

22 October 2015 18:34

The Kenneth Branagh Theatre Company has today released a couple of great photos of Zoë rehearsing the double bill of Terence Rattigan plays, All On Her Own and Harlequinade, which will be staged at London's Garrick Theatre from 24 October.

The rehearsal photos feature in the theatre press on both sides of the Atlantic, with BroadwayWorld.com, Official London Theatre, Whatsonstage.com, LOVEtheatre, West End Frame, LondonTheatre.co.uk and London Theatre 1 publishing them.

Tickets for the double bill, which runs until 13 January, are available.

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Previews of All On Her Own and Harlequinade begin this Saturday!

21 October 2015 19:16

The first performances of All On Her Own and Harlequinade, the double bill of Terence Rattigan plays starring Zoë, are now just a few days away! Previews begin at London's Garrick Theatre this Saturday, 24 October, with the press night scheduled for 7 November.

The double bill is among the Guardian's cultural highlights for this week. The official Terence Rattigan website is also very enthusiastic about it, praising Zoë as 'incomparable'.

There are certainly plenty of reasons to be excited about these productions of All On Her Own and Harlequinade, which are being staged as part of the Kenneth Branagh Theatre Company's first season. They span drama and comedy, giving Zoë's fans a real treat.

All On Her Own will see Zoë, in the role of Rosemary, deliver an intriguing dramatic monologue about a troubling secret. It's the very first production of All On Her Own to be staged in the West End. Not only that, this is also the first time it's been staged alongside Harlequinade, in which Zoë will appear as Dame Maud. The play is a comedy focused on a classical theatre company's antics, giving Zoë the opportunity to draw on her talent for comic timing.

Tickets for All On Her Own and Harlequinade are currently available. Performances will take place until 13 January.

Let's wish Zoë and everyone else involved much success!

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Zoë recreates Stevie Smith's 1965 Cheltenham Festival performance

13 October 2015 21:03

On 11 October, the final day of the prestigious Cheltenham Literature Festival, poetry fans were treated to a very special performance by Zoë (who was photographed before the event for Contactmusic.com). On the Inkpot stage – in a surprisingly warm marquee on Imperial Gardens – she delighted the crowd by recreating Stevie Smith's memorable poetry reading from the 1965 Festival.

The event began with a helpful talk by academic Will May, who has just published The Collected Poems and Drawings of Stevie Smith. This weighty book, like the event, will surely help more readers to discover Smith's highly individual but often overlooked writing. In fact, finding new audiences was something of a theme for the event. As May explained, Smith's performances at venues such as festivals, schools and even department stores were instrumental in increasing the public's awareness of her work during the 1960s.

While Smith – who often wore schoolgirl-style pinafores and socks – may have been 'out of step' with the Swinging Sixties, in May's words, her poems had broad appeal and found appreciative audiences at Cheltenham and beyond. May suggested the poems' popularity was due to their strong characters and voices, lightning-fast shifts in tone and mood, and ability to blend low-brow and high-brow culture.

May praised Zoë's 'electrifying' performance as the quirky poet in Hugh Whitemore's biographical play, Stevie, which was staged in Chichester and Hampstead during 2014 and 2015, respectively. He then introduced Zoë to the enthusiastic audience.

Dressed very smartly, with Louboutin heels, Zoë jokingly apologised for not wearing socks – unlike Smith! She then read and sang the diverse selection of poems, by turns funny and touching, originally performed by the poet herself at the Festival, fifty years ago. The poems included intriguing monologues such as 'The Frog Prince' (who wonders if 'It is part of the spell / To be happy' at the bottom of a well, rather than desperate to be set free by a princess); 'The River God'; 'Infelice' (a woman deludes herself that her lover's 'silence speaks' of affection); 'The Jungle Husband'; and 'The Galloping Cat', which proved especially popular and was delivered with great gusto.

'Le Singe Qui Swing' (sung to the tune of 'Greensleeves') and 'Thoughts about the Person from Porlock' (who interrupted Coleridge as he wrote 'Kubla Khan') amused the audience. 'Do Take Muriel Out' (also sung), 'Harold's Leap' ('It may have killed you / But it was a brave thing to do'), 'The Weak Monk' and 'The After-thought' entertained and shocked in equal measure. 'Pad, pad' (a jilted lover laments that old age has robbed him of 'the power to feel exaggerated, angry and sad', as both his pace of life and pulse have slowed) and 'I Remember' cast a cynical eye on romance and marriage. The powerful 'I'll have your heart' sent a chill down audience members' spines.

Of course, no performance of Smith's work would be complete without her most famous poem, the poignant 'Not Waving but Drowning', which Zoë read beautifully.

May discussed the challenges and pleasures of Smith's work with Zoë, who commented that she'd prepared for the poetry reading by listening to recordings of the poet's voice. (The British Library has produced a relevant CD, Stevie Smith: The Spoken Word, she noted.) Recordings were the key to performing the poems (especially those that were sung), as they enabled Zoë 'to hear [Smith's] stresses' in each line, as well as familiarise herself with the poet's distinctive London accent. Zoë emphasised that she's drawn to Smith's writing because she can 'relate to' it and enjoys its exploration of irony.

Zoë agreed with May's suggestion that the mood and meaning of poems can change depending on the kind of audiences that hear them. With Stevie, Zoë found some audiences were 'much quicker' than others when it came to grasping the subtle nuances of Smith's rich poems. She lamented the fact that many people miss out on Smith as her poetry is not always taught in schools.

Portraying Smith on stage was particularly demanding due to the tremendous number of lines Zoë had to learn for the play. She remarked that she chooses projects that 'scare' and 'challenge' her. Another reason for acting in Stevie is that Zoe 'thought [Smith] should be heard' by more people. Smith hasn't always received the level of attention and praise she deserves; in addition, there is little footage and few photos of her, which makes researching her life difficult. Zoë believes that Smith is sometimes overlooked because she 'wasn't glamorous' and chose to pursue an unconventional life, never marrying and living with her feisty 'Lion Aunt' in Palmers Green.

The event demonstrated that Smith's poems still have the power to capture an audience's attention, decades after they were originally published and read. As Zoë emphasised, Smith is a 'huge literary figure' and should be celebrated by lovers of poetry and performance.

Thanks to Janet for the link to the photos.

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