Steve Toussaint was most recently seen on the London stage playing Doctor Rank in Carrie Cracknell’s critically acclaimed production of A Doll’s House at the Young Vic. Steve also starred in the production's West End transfer to the Duchess Theatre and is currently preparing to once again reprise his performance in the play's New York transfer where A Doll's House will run at the Brooklyn Academy of Music (BAM).
As well as starring in A Doll's House, Steve has also recently been busy shooting BBC1’s Silent Witness and the second series of the critically acclaimed cop drama Line of Duty on BBC2.
His theatre credits include: Macbeth and Merchant of Venice (Royal Shakespeare Company), Fix Up (National Theatre), Ruined (Almeida Theatre), The Amen Corner (Bristol Old Vic) and Someone Who’ll Watch Over Me (Vaudeville Theatre).
Steve’s film credits include: Prince of Persia (2012) alongside Jake Gyllenhaal, Gemma Arterton and Ben Kingsley, Shooting Dogs (2005) with John Hurt and Hugh Dancy, Mutant Chronicles (2008), Broken Lines (2008) and cult classic I.D. (1995) to name a few. He is known for his many TV appearances which include Silent Witness, Spooks, Doctors, Skins, Holby City, New Tricks, CSI Miami, Murder in Mind, Waking the Dead, Casualty, Family Affairs, The Bill, Murphy’s Law and The Knock.
Steve chats to West End Frame about the huge success of A Doll's House, the production's New York transfer and his varied career...
When you were first cast as Doctor Rank in A Doll's House at the Young Vic did you have any idea that the production would take you on such an exciting journey?
Absolutely none whatsoever! At the time of my first meeting with Carrie, the only thing I was sure of was that I liked her and that it would be fun and interesting to work with her. Then I met the rest of the cast and found them to be lovely as well as talented, but I still didn’t think it would be anything other than a standard two-month gig.
Why do you think Carrie Cracknell’s production has been so popular? It seems nobody has had a bad word to say about it!
Oh, there have been one or two negative voices, but they are a miniscule minority thankfully! As is always the way of these things, the popularity and success is down to a couple of factors. Chiefly, I think it is the way Carrie likes to work and the level of detail in the rehearsal process. It makes it easier for the characters to live and breathe in 'the world' of the play. I also think the revolve is stunning and gives an insight into Nora’s mind. Of course there is Hattie’s extraordinary portrayal of Nora holding everything together.
It's so interesting to see the affect A Doll's House still has on audiences. Can you put your finger on what it is about Ibsen’s writing that really strikes a chord with audiences? He certainly knows how to write a strong female role!
I think you’re right; but more, I think he writes relationships extremely well. Ibsen was able to illustrate how we can present different sides of our character to different people as it suits us. We are probably different with our parents from how we might be with our lovers or children. This is what Nora does, but then those worlds are forced together and she starts to unravel. Ibsen claimed he wasn’t a feminist but just wanted people to be true to themselves. Seems fair.
Do you think New York audiences will react differently to the play?
I would hope they would recognise the universality of the play and appreciate the more modern interpretation of this production. My understanding is they are as hard to please as London audiences so we’ll need to be on our toes!
How have you found playing a role on and off for a long time?
It’s actually been very good having these hiatuses because you come back to the role with new vigour and enthusiasm. The great gift of these characters is that Ibsen has made them as complex and contradictory as human beings are. What this means of course is that there are endless ways to play even single lines, let alone speeches. You’re constantly discovering something new.
The journey of a Doll’s House is fairly heavy; do you ever find it draining?
Yes I think we all do! Each character has an arc, which leaves them completely different at the end of the play from where they were at the beginning. Dr Rank is not only desperately in love with his best friend’s wife, but is also suffering a life-threatening medical condition and is in constant pain! That’s a lot to carry each night!
You have had a varied career, doing both stage and screen work. Was it always your intention to do both or has it just worked out that way?
I always wanted to try all aspects of this profession, it’s something I feel is very important for an actor’s continued development. Did I plan it that way? Someone said “God laughs at those who make plans”. I really believe that applies ten-fold to our profession; that’s a long way of saying my career has so far been a lucky and pleasant accident!
Are there any particular stage roles you have your eye on at the moment? Any dream roles?
I’ve always wanted to be in an August Wilson play. I remember seeing the first production of Ma Rainey’s Black Bottom at the National with Clarke Peters and Hugh Quarshie. I’ve nursed a yearning ever since.
When working in the theatre you receive so much support from theatregoers. What is it like having that kind of support behind you?
It can be so fraught just before your first entrance, but once you’re out in front of the audience nerves leave you and you’re carried along on their energy. I’ve been very, very lucky in that people have generally liked what I do and responded to my work. That’s got to be close to the best feeling in the world.
Interview by Andrew Tomlins (Editor)
Steve Toussaint stars in Line of Duty which returns to BBC2 this February and A Dolls House at the Brooklyn Academy of Music (BAM) in New York between 21st February and 16th March.
No comments:
Post a Comment