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Interview with playwright Tim Whitnall

Conducted by Mary Couzens for EXTRA! EXTRA!

Feather Productions presents Tim Whitnall’s darkly humorous play The Fabulist at the Old Red Lion Theatre 21 November to 9 December

The Fabulist Review

Tim founded Feather Productions in 2005 with Anna Murphy. Their first play The Sociable Plover, which he wrote, opened at the Old Red Lion in May 2005 to great critical acclaim. He is also a highly successful writer and composer for TV whose credits include: Bafta Award winning Your Mother Wouldn’t Like It. His musical Harry’s Web premiered at Theatre Royal Windsor in 1999 and he has recently completed a new musical Nashville for Bill Kenwright Ltd.

As a performer Tim starred as Elvis Presley in Elvis at the Astoria, which won the Evening Standard Award for Best Musical. He went on to play many roles in the West End including Jesus in Godspell, Doody in Grease and Cliff Richard in Good Rockin’ Tonight. He has worked extensively in TV, film and radio and his character and impression work is featured on radio and in television commercials.

Following a national search, he was selected to be the voice of Elvis on the current Radio 2 TV campaign. His voice-over has received the seal of approval from the curators of Graceland who have posted it on their website, the first time (ever) that performance footage of Elvis has ever been dubbed by another artist.

Mary: You've been involved with theatre both as a performer and a playwright. Do you come from a theatrical background Tim?

Tim: No! My Dad was a headteacher, my Mum a nurse, my older brother is an artist, the younger one a doctor, and my sister a homemaker. Like so many of us, I fell into the theatre business almost accidentally. My Dad still thinks I should seek higher education.

Mary: You've been very successful writing for both television and theatre. What do you see as the essential differences between working in the two mediums? Do you have a preference between them? If so, why? Do you prefer writing comedy or drama?

Tim: When you are writing for TV - unless you're trying to come up with an idea to pitch - it's normally to both a brief and a deadline, which tend to 'sharpen the tool', especially if you've been commissioned. With a theatre show, it can take weeks, months even years for some writers to realise their initial vision and set it free into the outside world. I have a soft spot for theatre, because it's where I started as a performer, and there's something magical for me about a 'dark room full of lights'. It's also great watching the play evolve on a nightly basis, both from a performance perspective and the way the audience reacts, which I guess also sets it apart from TV.

Mary: The premise of The Fabulist, an actor playing the fall guy in a department store strikes me as a decidedly strange one, yet it's based on truth. What was the real story and how did you find out about it? What did you find so intriguing about that idea?

Tim: A musician friend of mine called me one morning, and (knowing of my love for the truthfully absurd) told me to put the radio on and listen to a man who claimed to "have the best job in the world"! Although I only caught the tail end of his interview, the man also claimed to have worked in a department store - which one, in which city, indeed country he did not reveal - where he was employed to sit in luxurious surroundings and anticipate a call from his general manager. If the call came, he would then face an irate, disgruntled and dissatisfied customer in a specific department, and in an effort to appease them, would have to endure a reprimand or dismissal by his manager. When the dust had settled, the customer would walk away vindicated, and the man would return to his office and await the next call.

I liked the idea of a person being 'hired to be fired', which was indeed an early title for the play. But I really liked the word 'fabulist' - a creator of fables, which is what our central character has to be.

Mary: It's occurred to me that The Fabulist himself could be seen as a metaphor for figureheads everywhere, in corporations, government, or even for apathy itself.
How do you view the fabulist Tim?

Tim: I know what you mean, Mary. Paul Goodwin, our "fabulist" definitely plays him with that edge. Although he is all things to everyone in our store, he can and will defend himself on a sixpence. One of the themes of the play is that society and our habits evolve so rapidly that there can be an awful feeling of 'being left behind if you don't play the game' - whatever the game is. Businesses open and close, people are usurped by technology etc. I saw a newspaper boarding the other day which said, "Is this the end of the High Street?" and my one thought was "How would I feel if I ran the High Street shop that placed that boarding?"!

I was also interested in a person who hides for a living, who has to pretend to be someone else everyday. I think that there's a little of that in all of us.

Mary: It was ingenious, having legendary actress Fenella Fielding (of Carry On Screaming and The Prisoner fame) acting as the ˜voice of Tuffin's Department Store. How did that come about Tim?

Tim: We were very lucky. I am a huge fan of The Prisoner, as you mention, and I wanted to emulate that "it's-a-lovely-day today-but-you're-in-deep-trouble-if-you-misbehave-campers" type of delivery that I remember from that series. We contacted Fenella via her agent, she was very complimentary about the script and agreed to perform our in-store announcements, which was great fun. She was a joy to work with, and sent us a first night card, which made my day.

Mary: Which other writers and performers have inspired you?

Tim: Joe Orton, Alan Bennett, Roald Dahl, Timberlake Wertenbaker, Noel Coward, Colin Higgins, Steven King, Charles Dickens, Harold Pinter ... the list is endless. Performers... where do I begin?

Mary: How did you get started impersonating people? Has it ever gotten you into trouble? Or should I say, has your talent for mimicking ever got you out of trouble?

Tim: Just like the Fabulist, eh? Just realised that. Yes. First started doing that at school. If it saved me a good hiding from the local hard-cases, I'd then get one from the teachers!

Mary: It's said that you became Elvis Presley onstage in Elvis through a chance audition in 1977. How did that happen Tim?

Tim: A friend of mine cut a coupon from the "Daily Mirror", who had launched a search for a young guy to play Elvis in the West End Musical "ELVIS" at the Astoria. I'd just turned 16. I got a printed letter back, which invited me to London (much to my parent's horror). I queued in the rain outside the Soho Poly Theatre in my school blazer, clutching a £25.00 guitar and auditioned. It remains the only job I have ever been given on the spot.

Mary: Elvis fans can be so, well, dedicated. Did you ever see signs of that
devotion when you played the role?

Tim: Oh goodness, yes. Still do. Someone came to The Fabulist the other night wearing a vintage Elvis Fan Club button. They are amazing. He will always be
number one to them, and I am mindful of that whenever I've played him. I'm still a huge fan too.

Mary: What were some of your best moments in that production?

Tim: The smell of Brilliantine, working with such amazing musicians and performers, the noise, the screaming, the famous faces in the audience every
night, the reviews, the awards and nominations it won. It was a blast, but then, I had to calm down and start to learn about the industry.

Mary: You've imitated both Elvis Presley and Cliff Richards in major productions. Have you ever considered imitating another type of singer, say John Lydon a.k.a. Johnny Rotten of the Sex Pistols? Would you ever consider imitating any American performers of that ilk, say David Johansen of the New York Dolls or Iggy Pop, both of whom are still going strong? Guess you can tell what type of music I like!

Tim: I like it too! I've been very lucky in my performing career as one of the strings to my bow has been as a session singer where I've been required to emulate or indeed impersonate many different singers. I actually did get to recreate Iggy's "Real Wild Child" on a commercial (I think for a baby product) some years ago, although I don't think anybody could get near his stage act. I'll leave that to the master.

Mary: You've won a Bafta Award for Your Mother Wouldn't Like It. Do you have any television projects on the drawing board right now?

Tim: Part of being a writer is to submit as many ideas as you can for consideration. I have one or two TV concepts on the burner, as they say, as well as my next theatre piece.

Mary: Tim, your career has been very varied. Could you tell about some of the moments that stand out the most?

Tim: I think you always remember 'firsts', so Elvis is a biggie - opened 29 years ago tonight. Loved doing the Rocky Horror Show in the West End on its 18th birthday. My first play The Sociable Plover is special to me, and I'm still hoping to do something with that, as it was so well received.

Mary: Any more plays in the wings?

Tim: Yes. The old cogs are whirring. It's a constant process, and you don't get a whole lot of sleep.

Mary: Would you ever like to try your hand at screenwriting or any other type of writing you haven't done yet?

Tim: Would love to. Better have a couple of treatments standing by, just in case.

Mary: Is there anything creative, apart from writing or acting that you've always wanted to do?

Tim: I keep promising I'll do an oil painting. I will, I will.

Mary: Any words of advice for budding actors, impersonators, playwrights and/or scriptwriters out there?

Tim: Keep going. Work hard to get your ideas or yourself in front of as many people as you can, and don't be discouraged by criticism - even the painful stuff can help you develop. I've still got a lot to learn. Like I said, it's a constant process.

Mary: Many thanks for doing this interview Tim! I thank you, on behalf of myself and all of the other erstwhile reporters dedicated to giving EXTRA! EXTRA! special coverage to fringe theatre in London, and soon, all across the U.K.

Tim: Brilliant, Mary, thank you.

28/11/2006

http://www.oldredliontheatre.co.uk/

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