BWW Interviews: Issy Van Randwyck Of ANYONE CAN WHISTLE

How's the run going?

Really well, we seem to be selling out, which is nice. It's a tricky piece, so some audiences go with it and some are slightly stupefied. We are doing what we set out to do, and we hope that people enjoy themselves even if they don't understand the story.

Often with pieces like this that don't get performed often, people can't help but think there's a reason for that.

There's a freedom in a way, because we knew it only ran for nine performances. It has a certain history. And so you know people are going to hate it. If they don't, then, gosh, a nice surprise we go out there and do our best to make it clear as possible. On paper when you read it it's a very clear story. Sometimes in translation from paper to stage, it can become a little muddy. It was a great freedom for us; we know it's a show with problems. In a way it frees everything up.

It seems such a relevant piece.

I know. I think it was a little ahead of its time. What it is saying, you're perfectly willing to accept as an audience member. We hope that the audiences are getting it. But you can say that about a lot of things, like Shakespeare, he was ahead of his time. There are lots of pieces that are still relevant today. He is a very clever man. That doesn't change.

How do you go about characterising someone like Cora?

It's quite hard because she never actually has any long scenes. You don't have the luxury of a lovely long scene when you get to lay out your stall. It's just trying to find the light, the shade and the truth.

Something I found interesting about her is the way she uses her femininity.

I'm not sure that's necessarily in the book. I have friends who were journalists back when Thatcher was around and that's who I've drawn on.

The dynamic you have with Alistair [Alistair Robins], there's a spark there even though you don't have that much time on stage together.

Yes. There's very little on paper. It's just trying to find the connections where you can. There must be some relations, there must be something. We as characters are very separate to Hapgood and Fay Apple. They can lovely seems with which to draw you in and explain. It's the baddies and the goodies. The writing is very different. It's all done very obviously for a reason. But it makes it hard for us to get it across. We can but try!

It's such a small space, that must be quite a challenge too, particularly with the actor musicians.

Originally there was a great big Broadway cast. Doing it as we are, with such a small scale production, perhaps the story isn't clouded as much. You have to simplify things and just get your story across.

Sondheim is always seen as a bit more niche here than on Broadway. Do you think that would be fair?

I think he is unfairly niched, if you know what I mean. People say Shakespeare is highbrow, but that was for the people. It's really tough. I don't see why it should be. But it's how the media like to portray it. I think it's just as accessible as Phantom Of The Opera. It's just how the media have written about it, they put him up on this pedestal. Losing My Mind, that's a pop song everyone knows, though.

Inverse snobbery?

A little bit. People think, ooh, no, Sondheim, we won't understand that. You can go and see the show again and again and again and always find something new. It's like a very fine bottle of wine. Or Where's Wally! As a performer, it's a joy. He is so clever. In a song, he won't have all the choruses the same. Even if you think they're the same, he'll change one word. It changes the meaning. You have had an emotional shift in the song.

Do you have any parts you still want to play?

I've given up on that. I am a middle aged mother. I'm really happy with my life. If I get offered something, I'm so thrilled. The casting process is so bizarre. You won't get something you think you're right for. I know the business, and I'm really happy with whatever comes my way. All I care about is working with nice people. And doing the school run every morning.

Issy van Randwyck stars in Anyone Can Whistle at the Jermyn Street Theatre.

 

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