In Martina Laird’s first play Driftwood, Roger Ringrose is currently playing Mansion at the Kiln Theatre until Saturday 4th July, having originally played the role in Stratford-upon-Avon for his RSC debut, and the show is directed by Justin Audibert. Previously, Roger originated the roles of Wolsey/Cromwell in the world premiere stage adaptation of Philippa Gregory’s novel The Other Boleyn Girl at Chichester Festival Theatre, was in the 2017 cast of the Agatha Christie play Witness for the Prosecution at London County Hall as John Mayhew, and at Vienna’s English Theatre, he played Inspector Hubbard in Dial M for Murder and The Actor in The Woman in Black. Also a screen actor, some of Roger’s recent work includes playing Justice Maddison in The Hack, Mr. Taylor-Brown in Joan, Wilf MacDonald in The Long Shadow and Mr. Hawkins in Behind Her Eyes, and he played Jebediah Johnson in Berlin Station. We recently spoke to Roger about playing Mansion in Driftwood at Kiln Theatre, originating the roles of Wolsey/Cromwell in The Other Boleyn Girl and some of his further work including Witness for the Prosection.
Can you tell us about Martina Laird’s play Driftwood and your character Mansion?
Martina Laird’s new play Driftwood is unlike any other I have worked on. It celebrates Trinidadian history and culture in a way that is both refreshingly daring and evocative. I won’t go into the plot here – best come and see it for that! But I will say that it’s full of twists and turns, and very cleverly carries you away with the trials and tribulations of flawed individuals, whilst giving a clear insight into the world of 1950s Trinidad – an extremely important time in their history.
My character, Mansion, is someone who has taken full advantage of British colonialism. He has profiteered and plundered his way to a very nice life that is suddenly put under threat by the arrival of the new kids on the block – the Americans. He has to find a way to retreat, whilst ensuring he doesn’t miss out on any last-minute deals to keep his nest feathered.
How was it performing with the show at Stratford-upon-Avon (where you made your RSC debut) and what has it been like transferring to the Kiln Theatre, where it is currently running until Saturday 4th July?
I couldn’t have wished for a better show to be in for my debut at the RSC. It is the perfect play for Stratford’s The Other Place – a new, challenging and truly individual piece of work. Performing this play in the calm, almost rural surroundings of Stratford, with people boating along the river with ice creams in hand, was almost surreal and certainly unforgettable.
A very different environment here in London at the Kiln. I think that the multicultural diversity and vibrancy on the doorstep is a world where this play, if it had a voice, would probably say it felt thoroughly at home.
What do you hope audiences will take from Driftwood, and what is it like being part of telling the story?
Audiences coming to the Kiln have not been shy, and it has been great to feel a clear connection. Telling this story each night is definitely an interactive process, and I think people are going away feeling that they have been part of a visceral, almost tangible experience.
How is it working on Martina Laird’s first play and being directed by Justin Audibert, and was there anything that drew you to the production?
I was drawn to Martina’s play quite simply because of the writing. I was immediately captivated and felt that I was going to be part of something special. I knew Justin from having performed at Chichester, although we hadn’t actually worked together before. I had a feeling I was going to enjoy his direction, and I was not disappointed. It was a highly collaborative and exciting journey.
What are you enjoying most about being in the cast alongside Shane David-Joseph (Seldom), Ziggy Heath (Tom), Martins Imhangbe (Diamond), Ellen Thomas (Pearl) and Cat White (Ruby), and have you worked with any of them previously?
I hadn’t worked with any of the cast before, but what a talented group! As much as I enjoy our work on stage, I’m having equally as much fun off it. There’s great camaraderie and proper teamwork.
Why would you recommend booking tickets to see Driftwood at Kiln Theatre?
Coming along to see the show is, quite frankly, a no-brainer. Opportunities to see a play that opens up the world of the Caribbean are all too few, and the Kiln, with its special blend of epic intimacy, is the perfect home for it.
You played Wolsey/Cromwell in the world premiere of the stage adaptation of The Other Boleyn Girl at Chichester Festival Theatre, how was it originating the roles and bringing Philippa Gregory’s novel to the stage?
One of the joys of working on a play, or an adaptation of a modern piece, is getting to meet the writer. Listening to Philippa Gregory when she came into rehearsals was no exception. Her knowledge of, and passion for, the period are infectious.
The two well-known figures that I played were, quite rightly for the telling of this story, pushed into the background. However, such was their influence that it was important to find ways of keeping them three-dimensional. I enjoyed that process. And doing so on Chichester’s unique thrust stage, with all the grandeur and accessibility it offers, made it all the more memorable.
In 2017, you were in the original cast of the new production of Witness for the Prosecution at London County Hall as John Mayhew, what was it like performing in an Agatha Christie play?
My strongest memory of Witness for the Prosecution was the venue. It was an incredible coup by the producers to secure the County Hall. Of course, the setting lends itself perfectly to the court sequences, but it was fun finding new and different ways to counteract the majesty of the amphitheatre for the more intimate scenes in chambers or out on the streets of London.
And there is no overestimating the Agatha Christie factor. Her interweaving of plot lines and innate theatricality made keeping the audience on tenterhooks a far easier proposition than it might otherwise have been.
How did you find the experience performing at Vienna’s English Theatre in Dial M for Murder as Inspector Hubbard and The Woman in Black as The Actor?
Vienna’s English Theatre is a gem, and both times I went there I had a ball (fitting, I guess, for the home of the waltz). It was winter each time, and there aren’t really better places to be at that time of year. They certainly know how to do it: Christmas markets, skating through a wonderland in front of the City Hall, and music of all genres emanating from each and every coffee shop, bar and restaurant.
On stage too, I had a lot of fun. Playing the Inspector in Dial M was a blast. It’s so well written, and the knowledgeable audiences were right there with you through all the twists. And The Woman in Black is right up there with my favourite jobs, mainly thanks to our brilliant director, Matthew White. He was all over the complicated backstage workings of the storytelling and gave such freedom and trust to the actors. On top of that, the welcome at the theatre is second to none. Memorable times!
On screen, you played Jebediah Johnson in Series 1 and 3 of Berlin Station, what was this like to do?
A lot of the filming I do is guest work, doing a few days on set and then off to the next. So when I did Berlin Station, it was great to get involved in a series where my character was recurring. Getting to know the other cast members and crew makes the whole process a great deal easier. You don’t feel you have to prove yourself quite so much.
How did you originally get started in acting and was it always something you wanted to do professionally?
My pathway into acting started at university. I hadn’t shown much interest before then. I studied German and Russian at Nottingham, and both departments had a strong interest in theatre. I signed up on the suggestion of a friend, and that was it.
In fact, one of my lecturers, Dr Cynthia Marsh, was kind enough to coach me up to drama school level, and we are still very much in touch to this day. I am very lucky to have had her support.
Do you have any favourite theatre shows to watch, and are there any that you’d most like to see that you haven’t as yet?
As for favourite plays, I always say Cyrano. I think it’s hard to beat when it’s done well. So I am looking forward to seeing the version about to transfer from the RSC to the West End with Adrian Lester.
What advice would you give someone hoping for a career in the acting industry?
The question of advice to an aspiring actor always puts a wry smile on my face. I went to stay with a friend for a weekend a few years back, and one of the other guests asked what advice I might have for his brother, who was about to go into the business. I said what I always say: go for it, but have a backup plan – other means of income etc.
He was grateful and said he would pass it on. His brother turned out to be a young Eddie Redmayne. I’m not sure how much of a backup plan he needed…!
How do you like to spend your free time?
As for my free time, I live in the country now and have a dog (Mabel), who gives us a great deal of joy. We love our travel, and Mabel has seen quite a lot of France. I keep threatening to move from translating the odd play to writing one of my own. We’ll see…