Revisiting The Deep Blue Sea
As the National Theatre streams a bold revival of Terence Rattigan’s The Deep Blue Sea, its star discusses a potent mix of sensuality and torment
Director Carrie Cracknell described one day in rehearsals with you as an “almost spiritual experience”. How would you define your collaborative relationship?
We first worked together on Medea in 2014. We took Ben Power’s new adaptation and delivered an all-singing, all-dancing production of a Greek tragedy set in the 20th century on to the massive Olivier stage in six weeks. So ours was a collaboration formed in the furnace. We worked together at breakneck speed. So when we came to work on The Deep Blue Sea, the task seemed much simpler.
I hope I speak for Carrie, too, when I say we now have an implicit trust and respect for each other. Carrie possesses a rare quality that all the best directors have: no ego. The best solution in the rehearsal room is used, she has no concern who it belongs to, just that the play is served. She encourages everyone to trust their instincts and never attempts to dominate but quietly edits, taking ideas and losing others. The Deep Blue Sea was one of the most profoundly happy experiences I have ever had in a rehearsal room. She has a gentleness and non-judgmental quality that make you feel you could do anything. I hope we have the opportunity to do it again.
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