"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.
Time: 2 minutes 58 seconds
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Transcript of Podcast
Rona Kelly: And then you had Opening Night.
Joshua Lacey: Yes.
RK: Then you had Press [Night]. How was Opening Night and getting it before those audiences?
JL: Yes, it’s always funny when you say, 'Let’s not be nervous, let’s not be nervous!' But you are nervous. Not that...I don’t really care about what critics think; it’s just an opinion, it’s not really important. For the building and for Emma [Rice], you want a good response, but it’s just opinions, they don’t really mean anything. But it's just your friends, I always think you're nervous when your friends are in and other peers, peers you admire and you respect. You think, 'Ah, I want them to think to say, 'Oh, you did a good job!'' You always want to be on your level with your peers, I think. But yes, it was alright. I’m not too fussed about what I’m doing, really. I’m not 'happy' happy with what I’ve given the piece...I don’t know why, just maybe I couldn’t find it. It’s a bit of a tough one for me, really. So now, it’s just become a job where I just go on, say the lines. You hope it serves the piece, it serves the other actors in the piece.
Press night, I just had a good drink after! That’s what I like about it, you can relax. The creatives go, and the show is now yours. You can just, hopefully, let those seeds grow throughout the duration of the run. You can find little nuances here and there, you can pick up on.
RK: Have you found any new things recently, or new discoveries?
JL: Just the relaxation of it. You can really play more, with the audience. You’re not thinking about what’s coming next and what you’re doing next. And the other actors are starting playing, so there’s little twinkles; you can just feel a scene bubble. You go, 'What’s going on here? What’s going on here?' You feel that little [like], 'Okay, where’s this going to go? Where’s this going to go?' But with this character, things are over so quickly. One scene is done in one page and a lot has happened! That’s why I found a struggle with this. So the journey is so quick, it’s quite hard to find that cook, you know?
RK: And then you get a bit more time on stage with your Scottish country dancing introductions and exits.
JL: Yes, yes, yes! I know, the bane of my shins. I’ve got shin splints, because of them.
RK: You said you trained as a dancer. Had you ever done any Scottish country dancing, or Highland?
JL: No, none at all, none at all. But we looked at some YouTube videos and it’s kind of ballet-based basically. I’m just squeezing me inner thighs and just kicking a few legs around, a couple of Changement in there. But because it is a thick oak stage and I’m wearing cowboy boots, there’s no shock absorption. And so my shins are literally [sore].
RK: Oh my God.
JL: But, you know, I mean...
RK: It comes with the job.
JL: It comes with the job! Yes, absolutely. You have a bit of pain, you have a bit of pain, otherwise you ain’t doing it right, I don’t think.
RK: I think our area’s first reactions to seeing the Scottish elements, just went, 'Oh, my God!' We just wanted to come up and join in, taking me back to my Scottish country dancing days!
JL: Well, hopefully, at the end of season party they’re going to get some stuff going on. We can get a little jig going! I’ll come find you in the yard.
RK: Oh my God, Scottish country dance-off.
JL: Let's go!
RK: Oh my God!
Thanks to Mary for the transcription of this interview.