As with many of his hit plays, Noël Coward wrote Blithe Sprit in a short, intense burst. For six days I worked from eight to one each morning and from two to seven each afternoon. On Friday evening, May ninth, the play was finished and, disdaining archness and false modesty, I will admit that I knew it was witty, I knew it was well constructed, and I also knew that it would be a success.
Excellent. As a professional actor (of absolutely no note whatsoever), I've a habit of taking the matter of live performance a little more seriously than most, and my own experience has taught me that wisdom for an actor lies much more in this intensely practical direction than in any other.
I have my own little pet theories, none of which are original, but all of which are downstream of one idea, namely: that the job of an actor is *to communicate the play to the audience*, an idea I suspect Coward might have agreed with. Anything that helps you do that (and that doesn't hurt anyone) counts as worthy of study.
I really love all these older methods and techniques. I'll be watching and rewatching those clips, which are terrific finds - so thanks for those!
(also, if you don't know it already, I commend to your notice The Craft Of Comedy, by Athene Seyler, who's brilliant on this topic, and is a performer of a similar vintage. Given its form, an alternative title for it could have been something like "Letters to a Young Comic Actor" or something. It's a delight: https://www.amazon.co.uk/Craft-Comedy-Athene-Seyler/dp/1854590626)
Thank you for this. It presents Blithe Spirit well. Noel Coward and Gertrude Lawrence (Private Lives) are perhaps mysteries to modern culture but were such profound talents and stars of their day. That both were nurtured in English music hall is not surprising. Without this their talents would have floundered. You had to be a pro if you were music hall.
Excellent. As a professional actor (of absolutely no note whatsoever), I've a habit of taking the matter of live performance a little more seriously than most, and my own experience has taught me that wisdom for an actor lies much more in this intensely practical direction than in any other.
I have my own little pet theories, none of which are original, but all of which are downstream of one idea, namely: that the job of an actor is *to communicate the play to the audience*, an idea I suspect Coward might have agreed with. Anything that helps you do that (and that doesn't hurt anyone) counts as worthy of study.
I really love all these older methods and techniques. I'll be watching and rewatching those clips, which are terrific finds - so thanks for those!
(also, if you don't know it already, I commend to your notice The Craft Of Comedy, by Athene Seyler, who's brilliant on this topic, and is a performer of a similar vintage. Given its form, an alternative title for it could have been something like "Letters to a Young Comic Actor" or something. It's a delight: https://www.amazon.co.uk/Craft-Comedy-Athene-Seyler/dp/1854590626)
Thank you for this. It presents Blithe Spirit well. Noel Coward and Gertrude Lawrence (Private Lives) are perhaps mysteries to modern culture but were such profound talents and stars of their day. That both were nurtured in English music hall is not surprising. Without this their talents would have floundered. You had to be a pro if you were music hall.