Star Q&A: Hayley Mills

Liz Nicholls

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Oscar-winning actress Hayley Mills, 76, talks about life & loves ahead of starring in The Best Exotic Marigold Hotel at Woking’s New Victoria Theatre, 15th-19th November

Q. You’ve had such a varied career. What have been your highlights? “The first film I ever made was Tiger Bay with my father [John]; a masterclass in film acting. I didn’t go to drama school, which I probably should have done later, but I was lucky to work with some incredible actors, my father included. I’m also very proud of some of the plays and musicals over the years. I love a challenge because it frightens the life out of me.”

Q. Do you feel enough stories are being told about the older generation? “No. People think ‘old people are boring’. But I’m in my 70s and I don’t feel as if I am that age, and I realise that’s how other old people feel too. We don’t feel old at all. [Laughs] We just look it and that’s why we all avoid the mirror.”

Q. What attracted you to The Best Exotic Marigold Hotel? “I loved the script and there wasn’t a shadow of a doubt about wanting to do it. I love the play, the writing, the part and I’m mad about the director Lucy Bailey. It’s a wonderful play and Deborah Moggach is a great writer. Like most people, I had seen the film and there’s something about the story that just gets you. It’s very truthful. It’s a reminder that where there’s life there’s hope.”

There’s something about the story that just gets you. It’s very truthful. It’s a reminder that where there’s life there’s hope.

Q. Can you relate to Evelyn, the character you play? “Absolutely. She’s such a beautifully written character and I can relate to her age, plus the fact we all look back on our lives realising we’ve made mistakes. One of my least favourite songs is Frank Sinatra’s My Way. It’s so smug! Who can really say ‘Regrets, I have a few but then again too few to mention’? You’d have to be in your own very selfish bubble.”

Q. Dame Judi Dench played Evelyn in the film version. Is it daunting in her footsteps? “If I dwelled upon it then yes, but I don’t. I briefly thought about watching the film again but I decided ‘no’. She is such a wonderful actress and I couldn’t begin to play it the way she does. That’s what is so fascinating about this business: everyone brings their own experiences and understanding to a role. But Judi is a consummate actress. I could watch her all day, even reading the telephone directory.”

Q. Can you relate to the theme of starting over or have you had a pretty steady ride? “[Laughs] Come on! Life is not a steady ride for anybody. My goodness, there are peaks and valleys, ups and downs, feast and famine. You have to weather the storms.”

Q. Have you worked with any of your co-stars before? “I haven’t. I’ve known Rula [Lenska] for years from bumping into each other but I’ve never worked with her. I’ve seen Paul Nicholas’ work over the years but not worked with him either. It’s fun meeting people you’ve admired and getting to be in a show together.”

Q. What do you hope audiences take away from seeing the show? “I hope they’ll feel infused with optimism and hope about the future as well as the belief that life really is what you make it. There are so many things dragging us down in the world today. We’re going through dire straits but then when you look back over history you see what people went through in the First and Second World Wars, the Depression, what have you. The world has gone through some very tough times but I believe in the goodness of the human race.”

Get your tickets for The Best Exotic Marigold Hotel at Woking’s New Victoria Theatre

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Toot-Toot Drivers Airport review

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Vtech’s Toot-Toot Drivers is a big hit in our house. My son, Joshua, loves to build and play with cars, so the brightly coloured interlocking track pieces and musical, light up vehicles are always his go-to toy. He will happily spend a couple of hours creating elaborate cities and roadway systems – which makes Toot-Toot a hit with me too!

When the Toot-Toot Drivers Airport arrived for review, Joshua was very excited and couldn’t wait to rip the box open and get stuck in. The airport requires some assembly, but the instructions were easy to follow so Joshua was able to help me build it and enjoyed putting the stickers on.

Included in the set are two mini jets along with a larger SmartPoint Toot-Toot jet that plays three songs and six melodies. There are four SmartPoint locations around the airport that work by activating different phrases and sound effects when a Toot-Toot vehicle drives over one. I really like this feature as it provides even more interaction and helps with early language development.

Once Joshua was ready for take-off, he used the flip-up launcher to send the Toot-Toot jet speeding down the runway and the spinning cloud attachment on the control tower to fly it in the sky. Toot-Toot is great for imaginative play, and it was a joy to see Joshua flying the plane on the cloud telling me that he was going on holiday to Spain where we went on our last family trip.

Toot-Toot Drivers Airport also comes with several pieces of track, a roundabout to ferry passengers around, and spinning radar, wind meter and runway lights. As a standalone set, the airport offers enough features to keep any toddler / preschooler engaged, however the best feature is that all the Toot-Toot play sets connect together so the airport can easily be added to an existing collection ready to build the ultimate city.

A well-made and durable learning toy, Toot-Toot Drivers Airport is suitable for ages 1-5 years and is priced at £34.99.

Musical treats at The Watermill, Newbury

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From an enchanting folk-inspired musical to a sizzling Cuban inspired spy thriller The Watermill Theatre has a musical treat for everyone.

Highly anticipated musical The Wicker Husband returns to The Watermill Theatre from Friday 11th March to Saturday 26th March, after premature closure in 2020 due to the pandemic. A captivating show featuring ‘delightfully vivid’ Bunraku puppetry and ‘richly evocative’ music, The Wicker Husband tells the timeless tale of the outsider.

In a superficial world, meet the so-called ‘Ugly Girl’. Ostracised by the shallow townsfolk because she doesn’t fit in, the Ugly Girl becomes the envy of her neighbours when the mysterious Old Basketmaker makes her a strong and loving husband woven from living wicker. As bitter rivalry and jealousy threaten to tear the community apart, the townsfolk embark on a cruel and destructive plan. Will the Ugly Girl’s happiness be ruined forever?

Get 2 for 1 tickets to The Wicker Husband, with thanks to the National Lottery’s Love Your Local Theatre campaign. More information can be found on the theatre’s website. Tickets from £15.

The Watermill’s second musical of the season is Our Man In Havana running from Thursday 7th April to Saturday 21st May. A roller coaster comedy full of colourful characters and uplifting Cuban inspired songs. This new musical is based on Graham Greene’s iconic novel that cleverly satirises the fine line between truth and lies.

It’s 1958 and Havana is on the brink of revolution. All day and night, the streets are filled with dancing and the shadows are filled with criminals. In the midst of the warm tropical air, an English vacuum cleaner salesman lives a quiet life running a modest business, raising his teenage daughter Milly and collecting miniature whisky bottles.

Just as Milly’s love of shopping reaches new heights, James Wormold receives an offer from the British Secret Intelligence Service that is too good to refuse. What Wormold lacks in sleuthing experience, he makes up for with imagination. Nothing stays quiet for long in Havana and his life is soon turned upside down when the fictional events of his intelligence reports start to come true! Tickets from £15.

Fascinated to find out what happens behind the scenes? Join writing duo Ben Morales Frost and Richard Hough who will talk about bringing Our Man in Havana to the stage at a Creative Insights event on Tuesday 12th April. Tickets £24, includes lunch and a ticket for the talk.

Book tickets via The Watermill’s website watermill.org.uk or by call the box office on 01635 46044.

Principal Sponsor: Saica Pack

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Cat’s whiskers

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Peter Anderson chats to Roy Marsden, producer of the classic thriller Cat and The Canary at The Theatre Royal, Windsor, 15th – 25th January

Staying sane seems so simple, until 20 years after the death of Mr West, his descendants have to gather at a remote mansion to learn who will inherit his vast wealth and the hidden family jewels. When the heir is revealed, the heritage hunters turn to prey and a chain of macabre events is set in motion. Will the heirs dare to face the haunting presence toying with them? When the cat prowls, the flock takes fright…

The Cat and The Canary, the original chilling country house thriller comes to the Theatre Royal Windsor next month. Peter Anderson caught up with the producer, Roy Marsden perhaps known to many as the PD James detective, Adam Dalgliesh.

What can we look forward to with this play?” We are looking forward ourselves as rehearsals start. This is a play written in 1920s America which has seen a number of versions including a silent movie and a comedy thriller written as a vehicle for Bob Hope. Sadly, some of the play adaptions have been lost. We have moved the setting of the play from the Louisiana swamps to perhaps our most chilling of locations – Bodmin Moor.”

When did you discover your love for the theatre? “I grew up in the East End of London, and I was about eight years old when I discovered at that age you could easily travel on the Underground and nobody asked for tickets. I also found I could sneak into the gallery at the Victoria Palace Theatre. I watched the Crazy Gang, Flanagan and Allen, and the rest of them every night I was hooked. When my parents realised where I was going and what my interest was, they sorted out a kids’ drama school for me. “

Does coming to the Theatre Royal bring back happy memories for you? “I remember asking my Dad why he preferred the Theatre Royal, in Stratford East near where I grew up, to the National Theatre. He said that when you walk into the National Theatre it is the same ambience as a library, everyone talking in hushed tones. But in the Theatre Royal, if someone recognised you in the bar, they would call out and welcome you from the other side of the room.

“I love coming to the Theatre Royal – there is such a warm and welcoming atmosphere. You always get the impression that all the staff who work there are all part of one big happy family, and it is that atmosphere that really makes an audience member feel welcome when they come in to watch something.”

More info

The Cat and The Canary runs from 15th to 25th January. For tickets & more information

Make no bones about it…

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Ella Reeves reviews Lovely Bones at Oxford Playhouse

If there is one play you go to see this year, this is it.

I have just returned from the stage version of Alice Sebold’s 2002 novel The Lovely Bones, adapted by Bryony Lavery and directed by Melli Still.

My mind was blown. I am not one to be reckless with my superlatives, and this was the best play I’ve ever seen. It is the kind of show where you are not thinking about when the interval is coming, because you are completely enthralled by the performance.

The Lovely Bones was one of the few books I found gripping enough to read cover-to-cover as a teenager. The book is set in Pennsylvania, 1973, where the main character, Susie Salmon, dies at the beginning, raped and murdered by a neighbour. The rest of the story follows Susie’s journey in the afterlife, as she watches over her family, while they deal with the aftermath of her death.

When I heard the production was coming to the Oxford Playhouse, I was keen to see it. I was curious as to how a stage production could plausibly portray Susie’s ghostly presence alongside the living world, and how they would deal with the book’s complex and disturbing themes.

How could it be possible to convey that one part of the scene is in the present, then it is in the past, and some characters on stage are in heaven, while some are on earth?

The situation and mood changes were seamless, owing to the actors’ convincing performances, the suspense-building sound design, the lighting, and the innovative scenery. The actors frequently changed roles, which could have been confusing or overdone, but they subtly conveyed the changes, so it felt as if as if you were in the characters’ heads.

It was clear that the other audience members were as captivated as I was. Through the contrast of lightness and laughter with darkness and gruesomeness, a full range of emotions were teased out in each scene. We gasped, we giggled, and we had tears in our eyes.

The stage play was beautifully choreographed, and there were parts where I was mesmerised by how the motion of each actor slowed and sped up, in sync with one another. I wondered how many times they must have rehearsed to perform it so perfectly. The live band, which transported the audience to the place and era of the story’s setting, was worth seeing in itself.

The scenery was inspired. The backdrop was an angled screen, which, dependent on lighting, acted as a mirror of the main act, or an illusion between the dimensions. When the actor playing Susie (Charlotte Beaumont) talks to the audience and “breaks the fourth wall”, you could imagine that the scenery creates a fifth wall.

There was no weak link to be found in the play, certainly not among the actors. Holiday, the dog, was played by actor Samuel Gosrani, and was clearly recognisable while playing a dog, while also credibly playing Ray, Susie’s love interest. It is notable that Susie never leaves the stage, and despite her screams to her parents, siblings, and friends, she is in a different dimension, so they never bat an eyelid.

Oxfordians are fortunate to have the Oxford Playhouse, an attraction of such excellent productions. I went to see the captioned show on a Wednesday, which enables people with hearing loss to enjoy live performances. The casting team of this production should also be commended for their inclusive approach: the actors were selected for their role based on their acting ability and suitability to the character, no matter their race or gender.

Tickets are still available

For the Thursday evening, Friday evening, and Saturday matinee and evening.

You will not regret it!