Q & A with Faye Castelow

Starring in Here In America at the
Orange Tree Theatre, London

Tell us how the rehearsal process is going ‘Here in America’?

Rehearsals have been great - super collaborative and creative. I’ve worked with James Dacre (our director) before and he always leads the rehearsal room with such focus and integrity, but wears his authority (and intensive research and preparation) lightly. We’ve been lucky enough to have David Edgar with us for a big stretch of rehearsals and his input has been invaluable - it’s always such a gift as an actor when you have the oracle in the room. Any questions you have about intentions or motivation, or frankly, just the meaning of a line, can be answered so clearly and helpfully by your author. Having said that, David is extremely encouraging and open, and always keen to have your thoughts about your character - there has been real reciprocity, which has been wonderful. We’re now fine-tuning things in previews - there’s only so far you can go in rehearsals without an audience - and previews are the final piece of the jigsaw to get the show just right.

What can people expect from the show?

You can expect a fast-paced, super charged 90 minutes full of debate - in true Edgar fashion. But I think you will hopefully be surprised, too - this is an extraordinary inflection point in history, and there’s a version of this story that is a big grand-standing showpiece with a cast of hundreds - but our show comes at it from a different perspective, it’s a story told through the lives of four extraordinary people: their friendship and their love, and their battle for identity and truth in a frightening world.

Tell us about your character, Day (Molly Kazan)?

Molly Day Thacher was a playwright and dramaturg - whip-smart and confident with it. I think those that knew her would attest to her being pretty formidable. She has the ability to think quickly and express herself briefly - which is such a skill - I was so drawn to her wit and intelligence. She was married to Elia Kazan, with whom she had four children - and their relationship - though far from perfect - was one of mutual respect, admiration and ambition.

How does it feel bringing David Edgar’s work to life and what is it about the show that attracted you to it?

It’s a real thrill to bring such an intelligent, funny character to life in Molly - frankly, it’s all too rare to read a script with such a fulfilling female role. I’ve loved getting to work with all our cast, who have brought such dynamism and vibrancy in their approach - and it’s been a particular pleasure to build the relationship between Molly and Elia Kazan with Shaun Evans. We’ve (hopefully) found the depths of their marriage - the sticky parts and the ugly parts, too - and we make each other laugh, which is always a treat! As a tight-knit ensemble, with the audience essentially on stage with you, it’s really electric in those moments when you feel a real symbiosis with story and audience.

This show will be at the Orange Tree Theatre in London from the 14th September. Having performed there before, how does it feel to return to this space and do you have any fond memories?

It’s a pleasure to be asked back to perform at the OT. It was actually the first ever theatre job I was offered, just out of drama school - and it’s been so fulfilling to come back full circle, after nearly 20 years. I had a slight hope I might even get the same seat in the dressing room - but, much to the boys’ chagrin - Jasmine and I got upgraded to the bigger room…perhaps next time I’ll even get my own. Plenty to aim for!

Throughout your career you’ve performed in the West End, at The RSC and The National Theatre which are pretty iconic places. Do you have a favourite venue that holds a special place in your heart?

I recently got back from a year on Broadway, in the West End transfer of Tom Stoppard’s Leopoldstadt - which was really a dream come true. I could never have imagined when we began that show, what an extraordinary journey it would be. It was the most incredible period of my life, and I genuinely pinched myself every day. If I had to choose though, I think I could spend every day of my life at the National Theatre - there’s just nowhere like it: a hub of the most talented dedicated, experienced bringing the building to life, and you feel like a tiny little cog (in the best way) of this very special artistic machine.

You’ve performed on stage and screen, do you have a preference?

I don’t know that any of us could really pick an either/or - they’re both so different. I really enjoy the camaraderie on set, and being part of such a huge team to bring a production to life - and it’s always refreshing to be working slightly more regular hours. The theatre though really feels like home for me, it’s where I started my career and really learned my craft - and where the bulk of my work has been. The theatre and its audience just have an ephemeral thrill that you can never really capture on camera - having said that, I’d really love to do more work on screen.

Tell us about your journey into the world of performing.

A very conventional route, really - I don’t know why, but from before I can remember, I wanted to be an actor. I was fortunate that I got a place at drama school when I was finishing my A-levels and studied at the Oxford School of Drama on their three year course. I signed with an agent before I left and the rest is history. I appreciate that makes it all sound very easy - there have been very quiet times with many disappointments, too - but I’m incredibly grateful for having such a fortuitous start.

Why should people come and see the show?

I think people will be surprised by how included they feel - I hope they feel so close to the story that their journey home is full of debate: what might you have done had you been in that position? I hope we show the personal side to a story that people think they might know well, and send them home with a new insight, full of questions.

Interviewed by Emma Rowley

For more details on Here In America which runs at the 
Orange Tree Theatre, London until the 19th October 2024 click here: 
https://orangetreetheatre.co.uk/whats-on/here-in-america/

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