Interview: Louise Jameson Talks VINCENT RIVER

Louise Jameson played the iconic role of assistant Leela in Doctor Who in the Seventies opposite Tom Baker. She later starred in Tenko, Bergerac and EastEnders.

In a 40-year career, her first love, the theatre, has seen her work with the National Theatre and RSC, amongst others. Now she stars in Philip Ridley's modern classic, Vincent River, currently playing at Park Theatre.

How are rehearsals going?

They're going all right. It's intense and we're both on stage all the time. But once you get in it, it's like a snowball - it gathers momentum and it's a beautiful piece of writing. Working with [co-star] Thomas [Mahy] is fantastic. It's only his first job; he's raw and really helping me to learn - which of course you do on every job. Seeing his bravery is quite moving.

When I trained it was very much about vowels, consonants, breathing, phrasing and honouring the text; and these kids are coming out and are really in the moment. They're really listening - so when you combine the two of us, you get the perfect performance. We're really immersed in it at the moment.

Why do you think the play is being brought back now?

Well, Robert's instigated it and he thinks, as I do, that it's a very relevant piece of writing. It's about hate crime, which is on the rise and we're all aware of. About a year ago, five guys set about another man on a train, because they thought he might be gay. He didn't die but he nearly did, so it's here on our front door. I think theatre is a safe place to debate dangerous issues.

It's the power of art...

I think the audience should leave slightly altered from how they came in. I don't mean every play has to be wordy and political, but it has to do something. Our craft must move people in one direction; otherwise you come out feeling "And what?". But it rarely happens now I have to say; nearly every performance I now see moves me in some way or another.

What was the last thing you saw or was involved in, apart from this, that really moved you?

Barber Shop Chronicles. It was fantastic. From the second you stepped into the theatre you were in a different environment and it was beautiful. It was really special; the way the scene changes were handled, and the songs, rhythm and movement. Truly beautiful.

What is your first memory of theatre?

I was aged four and I played Little Miss Muffet rather brilliantly, and I remember the audience's reaction when the spider came along. The girl that played her was rather thin and she really got into being the creature. I jumped, screamed and ran off, and I could feel the delight from the audience. In a way it was work and it has since become my work.

I'm now a writer as well, so my daydreams are creations, and I think if you stultify the creative child, then you actually stultify the adult that's going to follow. The fact that drama and sport are the first things cut from the budget is ridiculous. There was a time at school when my son was taken out of rugby because he mucked about in science, and I went up there and said to the teacher that they'd never take him out of science if he mucked about in rugby, so why was he being taken out of the one thing that he's really good at?

Drama lessons are so important. It helps you walk into an interview, meet friends at a party - it's a real life skill. For the average person you'll need it more than chemistry. It gives you an outlet and allows you to do something interesting.

What's the hardest thing you find as an actress?

The first night. Learning the lines. I find the pressure gets more and more the older I get. You'd think it gets easier.

Why do you think that is?

I don't know, maybe confidence? I'm not as confident as I used to be. I mean, I know I'm a good actress, that's not it. I don't know why; I can't really answer, it's a very interesting question. There's something internal.

And the brain cells don't work as fast as they used to. I used to always be the one who helped people out when they dried. And I do think my days are numbered for playing large roles. Mind you, you've caught me at a tricky stage of rehearsals. Once I've opened I might feel differently.

How has today (14 March) been specifically as a rehearsal?

We've just had our first run-through. We're feeling good and I thought we did really well. If I'd seen you a few days ago, well I was on the floor Monday. Blood, sweat and tears.

But it's called 'play' for a reason and we have to remember that. I'm not clinging to a boat at the middle of the Atlantic trying to save my child, so it's important to keep it in perspective.

But the excitement and enthusiasm is still there. And I really care about it. I think it's a very valuable job and it has to be done to the absolute best of your ability. You can't ever skirt round it or hand in a sloppy moment.

And what would you say is the highlight of your career so far?

Tenko. The summer of 1981 was very special. It was all women, written by women, for women about women who'd actually existed. We were on a crest of a feminist wave, where we really felt the tide was changing. I feel it coming back again now actually, with this whole 50:50 movement.

I just directed an audio programme about air transport auxiliary women who flew planes to the frontline during World War Two. Hardly anyone knows about them. One in ten died. They were incredibly brave; they flew without radio, lights and sometimes without proper instructions on how to handle their aircraft.

And sometimes the boys didn't know that they were coming so they'd get fired at with friendly fire. We took the initial eight's real stories and played about with them, turning them into hour-long dramas. It was called ATA GIRL, and you can get them from Big Finish.

How is writing?

I'm really good at dialogue. I've spoken so many other people, so I know what works - where the thought processes are etc. I still struggle with the story arc, but I work a lot with Big Finish and we work collaboratively, so there's always someone on hand to help shape it.

My favourite thing is a writer's retreat. For six days a year I go away. It's a great thing to look forward to. We go down to Devon - a group of about 12 of us. It's been going for six years, and it's great to get away and laugh, cry, eat, drink and then do the writing on top. I'm not terribly good at just lying by the pool; I like to have things occupying my brain.

But I'm really proud of ATA GIRL. We are championing those women who never got the rewards they deserve, or the accolades. Not that they were after them, they just saw themselves as part of the war effort. There's that joke that every woman has to say in a script, "What do we do now?". And actually, when have you ever in a crisis heard a woman say that? What they say is, "What we need to do is..." Women are like lionesses.

Have you noticed a shift as an actress recently?

Well, for the last 24 months I spent 15 of them on tour with Agatha Christie's Mousetrap and A Murder is Announced. Agatha Christie wrote for women over a certain age way before anyone else was doing it.

I think we need more women writers. I don't think you can sit there and expect a 22-year-old man to write about menopause - why would he even want to? You write from one's own experiences, so I think people need to put pen to paper. Or we commission people to get the female writers rolling. I don't think we can demand it from men.

I always wonder about the Booker Prize; I think the judges should read without knowing who's written it. The submissions should be anonymous, so the voice is all that's heard. You then can't be unconsciously biased. In an ideal world none of the quota would matter and we'd just judge the best as the best.

Do you think we'll ever live in this ideal world?

No. I don't think so. And what's happening with the Russians, in Salisbury? We're going to expel all Russian diplomats, freeze British-based assets, or something? It's probably a way of reclaiming Sloane Square.

Are you actively political?

I'm a member of the Labour party and I think Jeremy Corbyn is fantastic. I think he's a truthful politician - what you see is what you get. I don't think we should leave Europe; he does, but that's the only thing we disagree on. But we're going to have to go, and the manner in the way we do it will be very different in Corbyn's hands than it will be in Theresa May's.

I don't know if you came by train, but the walk from the station to here is like you going through a dormitory for homeless people. It makes me weep. You feel like you're going through someone's bedroom, which you are; it's been claimed and nearly always someone is giving a person a hot cup of soup or another duvet and pillow. There's an immense kindness that facilitates this as a home.

But it's f-ing nonsense that we're the fifth richest country in the world and we've got people who have nowhere to sleep. It's wrong. And with the NHS folding; it's the envy of the world, our NHS and it's just being sold off and privatised. It's all to do with making money and not to do with taking care of the community.

I think the difference between right and left politics is the difference between right and wrong. You either look after yourself or become a responsible part of society by becoming a responsible citizen. Is that so complicated?

What can be done to facilitate change?

I think higher taxation, to be spread to social care. I think education is vital. And so is healthy food.

My daughter-in-law is pregnant, and when speaking to her she says that all she wants is for her children to be kind and curious. And I think if everyone was that, well that would be amazing.

I was asked by the BFI to choose any film to put on and then talk about it afterwards, and I chose Paddington, because I think it's a brilliant story to teach about tolerance of others who are different.

Final question: what is your top tip to someone who's just about to start out in their career?

Beatrix Lehmann, when I was 21 and she was 92, stood beside me in the wings at the RSC and said, "Never stand where you can sit, never sit when you can lie down and never fuck a bad actor."

But that aside, I'd probably say leave your ego in the wings. You need one of course, but once you get the job, let ambition leave the room and concentrate on the task in hand - on the work.

Vincent River at the Park Theatre until 14 April

Photos courtesy of Kevin Wilson PR and Louise Jameson

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