Celia Archives - Helen McCrory

Helen McCrory: ‘Attack yourself – don’t get lazy’

On June 1, 2010April 12, 2021 By helenistic No Comments

Why Helen Loves Acting

by Maddy Costa | The Guardian | June 1, 2010

She’s played Cherie Blair, a Harry Potter villain and now a 1950s housewife. Helen McCrory tells Maddy Costa why she loves acting. Directors go out of their way to work with Helen McCrory. Pregnancy twice scuppered her plans to star as the passionate idealist Rebecca West in a London revival of Ibsen’s Rosmersholm – but rather than cast somebody else, its director, Anthony Page, kept rescheduling the production around her. Pregnancy also lost her the role of Bellatrix Lestrange in Harry Potter and the Order of the Phoenix, so its director, David Yates, saved the part of the equally wicked Narcissa Malfoy in the next three Potter films for her.

Now it’s the turn of David Leveaux, who, after several thwarted attempts to find a suitable joint project, has pinned her down to appear in Simon Gray’s play The Late Middle Classes, at London’s Donmar Warehouse. Add the fact that critics invariably praise her performances as luminous, vibrant, compelling and seductive, and it would be enough to make any actor complacent. Not McCrory. For her, it’s vital “to attack yourself, so you don’t become lazy”. Continue reading Helen McCrory: ‘Attack yourself – don’t get lazy’

As You Like It Print Media Reviews

As You Like It at Wyndham’s Theatre – Review

On June 22, 2005April 30, 2021 By helenistic No Comments

Call off the phones : Sienna Miller as Celia and Helen McCrory as Rosalind in As You Like It

Michael Billington | June 22, 2005 | The Guardian

Hymen sings of “most strange events” and this is certainly one of them: a piece of star-driven, West End Shakespeare full of whimsical absurdities and coarse acting. Yet I can forgive almost everything for the sake of a Rosalind as vibrant and compelling as Helen McCrory.

But let’s start with the bad news. David Lan has chosen to set the action in France in the 1940s. This means the show starts with accordions and berets, though mercifully without an onion-seller on a bicycle. Rosalind and Celia (Sienna Miller) exchange court news while sitting in the kind of cafe supposedly frequented by Jean-Paul Sartre. And, when the action moves to the country, we discover the banished Duke has gone into exile with a four-strong musical combo as if he were on leave from the Café de Paris rather than a political refugee.

Continue reading As You Like It at Wyndham’s Theatre – Review

As You Like It

As You Like It at Wyndhams Theatre – Review

On June 21, 2005October 25, 2021 By helenistic No Comments

As I like it

By Nicholas de Jongh | June 21, 2005 | The Evening Standard

I like to be nicely shocked at the theatre, and David Lan duly satisfies by giving As You Like It a sharp but appropriate Gallic make-over. Here in high heels, highish humour and a slinky, little black dress, comes Shakespeare’s wittiest heroine, Helen McCrory’s flirtatious Rosalind.

She is first seen sipping red wine with Sienna Miller’s bland, blonde Celia, in a Parisian café and, judging by the girls’ Hollywood hair, the post-war Forties. Lan has hit upon the brilliant notion of transporting Shakespeare’s sexually ambiguous comedy of love and misunderstanding to France and post-war Paris.

The notion fits like a sleek, fashionable glove. Shakespeare after all peppers the play with French place-names. The post-war Paris of Jean Paul Sartre, Simone Signoret and Edith Piaf revelled in an atmosphere of philosophical speculation, melancholia and bitter-sweet romantic songs.

As You Like It

Mad About The Girls

On June 15, 2005October 25, 2021 By helenistic No Comments

Forget Juliet: Shakespeare’s real women are in ‘As You Like It’, as Sienna Miller and Helen McCrory will prove

Paul Taylor | June 15, 2005 | The Independent

Rosalind in As You Like It is the longest female part in Shakespeare, and once the character gets into the Forest of Arden and into male disguise, she acquires a freedom of emotional manoeuvre far greater than that of any of the other cross-dressed heroines in the canon. She has been called the “consciousness” of the comedy, a compliment that would never be paid to Viola in Twelfth Night, say, or Portia in The Merchant of Venice.

The androgynous focus of desire when in masculine mufti, she also offers the supreme instance in Shakespeare of the way that men should rely on the superior emotional intelligence of women. It’s a plum role but clearly also a daunting one. In the courtship game that Rosalind, in her alias of Ganymede, plays with Orlando, she has somehow to be up to her neck in the scenario she stage-manages and at a critically perceptive remove from it.