EDINBURGH FRINGE 2024
Interview
TIM
LARKFIELD
THE SIGNALMAN &
JAMES WHALE: BEYOND FRANKENSTEIN
ZOO Southside - Studio
THEATRE / SOLO / DRAMA / ADAPTATION
THE SIGNALMAN: Aug 9-11, 13-18, 20-25: TICKETS
JAMES WHALE: Aug 9-11, 13-18, 20-25: TICKETS
AUG 10, 2024
THE SIGNALMAN: Witness to a horrifying tragedy, a signalman is haunted by a mysterious figure standing by a railway tunnel. He’s sure it's a warning – but what is it warning against? Paragon Theatre Collective (Fake News, 2019 sell-out show) returns with this fresh and thrilling adaptation of the famous Charles Dickens ghost story. Written after Dickens himself survived a train crash, this version places the signalman at the heart of the story in a compelling solo show.
JAMES WHALE: BEYOND FRANKENSTEIN: From Frankenstein to The Invisible Man, James Whale directed some of the greatest movies of all time. How did a working-class boy from Dudley end up in Hollywood? An expressionist and out gay man working in the studio system at the peak of Hollywood's golden age, his moment in the movie-land spotlight lasted little more than 10 years. Just who was James Whale? This one-person show shines a light on his life and work, examining a sense of otherness and the outsider, and how his films still resonate, 90 years on.
Hi Tim, thank you for taking the time to talk with The New Current during your Fringe run, but before we start TWO FULL SHOWS at the fringe!? Are you mad?
Quite possibly! It seemed a good idea at the time… No, I’m loving it, it’s my first time at The Edinburgh Fringe and for all I know it might be the only time I get to come, so I thought I might as well make the most of it!
It’s been a few days now, how has the festival been going?
I’m getting into the swing of things now. It’s good to have a bit of a routine. My two shows are mid-afternoon and early evening, so I have a three-hour gap in between. There have been some challenges, but it’s going well, and audiences seem to be enjoying the shows.
Have your shows been getting the type of reaction you were expecting?
It’s different every time. Both of my shows are solo performances, so I get to speak directly to the audience, and their reactions play a part in shaping how the shows go. Don’t worry, there’s no audience interaction as such!
How do you prepare for performing two very different shows daily?
I use the time before each show to get into the right headspace for each. The shows are quite different, so funnily enough I don’t have any problem separating them out. But I do have to look after myself, and especially my voice, because it’s a lot.
What does Edinburgh Fringe mean to you?
I have been as a punter a few times in the past, but this is my first time performing here. I love Edinburgh in general, but the vibe during Fringe is very special and completely unique. It’s like a colourful alternative universe shoved into this historic place for a month and turning it upside-down.
Can you tell me a little bit about how The Signalman came about, what inspired you to bring this classic ghost story by Dickens to the festival?
Back in 2019, I read a scene from the play and asked the writer, Martin Malcolm, if I could put it on. I’d also seen the TV adaptation that was one of the BBC’s Ghost Stories For Christmas in the 1970s, which I love. We did a run in December 2019 at the Old Red Lion Theatre in London and had planned to do a tour and come to Edinburgh in 2020, but then Covid happened. It’s taken until now to get it back up and running. I feel like Edinburgh is a great fit for the show, because the city is so atmospheric – its ghost tours are world famous!
How much has the Signalman changed much since your Old Red Lion Theatre run in 2019?
In the original version of the play, there was a second (silent) character, a crossing-sweeper who listens as the signalman’s tale unfolds. But we’ve changed it now so that the signalman addresses the audience directly instead. I think it makes the experience more immediate and intimate.
You’re also bringing a brand-new show James Whale: Beyond Frankenstein, to the fringe, how did this show come about?
I wanted to make my own work to challenge myself and get back on stage, and this is actually the first play that I’ve written. I was thinking about what formats could work for a solo show – and I liked the idea of a biographical piece, about one of my favourite film directors.
What was it about James Whale’s life and story that interested you so much?
I just love his films – the classic horror movies like Frankenstein, The Bride of Frankenstein and The Invisible Man. He made lots of other films as well, across many different genres. But I feel like not many people know much about him as a person. He grew up in a working-class family in Dudley in the Black Country, and it was intriguing to me how someone from that background could make it over to Hollywood.
During the research for Beyond Frankenstein did you discover anything about James Whale that really surprised you?
There’s no video or audio of James Whale that exists, so we only have other people’s descriptions of what he was like. It’s been really fascinating to build up a picture of how he might have been. One of the most surprising things to me was that he spent over a year in a German Prisoner of War camp in the First World War, and that’s actually where his love of theatre really came through, putting on shows for people there.
How much do you think James’s sexuality hindered his creative development even if it didn’t impact his longstanding influence?
He lived as an out gay man in Hollywood in the 1930s, in a time and place where this was illegal. But I haven’t found much evidence that it actively hindered his career. I think when the Laemmle family lost control of Universal Studios towards the end of the 30s, he lost one of his biggest champions. It may be that the new owners took a dim view of his sexuality, particularly in the light of the Hays Code, which set out guidelines for “moral standards” in the movie industry.
With two shows running are you able to allow yourself some flexibility with the material or do you prefer to stick to what you’ve planned?
I tend to stick to the script or things could go a bit off the rails – with a solo show, there’s no-one to help you if you get off track! But that said, both shows are different every night because the audience are such a big part of any performance, and the audience is always different.
What have been the most interesting lessons you’ve taken from these shows?
I’m always learning new things from every performance, and you have to be on your toes and stay focused, because anything could happen (and it usually does).
"I’ve always loved acting, but I didn’t actually go to drama school until my mid-30s. It’s never too late!"
Do you have some routines or superstitious before you head out on stage?
I do vocal warm-ups, and I try to breathe and feel as relaxed as possible before I go on. But we only have a 15-minute turnaround between shows at ZOO Southside, so there’s a lot of running around getting all the props and set in place.
Where did your passion for theatre come from?
My Dad always did amateur dramatics so we’d go and watch him as kids. And we had a video camera growing up, so he used to film me and my sister putting on plays! I’ve always loved acting, but I didn’t actually go to drama school until my mid-30s. It’s never too late!
How much has your approach to your shows changed since your debut production?
My attitude to the Fringe as a whole is that the main thing is that I enjoy the experience. I don’t have control over the other things. So that kind of stoic attitude means I feel pretty chilled most of the time, I try not to worry too much.
Is there any particular genre of theatre that you’re keen to explore in the future?
I love physical theatre and clowning, but it’s not something I’ve had much experience of. Also, I’d like to do more improv! All of these things are a bit terrifying to me, which is why I’d like to try them.
Any tips, pointers, or advice you would offer someone wanting to get into theatre?
Just do it. Find a local amateur theatre group, see if there are acting workshops near where you live. Make time for things you enjoy, it’s worth it.
And finally, what message would you like your audiences to leave with them after your shows?
I hope that they will enjoy the shows and maybe leave with a feeling that they got more than they perhaps expected from them. And that they tell their friends to buy tickets and come along too!