Vanessa Austin Locke: Look after your lines
My dad’s just been cast in a major, all-star feature film: the Wachowski’s Jupiter Rising. It’s a small character part, but I’m especially delighted because I’m part of the reason he stopped treading the boards and got a ‘proper job’ that provided stability, ballet lessons and private schools for little girls.
“The young casting directors, agents and writers are hungry for his skills”
It seems his return to theatre after such an absence has worked wonders and not just because of the facial ‘character’ that time and trial carve, but because classic professionalism and the skills of speech and drama, coupled with experience, are in short supply. The fresh-faced boy-next-door that his agent pedaled 30 years ago were (and still are) two-a-penny. Not so the wisdom, strength and poignantly intrinsic fatigue that time brings. The young casting directors, agents and writers are hungry for his skills now and the combination of their youthful enthusiasm mixed with a very fine vintage of experience seems to be a hit.
One such collaborator is Natalie Audley, who asked him to direct two plays she’s written for the Brighton Fringe Festival. She’s the kind of bright young thing that I imagine we’ll be hearing more from. But I wanted to know why she’d picked my dad to work with.
Imagine Jo March living in Brighton and you’ve got a decent picture of Audley, whose fierce intellect, strong opinions and good looks cut an intimidating presence. Now punctuate that with a sparse yet acute wit and you have the makings of a decent writer. She’s chosen huge subjects, namely The Russian Revolution for In The Trenches, (which features three contrasting characters attempting to fight their way through the revolution) and God for Paradise (which sees God and the Devil surveying the damage they’ve done at the end of the world, and the one remaining mortal who they attempt to claim. These are themes I’ve got time for.
Audley will also be staring in In The Trenches and I was surprised that such a multi-faceted creator wasn’t tempted to direct too. But these themes are large, and Audley recognises that she’s got some lessons to learn. “I thought I’d leave it to more experienced hands. I would someday very much like to direct… but to do this I know I must learn from the best, and with our excellent director John Locke who has been so supportive and who brings with him such considerable talent, I know the artistic side of the production is in good hands. I feel very lucky to have him involved.”
In a youth-obsessed world full of botox it’s nice to see a man’s hard-earned lines being utilised. I see my childhood etched across my dad’s face. It’s a map of our joys and sorrows. It’s great to know that casting directors, and young writers see that too. I suppose I’m saying if you don’t make it at 22 relax. Success traditionally comes at middle age and beyond, after you’ve put in the hard graft. And most importantly, take care of your wrinkles… you might need them one day.
I’ll report more once I’ve been to the press preview (if it’s any good).
Performing at The Dukebox Theatre, 3 Waterloo Street, Hove
Sunday 5–Wednesday 29 May.
www.audleyandco.simplesite.com
