Summer review: old and new classics

As the long summer days come to an end, I look back at four classics (oldest to newest), seen on stage or screen, and ponder why some stories will never go out of style.

1. Macbeth at Shakespeare’s Globe
   Present fears are less than horrible imaginings.

   Lead actor Max Bennett’s innocence mixed with the usual madness were a side to Macbeth I had never seen, and this brought light and relatability to a very strong production. Both the use of child actors and making the witches male morgue attendants were added chilling elements.

   Return to your classics, whether as an actor or a reader. You will find at least one answer to the many questions you are constantly asking yourself in these unstable times. This is especially true with Shakespeare, who will drop existential truths in the middle of a battle. There is always somethıng new to discover at the Globe – it never goes out of style.

2. The Crucible at the Gielgud Theatre (National Theatre transfer)
   I think that’s in your mind, is it not?
   There are so many fascinating conversations to be had around The Crucible, but today I focus on the power of a story and the fear that the unknown gaps in that story can create. A village and its inhabitants in Massachusetts in the late 1600s are starting to question their rituals and leaders – everyone is shaking with fear. Will the curious villagers start a riot? Will someone choose their honour over their life, and for what? What humanity is left when our neighbours are lying to save face? When it all falls down, all we have is the truth and the good that we want to be remembered for. I am struck by how timeless the play is, and am of course drawn to the flawed character that is John Proctor.

3. Are you there God? It’s me, Margaret. (Film dir. Kelly Fremon Craig)

   What I learned about religion is that it makes people fight.
   I knew nothing about how much of a literary cult classic this story was before entering an empty cinema on a sunny afternoon (I miraculously had an empty afternoon ahead of me) to check in on what Rachel McAdams was up to. I ended up laughing and crying during the whole film, which to me is a serious sign of success. The heartbreak that Margaret feels at leaving her childhood home and, simply, her childhood, and the challenges of raisıng a girl while owning the choices that could make or break her felt very real. Add to this the questions about religion and family politics, and you have touched every heart.

4. Barbie (Film dir. Greta Gerwıg)

   We have no genitals.
   How can I talk about summer 2023 wıthout mentioning the cinematic phenomenon that was Barbie? Is it a classic? I think so, as I believe anyone watching it will think it was written for them – from the children who will enjoy the sets, costumes and the multifaceted dolls to the film geeks who will appreciate the film’s cinematic references and social commentary. And let’s not forget me, the millenial who owned a few Barbies in her day, as well as the cafeteria (which kept falling apart), and whose grandfather refused to buy her Ken as he didn’t understand why a male Barbie would even exist. The film didn’t exactly make me want to buy any merchandise, but it made me appreciate the budget they put into a feminist and artistic script dressed up as a summer blockbuster. Greta was smart, perhaps Margot (producer) was even smarter.

From daggers to naked dancing, and from Jewish grandmothers to casa houses, that was my summer of culture. Funnily enough, I am reading ‘Fleishman is in trouble’, a family thriller which includes all four of those things!

Did I miss anythıng? Please comment!

New play: Les filles aux mains jaunes, 14-23 March in London

Oh, the innocence of “just” being an actor. Showing up on day one of rehearsals, script in hand, ready to roll around on the floor, ignorant of the hard work the director and producers have put in to shelter us from the “business” side of things so we can play like children.

Les filles aux mains jaunes.

I am not new to production, but when it comes to theatre, I am. How much money do we have for costumes? Are we going to have to cut this idea because the lighting isn’t going to allow it? Did that journalist RSVP?

All this is a learning opportunity I am most grateful for. In just over a month, I will be starring in and co-producing “Les filles aux mains jaunes”, a French-language play by Michel Bellier and put on at the Drayton Arms Theatre in London. The story revolves around four women from very different backgrounds working in an armament factory during World War I. I have been asking for an opportunity to play in French for a while, and this has been a perfect way in, as the text is rich and my role is juicy.

We are four actresses, Aurélie Couet, Aurore Martin, Léonore Saintville and myself, and are all co-producing. Our director is Julien Balajas, a French actor turned director. Each of us have taken on various responsibilities, from costumes and props to press relations, flyering and sales coordination. What we are executing makes me feel like we are standing on the shoulders of those traveling circuses who honed their skills so they would put bums on seats as they moved from town to town. We want to spread the word, put on a great show and leave a good impression for when we come back next time.

Time is flying, but I promise to summarise how it all came together once the show has passed. And now… back to business! Which, today, means breaking down my character’s childhood.

As my character Louise, a suffragist fighting for the quality of working conditions in her factory, often writes in her diary:

« En pensées comme en actes, In thought and in action, 12 février 2023 ».

Sophie

FIND TICKETS HERE: Les Filles Aux Mains Jaunes at Drayton Arms Theatre event tickets from TicketSource

Please ask me for a summary in English if you don’t understand French and are attending.

Film Review: The Forgiven (2021)

Privilege comes in many shapes and sizes. For some, it’s a large amount of financial wealth. How does one spend it? On an enormous villa in the Moroccan High Atlas mountains, surrounded by neighbours who struggle to provide running water for their children? If someone’s dream is to have a beautiful house in the desert to retreat from the Big Smoke, should they be criticised? This is one of the questions I was asking after watching “The Forgiven”, the latest film by John Michael McDonagh based on the novel by Lawrence Osborne and starring the legendary Ralph Fiennes and the recent Oscar Winner Jessica Chastain.

Ralph Fiennes and Jessica Chastain in “The Forgiven”.

This story is not just about owning a house in the desert. It’s about what is done with privilege, the dark sides of humanity, and the danger that some seemingly unharmful people can represent in the world. Furthermore, where is the balance between caring for those who have nothing and keeping our own cup full? Is there still hope to shrink the divide between rich and poor? This film’s strength lies in asking many complex questions that remain unanswered.

Doctor David Henninger and his children’s book writer wife Jo are driving to their supposed friend’s villa in the desert for the week-end. They’ve been delayed and are arriving at night. David, the driver, has been drinking – as he seems to do a lot – and accidentally runs over a boy who wanted to sell them fossils (or did he?). The boy dies, and as they arrive at the party, word spreads about what happened. The police get involved and cover it up, but the next day, the boy’s father arrives at the villa and wants to take David back to his village to bury his son.

The usual end credits are shown as the film opens, as we discover beautiful shots of Moroccan villages and the endless dessert. The credits are bright red and succeed in destabilising the audience. Everything is the wrong way around.

Not only is the cinematography by Larry Smith luscious, colourful and a joy to watch, but so are the actors, their costumes and the set. The guests at this extravagant week-end party are beautiful, can pay for their looks and clothes, but also for their intellectual taste. The host Richard (Matt Smith) used to work at Christie’s and clearly comes from the elite, as well as his American partner Dally (Caleb Landry Jones) and guest Lord Swanthorne (Alex Jennings).

One senses that being in the desert is their chance to truly indulge. “What happens in Vegas…” They may speak a certain way when they’re back in London, but it’s when they reach the villa that promiscuity, excess, disrespect and the drugs happen. It’s fun to watch, but only for a while, until you hear the characters speak, and understand how guarded and unconscious they actually are, how they lock themselves in their golden cages without knowing it.

This is what I think has happened to Fiennes’ character. While he seems like an unlikeable cynic, he is deeply wounded and has made sure over the years that he does not show any humanity. He is a functioning alcoholic who knows how to charm, is very well read, speaks French and is the type who “knows everything”. However, once he is faced with killing a real person – someone he would never have given a second thought to – and has to face a local family, layers start to crack. The silence of the desert is a loud reminder for him that he can no longer safely remain in his own circle. It is beautiful to see Fiennes shed these almost imperceptible layers and show grace and kindness while also fearing for his life.

Back at the villa, Jo is experiencing another kind of rebirth: with her husband away for a while, she finds her voice. However, she’s not exactly breaking free from the system she is in – she relishes it, takes up space, drinks, plays, cheats. It is quite an ugly character, but one I would have liked to see 30 minutes more of. While “The Forgiven” offers a “road movie” journey to Fiennes, Chastain, by staying at the villa, doesn’t complete her journey, at least not in my opinion. After the shocking ending to the film, and the no-fuss red “The End” credit, where will her character go? We need a sequel!  

This half road movie was a truly enjoyable ride that, without just poking at the privileged, is about two individuals played by two greats who are trapped behind what they seem.  

At 9 months postpartum, here is a letter to the old me

Hi Sophie, it’s me, your future self. I had a baby, and she’s already over 9 months old! I still sound like you, look like you, I’m a bit over the weight you were at but am working on it. I know this will matter to you because you want to fit into those skinny jeans, right? I still like fashion, dancing, acting and overanalysing movies starring Jessica Chastain.

From where I’m standing today, I’m so happy to say that you got through it. Whether I’m talking about your labour, the sleepless nights or just life, you got through it. You are now meeting up with people again, without your baby, making plans, looking back and smiling at all you’ve learned. Here is some perspective, I hope it helps.

Physical health – back to basics

There’s no way around it – you’re going to feel pain, be all sweaty, your stomach muscles will be all weird for a while, you won’t be able to walk straight. Then you’ll gain lots of weight, you’ll lack sleep so you’ll snack all the time and have no time to cook. It will be hard to look at yourself in the mirror sometimes, and you’ll have to buy a new much larger bathing suit. The good news is, in the UK you have the NHS. Not only were your midwives the best during the birth, but they’ll help you find all the information you need. Videos and diet websites will keep popping up on your phone, but go back to basics – the NHS has plenty of information about what a healthy diet contains, how to work those abdominals safely in the first months (and still now, actually): eat fruit and veg, fibre and so on, no more sweet drinks, take long walks, that’s it! Your favourite time of the day is now breakfast, with a hard-boiled egg on toast, a piece of fruit, and coffee. Seriously, it brings you so much joy.

I know you like your yoga, running and dance. In the first weeks, it will hurt to do the “cat-cow” move and you will cry, I’m so sorry about that. My hips still feel very tight. Be gentle with yourself, don’t rush it, you’ll be surprised at how your strength will return. Speaking of crying, let’s talk about post-natal depression (PND).

Mental health – hormones, hormones, hormones

It’s all hormones! They are a beautiful power that helped you birth a baby, but they will also make you cry and feel very lonely. The logical you will know that there are so many other women going through the same thing, but you will keep quiet because you won’t know how to express your emotions. There will be dark moments when you won’t mind dying and others when you’ll have trouble falling asleep because the thought of raising someone properly will paralyse you.

I understand now that PND is like mourning an old part of yourself. From one second to the next, so much changes. Like with any change in life, you need time to welcome the new. Time is the key here, I feel much more accepting now. As I said, you still like the same things, but priorities have shifted.  

I think society doesn’t acknowledge enough how shocking this change can be, but how can they when it’s so hard to describe.

The last two years have been difficult for many, and the idea of mental wellbeing has become crucial. In order to have a good day, you’ve learned that you only need a few things: that egg in the morning, fresh air, mild exercise and nutritious food. Ah, and sleep! If you’re lucky, you’ll also have time to declutter, play the piano, do some yoga, have a nice conversation or listen to an inspiring podcast. This doesn’t always happen but you try again the next day. My new motto is “plan to fail but laugh about it”.   

 Fresh eyes

In “A Beautiful Day in the Neighborhood” (2019), Tom Hanks’ character says that having children allows you to be a child again. This is absolutely true, as you watch the wonder that a baby feels when learning something new. This has brought me to the simple conclusion that we are all babies in big bodies: we need

-          Love

-          Acknowledgement

-          To learn

As adults, any anxiety we may feel is due to a lack of these three things. So let’s wake up our inner children, shall we?

This is just the beginning. I certainly don’t know what will happen when your baby takes her first flight or joins nursery, but as I’ve learned, you just get through it in the moment. Projecting into the future can only create stress which is not meant to be. When the student is ready, the teacher will come.

Reader, thanks for still being here. I’ve been wanting to sit down and write something for months and am pleased to have finally done it. Happy new year, and until next time.

What do I miss?

Yesterday, my girlfriends and I were discussing what we miss these days. Apart from my family members (who live in different countries), I have pretty much everything I need. But this afternoon, I finished watching Romeo and Juliet in a 2009 production from Shakespeare’s Globe and I realised: it’s those theatre crowds. The person to my right who may not be laughing at the same joke as the person to my left. The woman who thought it was okay to bring pop corn to see Helen Mirren perform live, and who I now forgive. Those musicians at the Globe who delight us with their rare historical instruments and who have been following in their peers’ footsteps for the last five centuries.

It’s those theatre crowds.

Connection

This week, I joined a few webinars on business skills (such as leadership) and acting (branding). Right now, what gives me a little buzz is to think that a few dozens or hundreds of people are listening to the same content at the same time as me, possibly making the same notes and clicking “like”. Even following a work out session in unison with strangers makes me pay attention and wonder what they will all do for the rest of their day.

What strikes me is that premium seats and VIP tickets have disappeared. We can all watch Danny Boyle’s Frankenstein or Alvin Aley’s Ode from the same distance thanks to online performances. I recommend enjoying this, whilst not binging it all. Just because it’s there doesn’t mean we have to watch it. Let’s not allow the buzz to become a digital burn out. But if we do, let’s look at how many others have too. Who could they be? How are they spending their day? Just like me? Probably. How lucky are we.

What else is new?

In April, I got back into self-taping (auditioning from home) by signing up to Manuel Puro’s 21-day self-tape challenge. It gave me just what I needed – quick memorisation practice, focused conversations with other actors, and a chance to get back in the habit. I do recommend this course.

I also updated my showreel, adding two new scenes and shuffling things around. Someone told me that my first scene needs to reflect what type of work I want to be cast in, so here we go.

In addition to the self-tapes, I recorded a new monologue from the play Wilderness by Kellie Smith. You can see it below, as well as my interpretation of a monologue from the film Frances Ha.

Thank you for reading today! Last month I posted what my cousin Nora is going through, you can read news here.

Until then, keep safe, and don’t do too much. Toodles.