ALISON OLIVER IN CONVERSATION WITH LO HARLEY
2023-10-21Hi Alison! How are you? Where are you right now?
I’m good! I’m just in previews for Portia Coughlan at The Almeida. I’m in the theatre right now so there might be funny noises in the background…
How are the previews going?
We did our first preview on Saturday, and it was great to finally get it in front of an audience because you never know what something’s going to be until people see it and you get that active response. The play is so deep and complex. I think we’ll be working and finding new things until the last show. It’s one of those ones that are kind of boundless. I can’t wait to keep digging.
How has it been being back at The Almeida? It’s your second play there this year!
It’s so nice to be back. I love working here so much because a couple of people I worked on the first job with, are there again, like backstage and stuff. It’s such an intimate space and you can really feel everyone in the room with you.
Tell me about Portia. How do you feel about her? What have you learnt from playing her?
She’s the most complex character I’ve ever played. She is extraordinary. It’s such a gift to get to play her. I think there’s so much that’s happened by the time we meet her in the play. She is carrying a lot of grief and regret and pain from everything that she’s been through. The play starts on her 30th birthday and she’s grieving the loss of her twin that’s passed 15 years ago. It’s a pinpoint in her life where she’s lived half her life with him, and half without him, and we’re seeing her make that decision whether she continues her life without him after that specific mark. She completely and utterly adored him and gave all of herself to that relationship. Living a life without him doesn’t seem sustainable to her. We’re tracking her process on that journey and search for where he is and what he is and where he’s gone to. Can she connect to him in another realm or wherever he is? And her relationship to the actual world, where she engages with all of the people in her life, like her husband and kids and friends. She feels incredibly trapped. What I think is fascinating about the play is the exploration of motherhood. It’s a very complicated exploration. I was looking at my copy of the play that I have today, and it was actually commissioned by the National Maternity Hospital in Dublin. It’s interesting because the play really depicts this complicated version of motherhood which I imagine was very unspoken about in rural Ireland, and Ireland in general in the 90s. Not feeling that immediate connection to your child, that thing every mother talks about. The fear and isolation of not having that- mixed with the dark parts of the early stages of motherhood and the dangerous thoughts and feelings that might come to you. I think when you think you’re the only person that feels that, it’s terrifying.
How have you tackled that? What’s your process been like?
It’s been such a collaboration with our director Carrie Cracknell, who is astonishing. I am so in awe of her and how she works. She works at such a deep way. From the beginning of the rehearsal process she was getting us to really build these peoples past lives and history. We did so much back story work. I think getting to know who this person really was before the trauma happened allowed me to build her as a real human being and layer all those things that happen to her on top. That was a huge part of the process. The writer Marina Carr was also there for the first week of rehearsals and she has been incredible to us. She has been so open, allowing us to deepen the work. You can feel that history and everything that has passed. Developing this character has been a total collaboration. I feel very held by everyone which is lovely.
Which moment in the play is resonating with you personally the most?
It’s so extraordinary I don’t know if there’s just one. I really enjoy exploring her life force. When she’s not in that heavy place she is technicolour and wild and really funny. She’s such a deep feeler and thinker. She’s so responsive and primal in a way. I’ve really enjoyed those moments where she leaps out of that grief. She never really escapes it, but she’s clutching on to life, those moments where she’s trying to enjoy life. It’s very vivid and intense because it often feels like life or death at times.
Do you have any pre-show rituals? Are you superstitious?
Usually I am. I remember the last play I did here I was playing a witch, so we used to do tarot cards before every show, and I had all my crystals. For this one, so much happens so I just try and be calm. I just try to breathe and get myself in an open place. Once the play starts, I’m just responding to what’s happening.
What are some essentials to get you through a theatre run?
A lot of Berroca! Multivitamins and also, I really love Rescue Remedy. My mum always used to give that to me as a kid. I really do get stage fright. I get really nervous so over time I’ve learnt to try and relax and respond and be there with the people I’m acting with.
What stands out to you in a good script?
It’s always something new or different. I think if I find myself wanting to say the words out loud, wanting them in my mouth, wanting to say them. I think with this play, it’s set in rural Ireland and it’s very raw and gritty and earthy. There’s a harshness to it, but there’s also a search for transcendence that all of the characters have. The other world. The mystery and spirituality. They’re all in the bog looking for the light. I find that really moving and compelling. I find, when I’m exploring Portia, there is this kind of allowing yourself to go in blind to moments, letting that search happen in the moment, which feels quite new for me. I actually have older twin sisters, so I grew up observing this twin dynamic and being fascinated by it. As a kid I grew up wishing I had that so it’s interesting to be doing a play searching for your twin, searching for your other half. I think in a way everyone is searching. There is an unspoken, unconditional understanding with the twin relationship. You don’t have to ever explain anything really, the other person just knows. That’s what my sisters always say. They just completely understand and know each all the time. They have their own language. They’re soulmates. I think every person in the world is looking for that – to be understood. I think that’s a lot of what this play is about too. It’s a search for that thing, and the need to be understood and heard.
How did growing up in Ireland influence you and your work?
I feel a huge connection to where I’m from. I’m lucky a lot of the work I’ve got to do has been Irish work, like Irish writers or based in Ireland. I think there’s always been something I’ve found interesting about Irish culture where classically we sometimes struggle to express ourselves through language, so it’s not a surprise that so many Irish people are artists, poets, writers, musicians…Language can sometimes fail us! I think I find that in my own draw to being an actor- feeling a lot and wanting to express it. I really enjoy being gifted words and stories from someone else.
You got your breakout role fresh out of drama school! Was there a particular moment when you were younger when you realised you wanted to pursue acting seriously?
I did drama classes as a kid growing up which was my favourite thing to do. I think as a kid you’re searching for your thing- what you feel good at and what you can contribute to. I think it was very simple. It just made me feel good. I’m from Cork in Ireland and there’s an incredible drama society there for young people. I saw people older than me going and doing this as a career, so I thought maybe I could too.
Who would be in you dream ensemble cast?
I’m so inspired by Jessie Buckley all the time. I saw this video of her singing Troy by Sinead O’Connor the other day and she’s just the most… I don’t know, I just find her such a spiritual performer. I feel like she’s channelling something or someone every time she acts. I find her so compelling and extraordinary. I’d love to play her sister or something. And Ben Whishaw too.
And is there a dream role you’re manifesting next?
I would love to do a Chekov play. We did a lot of them in college, and I love everything about how they’re created and structed.
Let’s talk about your beautiful EXIT shoot! Were there any particular Cartier pieces that you loved wearing?
Oh my God they were all amazing! The black blazer with fishnets was really cool. Obviously, it was the most ridiculous thing in the world getting to wear Cartier! Every piece was gorgeous. I love the message behind the Love bracelet – where someone has to screw it on for you, only they can bind it for you.
How would you describe your personal style?
I think it changes a lot. I live in Peckham and am always so inspired by what people are wearing on the tube or walking down the road there. I love baggy tops. I love seeing London street style and try and do my own version of that. I’m big on comfort too.
What are your hopes for the rest of the year?
I think I’ll go home for Christmas and sleep! I hope the run goes well for the play. I’m excited to continue growing with the character and with the cast. It’s such a deep play I want to keep going with it. I feel very fortune with all opportunities I’ve had since the beginning of my career. I want to continue to do things that feel inspiring and meaningful to me. I think with acting you never know what’s coming, what’s the next thing. I’ve been so lucky to do lots of theatre this year alone but it’s just what’s come my way. I don’t know if I’ve massively planned what I’ve wanted to do next. I just go with what feels right. Getting back to theatre has been such a gift because that’s how I came to acting. I really missed it.
EXIT Autumn Winter 2023 starring ALISON OLIVER wearing CARTIER
Interview and words – Lo Harley
Talent – Alison Oliver
Photography – Amber Grace Dixon
Fashion – Caitlin Moriarty
Hair – Roku Roppingi
Beauty – Lucy Burt
Manicurist – Cherrie Snow
Portia Coughlan running at the Almeida theatre, until 18 November 2023.
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