Mrs Roosevelt Flies to London lands in Edinburgh for the Fringe…

The Mrs Roosevelt Flies to London company arrived at Assembly Hall for the technical rehearsal and were greeted by the grand lady herself out the front of Assembly.

Previews from 4 August. Performances run until 29 August. For tickets see: https://www.assemblyfestival.com/event/268/calendar/

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Mrs Roosevelt to land at Assembly Hall for the Edinburgh Fringe

Mrs Roosevelt Flies to London will be playing in Edinburgh at Assembly Hall at 12.15 – 1.30pm from 4 – 29 August, during the Fringe.

Tickets are now on sale and can be booked from: https://www.assemblyfestival.com/whatson/theatre/?page=1

 

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Press from the spring tour

Preview coverage from Omnibus, Clapham:

Interview: Alison Skilbeck, Mrs Roosevelt Flies to London

Interview: Alison Skilbeck, Mrs Roosevelt Flies to London

A one-woman play about the extraordinary life of Eleanor Roosevelt arrives at the Clapham Omnibus on April 7. Will Gadsby Peet talks to writer and performer, Alison Skilbeck

In October 1942, Eleanor Roosevelt, wife of the President, takes a dangerous trip to wartime London to visit US troops, and see how the British – most importantly the women – are coping.

Nominated for a Best Female Performance Offie Award (Off West End Theatre Awards) for her performance as Mrs Roosevelt, and granted special permission by the Roosevelt Estate to use Eleanor’s writings, Alison Skilbeck’s one-woman show explores the public, and hidden life of one of the most extraordinary women of the 20th century.


How’s the latest run of Mrs Roosevelt been going?

Tremendously! I’ve been touring with this show on and off since 2013, and I always love the experience.

It’s wonderful because we tend to only play to small, theatres of around 60 to 80 people. The close intimate atmosphere is incredible in achieving the best possible story telling dynamic between audience and performance.

It’s a dynamic I relish as a performer, and we often have a talk after the show about topics and themes explored in the play. Last spring we held some paneled discussions with people like Helena Kennedy and Edward Mortimer after the show, and the response was terrific.


You did all of the research and writing for this play yourself, what was the inspiration for Mrs Roosevelt?

Well, I have another one-woman show, Are There More of You? and one of my friends suggested I write another about someone famous. I thought it was a great idea, and decided early on it would have to be someone I really admired.

To my shame I didn’t know much about Eleanor Roosevelt at the time, but the more research I did, the more I decided I wanted to make this absolutely extraordinary person the focus of the show. Having discovered she made a trip to wartime London, I travelled to the FDR Library in America to look at her diary from that period. This gave me a great focus from which to build the framework of the play around, allowing me to tell this huge, decade-spanning story.

The narrative scope is vast; the audience is introduced to Mrs Roosevelt on her deathbed in the 60s as she reminisces over her life, with a particular focus on her trip to London. I was really happy with the narrative device; it allowed me to focus on Eleanor’s earlier life as well as the trip to London and her humanitarian work afterwards, right up until her death with the cold war and Cuban missile crisis looming.

Having written it, I had to get permission from Eleanor’s literary executor, her granddaughter. Fortunately she liked the play and gave me permission to use the information in the diary and here we are!


Has it been a bit strange dealing with a director cutting and trimming your own work?

It has been absolutely fine, actually. I’ve always admired Lucy Skilbeck (absolutely no relation) hugely as a director, and was really happy to have her on board for this show. Trimming your own work is one of the hardest things to do in this business, but it’s absolutely vital for your audience you don’t over-egg the pudding.

Typed up, the diary of Eleanor’s trip to London runs to over 80 pages, and some of it is quite boring (chuckles). It’s really important you strike that balance between information and overkill. You need a great director you can trust, so I was really lucky to have Lucy there saying your going to hate me but…


Do you think Eleanor Roosevelt would enjoy this play?

I really do hope so. I must say politically and socially we need people like her now, more than ever. I think she might wonder if the world has gone mad to see Donald Trump rising as he is.

Strangely enough I actually had Eleanor’s goddaughter come up to me after a recent performance at the Kings Head. She’d last seen her when she was 10 years old and she said that watching the performance had been like seeing Eleanor brought back to life, which was obviously a lovely thing to hear.

I do feel a certain responsibility, going on stage to talk about this remarkable woman and her achievements in human rights, so I really do hope it does her legacy justice.


 

Preview coverage from The Mill Studio, Yvonne Arnaud Theatre, Guildford:

Eleanor Roosevelt’s god daughter to see play

 

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Mrs Roosevelt Flies to London tickets at Omnibus, London. 2016.

Tickets, reviews, news and information for Mrs Roosevelt Flies to London at Omnibus, London. 7th April 2016.

Source: Mrs Roosevelt Flies to London tickets at Omnibus, London. 2016.

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2016 Spring tour dates announced

Mrs Roosevelt Flies to London is touring in 2016

Updated tour dates:

8pm, 5 February, Norden Farm Centre for the Arts (Box Office: 01628 788997 / www.nordenfarm.org)

8pm, 3-5 March, The Mill at Yvonne Arnaud Theatre (Box Office: 01483 44 00 00 / www.yvonne-arnaud.co.uk)

7.30pm, 7 April, Omnibus Clapham (Box Office: 020 7498 4699 / http://omnibus-clapham.org)

8pm, 6-7 May, Mercury Theatre, Colchester (Box Office: 01206 573948 / www.mercurytheatre.co.uk)

Further dates to be announced in the near future

 

 

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Reviews from the King’s Head Theatre 2015 season

**** londontheatre.com

Review of Mrs Roosevelt Flies to London at the King’s Head Theatre

This lovely biopic narrating the story of Eleanor Roosevelt’s visit to London during World War II, performed by the inimitable Alison Skilbeck, is a gem in the one woman show genre. An inspired and insightful play that has been thoroughly researched, and more importantly loved, Skilbeck shows us the motivations and energies behind the difficult life of a relatively unsung mover and shaker of the Second World War.

I should say Skilbecks, for coincidentally both director and performer/creator, have the same surname. They definitely make a unified and successful team. The direction of this play, by Lucy Skilbeck, is simple, touching and effective. The material itself is original writing enhanced by excerpts from primary resources such as letters and Eleanor Roosevelt’s diary. They reveal a pain in her private life but also a little-known fun and energy which previous profiles of this woman, known for her pragmatism and doggedness, tend to ignore.

Alison Skilbeck is a sparkling Mrs Roosevelt and captures the dynamism with which this First Lady worked to improve life for the working classes. We hear about the struggles she faced as the ‘negroes’ friend’ and her insistence at getting Eisenhower to provide American troops with decent ‘woollen socks’. In making this a one woman show the production also highlights the evident loneliness that comes with leading such a high profile existence, especially when one’s husband is habitually unfaithful. It is bittersweet, at times utterly comedic and interspersed with moments of true sadness. Just like Eleanor Roosevelt herself, Skilbeck never lets the energy lag for even a moment and the drive forward is insistent and enthralling. She is everyone of a who’s-who of World War Two characters, from Churchill to the Queen and her movement about the stage is perfectly timed and engaging.

For 2015 the feel of the play is perhaps a little patriotic; work could have been done to make it more relevant to contemporary viewers, especially in its comic but still reverent approach to the Royals and it’s celebration of the British welfare ideology, which is now all but gone. And at times it felt a little like a docudrama rather than a piece of theatre. All in all though, this is a thoroughly entertaining and moving story of a woman who truly and selflessly believed that she could make the world a better place through hard work and commitment to her ideals. Running at just one hour and fifteen minutes this was the perfect introduction to Mrs Eleanor Roosevelt and I know that I for one would love to invite her to afternoon tea, just for the opportunity to get to know her better.

Review by Annemarie Hiscott

**** Theatrecat.com

ADMIRABLE ELEANOR 

An old woman, cadaverous under harsh light, wakes fretful, remembering a war and shuddering at the Cuba missile crisis : it is 1962. We know that it will resolve, but it strikingly reminds us how that threat felt to the generation which endured World War 2. As the old woman springs up and sheds twenty years (good lighting moment!) we share Eleanor Roosevelt’s memories of 1942.
What memories they are too: even my generation is too little aware of the lady’s gallantry, gaiety and liberal passion; how admirable for Alison Skilbeck’s tightly researched, elegant monologue as the “world’s first lady” to come back to a young King’s Head audience. Especially in this VE-day anniversary year (and just as another Presidential wife, Hillary Clinton, declares her shot for the top job).

Eleanor, of course, never went that far, though after the death of her cousin-husband Franklin Delano Roosevelt in 1945 she remained a force, instrumental in creating the Universal Declaration of Human Rights. But her intelligence, nerve and above all sheer driving goodwill had played no small role in that war, and in the emergence of the American liberal spirit. Orphaned in childhood, raised without much love, she found a husband who for all his qualities (and despite being crippled with polio ) was not above marital betrayals, needing, as she ruefully observed, always a woman at hand to admire him. She was more a harness-mate, a prodder and goader and inspirer. For her own emotional fulfilment there were the warm women friends.
But in 1942, at no small risk she flew over and toured blitzed Britain, with the stated intention of encouraging the women’s war effort but in effect offering wider cheer and encouragement. Not least – as an early cheerleader for racial justice – to the African-American servicemen in Liverpool, about whom she cheekily informed a Southern senator the white girls “do not look at with terror” . Franklin was not pleased about that note, or her sneered reputation as the “Negroes’ Friend”; he needed the Southern vote, and the Ku Klux Klan quite explicitly threatened the rebellious Eleanor.

There are light moments, as the Queen (our Queen Mother) apologizes for the freezing cold of Buckingham Palace with the windows blown out, and for the economy tide=ring painted round the baths; as she sits next to Churchill and finds him rather hard going, or notices how exhausted the reporters seem to be by her fierce itinerary of night-shift workers and whistlestop city tours. She sees Rattigan’s Flare Path, experiences rather too many brussels sprouts, Moments of memory enlighten us about her life and beginnings; Lucy Skilbeck (spookily, no relation) directs a spirited 75-minute evocation both of the woman and the nation she travelled through. Sometimes Skilbeck moves to a suitably retro microphone to deliver some of the speeches of the time; sometimes quotes from Eleanor’s real letters home.

It is a bit Edinburgh-fringey, and absolutely deserves to be done with more expense and a little expansion: projections, photographs, bits of film maybe, audio from the time. But I wouldn’t change the performer, nor the spirit. And am intensely glad to have seen and admired both the show and the late Mrs R.

Reviewed by Libby Purves.

**** Islington Gazette

Eleanor Roosevelt’s British expedition has received a first class adaptation, says Caroline David.

In 1942 Eleanor Roosevelt paid a morale-boosting visit to Britain, met the Prime Minister and Royal family and did a whistle-stop tour of cites to see how the nation was coping. Alison Skilbeck’s impressive one-woman show pays tribute to an exceptional political campaigner.

Skilbeck’s subject matter is very thoroughly researched with the aid of Eleanor Roosevelt’s letters and diary. The play moves backwards and forwards within a frame that establishes Eleanor in old age swaddled in a coat in a nursing home. The scenes encapsulate moments from the trip, interspersed with key personal memories. Eleanor’s rich life is conjured up in multiple dimensions. The detail is consistently impressive; from the scope of her humanitarian work and journalism to the personal tragedy of losing both parents in childhood, and Franklin’s affairs, resulting in their decision to run their marriage as ‘a partnership apart’. The script twists and turns with plenty of witty asides and confessions. Skilbeck delivers every second on stage with boundless energy.

Warmth and humour are key ingredients. Eleanor’s maternal indignation that the troops aren’t given appropriate woollen socks is swiftly channeled into a policy change. Her wry impersonations of class affectations and the drawn out vowels of Queen Mary are particularly enjoyable. Equally, the wistful rendering of a train journey she spent in the arms of her life-long friend, journalist Lorena Hickok, who showed her ‘a world of love,’ shine fresh light on Eleanor’s character and the layers behind the political brand she created. While the portrayal of Eleanor’s later-life and disillusionment with US policy is not sufficiently grounded in earlier scenes, Lucy Skilbeck’s [no relation] direction is intelligent and vivid. Emma Laxton’s sound design is sensitive and well paced and Mrs Roosevelt’s 75 minute flying visit flies by.

**** Londonist.com

First lady drama is first class

Political wives are in the spotlight this month, but Samantha, Miriam, Justine and Kirsten (Frau Farage) don’t hold a collective candle to Eleanor Roosevelt, ‘the First Lady of the World’ and a spunky, contrarian social equalizer who wasn’t at ease playing second fiddle in the White House. She was, perhaps, a Hillary of her time.

Alison Skilbeck’s beautifully balanced monologue Mrs Roosevelt Flies to London is tender and punchy in equal measure. It mirrors Eleanor’s political life with her personal one, suggesting her public loyalty to a beloved but philandering husband (hello again, Hillary) later crippled with polio, and masking unfulfilled sapphic desires of her own.

In 1942 Mrs R makes the hazardous journey across the Atlantic by flying boat, in order to rally American troops in Europe. Eleanor comments slyly on her meetings with Queen Mary, Winston Churchill and a splendidly Joyce Grenfell-esq volunteer at the WVS — each pinned in a swift and sharp caricature. She is moved by the self-sacrifice and team spirit of the British people, annoyed at the segregation of black and white American troops in the Liverpool docks, and remonstrates with General Eisenhower for not sending the woollen socks they all urgently need.

It’s fortunate Maureen Lipman is busy with Harvey, or she’d be snagging this bravura piece as her own, but Skilbeck (who also wrote this) holds your attention throughout and with far less artifice. Okay, she possibly puts on and takes off her coat too many times largely to indicate whether she’s indoors or out, but the characterization constantly brings you in to the narrative.

There are a few other minor snags: the background sound is too muted, and there are missed opportunities for underscoring the story with music from the period, for example when Marian Anderson, the black contralto was denied use of Constitution Hall by the committee of the DAR, not only did Eleanor resign, she staged Anderson at the Lincoln Memorial for free in front of a 75,000-strong crowd. That deserves a soundtrack.

Reviewed by Jonny Fox

Theatreworldinternetmagazine.com

 MRS ROOSEVELT FLIES TO LONDON

With a former First Lady now setting her cap at the US Presidency, Mrs Roosevelt Flies to London provides a timely reminder about the life and loves of a woman who was to become known as ‘the First Lady of the World’. 

Examining the life and career of Eleanor Roosevelt, wife of the (then) President of the United States, this one-hander focuses on an extended WW2 sojourn in England that allows Alison Skilbeck’s indomitable creation to muse over her life and the events which affected everyone at the time and in the years that followed.

From her relentlessly Panglossian standpoint, the world assumes a mantle of unlimited possibilities – even during such challenging circumstances as her recollections of the Cuban Missile crisis, which almost brought an end to the world and political and social ideals she had fought so determinedly to establish.

Granted official access to personal letters and diaries, Alison Skilbeck’s play paints a seductively comprehensive picture of Mrs Roosevelt’s life, with intimate glimpses of the wife, mother, and ceaseless campaigner for blacks, soldiers (and black soldiers). The advancement of women and their rights – including her espousal of their enfranchisement when it was both a dangerous and socially unacceptable cause – were an equally important element within her purview.

Blessed with boundless energy that proved a curse to all who tried to keep pace with her relentless schedule, she accepted early on the sacrifices required to keep her Sapphic liaisons out of the public eye. During her wartime return to London as a semi-official Ambassador of the President (as a teenager, she had boarded at Allenwood Academy, where she was deeply swayed by its feminist headmistress, Marie Souvestre), her influence was far-reaching and deep-rooted, particularly among women, whose abilities had been largely overlooked until their steely reserves of character began to prove invaluable to the war effort.

Yes, she could be a rabble-rouser when required: a woman of the people, ‘popular’ in every sense, her influence extended to the highest echelons of power on both sides of the Atlantic and was such that it eventually resulted in the creation of a Declaration of Human Rights.

But she could be as tenacious as she was tender, supporting an incapacitated husband in his bid for the Presidency even though he had been struck down by polio. And, like Hilary Clinton and other First Ladies before and since, she turned a blind eye to her husband’s infidelities.

Her complex personality is convincingly etched in a script peppered with wit and humanity as Alison Skilbeck’s warmly enthusiastic portrayal seduces us into a world that remains largely beyond our ken.

It is a finely-nuanced performance under the direction of Lucy Skilbeck and yet, despite the co-incidence of a mutual surname, the two women are un-related and united only by an intimate, almost intuitively familial, bond by what is required to make the text sing.

Jane Heather provides an economical setting where a chair, a microphone, a hatbox, a trunk and coloured bunting criss-crossing the stage are the only props. The effectiveness of Mrs Roosevelt Flies to London is also greatly enhanced by Emma Laxton’s evocative sound plan and the lighting design of Mark Dymock in a space which proves ideal for such an engrossing pocket history. Sandwiched between the 70th anniversary of the death of Franklin D Roosevelt on April 12 and the 70th anniversary of VE Day on May 8, it could hardly bemore timely.

By Clive Burton

Bargaintheatreland.com

MRS ROOSEVELT FLIES TO LONDON – King’s Head Theatre, London.

April 15, 2015

Eleanor Roosevelt was an extraordinary woman; in Mrs Roosevelt Flies To London, Alison Skilbeck has written a piece which conveys some of the reasons, events and actions that made her the indefatigable longest serving First Lady of the United States of America. Skilbeck also performs this one woman show, and the wealth of research undertaken is evident in the richness of her portrayal of Mrs Roosevelt.

Primarily centred around Eleanor Roosevelt’s visit to wartime Britain in 1942, Skilbeck creates an episodic piece of storytelling that time travels throughout her life. We meet her first as a dying 78 year old woman, incoherent and frustrated, and refusing (and hiding) pills. We then catapult back to wartime London, her stay at Buckingham Palace (where it appears that sprouts were eaten at nearly every meal due to rationing) and around the country – meeting Land Girls who were previously London’s fastest typists, and “our boys”, soldiers both British and American.

Although this gives us an interesting insight into Mrs Roosevelt’s life and this  dangerous and inspired visit, this format can make the narrative somewhat difficult to follow: at times firing off at tangents, honing in on her unhappy childhood, devoid of fun after both of her parents die, and skipping ahead to her marriage with Franklin D Roosevelt, her deep and profound friendship (and love) with journalist Lorena Hickock and the lessons learnt from her inspirational headmistress, the feminist Marie Souvestre. Yet all of this information is in itself riveting, particularly as Skilbeck has been given special permission by Nancy Roosevelt Ireland to use extracts from Eleanor Roosevelt’s diary and writings, including her letters.

Skilbeck also touches upon the remarkable political and humanitarian work carried out by Mrs Roosevelt after her husband’s death, overseeing the creation of the Universal Declaration of Human Rights, and continually campaigning and speaking out for women, about racial issues and for humanity. Mrs Roosevelt Flies To London shows her to be a talented and complex individual, not just as the wife of the President – but a person with a strong mind, determination and an unfailing dedication to restoring the world to peace.

This is an empowering and inspirational piece of Theatre; at its most basic level it tells us multiple stories from one person’s long and amazing life in politics, and at its most complex, it is a powerful mix of betrayal, survival and determination. An interesting play, recommended particularly for a different point of view on some very familiar British and American political figures.

By Emily Jones

 Monkeymatterstheatre.com

When a piece succeeds in a small space, it’s like everyone in the room is sharing and savouring a secret. That’s certainly the case with Mrs Roosevelt Flies to LondonA lone performer recreates a cast of dozens from Queen Mary to Churchill. At the heart of it all is the doughty American First Lady letting us into her innermost thoughts during a visit to wartime England.

Alison Skilbeck both writes and performs Mrs Roosevelt Flies to London, a piece that is ultimately an examination of the couple’s unconventional marriage. The crippled President Franklin Delano Roosevelt (FDR) cheated on Eleanor after she’d borne him five children, and they never shared a bedroom again. What followed were discreet relationships with both partners favouring other women. Through it all they remained devoted to each other like the couple in Terence Rattigan’s Flare Path, from which Eleanor recreates the turning point: being married, and knowing the other person is there no matter what’s happening on the periphery, is what drives their visions and keeps them strong.

I retained what I knew about Eleanor Roosevelt long enough to get my Modern History GCSE. A fragment remains: active in her own right long after FDR’s death, she brokered and delivered the Unilateral Declaration of Human Rights. You don’t need to know this, however, to enjoy Mrs Roosevelt Flies to London. Skilbeck’s elegant knitting together of people and places and facts, with some material taken directly from Eleanor’s letters, puts all the pieces in place.

In conclusion: Directed by Lucy Skilbeck (no relation), the tiniest actions in this 75 minute play are instructive and the understated, prosaic, and humorous delivery is a delight. Having entered the King’s Head with interest but no great expectation, I left teary-eyed. And it wasn’t because the theatre is so small and short of funds they were doing a bucket collection on the way out…

Reviewed by Shyama Perera

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Interview with Alison Skilbeck in This Week London

Alison Skilbeck: Mrs Roosevelt Flies To London

CARO MEETS THEATRE INTERVIEW

It’s an established fact that Eleanor Roosevelt was a strong character, so it’s no wonder actress and writer Alison Skilbeck was attracted to the idea of penning a one woman show about her; and as well as playing the late First Lady herself, she also gets to bring life to a host of other interesting historical figures.

mrsroosevelt

When I heard that ‘Mrs Roosevelt Flies To London’ was making its way to the King’s Head Theatre this month, I hastened some questions over to Alison, to find out more about the play, and the work that’s gone into it.

CM: What made you want to write a play about Eleanor Roosevelt?
AS: I’d already written a one-person show that was total fiction, and I wanted to write about someone famous, but someone with whom I could identify, for her stance, ideas, struggle – you name it. And the more I read about Eleanor Roosevelt, the more I fell in love. And the more I feel we could do with her now.

CM: When you were writing it, did you always intend to perform it yourself?
AS: Oh yes. I had to identify with her. I love the challenge of getting under the skin of a part, and embodying many different people on stage, turning on a sixpence to switch; in the play I play all the other roles as well – Mrs and Mrs Churchill, the King and Queen, FDR, many wartime Brits – about 27 in all. I love too the feeling of being the story-teller.

CM: Can you tell us what happens in the show? Does it have a linear narrative or is it more of a portrait?
AS: It’s both, in a way. It is book-ended by Old Eleanor, dying in ‘62 at the time of the Cuban Missile crisis, which she did. The ‘spine’ of the show is her diary of the ’42 trip, and I use moments in that journey to trigger flashbacks to important events and people in her life: childhood, school, betrayal in her marriage, the New Deal etc… the 1962 device enables me to cover FDR’s death in ’45, and her work after the war at the UN – crucially as chair of the commission that drew up the Universal Declaration of Human Rights.

CM: How did you research the piece? Is everything in it based on fact?
AS: Yes, it’s all based on fact. I practically lived in the British Library, reading biographies and autobiographies. Then, finding that she’d made a trip to wartime London, and that there was a diary, I made the trip to the FDR Library, in Hyde Park, New York. I got a copy of the diary, and then, after I sent a draft script to her, permission to use ER’s writings from her grand-daughter, the literary executor.

CM: Have you tried to resemble Eleanor herself in the play, to imitate her, or just give a sense of her?
AS: Great question. Both, in so far as I can. I’m tall ( 5’8’’) but she was taller (5’ 11”)… but alone on the stage you can be any height by where you ‘place’ other people. In ’42 she was 58 and quite bulky up top, so I do have some padding. I do the hair, and wear the much-reported hat with feathers. But I do not do the big teeth, or the chinlessness! To those that loved her, she had an amazing smile, and such focus and attention to all, so I try to give a sense of her enthusiasm, her passion, her amazing energy, through her body language, and of course, voice. People said she sounded almost totally English, but I give her a period posh American ‘edge’, and heighten that in her microphone speeches.

CM: How is it being directed in a piece which you yourself have written? Does it make the relationship different from if you were acting in something written by someone else?
AS: The director, Lucy Skilbeck ( no relation!) was on board from the start, even before I wrote it. I’d admired her work, and knew I could trust her when she said, as she did, ‘I don’t think we need this’ or ‘I think we can change this narrative to dialogue’. I was able to treat the script in a more objective way, take it on the chin, and have a good laugh when she said – so I knew what was coming – “You’re going to hate me…”

CM: This isn’t the first solo show you’ve created is it? Do you enjoy, or even prefer, being on stage alone?
AS: My first, ‘Are There More Of you?’ is a sort of linked ‘Talking Heads’: four women, wildly different, linked only by a postcode. It gave me a chance to play roles I’d never normally be cast in. It is lonely, but as soon as you have that direct rapport with the audience, it’s a wonderful challenge and a great feeling. But I love working with other actors, and look forward to it, soon again I hope!

CM: Where will the show go from here? Are there further plans to tour it?
AS: I am hoping it might get to the US. Quite a few Americans have seen it, particularly when I toured Ireland last May, and have been very enthusiastic. We’re also hoping for a UK tour. Fingers crossed.

CM: What’s next for you? Any other projects in the pipeline?
I’m superstitious about saying before things really happen, but I have a great agent, and there are things on the horizon.

I have other writing ideas mulling away there too, and I also love my freelance work at RADA, where I teach and direct young actors, and also train non-actors in communication skills for RADA in Business. Keeps me out of trouble!

Mrs Roosevelt Flies to London is on at King’s Head Theatre until 9 May. See this page here for more info and tickets.

LINKS: www.kingsheadtheatre.com | www.hint-of-lime.com

Posted: Friday April 10 2015

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