When Acting Is Ageless

Jillian Murray talks about acting, youth and recognition as she performs another encore season of Marguerite Duras’ L’Amante Anglaise, this time at fortyfivedownstairs.

It’s very rare for any show to have not one, but two encore seasons, but the psychological thriller L’amante Anglaise (based on a true story and with two successful seasons at La Mama under its belt) is drawing audiences of those who were mesmerised at first viewing, and younger people who have heard of this third  production through word of mouth.

My colleague Michael Brindley described it as “Pure theatre – and acting of the highest order” at last year’s return season, and that was the consensus of critics who saw the outstanding performances of Jillian Murray as Claire and Rob Meldrum as Pierre. Murray went on to win the Green Room Award for best performance by an actress, thoroughly deserved recognition.

“It is easily the most difficult thing I have ever done,” she tells me. “There are no definitive answers to anything and I had to be careful not to form any judgements or draw conclusions. And even though Claire confesses to the murder but can’t explain why, I still find myself asking did she actually do it? On top of that, it’s a monstrous amount to learn, since there are only two of us. Pages and pages of dialogue, without respite. But it has to be learned. That’s our homework. It’s what we do.”

The fascinating story of a middle class French woman who apparently murders her deaf and dumb cousin, dismembers her and then scatters the body parts on the train tracks to be run over, is made even more horrific by the fact that the head was never recovered.

“It is very French,” Jillian explains, “in that it is more concerned with what lies behind the facts – the reasons why people act in the way that they do. I’m not sure that English, or people of English stock, tend to delve that deeply. We have a tendency to accept what happens without exploring too deeply.”

Jillian’s career has spanned just about every television drama made in the last thirty years or so, but theatre has always been her first love.

“It’s the spontaneity, the marvellous sensation of knowing that there are living breathing people responding to your words, your emotions, not just a camera and a call from a disembodied voice calling for another take,” she says. “I was heavily involved with the Playbox Theatre (now the Malthouse) for many years and it was always a labour of love. The whole idea of pushing boundaries, of exploring both our inner and outer selves, and inviting the audience to share that experience, is what makes exciting theatre.”

So, I ask, how much of acting is manipulation? How much is technique and how much is truth?

Jillian doesn’t hesitate in answering. “It must be 100% truth,” she says. “That doesn’t mean that you don’t use your technique; everything you have learned, to find that truth,” she elaborates, “but it cannot be a lie to yourself simply for effect. Audiences know when you’re ‘acting’…when you’re lying to them. They might not know HOW they know, but they know. Besides, truth in itself can be manipulative, depending on how it’s told.”

I ask if there are more good roles now for older women than, say, thirty years ago.

“I don’t know that there are more – but perhaps there are stronger, better roles now in theatre for older women, far beyond being supporting roles as Grandmothers or someone’s discarded wife. Matriarchs are becoming fashionable and that’s good, because you don’t stop growing as an actor when you reach 35. It’s a lifelong education.”

So is there a role she has not played that was on her bucket list.

“That’s easy,” Jillian replies, “Lady Macbeth! It’s the ultimate female role, which breaks down all gender barriers. I believed my chance was lost once I passed forty. But I read recently that Helen Mirren has just played her, so perhaps there is room for an older Lady Macbeth; one last chance to make something of her husband that satisfies her.”

I asked if she would take on the role now that she has turned sixty.

“I wouldn’t hesitate,” she enthuses, “after all, I am only in the youth of my old age.”

Meanwhile you can see why Ms Murray won her Green Room award at fortyfive downstairs until July 3, 2016.