Each theatre season, the first shows that sell out are the ones that have the biggest celebrity names in them. Understandably, the ticket buying public are going to be keen to see the latest Oscar winner or up-and-coming indie kid strut their thespian boots just mere feet away from their own menial beings. Taking it’s lead from Broadway, the West End now prides itself on being able to lure in-demand actors to it’s stages; this year alone has tempted Dame Helen Mirren, Jude Law, Ian McKellen, Rachel Weisz, Ethan Hawke, Dame Judi Dench, Patrick Stewart, Ralph Fiennes and James McAvoy to name but a few. But are these expectations met and is the inflation in ticket prices to cover said actors flat in Covent Garden for three months really worth it? In my experience, the answer is a disappointingly resounding no.
I once read, ‘if an actor can act on stage then that means they are truly good at their craft’; and I couldn’t agree more. Actors in films and tv are (usually) good at their profession, but not to the calibre of the specifically stage trained. Movie actors can do umpteen takes of a scene until they get it right and the post-production suite can edit even the most appalling scenes into something vaguely watchable. On stage, you have one chance and one chance only to get it right – if the actor forgets a line on stage or misses their cue, their performance will be tainted by their mistake for the remainder of the evening.
One of the first ‘big name’ actors I saw on stage was Matthew Perry, of Friends fame. (Having been to the theatre many times before this there is a very good chance I saw some other well known actors but this is the first one I was fully aware of.) Taking the lead role in what was technically a stellar cast comprising of Perry, Minnie Driver and Simpsons legend Hank Azaria, you’d expect the final outcome to be something incredibly memorable. Sadly, this production is going to be remembered solely for it’s record breaking box office takings rather than some first class acting displays.
The National Theatre’s Phedre, starring the Queen of acting herself, Dame Helen Mirren, opened to mixed reviews but I had faith that the British jewel in the crown would compensate for whatever Ted Hughes’ adaptation of a long and dreary ‘classic’ script lacked. Yet the over-dramatic and strained performance displayed as she wailed about the stage was far from her Oscar winning ways, though she was perhaps not helped by a supporting performance from Dominic Cooper which proved just as wooden as the unimaginative stage set. I’m not even going to venture into how truly dire Orlando Bloom was when he trod the boards; but at least he still has his looks.
This is therefore my point. Award winning actors who are big players in the Hollywood game continue to demonstrate, somewhat willingly, that perhaps their talents are not worth anywhere near the ludicrous amounts of money they received for their latest cinematic endeavour, yet actors who beat these big hitters at their own game remain left in the wings and struggling to afford the rent on their dingy studio flat.
Guys and Dolls sauntered into the West End a few years back boasting Ewan McGregor in the lead role, and Jane Krakowski who played screwball Elaine in Ally McBeal as the leading lady. Eager to see my favourite Scot I snapped up tickets, and I’m not going to lie when I say I was more than just a little bit disappointed when I showed up on the day only to discover that McGregor had throat problems and the understudy was going to be stepping in. That’s it, I thought. The play will be ruined and the night is over! Nobody is more pleased than I to be able to say that I could not have been more wrong. Krakowski naturally wowed, but with a string of acclaimed performances on Broadway and Tony Awards lining her shelves, it was hardly unexpected. The understudy (I forget his name) was simply phenomenal. His charisma overtook the stage, his singing ability overpowered the audience and his acting was pretty damn a-ok as well; I could not have been more impressed with his performance. A few weeks later I returned, out of curiosity, to see McGregor embody the role and even though he has a great singing voice and is undoubtedly a confident actor, his performance was nowhere near that of his understudy; though by the applause he received you’d hardly believe it. This is what frustrates me most. Incredible actors are quite literally being pushed to the side of the stage for often less capable actors – but because their last movie grossed however many millions, the producers are sticking these famous faces on posters and making a quick mint whilst the film actor has a bit of ‘serious’ acting to stick on their CV.
Theatre should be about credibility, not how many faces we can place as recognisable off the big screen. Spring Awakening, with a cast entirely of unknown teenagers, recently wowed critics and audiences alike (and quite rightly so), yet it was forced to close early due to financial struggles which seems ludicrous when the meagre play next door is thriving simply due to the presence of a B-list American cast member. We need to get back to the days where theatre was purely about acting. The three best plays I have ever seen in the West End didn’t involve any sitcom members or Golden Globe nominees, whilst many of the worst ones I’ve seen have. Theatre producers and companies need to be less greedy and forage back to some good ol’ traditional theatre roots. With increasing ticket costs, audience members deserve to be able to see unforgettably outstanding acting on stage, and taking or leaving the latest pretty boy’s decidedly average performance down at the multiplex.
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