With award-winning comedian Seann Walsh, Chris Harper (Call the Midwife, Coronation Street) and Aden Gillett (The Crown, The House of Elliot), Iqbal Khan (East is East, National Theatre and Othello, RSC) directs a brand-new production of Yasmina Reza's fiendishly clever and hilariously funny play ART that opens a UK tour with a three-night run at Lighthouse from Thursday 29 August.
This multi-award winning play (winner of Best Comedy at the Olivier Awards, Tony Awards and Moliere Awards), presented by Joshua Beaumont and Original Theatre, is a razor sharp exploration of art, love and friendship that will stay with you long after the curtain falls.
A seemingly simple purchase of contemporary art - an all-white painting – ignites a hilarious debate amongst three close friends. What begins as a light-hearted discussion about art quickly descends into a riotous exploration of the blurred lines between art and reality.
Here, Aden Gillett talks about his role and why aspiring actors should never seek his advice...
How would you describe ART, for the uninitiated?
It’s a short, sharp shock! No great play should be too easily definable, but it’s essentially about three men who have been friends for a long time. The fault lines in their relationships are exposed by an all-white work of art that one of them has bought for a vast amount of money. My character thinks, to use his own word, that it’s sh*t.
Do you have some sympathy for his argument?
I actually quite like modern art. My daughter is an artist and I’m fascinated by it. However, I recently saw a sculptor who was selling a work that was a square of empty space. He said it was an installation and it was up to you to imagine what the artist was intending, and I think that’s on a par with the piece of art in the play. I found it puzzling, it’s fair to say.
Do you think your character, Marc, is more upset with the fact his friend Serge likes the work, rather than the work itself?
Yes, and that’s the catalyst for their argument. Marc says at one point he’s appalled that Serge could go ahead and buy the painting without asking him first. It suggests a power dynamic in which the pupil has dared to supplant the teacher. It’s really interesting.
What do you think makes the play so effective?
I think Yasmina Reza writes power dynamics very well. There’s something very Pinteresque about it. And Christopher Hampton has done a fantastic translation, which really emphasises the British humour and class aspects of the play.
ART is presented by Joshua Beaumont with Original Theatre. You’ve worked with Original Theatre often before?
I’m very fond of Original. I go a long way back with them, and I really admire their enthusiasm for theatre. They manage to revivify the flagging, cynical part of me, which it’s easy to have after a long time in the business! They’re celebrating their 20th anniversary this year, and it’s an incredible achievement to have got this far, without any Arts Council funding. I applaud them from the rafters.
Are you excited to be working with director Iqbal Khan?
Absolutely. I was playing Scrooge in A Christmas Carol at the RSC a few years ago, and Iqbal’s production of Tartuffe was running in the Swan Theatre at the same time. So, I went to watch it, and thought it was flipping brilliant. It’s not an easy play to get right, and I’m hard to please, so anyone who can come up with a production as good as that is clearly hugely talented.
How did you get into acting initially?
I studied English at University and was working in a bar afterwards, not really doing much, and a girlfriend sent off a drama school application for me. That’s how negligible my desire to be an actor was. And after having an audition, miraculously, I got in. So, I thought: ‘Well I’d better try and take this seriously’. But I can’t honestly say it came from a huge desire to do it. My father was a judge and hoped I’d become a lawyer.
Well full credit to your girlfriend, as it clearly worked out
Absolutely. God bless you Alison, wherever you may be!
You’ve done a lot of stage work over the years. Would you describe theatre as your first love?
My first professional job was in theatre, at the Royal Exchange, and I’ve worked pretty consistently on stage ever since, with the odd break for filming. I wouldn’t say I particularly love it, it’s just what I’ve done. But having said that I’d much rather watch a play than a film. When theatre’s good, there’s nothing quite like it.
What are the roles you look back on most fondly?
I’m very proud of Noises Off at the National Theatre. Physically it was really tough – I remember dripping with sweat and feeling sick after every show. But those first few performances at the National were just magnificent. I wish I could have watched them myself! I also have very fond memories of doing Betrayal in Peter Hall’s first season at Bath. Harold Pinter wasn’t incandescent about it, so it must have been an absolute triumph.
Do you often get recognised?
People often mention The House of Elliot to me. But it was so long ago I’m not sure many people still recognise me! I also did a stint on Holby City about ten years ago. But I haven’t really done that much television or film – I think theatregoers often know me better for my stage work.
What advice would you give to aspiring actors?
I wouldn’t dream of giving anyone advice, but if they insisted I would wish them a huge amount of luck. It’s much harder now than when I was starting out, I think. It’s a really tough environment for young actors. My advice would be to start doing Marvel films, quick. And don’t come to me for advice!