Queensland stage actress and singer Naomi Price steps back onto the boards in La Boite Theatre's 'The Tragedy of King Richard III'.
Naomi performs alongside a stunning cast, including La Boite's Artistic Director Todd MacDonald, in the Shakespearean classic rampant with revenge and convoluted with corruption. Directed by Daniel Evans, 'The Tragedy Of King Richard III' asks some of the most hard-hitting questions of all time. What are our dreams of power? Is civilisation corrupt, and have we played a hand in its convolution? Does civilisation need to be corrupt, and do we really want anything to change?
In what promises to be decadent, furious, blood-soaked battle, Naomi armours up to her face her most challenging role yet.
How did you role come about?
Writer and Director Daniel Evans first told me about his plan to adapt Richard III in the middle of last year when I was on 'The Voice'. Of course, I was extremely excited, especially after seeing his genius adaptations of Chekhov’s 'The Seagull' and the ancient Greek myth of 'Oedipus'. I knew that 'Richard III' was going to be daring and different, so I was thrilled when La Boite officially asked me to be part of the cast.
What can you tell me about the production?
We are asking a lot of questions about truth, about whether we can accept and believe the stories we have been told, about how information or history is altered depending on bias. I think this work raises a lot of questions about media and spin, which is something I am fascinated by. We (the cast, the creative team and eventually the audience) are all on a journey of excavation with this story – we are actively trying to dig up the truth, to get to the bottom of who this man really was.
I think audiences are fascinated by villains – you only have to look at the popularity of shows like 'House Of Cards' or 'Game Of Thrones' to see how obsessed we get with treachery and deceit. Richard III was one of the original villains (or at least he was in the way Shakespeare wrote him). We are picking this myth apart to discover more than just a monster with a hunchback. My dream for this production is that it will become a filter through which you view all future productions or adaptations of Richard III.
What is like to work with director Daniel Evans and the other cast members?
This work is rigorous, demanding and extremely physical. It’s been an absolute joy to work with such dedicated and passionate actors, and the creative team are at the top of their game. It’s definitely a collaborative piece. Daniel and co-writer Marcel Dorney have brought every draft to us with humility and expectancy, asking our opinions and thoughts, and continually evolving the work to shape something desperately beautiful and tragic.
I’m covered in bruises from the physical demands of the piece, there is a lot of violence in the work and we’ve trained every day for at least an hour and a half with fight choreographer Nigel Poulton, who is also coaching us physically to create character and use the space in a dynamic way. It’s an exciting way to work.
The cast are amazing, and I don’t think you could assemble a group of actors who come from more varied backgrounds. We’ve got former television heartthrob Todd MacDonald, British actress and playwright Helen Howard, Zimbabwean political refugee and NIDA graduate Pacharo Mzembe, and Amy Ingram, Adelaide born and bred, and one of the funniest women I have ever met. And then there’s me: reality TV singing star and sometime Adele-impersonator. It’s a ridiculous, exciting mix of talent, wit and dedication.
You have extensive performance credits with Queensland Theatre Company, Little Red Company, Melbourne Theatre Company etc.. How have your experiences prepared you for the role?
Each production is so different that it’s difficult to ever truly be ready for a creative process. I suppose experience only prepares you in terms of confidence or ability. But you can never really know what to expect from a rehearsal process. We’ve definitely done a lot of research and I think that helps you to create work that is fully realised and grounded in truth.
In an interview, Daniel Evans said: "The show sits between the divide of what Shakespeare wrote, and who Richard actually was.” What is your take on the production and the story behind it?
I totally agree with Dan. There are huge differences in the way Shakespeare portrayed Richard and who he was as a historical figure. I’m so intrigued by the human capacity for blame and judgement. We read about atrocities and tragedies every day in the news and we are so quick to judge without any understanding of the situation or the individuals involved.
Morals and ethics are such slippery entities. We can say ‘I would never steal’ but then what if your family were starving to death? We can say ‘I would never kill someone’ but what if that was the only way to prevent your sister from being raped? It’s easy to become so domestic and pedestrian with our judgement, and sit back and look at everything with an air of ‘thank god that’s not happening to me’. This production asks ‘yes, but what if it was?’ I’m really enjoying our unpacking of ‘the monster’ and what makes someone ‘evil’ in our eyes. I believe it’s a lot less black and white than most people think.
You're also an experienced producer, production manager and director. How has this helped during the production rehearsals?
I suppose my background in production helps me to understand what the creative team are going through, and empathise with the difficulties they face in producing a new, ambitious work. Working on the other side of the table gives you a tremendous amount of respect for the long hours and incredibly hard work that a creative team put into a show. Us performers get to take a bow and receive applause at the end of every show, but it’s the tireless efforts of the whole team that bring a production to the stage.
Do you ever find yourself on the production side of things, or do you like to keep your duties separate for every project?
It really depends what the project is. If my company are producing a work, then I have a lot of crossover between my role as performer and producer. But when I am working with a company as terrific as La Boite, I can focus solely on my role as an actor and channel all of my creativity into my work onstage.
What are you hoping audiences will take away from this production?
I hope audiences are challenged, entertained and provoked by this production. I hope it evokes a lot of discussion and audiences have an experience that stays with them long after they leave the theatre. I hope we are able to create something daring, dangerous and completely unexpected.
Last year you said in The Courier Mail that you “previously thought... going on 'The Voice' was the most terrifying thing you could put yourself through as an artist.” Have your productions, specifically 'Richard III', changed your opinion over time?
Absolutely not! 'The Voice' still remains the most challenging performance experience of my life, and I don’t expect that to change anytime soon. Theatre is temporary – no two performances are ever identical, and they last only for the duration of the show. Television is a whole different ballgame. It can be watched over and over and over again, and you are completely at the mercy of how it is edited. Having said that, it was one of the most rewarding performance experiences of my life and will stay with me forever. I still have to pinch myself when I think about performing with Ricky Martin. That’s going to be hard to beat!
Do you have an idea of where you'll go next? Will you stay in theatre or seek other avenues of success?
Theatre is my first love and I don’t think I will ever make a permanent departure from the stage. I’m keen to explore hosting, and I have a concept for my own TV show. Who knows? The possibilities are endless in this industry!
You've got five minutes with Shakespeare. What do you ask him?
Did you really write 38 plays in 52 years, or did you pinch a couple from your mates?
'The Tragedy Of King Richard III' performs La Boite 21 May – 11 June.
