Jonathan Markwood is no stranger to the Royal Court Theatre. An actor, an artist of great repute and somebody who just seems to be able to play any role the Royal Court, or indeed any theatre, cares to put his way. Recently he has been part of the cast that bought the superb Lennon back for yet another successful run, and who has to be said had audiences enthralled with his scintillating timing of the Ring Master at the start of the second half, his spot on portrayal of George Martin and John and Cynthia Lennon’s art tutor. He also played alongside Michael Starke and Roy Brandon in the wonderfully entertaining Laurel and Hardy revival piece, The Sons Of The Desert.
Now Jonathan Markwood has returned to the place of some of his great theatre memories and is amongst the cast for arguably the greatest comedy of the 20th Century, Michael Frayn’s Noises Off which is on at the Royal Court Theatre until October 4th.
Sitting amongst the audience empty seats is an eerie feeling, around the theatre the sound of a drill sparks into existence, the far off echo of someone asking a technical question bounces off the walls and the growing resonance of a play, of a great night out is starting to take shape.
To combat the feeling of the spooky sound effects putting the finishing touches to a theatre stage unlike anything you could expect, Jonathan Markwood sits down beside me and beams. It is not hard to understand why, to be part of Michael Frayn’s masterpiece, to be revelling in the role of the Director is one that is almost as coveted as anything you could care to suggest. As the drill digs away further into the scenery I ask Jonathan what it is like to be part of a yet another great cast and part of one of the biggest productions in the city during 2014.
Noises Off is a lot of British theatre audience’s favourite ever comedy, so I have to ask this question…
Jonathan: “No pressure then!” (laughs)
You must be thrilled to be in this latest production?
Jonathan: “I’m thrilled about it because my history with this theatre goes back long before I did Lennon actually. I’m from Southport originally and my first ever professional show was here in 1982 with a touring production of Twelfth Night.”
You must have been very young at the time?
Jonathan: “Yes, I was twelve! Me and my dad queued up outside as they were looking for kids to play the small parts and soldiers and stuff. It was like X Factor before X Factor ever came to Liverpool. We queued up outside and I got the gig and so my history with the Royal Court goes back a long way with Lennon and Laurel and Hardy and everything so I’m delighted to be back here doing this play. It’s a work of art really isn’t it?”
Touching on Lennon as you mention that play, again you been in that three times now and each time it’s just got bigger and better. How do you compare something as institutional to Liverpool as Lennon to something as widely appealing as Michael Frayn’s Noises Off?
Jonathan: “Well, it’s a great question! The thing about Lennon and incidentally it’s great to be working with Bob Eaton again, is that obviously it’s about one of Liverpool’s favourite sons but I think this play is a universal farce that everyone can find something in. It doesn’t matter whether you come from Liverpool or wherever, you’re going to find this funny I think. Everyone can relate to it because everything’s going wrong, it’s people falling over, it’s people forgetting their lines, you know, especially if you’ve been to the theatre before, I think seeing that unfold in front of your eyes. Particularly the first half the audience really feel that they are part of the dress rehearsal and with me walking up and down the aisles here they will get the sense that they are part of it for real.”
You’re playing the role of the Director in this, it’s one of the pivotal roles alongside Mrs. Clackett and Poppy, together the three of them I think they are the glue of the show. You are playing a part that was recently played by Neal Pearson at the Lowry and the Old Vic, that must be a bit daunting for you, big shoes to fill?
Jonathan: “I think with all parts you can’t help thinking about who’s played the role in the past but you try and block it out. Although I have sneaked a little look on You Tube at some clips that were on there. I’m sort of approaching it in a slightly different way I think, a bit more ruthless than Neal Pearson’s version. It can be a bit daunting though but as I said, best not to think about it.”
Possibly the biggest part in the play is the set itself, the way it’s changed so dramatically from front to back and you are actually seeing what’s going on behind the scenes. That’s a very difficult part to do – have you found that as an actor?
Jonathan: “The famous second act has been tortuous to rehearse! We’ve all been having nightmares, none of us can sleep! I’m being bloody serious! It’s just extraordinary because it’s like that trick where you rub your stomach and pat your head, we’re performing the play that’s been seen from the front and timing off stage, behind the scenes antics to it if you see what I mean. It’s really hard but it’s great fun.”
You’re obviously working very closely with Poppy played by the lovely Jennifer Bea and Jessica Dyas as Brooke, is that typical of an issue – can that sort of thing occur in the theatre, the closeness between performers?
Jonathan: “You mean affairs and things? Yes it can happen – not I must stress in this company though! In fact my baptism of fire was at this theatre when I was twelve, it was a bit like Noises Off because I was a kid and I didn’t know what went on backstage in terms of professional theatre, all sorts of affairs were going on and people were upset about one thing or another, so and so had broken up with someone or somebody’s husband or wife had just come back and they had to pretend to be cool and so yes it does happen!”
Say no more! How do you think it will do as the play has been in Liverpool before down at the Playhouse, how do you think Liverpool audiences will respond to this type of play say in comparison with the Laurel and Hardy play that everyone knows and understands?
Jonathan: “As I said, it’s a universal piece, it’s about us all and how we still struggle to carry on no matter what! Actually, if they’ve been to this theatre before to see shows, I think they’ll be fascinated, particularly at this wonderful old theatre as it has such history, to see what exactly goes on backstage because I don’t think a lot people really know. I think Michael Frayn when he wrote it he was directing some play and he came back to see it and much like Lloyd Dallas found himself sitting backstage and finding that the play going on backstage was far more interesting than what was going on onstage! I think they will love it – especially off the back of Laurel and Hardy and hopefully it will get sillier and sillier and madder and madder and more frenetic, I just think they’ll love it.”
You’ve also got the wonderful Kim Hartman from comedy institution Allo’ Allo’ and Tupele Dorgu in the show and great collection of Liverpool actors, has that mix worked with the non-natives with the likes of Danny O’Brien and Stephen Fletcher?
Jonathan: “They’re all brilliant and Kim is fantastic, she’s a delight to work with and very funny and she really gets stuck in and great fun. I think the audience is going to have a great time and of course there’s Coronation Street’s Tupele, they’ll know them and everyone will remember Kim Harman from ‘Allo, ‘Allo, one of the most iconic comedies.”
I can envisage it even without seeing it, she’ll be brilliant because of her timing in ‘Allo, ‘Allo, she was dazzling alongside the likes of Guy Sinner, Carmen Silvera, Gordon Kaye and the much missed Sam Kelly.
Jonathan: “She brings great timing to this, she’s really good to watch and learn from, all that experience from ‘Allo, ‘Allo, which was similar to the play in some ways – it’s farce as well.”
The relationship between the character you play, Poppy and Mrs. Clackett is fantastic, at the start when she’s unsure of the sardines, where they are supposed to be, you’re getting more agitated, it’s a great opening!
Jonathan: “Hopefully we’ll take people by surprise! They’re watching a play but then it suddenly becomes a dress rehearsal! Most of all this show will take you out of yourself, forget all your troubles and have a great laugh!”
Congratulations again on being part of arguably the finest comedy of the 20th century.
Noises Off is at The Royal Court Theatre, Liverpool till October 4th. Tickets are available from The Royal Court Box office.
Ian D. Hall