Interview by Mark Johnson
Barney Norris's contemporary adaptation of Lorca's classic play transports the passionate tensions of a Spanish drama to a modern day village near Salisbury Plain, where the impending wedding of 22-year-old Georgie is complicated by her unresolved feelings for her ex, Lee.
Produced by the acclaimed Two's Company, known for reviving forgotten classics, this production explores the dreams and fears of young couples today, featuring a talented cast that includes Alix Dunmore, David Fielder, Esme Lonsdale, Keifer Moriarty, Christopher Neenan and Nell Williams.
The London premiere will take place at the Omnibus Theatre in Clapham from April 30 to May 24, promising a compelling blend of tradition and modernity.
Ahead of the run we sat down with actor David Fielder to discuss the piece in more detail.
Instantly it feels like connecting with an old friend. Our lovely informal chat over Zoom starts as I tell David I first saw him in 2012 in the Royal Shakespeare Company production of King John directed by Maria Aberg. David was then also part of the 2013 season which included a production of As You Like It, also directed by Aberg, which remains one of my favourite productions to date. He recently returned to As You Like It in the RSC's wonderful septuagenarian staging. Now he is preparing for his role in Blood Wedding.
Mark: What can tell me about Blood Wedding and your role within it please?
David: Originally it is a play by Lorca and this is an adaptation by Barnes Norris. The general idea is that Lorca wrote it in Almeria ( in Spain) but Barney bases it in Edington, a little village in North Wiltshire. In Barney's version there is no appearance of the moon or the death but my character is one who is in contact with the Earth and the rural community. He kind of represents that area. He talks about the county known as the Moonraker and talks about the death of a particular girl in a pond. He is actually the person who describes what happens in the final moment of the tragic wedding day.
The Lorca is based on revenge and this not based on revenge. It's very different, in tone it is naturalistic and Barney's dialogue is attractive, it comes very easily. That said I'm terrified about the learning of it! (we both laugh)
Mark: What first drew you to want to be a part of this production?
David: Because I was asked and there is nothing like that is there! (we laugh again). I went for an audition with Graham and Tricia who I've known for many years and I did my audition and they were charming. I said what I usually say at auditions; "thank you very much, I'll either see you in rehearsals or if I don't then I shall come and see the play". I left and my agent phoned up the next day and he said "David, they're not seeing anyone else but Graham likes to do things by the book". So that's what drew me to it.
Mark: How are you approaching building the character?
David: What I have to do these days is learn the lines in advance. I've been doing that for many years now. It is possible to learn the lines without being crushed by inflection. He's quite an isolated figure, he's lost his wife and his children and is waiting for his death so he can join them. The character, when I first read it, I thought he's a bit of a joker and a lad but actually he is much deeper than that. What I thought were jokes is him just being honest. I'm not sure if he has a sense of humour. I don't think there is anywhere where he laughs. The major thing is what will happen when I meet my fellow actors and what starts to happen and change. Of course you always love your man or else you can't move forwards.
I've got three projects on the go and I make everything into a small print book and I carry them with me everywhere so I am checking all the time to make sure I have everything. That helps my confidence.
Mark: You've touched on it being an adaption by Barney Norris but do you go back to Lorca's original text in anyway?
David: In this I wouldn't. For instance with Shakespeare I always go back to the first folio. Sometimes with translations I will go back to the original because you always get the translators slant. On this occasion I wouldn't. Although the projections of the show are the same, the style is very different.
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| David Fielder |
Mark: How do you think this adaption changes the dynamic of the piece especially with it's setting?
David: It takes away the surreal aspects of the play with Lorca has. It replaces it with a kind of rural knowledge. Shaman wouldn't be the right word but he is in that area and that is the kind of area he offering wisdom too. Because of that, what he says to the bride is "you only have one life and you must do what you want" and she is in a state of not knowing. The dynamic is slightly different.
Mark: You've touched on it there with your book but what are your mental and physical preparations like ahead of a run?
David: It's always horses for courses. Sometimes you want to know what your character has had for breakfast, sometimes that is totally irrelevant. In this play it is totally unimportant. I am of an age now and I've not done a play since As You Like It at the RSC 2 years ago (my 5th version of the play) so it is getting used to the energy and making sure I am in a fit state both mentally and physically to keep the energy. Our business is merely an exchange of energy. That's all it is at heart, it's information and storytelling achieved by the exchanging of energy. That is crucial to functioning.
Mark: How do you think the work will change once you are in the rehearsal room with your fellow actors?
David: First days, I never stop talking and offering cups of coffee. I have seen the two young girls because I did some auditions. When I saw these girls come to the audition I thought they were so good. I always say watching bad acting is much more informative than watching good. Watching good I lose that critical vision and become entranced by the story, watching bad I am thinking why am I not being affected by this or why is this not getting to me. These girls were so marvellous and so young. I have now met three members of the cast and the author, so I've got over the worst! (more laughter).
Mark: If you could turn the tables and ask your character a question what would you ask them?
David: I would like to know about his relationship with his wife. I'm guesstimating at the moment that his little girl who is killed in car accident is about 12 but I don't know. I can make my own scenario but I would be interested in the truth. He is quite specific in the play, they are buried in Imber, which is the enclosed village where people are only allowed in once a year. I would like to know some of the journey towards that and his relationships. He is a sad man but not self pitying. I would try and make him laugh!
Mark: You could offer him a cup of coffee!
David: In the second act, he comes in to find the traveller on the roof and realised the relationship is not good and one of the things he say is "you wanna come down and have a cuppa?". He is a caring man.
Mark: Let's talk about your own background, when did you know that you wanted to be an actor?
David: All my life I wanted to act. I came from quite a poor working class background, nothing to do with the arts or anything like that. I think I saw Aladdin at the Blackpool Grand in 1956 or 57 and I thought it was absolutely wonderful. I have quite a few Chinese bits in my flat and I think that even influenced me with that. It was all I ever wanted to do. When I went to Sunday school I was immediately in a play. Then at school you do plays and I joined an Am-Dram society then finally went to Drama School. I feel extremely privileged. I come from a lucky generation. I got a grant, I got maintenance, I had a freedom that young people do not have today. I had to opportunity of working in so many rep theatres and have done over 400 plays. I am very lucky but I am never complacent about that.
Mark: You've touched on it a little there but what were the pieces of theatre that had a big impact on you?
David: I remember seeing Hamlet at the RSC in 1965 I think it was. The white box season. This is very silly but I remember the opening moment. It was a dark stage and the trap door opened and light shot in the auditorium and you heard "who goes there". I thought this was magic. One thing that did disappoint me was I'd left a bottle of lemonade outside because I wasn't allowed to bring it in and it had gone when I came out at the interval!
Shakespeare I have always loved. Beckett I have always loved. I worked with Beckett in the 80s before he died. In a way I can't tell you why but I have always adored them. I always have and they speak to me.
I saw some marvellous things at the Roundhouse in the 70s. Very Warhol and Tenesse Williams. A wonderful production of 1789. Fascinating pieces of work of a size.
The first time I went on a plane I was with a company going to India to do Hamlet for 3 months. The company was 34 people and that doesn't happen more. There were grand productions. There was the World Theatre Season where you could see things from all over the world. I saw A War In Peace covered in mud. At drama school we'd get free tickets to places which now would cost £150.
I did walk 60 miles to see Ian McKellen, I did not intend to but I missed the last bus home! He was in Leeds and I lived in Burnley. I didn't get a lift so I had to walk. It was well worth it, I certainly remember that.
Mark: With such a brilliant career to date, what keeps you inspired to keep performing?
David: Without being to la-la, I am quite spiritual about it and I think theatre is a healing art. I am fascinated by that. When people say to you how do you do the same thing ever night and you say it never is. There is a thousand different people, it's snowing, it's raining, Princess Diana has just died. What makes the storytelling is a matrix of influence so that I find good.
Seemingly I am told to about a film to watch called Ghostlight. It's about someone who can't cope with life until he steps in a theatre and into a production of Romeo and Juliet.
I've played Shylock three times in different productions of The Merchant of Venice and I was doing it in Leicester and this Pakistani woman stopped me in the street asking to speak to me. She said "Last night I came to see the musical but there were no seats so I came to see your play and I would like to say how good a play it was and how people understand what it is to suffer like that and the prejudice". It was worth everything to hear that.
The theatre says don't worry, you are not alone, see other people, don't be frightened to be alone. That's roughly why I'll do it until I'm dead.
Mark: I work front of house in a couple of theatres and it is so fascinating and wonderful to see the audience react to a piece. I recently worked the Shakespeare Schools Festival which was amazing to see.
David: Shakespeare has been my passport around the world. Seeing kids doing it always lifts my heart.
Mark: To wrap our conversation, simply why should anyone book to come and see Blood Wedding?
David: From what I have seen it will be production of excellence as far of the acting is of concern. One of the advantages of the venue (Omnibus Theatre) is its intimacy. It will be an intimate place with a very vast story to tell. Vast in the extent of the emotional journey. It's a really performed piece. There aren't many opportunities to see a production of Blood Wedding. It would also be great for people to come from the West Country where it is set and to have their response to it. Come to see an epic piece of theatre in a chamber auditorium.
Mark: I wish people would take more of a chance of the off-West End venues like the Omnibus who are staging such great work.
David: It's cheap. Tickets are under £20 and under. I often go to the theatre and sit in seats that are priced at £200 and you wonder who can afford it.
Blood Wedding plays at The Omnibus Theatre from Wednesday 30th April until Satuday 24th May 2025. Tickets are priced from £15 (previews) to £20 can be purchased online at https://www.omnibus-clapham.org/blood-wedding-2/
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