{"id":38400,"date":"2021-10-21T16:18:22","date_gmt":"2021-10-21T16:18:22","guid":{"rendered":"https:\/\/graziamagazine.com\/us\/?post_type=articles&p=38400"},"modified":"2021-10-25T17:18:49","modified_gmt":"2021-10-25T17:18:49","slug":"five-questions-patsy-ferran","status":"publish","type":"articles","link":"https:\/\/graziamagazine.com\/us\/articles\/five-questions-patsy-ferran\/","title":{"rendered":"Five Questions for Patsy Ferran"},"content":{"rendered":"
\"\"
Patsy Ferran seen on the red carpet during the Olivier awards at the Albert Hall in London. (Photo by Terry Scott\/SOPA Images\/LightRocket via Getty Images)<\/figcaption><\/figure>\n

Patsy Ferran, a British actress of Spanish descent, is a singular talent. Even her beauty is a one-off, as they say over here in London where I am right now seeing lots of theatre, which has included her brilliant performance as the needy German American 1930s teenager fumbling about at a summer camp where she and others longing for any form of seduction find their inchoate longing curdled into indoctrination in Bess Wohl\u2019s two-hander Camp Siegfried<\/em> at the Old Vic.\u00a0 It is based on a very real camp on Long Island where German American families sent their children to learn all about Nazism. Wohl and Ferran and her co-star Luke Thallon try to comprehend such a place and its results and ask the question: Can fascism be hormonal?\u00a0 It speaks to their distinctive talents and how they have been meshed by director Katy Rudd with her own that they make us believe that indoctrination into such an evil possibly might be as it springs from misplaced longing right before our eyes.\u00a0 It is unsettling and disquieting as we are confronted with the neediness of very young, very American Nazis.<\/p>\n

Ferran won an Olivier Award in 2019 for her portrayal of Alma in Tennessee William\u2019s Summer and Smoke<\/em> on the West End in a production that originated at the Almeida.\u00a0 It was directed by Rebecca Frecknall who is now directing the production of Cabaret<\/em> about to open on the West End with Jessie Buckley as Sally Bowles and Eddie Redmayne as the Emcee.\u00a0 Ferran is also in the current film Mothering Sunday<\/em> directed by Eva Husson as the fellow-maid of the lead character played by Odessa Young, and she steals all their scenes.<\/p>\n

Here is The Guardian<\/em>\u2019s critic Susannah Clapp writing about Ferran back in 2014 when the young actress was starring in the National Theatre\u2019s production of Treasure Island<\/em> in which the character of Jim had been transposed by the adapter of Robert Louis Stevenson\u2019s classic, Bryony Lavery, into Jemima. \u201cThe absolute marvel is Patsy Ferran. I\u2019m not surprised she is proving herself mighty; I am only pleased she has managed it so quickly,\u201d wrote Clapp.\u00a0 \u201cFerran made her stage debut as a scene-stealing comic maid in\u00a0Blithe Spirit<\/em>\u00a0only in the spring. This autumn she was extraordinarily subtle \u2013 melancholy and obsessive \u2013 in James Graham\u2019s\u00a0The Angry Brigade<\/em>\u00a0at Plymouth. She brings these qualities to\u00a0Treasure Island<\/em>, where her mixture of wistfulness and sprightliness and her light-as-a-feather movement makes her sometimes look like a tiny Charlie Chaplin. Wit comes not only out of her mouth but of her elbow. She is one of the best young actors I have seen in the past decade.\u201d<\/p>\n

\"Patsy
Luke Thallon and Patsy Ferran in Camp Siegfried at The Old Vic. Photos by Manuel Harlan.<\/figcaption><\/figure>\n

Before the pandemic shutdown, Patsy, you were about to open in <\/em>Who\u2019s Afraid of Virginia Woolf? on Broadway<\/em>. You were playing Honey in a cast that included Laurie Metcalf as Martha and Rupert Everett as George and Russell Tovey as your husband Nick. Then you were shut down here in London because of the pandemic when you were doing a production of <\/em>A Christmas Carol at The Bridge Theatre. That must have been so frustrating.\u00a0 I\u2019m glad you are finally back on a stage. You are remarkable in <\/em>Camp Siegfried at the Old Vic. It teeters on being a romcom about fascism but keeps its precarious, frightening balance as do you and Luke in the play thanks to Katy\u2019s direction and Bess\u2019s brilliance as a writer. You even have a Hitler-like speech in the middle of the play that is both harrowing and heartbreaking even though you are rather Hitlerian in your affect.\u00a0 What drew you to such a play? <\/em><\/p>\n

I was unfamiliar with Bess\u2019s work. What happened was I was in the middle of the second or third lockdown. I can\u2019t even remember now. Time has become sort of this wishy-washy thing. The play was sent to me by Katy and at that time I had made this quiet decision in my head that I was going to leave theatre for a bit because of those experiences you mentioned. I just thought maybe I should leave it alone and at the time filming was booming here in London. So my agent was thrilled.<\/p>\n

I remember thinking I\u2019d read Camp Siegfried<\/em> for courtesy\u2019s sake but I just assumed I was going to pass.\u00a0 But then I read it and it was one of the best things I\u2019d read in years. Bess has this amazing ability of dealing with hard-hitting global issues in the prism of the personal space – which is my favorite type of theatre so you never quite experience the message of the play as being hit over the head with it.\u00a0 It\u2019s character-led which is the best type of theatre. For actors, it\u2019s catnip.\u00a0 I had a meeting with Katy right away on Zoom and told her that I had a plan not to do any theatre for a bit.\u00a0 And I\u2019m a planner, by the way.\u00a0 I don\u2019t like change of plans initially.\u00a0 But it has been one of my favorite theatre experiences I\u2019ve ever had.\u00a0 Thanks to Bess.\u00a0 She is sort of borderline genius.\u00a0 I know that is a strong thing to say.\u00a0\u00a0 But her changes during rehearsal and her thought process have such a lightness of touch.\u00a0 You never feel like it\u2019s hard work.<\/p>\n

When I was working on that speech you mentioned, I focused more on Charlie Chaplin\u2019s The Great Dictator<\/em> and his interpretation of Hitler. I really respond to physical comedy and maybe I\u2019ve absorbed that a little bit and unconsciously used that in my own work. I don\u2019t think of myself as articulate or 100% safe with the words I use.\u00a0 Because when I say what I\u2019m about to say, I then question if I really even believe it.\u00a0 But with my body, I have more confidence.\u00a0 But that\u2019s all just an aside.<\/p>\n

\"Patsy
Luke Thallon and Patsy Ferran in Camp Siegfried at The Old Vic. Photos by Manuel Harlan.<\/figcaption><\/figure>\n

By having watched The Great Dictator, <\/em>I sort of knew the parody version of it.\u00a0 Then I did watch this one clip of Hitler on YouTube right before we were about to rehearse the speech.\u00a0 And then we watched some of the climate activist Greta Thunberg – actually more than once.\u00a0\u00a0 She has that how-dare-you speech.\u00a0 Those two people obviously have two very different ideologies but when they preach their ideologies and what they believe in, it comes from a very personal place.\u00a0 It doesn\u2019t sound like political rhetoric – even with Hitler that one time I watched him.\u00a0 He says things like, \u201cI have sacrificed so much of myself for you.\u201d\u00a0 Everything\u00a0 felt personal and I think that was why he was so effective.\u00a0 A lot of the politicians I listen to – especially in this country – feel a bit detached from reality.\u00a0 So when they claim certain things there is a kind of disconnect with their own personal emotions when they speak so I don\u2019t believe them.\u00a0 But whereas with him and with her, they just unlocked something for me.<\/p>\n

I didn\u2019t practice movements or anything.\u00a0 I just try to make everything I say in that speech personal.\u00a0 Greta believes <\/em>everything she says.\u00a0 So I have to force my brain to believe that what I am\u00a0 saying in that speech in that moment is 100% true.\u00a0\u00a0 It is both scary and exciting for the character.\u00a0 In life I am quite timid and similar in that way to this character in the play.\u00a0 I\u2019m scared of everything.\u00a0 I\u2019m quite timid.\u00a0 But to be given the opportunity that is 360 degrees different than my own personality and just to let rip feels in that moment quite good.<\/p>\n

You went to Mississippi to research your role as Alma in <\/em>Summer and Smoke. I\u2019m from Mississippi. Let\u2019s bond a bit. What was your experience there?<\/em><\/p>\n

Okay. So I\u2019m in love with America. There is just something about the country.\u00a0 When I got cast to do that Tennessee Williams play I had a couple of months off before I started rehearsals.\u00a0\u00a0 And I used that as an excuse to go on holiday with my dad and do a Tennessee Williams pilgrimage. We started in Columbus, Mississippi, where he was born.\u00a0 Then we went to Clarksdale where there is a Tennessee Williams Park.\u00a0 It was all amazing.<\/p>\n

I used it initially as an excuse to go on holiday but, in fact, it unlocked so much for me about that play.\u00a0 I am sort of in love with the people of Mississippi.\u00a0 There is something about their graciousness and \u201cthe taking of a room.\u201d\u00a0 That\u2019s what really helped – especially when you\u2019re doing American plays – there\u2019s no second guessing when you start to speak.\u00a0 You just start to speak and you take up room. And you understand why, especially in Tennessee Williams, that people speak for so long.<\/p>\n

I\u2019m in love with that part of the world.\u00a0 My dad and I went into a coffee shop in Clarksdale, Mississippi, along the High Street.\u00a0 They had an old cinema from the 1950s or 1960s that was boarded up. However there was this one coffee shop which felt like the hub of the place.\u00a0 We ended up going there for breakfast. It\u2019s a tiny town.\u00a0 So when we turned up people were like who-are-these-people.\u00a0 During breakfast I caught eyes with a group of older men who obviously have a daily get-together there in the coffee shop.\u00a0 This one man caught my eye and he just started speaking to me.\u00a0 He asked where we were from and we told him we were from London.\u00a0 And he said, \u201cWai-uhl, wailcum to Clarksdai-uhl\u201d and gave us the big neighborhood welcome sort of thing. At one point the man pointed over at his friend and said, \u201cThis heuh, is the District Conmmisionah. If you want anythin\u2019 a\u2019tall, you just let us know.\u201d I said, \u201cThanks very much, sir.\u201d That would just never happen here in London.\u00a0 There was just this sort of ease and confidence and charm.\u00a0 I\u2019m sure it was a bit performative\u00a0 But it was amazing.\u00a0 An amazing trip. We ended up in New Orleans.<\/p>\n

\"Patsy
Luke Thallon and Patsy Ferran in Camp Siegfried at The Old Vic. Photos by Manuel Harlan.<\/figcaption><\/figure>\n

Everybody does at some point.\u00a0 As for Tennessee being from Mississippi, I always say we might not can read in Mississippi but we sure as hell can write. During the lockdown you read the novel <\/em>Weather by Jenny Offill. In it she writes: \u201cWhen electricity was first introduced to homes, there were letters to the newspapers about how it would undermine family togetherness. Now there would be no need to gather around a shared hearth, people fretted. In 1903, a famous psychologist worried that young people would lose their connection to dusk and its contemplative moments.\u201d\u00a0 How do you settle in to your own contemplative moments? <\/em><\/p>\n

For me my meditative or contemplative state comes though reading.\u00a0\u00a0 Because to me screens are problematic.\u00a0 For me, my phone robs me of any form of contemplation.\u00a0 Screens shut down my brain.\u00a0 I almost become a zombie in front of any screen. I am jealous of people who can watch things on television and be active. I become passive and not in a good way. So for me, I spend an hour every morning with my coffee reading.\u00a0 And if I have the day off, I carve out the time to read.\u00a0 It makes my brain active and feels personal to me and I make notes.\u00a0 I don\u2019t keep a journal but I\u2019ve turned to books since I was twelve.<\/p>\n

And then on the other side to unwind sometimes – I am constantly and pragmatically thinking of what I need to do next – I need something to help me shut off.\u00a0 So a show like Selling Sunset<\/em> – one of my favorites – did that for me when I found it.<\/p>\n

Oh,\u00a0 I want to put this out in the universe while we\u2019re at it.\u00a0 I love the writer Stephen Adly Guirgis.\u00a0 I hoping my Spanish roots can help me one day find myself in his world.\u00a0 I am also one not to ask for too much.\u00a0 So I am prepared for him to go, \u201cNo, no no \u2026\u201d\u00a0\u00a0 But look at what I\u2019m reading right now.\u00a0 [She reaches up to a book shelf to retrieve copies of his plays Our Lady of 125th Street<\/em> and Den of Thieves<\/em>.]\u00a0 I\u2019d love just to chat with him.<\/p>\n

I<\/em>n <\/em>Treasure Island there is a beautiful moment when Long John Silver is showing your character Jim – well, Jem, I guess – the stars in the sky and points to Polaris, the North Star, and says it is the \u201cone constant immovable star.\u201d\u00a0 Jem then quietly says, \u201cLike my Grandma.\u201d\u00a0 What was your grandma like? <\/em><\/p>\n

My mum\u2019s mom – we called her Yaya – was small, delicate.\u00a0 I have her hands.\u00a0 She was immaculate always.\u00a0 She had seven children.\u00a0 But there was a formidableness to her.\u00a0 She was tough.\u00a0 We adored her.\u00a0 We didn\u2019t live in Spain so we only got to see her twice a year. She was the tough grandma.\u00a0 Then my dad\u2019s mom – Amatxi, which is the Basque word for grandma – she was interestingly quite a formidable mother but when it came to being a grandmother she was the most loving and caring and became as soft as butter. We couldn\u2019t do any wrong.\u00a0 So a lot of love there.<\/p>\n

They both passed away.\u00a0 They did see me in school plays.\u00a0 I went to an all-girls schools and they saw me play Lt. Brannigan in the musical Guys and Dolls<\/em>.\u00a0 I was 16.\u00a0 They didn\u2019t speak a word of English so they didn\u2019t know what was happening.\u00a0 But I remember seeing my granddad\u2019s face afterward and he had watery eyes.\u00a0 I was shocked by that because he was very serious – a doctor.<\/p>\n

Every now and then I bring them onstage with me. That\u2019s no lie. I have moments when I feel my grandparents energy just behind me. It\u2019s very emotional.<\/p>\n

To get back to Alma in <\/em>Summer and Smoke, she says at one point in the play,\u00a0 \u201cOh, I suppose I am sick, one of those weak and divided people who slip like shadows among you solid strong ones. But sometimes, out of necessity, we shadowy people take on a strength of our own.\u201d\u00a0 You have also played Portia in <\/em>The Merchant of Venice with the Royal Shakespeare Company.\u00a0 Portia in Act One, Scene 2, says, \u201cHe will fence with his own shadow.\u201d\u00a0\u00a0 Is acting a shadowy art as you fence with your shadow self? <\/em><\/p>\n

\u00a0<\/em>I\u2019ve never thought of it that way.\u00a0 But those lines have always resonated with me as someone who always takes the backseat and someone who doesn\u2019t always feel the need to exert my existence in a room – which does mean that sometimes people can take advantage.\u00a0 Or people can forget you\u2019re even there as they just assume you\u2019re going to go along with whatever rules have been decided on within that space.<\/p>\n

But for me it also means don\u2019t underestimate the quiet ones, the ones who sort of seem to slip in and out of the space.\u00a0 Because, in fact, we\u2019re always observing.\u00a0 We\u2019re always watching and learning. Those are the people who pick their moments.\u00a0 So with Alma she picks her moment to find that inner strength and go, \u201cI exist.\u00a0 I\u2019m here.\u00a0 And I\u2019m worthy.\u201d<\/p>\n

Alma is very similar to my character in Camp Siegfried<\/em> in that way – the divided person who doesn\u2019t quite know who she\u2019s supposed to be in this world. And yet the person she feels she is, the society into which she is born doesn\u2019t accept it.\u00a0 She is constantly trying to shift and change in order to fit in when, in fact, she has this dark edge and this power and passion that this particular summer camp allows her to exercise.<\/p>\n

But in terms of acting, yes.\u00a0 You are constantly shape-shifting. I do think however the more I do this job, you do shape-shift but it\u2019s always rooted in you and your core.\u00a0 So whoever you are, you have so many versions and faces and shapes in your soul and in your being – and you just have to access that part of yourself in order to do a certain job as an actor. It was tricky this time in this job in Camp Siegfried<\/em> because I learned that Americans think differently than British people.\u00a0 In terms of speed of thinking, Americans can just start speaking without really knowing what they are about to say. There is just this front-footedness.\u00a0 This is a huge generalization.\u00a0 I realize that.\u00a0 But it was explained to me this way for me to unlock the character in Camp Siegfried<\/em> in particular. British people think \u2026\u00a0 and then talk.<\/p>\n","protected":false},"author":29575,"featured_media":38546,"template":"","format":"standard","categories":[38,16],"yoast_head":"\nFive Questions for Patsy Ferran - Grazia USA<\/title>\n<meta name=\"description\" content=\"Grazia sat down with Patsy Ferran, Olivier Award winning British actress, to chat all things theatre pre and post pandemic\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/graziamagazine.com\/us\/articles\/five-questions-patsy-ferran\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Five Questions for Patsy Ferran\" \/>\n<meta property=\"og:description\" content=\"Grazia sat down with Patsy Ferran, Olivier Award winning British actress, to chat all things theatre pre and post pandemic\" \/>\n<meta property=\"og:url\" content=\"https:\/\/graziamagazine.com\/us\/articles\/five-questions-patsy-ferran\/\" \/>\n<meta property=\"og:site_name\" content=\"Grazia USA\" \/>\n<meta property=\"article:modified_time\" content=\"2021-10-25T17:18:49+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/graziamagazine.com\/us\/wp-content\/uploads\/sites\/15\/2021\/10\/PatsyFerran-featured.png?fit=1280%2C720\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"720\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"15 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/graziamagazine.com\/us\/articles\/five-questions-patsy-ferran\/\",\"url\":\"https:\/\/graziamagazine.com\/us\/articles\/five-questions-patsy-ferran\/\",\"name\":\"Five Questions for Patsy Ferran - 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