Behind The Scenery - The Woman In Black

Welcome to Behind The Scenery. A new feature of the 1805 Journal where you can get to know the people who work in your theatre.

Throughout the year we will posting short interviews with the people who work back of house and on-stage to create, build and perform in the productions that you see at Theatre Royal Bath. These interviews are intended to give you snapshot of life on our stages, allowing you to peak behind the scenery and see all of the work that happens both before the audience is seated and after the house lights are dimmed. 

We start this series with actor Malcolm James, who performed on the Main House stage last week as Arthur Kipps in The Woman In Black. 

Malcolm has performed on stage at The National Theatre, Rose Theatre Kingston, Hampstead Theatre, The Gate, Bristol Old Vic and Theatre Royal Bath amongst many others, over a rich and storied career in British theatre. Malcolm has also performed in The Woman In Black before in 2014 and 2016, so we ask him what keeps him coming back to this classic play. We also get to hear about the strange and nomadic life of a touring actor and what Malcolm does to stay fresh during a long 9-month tour.

Where did you train and how long have you been working?

I trained at the Webber Douglas Academy of Dramatic Art in South Kensington which sadly no longer exists. It was absorbed into the Central School around 2007. My first professional job was at Regent's Park Open Air Theatre (as a fairy in A Midsummer Night's Dream!) and that was 1980 so I'm 44 years in and counting...

How is it performing something so genuinely terrifying every night? How have the audiences reacted? Is it different every night?

Now that I'm fairly confident about where the scary moments are (!) I'm no longer terrified myself but do look  forward to hearing how the audience reaction varies from night to night - will they gasp, scream or shout (and then probably giggle and chat)??

How long have you been on tour with this show?

We started in Wolverhampton in September and finish in Dublin on 1st June

…Wow that’s ages aren’t you incredibly tired?!

A two-hander is certainly tiring and demanding but you have to make sure you rest before each show so that each audience gets the best show possible. Hearing the buzz of an excited audience over the tannoy as "beginners" is called always gets the adrenaline flowing!

What is the shape of a normal week on tour? How much time off do you get? Do you ever get to go home between venues?

We usually start on Tuesdays and so have Sunday and Monday off, but on a few occasions (Bath being one) we've opened on Monday so it's a longer week.  Well arrive at the theatre about 4 on that first day, so that we can go through any checks on lighting and sound as every theatre is different. Once that first night is over there will be two days with matinees but otherwise it's one show a day and our time is our own to explore (which, in a delightful town like Bath, is a joy)

How has your week in Bath been? Has it felt different from other venues?

It's always a joy to play this theatre and it's the perfect venue for this show. Sometimes we play very big, modern theatres and inevitably it can take a little longer to get the creepy, intimate atmosphere working! I do love spending the week here - I'm a great walker and have on previous occasions walked the canal to Bradford-on-Avon and then caught the train back. This week the weather's probably against me but I've ventured up to Alexandra Park for its glorious view over Bath.

Our theatre is said to be haunted, any sightings by the cast?

I live in hope that the Woman in Grey will come out for a chat with the Woman in Black

What has been your career highlight so far?

This show. It's such a clever adaptation of really strong source material and such an enjoyable challenge not only to do a two -hander but to play a variety of different characters - it's every character actor's dream

If you could perform in any venue/in any particular play/with any particular performer or company where would it be and why?

If I'm allowed to bring someone back from the "undiscovered country" can I please work with one of my acting heroes - Alec Guinness? I'll play any part in any play and anywhere if he agrees (though Bath Theatre Royal would of course be perfect, especially as he was so fond of this theatre and donated the painting by Sarah Bernhardt which I am looking at as I write).

Malcolm it's been a joy to host you, thank you for talking with us today!

Interview: Nicholas Fleming

Production photos: Mark Douet