|David Suchet in Once in a Lifetime|
20 Questions WithÖDavid Suchet
Date: 26 December 2005
Actor David Suchet Ė who, now at the NT in Once in a Lifetime, is reprising a role he first played 26 years ago Ė recalls myriad highlights, the legacy of Poirot & how Laurence Olivier & Sigmund Freud influenced his career.
David Suchet is probably best known to TV murder mystery fans as Hercule Poirot in the drama adaptations of the famous Agatha Christie detective books. However, he is also an award-winning stage actor who has performed extensively with the Royal Shakespeare Company.
His more recent stage credits include West End productions: of Man and Boy at the Duchess Theatre (and on tour); Amadeus at the Old Vic, on Broadway (where he was nominated for a Tony Award for Best Actor) and in Los Angeles; Oleanna at the Royal Court and Duke of York's, Who's Afraid of Virginia Woolf? (for which he won a Critics' Circle Award) at the Almeida and Aldwych; and Timon of Athens (for which he won the Evening Standard Best Actor Award) at the Young Vic.
Previously, Suchet has starred in productions of Othello, Measure for Measure, The Merchant of Venice, The Tempest, Romeo and Juliet, Richard II and many others with the RSC, as well as myriad productions in regional repertory theatre.
On television, in addition to Poirot, Suchet has starred in Blot on the Landscape (for which he won the Best Actor BAFTA), The Life of Freud (winning Best Actor at the RTS Awards), Henry VIII as Cardinal Wolsey alongside Ray Winstone, and the title role in George Carman QC, and has also appeared in series such as Murder in Mind, Victoria and Albert, The Way We Live Now, Secret Agents, Separation, Bingo, Ulysses and A Bear Named Winnie.
Suchetís recent film credits include Foolproof, The In-Laws, Live From Baghdad, Sabotage, Wing Commander, A Perfect Murder, Sunday, Deadly Voyage and Executive Decision.
In 2003, the Queenís Jubilee year, the actor was awarded an OBE.
Suchet is currently appearing in Edward Hallís new National Theatre production of George S Kaufman and Moss Hartís farce 1930 Broadway comedy about Hollywood, Once in a Lifetime. He plays ruthless studio boss Herman Glogauer, a part he first played for the RSC in the West End (at first the Aldwych and then the Piccadilly theatres) in 1979.
Date & place of birth
Born 2 May 1946 in London.
Lives now in
LAMDA (London Academy of Music and Dramatic Arts).
What made you want to be an actor?
I was playing Macbeth at school, and my English teacher Joe Storr recommended that I might enjoy being part of the National Youth Theatre of Great Britain. It was about 1962 or 1963, Michael Croft was running it and it was a wonderful time. I remember being on the stage when they were bringing down the set of Bartholomew Fair when I was about 16 or 17. I think that was the first thing that did it, the magic of that, and that whole world, I wanted to be a part of it. But when I really look back and think about it, I was always amazed at writers who gave their work away to other people to interpret. Itís that desire to serve writers who give their work away to directors and actors that made me want to say I would really like to be in the world of entertainment.
First big break
In terms of theatre, my first big break came in my first year with the Royal Shakespeare Company in 1973, when a dear friend of mine called Bernard Lloyd was rehearsing Orland. Just before the opening of As You Like It, in which I was playing Oliver, the evil brother, Bernard got a back injury and I went into full rehearsals as his understudy, and I opened to the press. So someone elseís misfortune led me to jump from dressing room 12 right through to 1A, and I never moved from there in all the years I was with the RSC. I was there on and off from 1973 to 1986, so that was my classical apprenticeship. I ended up playing big major roles - Iago, Bolingbroke, Shylock etc. If that was my theatrical break, my real television break was Blot on the Landscape, which led to a lot of other things.
Career highlights to date on stage
Shylock appears twice. I hold the record of being the youngest professional Shylock ever in Great Britain, at least in the 20th century. I was just 23 when I first played him at the Gateway Theatre, Chester in 1969. I would also say playing Petruchio was a highlight as a young actor, at the Northcott Theatre in Exeter. At the RSC, taking over as Orlando, but the big highlight for me there actually came later, with Caliban. We played it in a way that made him totally human. That was exciting. So was Iago and Shylock again for the RSC in 1981 Ė I was still fairly young, but nearer the right age! Other highlights for me in the theatre I would say include Oleanna Ė the European premiere of David Mametís play at the Royal Court and the Duke of Yorkís Ė it was a wonderful, wonderful opportunity to be part of that event, especially at that stage in my career. After that, theyíre all highlights! Timon of Athens was terrific with Trevor Nunn, which we did at the Young Vic; Separation, a wonderful play by Tom Kempinski with Saskia Reeves; Amadeus, playing Salieri, that went to New York, and I got nominated for a Tony.
Recently, a big highlight for me was Man and Boy, a Rattigan play seen for the first time since 1964. It was wonderful. If I turn around and look at the patterns in the spiderís web of my career, I think that will be a big piece of the web. I did it for no other reason than the reason why I became an actor: solely, for Terence Rattigan, my writer, I wanted to give his play, which he considered possibly his most important, another chance. Having read Geoffrey Wansellís book about Rattiganís suffering over how the play was received and not cast as he wanted it, I wanted to do it. I had been offered the play four times in my career and turned it down, but now was the time to do it. I was really ready to play the S-H-I-T that I need to play. Itís a part that many have turned down. Nobody wants to be disliked, and when I was a younger actor, maybe I didnít either. But Iíve come to a stage in my career now when all that baggage is gone. I knew that I was ready to play that monster and not worry, because I was playing it for Terence. Nobody was more surprised and delighted at the success of that play than me. I wasnít even sure I wanted to come into the West End, but I was persuaded to, and even in a short run there, thanks to the Duchess and the way we came in and were looked after, it actually made money. Sometimes if you do things for the right reasons, they pay off.
And on television
Iíve also had a wonderful TV career that started way back really with a series called Oppenheimer, about the creation of the A-bomb, in which I played Edward Teller, a scientist. Then I had a wonderful part, Sigmund Freud, playing him from a young man to when he died at 83; and then came the big break, which was Blot on the Landscape, and that led directly to Poirot, and the rest is history. But whatís been so lovely is that Iíve got in my bag now another telly film that is nothing to do with Poirot. I came to Poirot in my early 40s, when my career was already, dare I say it, established Ė although I donít think I dare, because it wasnít fully established but enough people knew my character work both on stage and on television to continue offering me work different from Poirot. What a lucky actor Iíve been, not to be typecast - as far as the business is concerned - as Poirot and yet to have that part! If I do manage to do the next 12, I will be able to leave behind me the complete works of that character, in what has been the best part of 20 yearsí work. Thatís the first time in television history that anyone has done that. I will have done over 50 or 55 films, whether they be short stories or longer ones.
Itís difficult to actually quantify that Ė you become so fond of your co-stars, so I could go right back and name you 50! I donít know if I can actually pick out one, except I will: perhaps the most unobvious one, recently, would be David Yelland in Man and Boy. He played my sidekick in such a way that he allowed me, through his self-effacing playing, the full rein of the monster. He didnít try to undercut me, but supported that from the word go, and also created a most fantastic character for himself. It wasnít subservient to me. It was very cunningly played, and yet he gave me everything: thatís a true co-star. I would like to play on stage with Paul Scofield, but I donít know if that will ever happen.
I would love to work with Harold Pinter again after that experience of doing Oleanna together. We got on so well, he almost knew what I was thinking and I almost knew what he was thinking. It was an extraordinary relationship. Iíve never done Pinterís own plays in the West End, only in my early days of rep. I would also say Trevor Nunn, Howard Davies and Maria Aitken, who directed Man and Boy.
The clichť is Shakespeare, but itís got to be him, because thatís our heritage and where I spent my formative years, with the RSC, so thereís a very good reason for me to say that. Apart from Shakespeare, I donít think I have a favourite. I donít have a favourite modern playwright, and funnily enough, Iíve done very, very few modern plays.
Why do you like to return to the stage?
Because itís where I began, and I feel that it is necessary that actors, once they make a high profile in television or the movies, should come back to the theatre. I think its beholden on us to do this, and not to then say, ďOh, I wonít do that anymore, itís too much like hard work, I will just swan around Hollywood or stay at home in Hampstead or Highgate or whereverĒ. Itís beholden on the theatre actor to come back to his roots, for his audience or her audience as well. When I donít do a play regularly, I get letters of anger and disappointment from the public who donít necessarily want to see me as Poirot, they want to see me coming back on stage. Itís right that I should, and itís good for me that I do, and I enjoy it. You have to work those muscles, you really do Ė and you have to have the adrenalin rush of knowing that it could fail at any moment. Thereís that masochist trait in actors that we do need that. Itís also an amazing feeling of company when youíre working with a group of actors in the theatre, thereís a wonderful feeling of belonging thatís very special.
Whatís the first thing you saw on stage that had a big impact on you? And the last?
The first thing I saw onstage was a pantomime. Iím trying to remember the name of it, but I canít Ė my grandmother took me to it. It was the first time Iíd ever sat in a theatre. It was in north London somewhere, maybe the Hippodrome in Golderís Green, and it was all about St George and the Dragon. I remember most vividly the suits of armour and costumes, and thinking this was magic. I couldnít have been more than about five, and I was completely transported. The most recent thing I saw was Coram Boy here at the National Theatre. I only saw it last week and have already recommended it to 150 people! I have to say itís one of the purest and total pieces of theatre Iíve seen. Itís one of the very few theatre productions where I can say that itís impossible to film it Ė that production would not transfer to television or movies. Itís got to be on the stage.
If you hadnít become an actor, what would you have done professionally?
I wanted originally to be a doctor, because my father was a doctor, but I never really had the academic qualifications. There are so many things I would have liked to become. Iíd have liked to have become a psychiatrist. Iím very interested in the mind and states of mind and how our psyches work. I think that psychoanalysis and doing Freud has helped my career as well.
What roles would you most like to play still?
Thatís very difficult for me to answer. Iím never an actor who has been able to say, ďthatís a part I really want to playĒ. I come from the old tradition of rep where you wait for the telephone to ring and then you make up your mind. Except for one role Ė there is one, although I will probably never play him now. I would love to do Napoleon on film. Actually, I have played him, but only in a comedy version, which if Iím trying to be honest, was really very bad! But Iím too old for it now. Napoleon died when he was much younger than I am!
If you could swap places with one person (living or dead) for a day, who would it be?
For me, it would have to be Stanislavski at the Moscow Arts Theatre, just for one day, to see what that was like. His books made a great impression on me when I was a very young actor in the National Youth Theatre. I read all of them. The thing that really got me wasnít necessarily his method of working, because although I was taught that, you have to move with the times and realise that was written for actors then and itís dangerous to use it now because otherwise you stay in a time warp. What interested me was the development of naturalistic theatre and the beginnings of that with him and his relationship with Chekhov.
Iím not a great fiction reader. My favourite book that I often dive into is The Bible. I love it. Itís the most dramatic book Iíve ever read in my life. Itís got everything: verse, poetry, songs, wonderful stories, and I really enjoy it. I love going back into the Old Testament Ė the early books are so dramatic, really wonderful.
Favourite holiday destinations
Iíve had so few holidays in my life. Itís a very hard thing to ever have a holiday, especially if a job comes in and you need to work. My family will say that one thing they regret is not having many holidays! Iím not a great sun lover. But what I would like to do if I had the chance now would be to go on a cruise to Iceland. Iíd like to go up where itís nice and cool, somewhere Iíd not normally go.
Favourite after-show haunts
I go home! Home is my most favourite place in the world!
I use the internet mainly to collect emails, although I have now announced that I am no longer doing that! I came home one day after two weeks away and logged on Ė there were so many e-mails it took me about three days to reply and I thought, this is really crazy. Why should I write to people I donít want to write to? But I do use the internet for research. Iím amazed at what is out there that you tap into which is educational and informative. Thatís my pleasure.
Whatís the best advice youíve ever received?
From Olivier, who said, never forget your roots.
Why did you want to revisit the role of studio boss Herman Glogauer in this production of Once in a Lifetime?
I played him with grey hair and a big fat belly originally, and I must have played him at somewhere between 55 and 60. Now that Iím 60, I wonder why I aged up so far! Apart from that, the reason Iíve come back is not necessarily just the role. Iíve played so many zonking great leads recently that, when this was offered, it was an opportunity to come back to a company and not to take on the responsibility of the show, just for once, and to re-visit a role and to reinvestigate it, without just repetition. Itís a much tougher interpretation of this character! Heís a bastard now. Iíve met the man I play, who shall remain nameless, and I know these people now, but I didnít know them when I played him before. Before, he was just a ranting, raving angry man. I hope he will still be humorous now, but Iím also hoping that youíre going to get a danger and an explosiveness that is more real in certain areas of the play as well. It brings me to the National for the first time as a company member in 36 years. Iíve always wanted to come back, but itís never seemed to work out. I havenít been asked that much either! But this was a wonderful opportunity, and Iím so thrilled to be here.
What do you think about the historic relationship between film & theatre? How do you think the talkies affected stage actors at the time?
Film did affect theatre. Suddenly people were seeing faces larger than life on the screen. Itís no accident how acting has developed since the time that talkies came in, when acting was quite big. Now, itís so naturalistic and realistic in cinema that they almost write on the scripts ďNARĒ Ė no acting required. Nine times out of ten you are cast just for you, and if you act, people wonít believe you now. Thatís where weíve come to. Talkies made a huge difference and film acting has affected theatre acting. If people go to movies, then to a theatre production and see old-fashioned ham, itís not acceptable anymore. So theatre acting has had to become more naturalistic and more real, and weíve had to change our style Ė but still reach the back of the upper circle. The technique hasnít changed; the style has. Television requires a different style again. Olivier would say that he would never perform on television (though of course he did): ďhow can I act when Iím only six inches tall? And then if I stand behind a chair, Iím but three!Ē I would say in Poirot, though, we make them as movies. If I look at the early ones, they are far bigger in style than now. The clichť is true: less is more, on stage and on television and especially on film. On film, your eyelid can be huge, and the smallest movement of an eye is interpreted by an audience.
What are your plans for future?
The latest run of Poirot films are going out Ė the first one, Blue Train, is 1 January. Iíve got a script in my bag to look at today for March. I donít know what it is, Iíve not opened it yet, but that could take me to South Africa. And Iíve got a meeting later this month for a project that may be developed for me for television. Thereís another television series on the horizon as well as another series of Poirot towards the end of the year. Though Iíve not signed contracts yet, it could be theatre now, a film, more television. I hope to realise a dream of mine, if I can fit a radio in as well, to have covered all the media in one year!
Once in a Lifetime opened on 15 December 2005 (previews from 5 December) at the Nationalís Olivier Theatre, where it runs in repertory until 11 March 2006.