Playing Thomasina
When I was encouraged by Peter Malin to audition for the role of Thomasina his words of warning that it was "an extremely challenging role" fell on deaf ears. I was so taken up with the excitement of the prospect of acting in the Oxford Playhouse that I admit I wasn't really listening. It didn’t take more than five minutes of my first rehearsal however to bring me down to earth. Not only was the part very complex, demanding subtle progressions to be made in terms of age, maturity and awareness of the events occurring in the character's surroundings, but the Oxford Theatre Guild was very clearly an amateur dramatics group with very little of the amateur in it. It was amazing to see that although all the actors came from widely differing walks of life, they all had something very special to contribute to their role and were all talented and experienced actors. It was fairly intimidating also to be faced with such professional directors in the shape of Georgina Ferry and Peter Malin and the high standards which they gently but at times, very firmly demanded.
It was a long, hard and frequently frustrating rehearsal period as we as a group of actors attempted to bring out of the text as much of the Stoppardian genius as was possible, simultaneously struggling with our Latin, lanscape gardening and architectural knowledge or our frantic exits (Stewart).
There were moments, I'm sure the rest of the cast would agree, where we, collectively and individually were ready to give it all up. But thanks to a professional and well-organised crew and supportive actors, we pulled it off. For me, performing in the Playhouse in a play that I had put so much effort into and with a character that had taught me so much about acting was a very special experience and I loved every second of it. I am very thankful that I was given this opportunity although I'm not so sure I'd opt for the empire-line dress again (it was a very scary moment when I was instructed by the costume ladies to "roll them up dear").
Anna Glynn