Reading this post you’d be forgiven for thinking the play I’m working on is called, ‘Churchill’ … actually it’s called ‘The Audience’.
Here is a diary excerpt:
October 4th 2016.
It’s the first day of rehearsal at The Maltz Theatre, Jupiter, Florida. We, the cast, arrived yesterday, Most of us from out of town. Just shy of three hours on the plane from New York. I was in a window seat with a young mother and a one-year-old baby in her arms next to me. The baby was as good as gold except he did persistently kick me in the ribs, presumably unintentionally. I pretended not to notice and when the mother apologized I pretended not to mind. I was returning to British mode (from expat mode). We British would rather suffer in dignified silence than inconvenience a stranger. I used the time to go over my lines as Sir Winston Churchill.
One scene only. Where he encounters the young Queen Elizabeth II. The scene is the occasion of their first private audience together with she as monarch of the United kingdom and Dominions. It took place in 1954. Sir Winston was then 78 years old.
For research I visited the Cabinet War Rooms in London, and I’ve watched in no particular order Robert Hardy, Albert Finney, Timothy Spall, Brendon Gleeson and Michael Gambon as Churchill. Oh, and the great man himself of course in all the available speeches.
All very fine actors, none of them actually impersonate the great man, but all of them copy some of his vocal characteristics, the well known rhythms and cadences, Gambon uses the lightest touch. Finney is my favorite for character.
On the morning of the first day of rehearsals we have the meet and greet. As ever, it is astonishing how many people a theatre employs. The Maltz is a theatre under speed. By which I mean they put up plays and musicals in two and a half weeks, run them for 17 performances and that’s it. Get in; get out. I like it.
The Audience is a big play and by far the biggest challenge falls to Karen MacDonald who is playing the Queen and is onstage the entire show with some astonishingly quick costume changes as she moves from Elizabeth R in her 8os to her 20s to her 60s and back and forth in this non-linear telling of the story of Britain’s Prime Ministers and their constitutionally un-mandated, but constitutionally effective weekly meetings with the monarch.
We read through the text and you can feel confidence in the room as everyone, without saying so, agrees that it’s a fine cast and that the play has indeed been well-cast and with a bit of luck we’ll have a fine production. Of course this is the first time we’ve heard each other read and at this point none of us can do more than sketch an indication of where our performances might arrive. But everybody approves of everybody, everybody hopes everybody will come up with more, and everybody understands that on day one everybody is both confident and insecure. We all know that many things can go wrong in a rehearsal period. It’s a bit of a miracle that anything ever gets produced anywhere. But it’s a good start and baring acts of God we should have an excellent production on our hands.
In the afternoon we begin to pick the play apart and an amusing discussion follows on the cultural, social and political differences between our two great nations. Lou Jacob is directing and he seems to know more about British Constitution than I do. Hardly surprising, because no-one can really claim to be an expert, least of all anyone from Britain. Why so? Because there isn’t one. A British Constitution that is. At least not one that anyone has written down.
Oddly, well it seems odd given the themes of the play, tonight is the U.S. vice-presidential debate. Getting back to the digs from rehearsal I turn on the telly. One of the cable news anchors is interviewing a couple of talking heads, “Is he gonna go offense or defense tonight?” the anchor asks. Before the talking head can answer, the anchor asks two other questions, answers the first question, then answers it again with a contradiction and then opines that it shouldn’t be left too long before one of the candidates “throws the first punch”. Then, in a further melange of sporting metaphors he announces a commercial break and we cut to a picture perfect family having a barbecue amid gently rolling hills and a mellow voice-over artist is telling us to soothing, mildly optimistic music, that spingo-dingo-mingo is not right for everyone and that side effects can include halitosis, bankruptcy and allergy to popular culture. I deploy the only sanction I can and turn the telly off, taking note that five years ago I could still have played the Dad in the commercial, now I’m the right age for the foxy Grandpa. Time flies in entertainment. Still it’s fun to be back in Florida.
Assorted production pix & trailer here
And then there was a hurricane …
