Pericles played by James Garnon
Written by: William Shakespeare
James Garnon returns to the Sam Wanamaker Playhouse to play the title role in Pericles.
James trained at RADA.
Previous work for Shakespeare’s Globe includes: As You Like It, ‘Tis Pity She’s a Whore, Doctor Scroggy’s War, The Duchess of Malfi, The Tempest, Gabriel, Richard III, Anne Boleyn, All’s Well That Ends Well, Macbeth, A New World: The Life of Thomas Paine, The Storm, Romeo and Juliet, Twelfth Night and Dido Queen of Carthage.
Other theatre includes: The Merchant of Venice, The Taming of the Shrew, The Tragedy of Thomas Hobbes, Here Lies Mary Spindler, The Tempest, The Winter's Tale, Pericles (RSC); Much Ado About Nothing (Old Vic); King Lear (West Yorkshire Playhouse); Hamlet (The Factory); A Midsummer Night’s Dream (Middle Temple, Royal Festival Hall and US); The Barber of Seville (Bristol Old Vic); One Flew Over the Cuckoo’s Nest (UK tour); The Blue Room, A Midsummer Night's Dream and Les Liaisons Dangereuses (York Theatre Royal).
Film and television includes: Hereafter, Anonymous, The Enemy Within, Micro Men, Spilt Milk, Last Temptation of Chris, The Brussels and Without Motive.
Radio includes: A Midsummer Night’s Dream and The Tempest.
"My favourite thing that's happened in the show was when Sheila Reid as Gower came on and started narrating and blew her own candle out! She was stuck in the dark, until a member of the audience lit her candle!"
In his fourth interview, James reflects on his favourite moments, how his characterisation has changed throughout, and the role of music in the production.
"Well I think the most important relationship he has is definitely with the gods...His faith is never actually shaken, his faith in the gods is not altered, it's just focused."
In his third interview, James talks about how important the gods are in this production, working in the Sam Wanamaker Playhouse again, and Pericles' spiritual journey.
'People always talk about 'character arc' which is sort of pointless, I don't see how you can play a character arc, because that pre-requires you to have too much knowledge. You want to be going moment to moment, but the moments that excite one have sort of the dots that you're pinning your performance on, the dot to dot picture that you're creating.'
James continues his discussion of allegories and how they affect his performance at this stage, the courtly side of Pericles, and the importance of costume in the character's journey.
"The gods are really the people he talks to the most, the relationship he most refers to. It's constant. The gods are everywhere, gods of the seas, gods of the wind, gods of the air, and they're constantly referred to. That's true of lots of Shakespeare's plays, but here the central protagonist speaks to them more than he speaks to anybody else."
In the second part of his first interview, James talks about getting the play on its feet, finding a physical language for the dumbshows, and Pericles' relationship with the gods.
"I remember thinking that Pericles himself was a fairly neutrally good kind of character, that he didn't have a kind of tragic flaw in a classical sense, it seems, that these things just occur to him, and he remains relentlessly good. I now realise that that's not really entirely true, and there is a great deal more complexity to what is going on."
In his first interview, James talks about his previous experience with Pericles, the various allegorical readings of the play, and the difference between working on the Globe stage and in the Sam Wanamaker Playhouse.