Michelle Collins is currently starring in The Glass Supper by Martyn Hesford at the Hampstead Theatre Downstairs.
Michelle recently left Coronation Street after playing Stella Price for almost three years. She famously played Cindy Beale in Eastenders; Michelle was originally contracted for eleven episodes but ended up playing the role for ten years. She has also played leading roles in the BAFTA nominated Two Thousand Acres of Sky and Jaqueline Wilson's Emmy Award winning The Illustrated Mum.
The star’s theatre credits include: Rattle of a Simple Man (Comedy Theatre), Daddy Cool (Shaftesbury), Never Forget (UK Tour), Deception (Malvern Theatres), Calendar Girls (UK Tour), Vagina Monologues (Birmingham Hippodrome), Raving Beauties (Liverpool Playhouse), Have You Ever Fallen In Love (Apollo Theatre), Romeo and Juliet and The Demolition (both Bolton Octagon), On The Piste (Queens Theatre, Hornchurch), Reluctant Heroes (Nottingham Playhouse), Strictly Business (Nuffield Theatre), Burning Point (Tricycle) and The Play What I Wrote directed by Kenneth Branagh (Watford).
Just a few of Michelle’s television credits include: Casualty (BBC), Marple (ITV), Hotel Babylon (BBC), The Family Man (BBC), Rock Rivals (ITV), Sunburn (BBC), Real Women (BBC) and The Bill (Talkback Thames). Her film credits feature: Personal Services with Julie Walters, Stephen Poliakov's Hidden City and, most recently, Bollywood Brit flick Don't Stop Dreaming.
The Glass Supper is described as a “blistering, poetic, comic new drama about the search for love and sex in the modern world.” Marcus and Colin have escaped the madness of London to live in the peaceful countryside. But will this new idyllic reality soon be shattered when Steven, his beautiful young boyfriend, Jamie, and the enigmatic Wendy arrive unexpectedly for supper.
I recently spoke to Michelle about her theatre return, the bold themes and issues surrounding The Glass Supper, why her feet haven’t touched the ground since she left Coronation Street and what it’s like sharing a dressing room with her four male co-stars.
The Glass Supper is a very bold piece which represents characters and themes rarely seen in theatre. What was your initial reaction when it first came to your attention?
I know Martyn the writer so had first read this play a few years back. It had always stuck in my mind and then when I came back to London I saw his play Mrs Lowry and Son – which is completely different to this – and after I asked him, “What happened to that play?” He dug it out and we did a reading. What’s great about The Glass Supper is that everyone has this fluffy image and says “oh yes he’s gay” and “oo my best friend is gay,” we’re all so PC about everything aren’t we? But Martyn goes beyond that and I think tackles gay people as real people! All the characters in the play are damaged in some way.
Exactly, all the characters are flawed which is why it works.
Yes, Martyn’s very clever! So what I’m saying is that he’s also breaking down barriers within ‘the gay scene.’ I just think he’s not frightened to tackle things and he’s not frightened to be un-PC in today’s world. My character is probably the most homophobic and I certainly wouldn’t say I’m homophobic at all! Particularly in my industry – I probably have more gay friends than straight friends! I just think the way he tackles God and spirituality is smart. He’s got something to say! Ultimately this is entertainment – we are entertaining people – and he’s a very courageous writer. At somewhere like the Hampstead Theatre you can be experimental; I think it’s really great!
Yes! I mean you have to be careful what you wish for, I said I wanted to be in London, back home and I really wanted to do a play. I’m quite a proactive person, so I was going to be doing something else which was more mainstream theatre but that was postponed. So then I thought I would try and push for The Glass Supper! I’ve felt quite passionate about it for a long time, even though I was really nervous about it. I almost walked out of rehearsals a couple of times thinking ‘I can’t do this, I can’t do this! I’m not good enough!’
How do you find performing in the Hampstead Theatre’s downstairs space?
It’s a terrifying experience! It’s like you’re in someone’s living room isn’t it?
It is! The audience can almost reach out and touch you!
Sometimes the audience look almost as scared as we are [laughs]! They do because they don’t quite know where it’s going which is something else clever about Martyn’s writing. Particularly at the end of the first act, you’re like ‘oh my god, what’s going to happen here?’
What I loved is that sometimes people weren’t sure whether to laugh or feel concerned – it’s such new territory for a piece of theatre!
Exactly, we’ve noticed that a lot – and the ambiguity of it. We had a Q&A the other night and a lot of people were asking about the ending. I think audiences should leave with a sense of ‘ohh, ok’. Good films do that, not everything is cut and dry. You should be left to your own opinions and thoughts.
I’m enjoying it more now; I was bloody terrified at the beginning! It is such a mammoth role, she’s so layered. Instantly I thought of Abigail’s Party, but I was so conscious not to just make her one dimensional. She’s complex and very different in the second half – it’s a huge role to tackle and the wonderful thing about theatre is that it’s different every night. Hopefully I’m getting better at it! I always want to say to people, “Come on the first and last night to see how much it has changed!”
What has Abbey Wright (the director) been like to work with?
I love her! I mean I really love Abbey! She’s been such an inspiration and really great for my confidence. You think, ‘oh great, a play’ but it’s very different in every way from doing TV – the way you learn your lines and so on. She came in early with me in the mornings and I love her style. We had movement people coming in and fight people and dance people… it was a different approach which I wasn’t used to. In the beginning I said, “Oh for God sake, let’s just get on with it!” [laughs], but I know now why she did that. She’s such a lovely person and very open to what you have to offer, she’s not a dictator. I would love to work with her again! She’s fantastic!
And you’re working alongside an incredible cast too!
We get to know each other very well because we all share a dressing room [laughs]! It’s no-frills theatre downstairs I’m telling you! They have everything upstairs and downstairs we basically have nothing apart from a sink. I’ve got a little medical rail which they’ve put across for me so I can have a bit of privacy. It’s me and four guys in a dressing room and, to be honest with you, it’s quite fun and I’m pleased. There’s a rhythm to this play and you have to get it right so we’re always running lines in the dressing room before we go on. I think being in there with the boys has been good for my nerves, they’ve really helped. We’re all there for each other and get on so well. We have trust which is really good!
Are nerves something you’ve always fought with?
I think it’s more with theatre, I might get a bit anxious with telly. I think any actor would be lying if they said they didn’t get nervous on stage. You need that adrenaline – otherwise what’s the point in doing it? It’s not like when I was younger and got sick with nerves, but however much work I’ve put in I still get nervous. It’s excitement too – it’s a love/hate! Sometimes I think, ‘Why do I do this?’ but it’s because I love it [laughs]!
Have you caught the bug? Looking ahead are you tempted to do more theatre?
I would like to do some more theatre. I’m possibly… I’m not sure what I’m doing. I may be doing some more theatre after The Glass Supper, but nothing is confirmed at the moment. But yes, I would really love to do more! I’m waiting for the right thing. There are possibilities; I could be doing some more telly. For the first time in ages I’m not totally sure what’s next – I might know by the end of July, but in a way it’s quite nice not to know what’s around the corner.
Since you’ve left Corrie you’ve done so many different things! Have you had a chance to breathe?!
No I haven’t! I literally did Casualty the next week. I did three episodes, then I went onto promoting my book and had a week off before starting rehearsals for this! My feet haven’t really touched the ground. In fact, I’ve only just started having time to clean out the cupboards in my house! I haven’t even brought my stuff back from Manchester yet! That’s how bad I’ve been!
Finally, who should log onto the Hampstead Theatre’s website right now and buy tickets to The Glass Supper?
Oh god everybody! Whether you’re bloomin' straight, gay or whatever – it doesn’t matter! For me it’s like Modern Families. It’s very much theatre for this generation, modern culture – people who understand what society can do to people. It says a lot about the society we’re living in at the moment and how people get drawn in and affected by it. There are a lot of lonely and damaged people out there, but the play also brings hope. Ultimately I think it’s very entertaining! There are some great characters, it’s not long – just an hour each side. People can have fun but it will also make them think a little bit, which is exactly what theatre should be about.
Interviewed by Andrew Tomlins (Editor)
The Glass Supper runs at the Hampstead Theatre (Downstairs) until Saturday 26th July 2014.
Please visit www.hampsteadtheatre.com for further information and tickets.
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