Interview: Nathalie Morris
Auckland Theatre Company are in the process of unveiling a fantastic young actress
Hello Nathalie, first things first, where are you from & where are you at, geographically speaking?
Hello! I’m from Canberra, Australia, and I’ve just moved to Auckland this year.
When did you first realise you were, well, theatrical?
I’ve wanted to perform since I was 11 and I saw a stage production of High School Musical. The ensemble looked like they were having so much fun as a team, and I wanted to have that too. When I started taking theatre classes and tackling scripts, I got way more interested in characters and the forces that drive them to act in the ways they do. I love putting myself in other people’s circumstances and using them to express
myself in ways that I wouldn’t get to in my own life.
Last year you graduated from the Toi Whakaari: New Zealand Drama School, how was your time there?
It was so cool. Toi Whakaari is a place where you are constantly experimenting. There’s no end goal to the training. You are just continuously exposed to new techniques and styles of performance and given lots of opportunities to test them out. You are pushed to take more risk, have more pleasure, and go further into the unknown, but you are never pushed to be a certain kind of actor. The school celebrates creativity and has a great subversive sense of humour. It’s also incredibly challenging to put your struggle in front of other students and teachers for three years, but I’m grateful that those challenges took place within those walls.
Can you tell us about,’ I Never Thought I’d Have to Explain it All?’ & its tenure in Wellington?
I Never Thought I’d Have to Explain it All is a show I made about a high profile disappearance case in Australia – one that I was briefly involved with as a kid. As I researched deeper into the case, I got really affected by how it was reported on and spread through the entertainment industry. So the show buries the story of the case in many of these entertainment mediums, like talk show, film, documentary, stand-up comedy, podcast etc. As we give the audience more truths about the case, we also involve them more in the thrill of these forms. It’s very funny and wicked and compelling. I started writing the show with Andrew Eddey in our final year of drama school, and we presented the first draft at Toi Whakaari’s annual Festival of Work in Development. It started out as a solo show, but it grew to include more performers, designers, and managers by the time we presented a second draft at The NZ Fringe Festival in March this year. We learned an incredible amount about the work throughout this second season, so hopefully we will mount another development of the show in Auckland or Australia in the next couple of years.
What’s the last thing you do before you step out on stage / the curtain goes up?
Sometimes I do a ‘dick-ass dance’, which is a very important technique I learned at drama school. Basically you just dance your heart out, off the beat and leading from your hips. Other times I just stand toward the audience and feel love and gratitude right before going on. If I’m about to enter with someone else, I’ll try to make a joke with them or whisper something titillating in their ear.
What does your perfect Sunday afternoon look like?
Reading a great play out loud with friends, or watching a great film with a big cup of coffee, or body surfing at the beach with my dad.
You are playing the young Queen Elizabeth in Peter Morgan’s ‘The Audience,’ how did you get the role?
I auditioned for the role in December. I was in Australia at the time, but my grandma said “oh, you’ve got to go get seen” so I flew over for the day. And then there was a recall audition in January.
Can you tell us a little something about the play?
It’s a theorised glimpse into the private audiences that Queen Elizabeth II has had with the British Prime Ministers each week throughout her reign. It’s also a beautiful and comical portrait of the woman, and a compelling insight into how those PMs stayed sane in power.
How are you finding Her Highness’s accent?
It’s very fun. It’s one of my favourite parts about this project. When she was young her voice was very distinct. There are all sorts of words that I catch her saying in broadcasts and interviews that don’t quite follow any rules, and I like the challenge of trying to capture them all.
How is Director Colin McColl handling both yourself individually & then the cast as a whole?
Colin has worked with many of the actors in the cast for many years, and I’ve witnessed a very strong and easeful working relationship, with lots of mutual respect and responsibility. The actors don’t wait to be told what to do by Colin, nor are they lead through any specific process. They do their research and jump straight onto the floor with lots of offers and confidence. This is my first professional theatre show since graduating drama school, so it’s really great to witness that.
What emotive responses do you expect from the audience?
I think The Audience will be very funny and moving, especially for people who have grown up listening to Queen Elizabeth II’s broadcasts and following the politics of all of the British Prime Ministers who appear in the show.
You’ve got 20 seconds to sell the play to somebody in the streets, what would you say?
Come watch a wonderful actress, Theresa Healey, navigate the role of Queen Elizabeth II – over 60 years of her life! – with dexterity, humour, and sensitivity. And an ensemble of daredevil character actors take on all of the wacky traits of the British PMs. A majestic set and a pandora’s box of wigs and costumes – it’s going to be fun!
What will you be doing for the rest of 2019?
I’m heading back to Canberra when The Audience closes to start rehearsals for The Street Theatre’s production of A Doll’s House Part 2 by Lucas Hnath. The play is set 15 years after the end of Ibsen’s classic, and I’ll be playing Emmy, Nora’s grown-up daughter.