Orsino played by Joshua Lacey
Twelfth Night (2017)
Written by: William Shakespeare
Previous work for Shakespeare’s Globe includes: Imogen.
Other theatre includes: wonder.land, Everyman, One Man Two Guvnors, The Magistrate (National Theatre); Richard III (Trafalgar Studios); A Midsummer Night’s Dream, Ragtime, Crazy for You (Regent’s Park Open Air Theatre); From Here to Eternity and Billy Elliot.
Film includes: Murder on the Orient Express, The Catcher was a Spy, and London Road.
Television includes: The Crown.
"Pieter comes on in the opening with his baby, and the audience went wild. And I said to Piet afterwards, I said, ‘Mate, isn’t it sad? That’s the best reaction you’ve ever got, on stage, in your career! You and your baby; it’s the best ever reaction, you’ve got!’ But it was gorgeous, and at five months old!"
Answering questions from some of our Adoptees, Josh choreography, costumes, and cast changes.
"We did that Midnight Matinee, which was a crazy thing! We did the first show and then I went to the roof, had a bite to eat, I got a cup of coffee. I was like, ‘It’s twelve o’clock...I’ve got to do another one!’ Then you get out and it’s full. And it was actually dark, for the first time..."
With just two performances left, Josh looks back on the 'rollercoaster' that has been this production, from Midnight Matinees to mullets and everything in between!
"I was brought up by the coast, so I saw the sea every day. It is a very powerful force. I don’t think there’s anything like being near water, it is a beautiful thing. So Emma wanted that heaviness of waves, and what a wave can bring onto the shore and what it can also take to be a metaphor..."
Looking ahead to the Midnight Matinee, Josh discusses the sea, staging and shenanigans with the cast!
"Just maybe I couldn’t find it...it’s a bit of a tough one for me, really. With my character Orsino, things are over so quickly. One scene is done in one page and a lot has happened! That’s why I found it a struggle with this. The journey is so quick, it’s quite hard to find that cook, you know?"
As he recaps Press Night, Josh takes us through characterisation, critics and changement.
"You can get away with so much more, just breaking that fourth wall and looking at somebody. You can have a little play and a little laugh with one of the groundlings. You do get things back, so that’s the joy of it..."
With performances underway, Josh reflects on Tech Week, bringing the show before audiences, and the joys (and challenges) of the space.
"You’ve got people at the sides, almost at the back, and everyone in front of you. The groundlings, who give such good energy, and we’re using them as the sea. This landscape on a Scottish island and they are the ocean, we keep looking out, so we can use them a lot..."
As we near opening night, Josh introduces us to the world of the production, through music, costume and setting.
"You look at people in the streets and you go, 'Oh I like that there, I like that, what he’s doing there'. And so you grasp from people. I suppose, being an actor, that’s what you do: you just observe, don’t you? You listen, you watch, you learn. We’re all characters, each and every one of us..."
As we enter Week 3 of rehearsals, Josh takes us through discoveries both in and outside of the rehearsal room.
" I like those characters who have that edge, who have that conflict. I looked at Orsino and I thought, 'Does he have that?' But I've kind of found him to be like an addict, an addict of love. It's this kind of rockstar...Keith Richards and that elegantly wasted kind of gentleman!"
As rehearsals begin for Twelfth Night, Josh talks about his experience with Shakespeare, returning to the Globe, and his first impressions of Orsino.