Keeley Hawes talks to Nicola Hicks about her role in controversial drama Tipping the Velvet.
Keeley Hawes may have made her name in the Dennis Potter drama, Karaoke, but, she tells Nicola Hicks, the one thing that absolutely terrified her about appearing in BBC Two ’s Tipping The Velvet was the singing!
“To be honest, it was the worst thing and the best thing,” laughs the 26-year-old actor, who plays Kitty, the young male impersonator with whom Nan falls passionately in love. “It’s a nice feeling to have done it now but I did find it terrifying at first. I studied singing and dancing at stage school but I spent a lot of time sitting underneath the table, having a fag, so I missed out on most of it!”
Hours of work went into the drama’s music hall sequences and Hawes admits that she and co-star Rachael Stirling (Nan) almost exhausted themselves belting out Kitty’s repertoire of bawdy love songs. “Some were real songs and others were written specially by Andrew Davies. But we spent hours and hours singing them and there’s not much chance I’ll be forgetting them or a long time yet,” Hawes smiles, rolling her eyes.
“Seriously, they’re very catchy and quite repetitive but the joy of it is that you don’t have to listen to them over and over in order to like them.You like them on the first hearing, and songs that were popular in variety shows at that time were regurgitated again and again; singing along was half the joy for the audience.”
The energy of the music hall and the richness of the Victorian underworld that Tipping The Velvet so vividly brings to life were, says Hawes, what initially drew her to the serial. “The whole thing is intriguing; as soon as I started reading the scripts, I couldn’t put them down. I really wanted to do it from the start and even more so when I knew it would be with Rachael,” smiles the actor, who starred alongside Stirling last year in ITV’s modern-day Othello. “Yes, it’s a costume drama but it’s so different – it’s not like anything anyone’s ever done before. I’m not sure how I’d describe it but it certainly isn’t about women looking or husbands!”
Hawes is well placed to comment, having squeezed herself into corsets for a veritable library of literary adaptations, including the BBC’s The Moonstone, Our Mutual Friend and Wives And Daughters, also written by Davies. “When I first read Tipping The Velvet, Kitty reminded me a little of Cynthia in Wives And Daughters – she’s the same sort of selfish, vivacious character,” she says.
“Essentially, she’s a nice person but she’s very ambitious. On the sur ace, she seems very strong – and she has to be because of what she does – but, underneath, she’s not really that brave at all.”
For Hawes, Tipping The Velvet is “just a story about love” and the actor, who appeared in controversial sex scenes in Karaoke, her first acting job, is confident that audiences will feel the same way. “The fact that it’s about two women is not something that keeps recurring. I know that people will be interested in the lesbian aspect but, at the end of the day, it’s just a love story. “How did we approach the love scenes? I knew that question was coming. Well, we did get fairly drunk, if I’m honest!” she roars with laughter. “And then it was kind of fun, we laughed a lot and I know Rachael because I’ve worked with her before, which made it much, much easier. In any case, kissing a woman is not really that different rom kissing a man – there’s just less chance of stubble rash!”
Hawes, the daughter of a London taxi driver, decided that she wanted to be an actor the moment the Sylvia Young Theatre School opened its doors across the street from her family’s home. Enrolled there by her mum, Brenda, she studied drama and dance – and bunked off her singing lessons – between the ages o nine and 16. Her best friend at the time was Spice Girl Emma Bunton, who is still a close pal, and her yearbook also featured Denise Van Outen, Dani Behr and two members of the now-de funct girl group, All Saints. It was while still at stage school that Hawes was “spotted” out shopping on London’s Oxford Street by a scout or a top modelling agency. With her slender, graceful build and a face that has been likened to that o Audrey Hepburn, she made the perfect catwalk model – or would have, had she not been so fond of chips! “I modelled for about year but I was the worst model in the world, really – horrendous in many, many ways. I did a lot of sitting about in pubs, with my friends, trying to dodge ‘phone calls. It was never something that I was passionate about and it’s not a nice industry at all,” she says, firmly. After quitting modelling, Hawes worked as a fashion assistant or Cosmo but, within months, had left the clothes cupboard behind and won a part in Karaoke, which, she now acknowledges, changed her life. Her star continued to rise as she wowed critics as the young Diana Dors in the TV film Blonde BombshellBlonde Bombshell, and delighted audiences in Wives And Daughters.Wives And Daughters.
“I’ve been so lucky,” she nods.”You just don’t usually get roles like that – unless you write them for yourself !”
More recently, Hawes, who has a two-year-old son, Myles, has been getting her teeth into another gritty role, as M15 agent Zoë in BBC One’s hard-hitting spy drama, spooks. “I’ve really enjoyed that part and we’re about to start work on another series,” she says. “I wanted to do something modern and to do a series, something with a bit of continuity to it, and spooks was perfect. It seems far- fetched but most of the things that happened in the first series were actually based on real events. “What’s amazing is that that hasn’t put people off ! I would make a terrible spy and now I wouldn’t want to be one either but, apparently, most of the country does! Within an hour of the first show going out, M15 had something like 85,000 hits on their site – it’s gone up ten fold!” The actor grins and suddenly there’s a wicked gleam in her eye. “You know, maybe after Tipping The Velvet everyone will want to be a lesbian!” she jokes. “Not sure if there’s a website though!”
The Miniaturist Interviews: Romola Garai
Romola Garai plays Marin Brandt in The Miniaturist, premiering soon on BBC-1, here she talks about what drew her to the drama and being in a costume drama where she pretty much only gets to wear one costume.
What attracted you to the role of Marin?
I’d read the book shortly after it came out and I thought it was a really surprising novel, really interesting and with very strong feminist themes in it, so I was very excited about it. Time passed and then an email popped into my inbox with the subject, The Miniaturist. I thought it was fantastic they were making it and I was really excited to read the script.
It’s a very genre-bending novel; it appears to be like a costume drama we have seen before, but very quickly we realise that it’s not that. It’s about a woman coming into her own in a society that’s very patriarchal, it’s about a love affair, it’s about discrimination, and it’s about people trying to survive in an incredibly controlled state. It’s a thriller and it’s also a story about political and emotional awakening.
Marin is a particularly interesting character, I think she has one of the best arcs. When I first read the book, she was the character that stayed with me, and when I read the scripts I immediately remembered everything about her. She’s told in beautiful detail in the novel, which John has retained in the script. Marin is just a great character to play, it was a real treat.
Tell us about Marin.
When you first meet her, because the story is told through Nella’s perspective, you meet a woman who seems very cold and intimidating. Then gradually you get this drip-feed of information about her; you see she’s been helping Johannes run the business and you learn that they were orphaned at a young age. She’s very intellectual, she’s very well read, and she’s not married, which is very unusual at the time.
One of the reasons I found her such a fascinating character is that she’s full of secrets and she’s layered; very conflicted and has great faith, but also passions. The house they live in is essentially a tinder box of secrets that Marin has been sitting on to try and stop the secrets exploding out. However although it seems she is trying to keep a lid on it I think she believes that they could subtly break all the rules and be free within the house at least, if only her brother stopped acting so recklessly.
Hopefully audiences will question what is driving her hostility towards Nella. Marin needs Nella a lot to maintain the appearance of being a normal household but it’s also very important that Nella is afraid of her so that she doesn’t try digging and discovering the secrets that they are all trying to keep – because if anyone finds out then their futures are ruined.
What was it like doing the scenes between Marin and Nella?
I loved working with Anya, she’s an incredibly accomplished actress. She’s got a difficult job in this, because Nella has to be very innocent at the beginning of the story, which is always difficult for an actor to play, and also more innocent that a woman of that age would be now. She’s constantly making discoveries, she doesn’t have the information that the rest of us do so she’s always learning new things, and she’s done that with real beauty and subtlety. I really enjoyed doing all our scenes together.
Tell us about Marin’s costume.
Marin only had one costume until a very late stage of the story. Her costume is typical of the puritan values of the period which rejected anything that smacked of luxury or louche values. They also didn’t wear make-up in this period at all, certainly not women of this class and station, and the hair was very simple and scraped back. Her head would have been covered at all times, so I had a black cap that I wore, but to be honest when I wore it I couldn’t really hear what anyone was saying and also talked incredibly loudly because I couldn’t hear myself, so essentially I was shouting at the other actors!
What makes The Miniaturist stand out from other period dramas?
I’ve done lots of historical pieces but there’s something very unusual about this. When you do contemporary novels set in the past the writers are able to do a lot more, and tackle complex themes which writers writing at the time weren’t able to do. More than that, it’s interesting in that it explores a number of different genres. It has elements of a thriller and then it becomes a family drama and then it becomes a polemic about what happens in societies that are so controlling.
I hope people will sit down to watch the show because it’s a pretty costume drama and will be surprised that it is actually rebellious and constantly bringing up important issues – and that they’ll be so engaged they won’t be able to look away.
Trust Me Interviews: Sharon Small
Interview with Sharon Small, who plays Dr. Brigitte McAdams in new three part psychological thriller Trust Me which airs this August on BBC One.
What attracted you to this project?
I liked the character and the premise of the piece – I don’t think we’ve seen this before. And everyone is like an armchair detective, everyone is an armchair actor or doctor, so I thought that people would get off on that and think, gosh what would I do in that circumstance? The audience are the people who are privy to the truth and not us. With my character, Brigitte, I like her neediness, her sassiness – she’s fun and quick-fire talking – and quite honestly I rather fancied myself as a doctor [laughs].
How would you describe your character?
Brigitte is a good person; she’s sassy and is a really good doctor. She has got some issues, but she is trying her best to run this ward and with great intentions, which I think a lot of NHS doctors are.
How did you prepare for the role?
I grew my hair so that I could tie it up – normally I have short hair. We had a fantastic medical training day with Dan and got to do airways and cannulas and stitching and things like that, I loved that. The most important thing for me was to go around the actual A&E department (or ED department as I now know it’s called) in Edinburgh. We met this fantastic doctor – just watching him and really getting to observe what goes on in a ward, the dynamic, what people do and noticing that people are always looking at folders, everyone’s always collaborating and talking to each other. Everyone is always moving around, a lot more than you think and not that quickly. It’s less dramatic than you think.
Is your character challenging to play?
She was. Similarly in something that Jodie mentioned, I had quite a lot of medical jargon to say quite quickly, but I had less of the procedural stuff to do in terms of operational things. As the character is more and more revealed I had to make sure that I took care of how that happened, and that it was subtly done.
What makes a hospital a good arena for a drama?
It’s an ever-changing landscape, a hospital. Every new sort of event that you’re presented with means that you’re having to make life-saving decisions. People’s lives really are at stake, and honestly, my little taste of pretending that I was an ED doctor made me feel quite powerful. If I could fix people so that they survived, that would be an amazing ability.
What are the biggest challenges that you have faced so far during filming?
Saying the medical words Metronidazole – Met-ron-ida-zole, Metron-i-dazole – and trying to make scrubs look even remotely interesting, I don’t rock scrubs like Jodie does, I’m way too curvy for that!
What do you hope audiences will take away from this drama?
I hope that they’ll find themselves in that dilemma of wanting Cath/Ally to succeed, because she’s a good person and she ironically is brilliant at the job. I’m hoping that they’ll see the dilemma that she has, and as you want her to keep succeeding, it means she’s going to keep compromising people as she goes, as well as herself.
Trust Me Interviews: Jodie Whittaker
Jodie Whittaker plays Cath in three part psychological thriller Trust Me which airs on BBC One this August.
What appealed to you about this project?
I was sent the script for the first episode and it fascinated me because it went in a completely different direction to how I thought it was going to. Particularly at the beginning when she’s suspended for whistleblowing and loses her job. It could have gone so many ways, and the fact that she takes on this new identity isn’t the way that I thought it would go. I love the fact that her choices are quite morally dubious – they certainly aren’t black and white. She makes decisions that are quite challenging to justify, even though we know her reasons. I’ve never acted in anything medical before, so it felt completely new.
How does Cath’s lie come about?
Cath starts off by having a conversation with her best friend, Ally, who is a middle grade doctor in A&E and is giving it all up to emigrate to New Zealand. Ally is packing up the life that Cath would have loved to have had, leaving it all behind to go and do something completely different. Suddenly there is an opportunity for her to take on the identity of her friend and in that panic, not necessarily the clearest thinking moment in her life, she does it. Once you set off on a path of lies it’s very difficult to undo it without bringing everything crashing down.
Did you receive any training on medical procedures?
Yes! The writer, Dan, who is also medical consultant and a doctor outside of TV production, showed us a load of stuff that he used when he was training people. He brought in the CPR dummy and showed us how to do a cannula and he, very bravely, let me put a cannula in his vein. I did it right, thank God! Also, YouTube is amazing. The genius of the internet is that you can basically sit at home and Google medical procedures, and TV shows such as 24 hours in A&E, which I watched hours of.
How else did you prepare for the role?
With regards to the technical stuff, we had an on-set consultant so that there was always someone to help when we had to do the procedures. The best thing for me was that my character was also out of her depth and didn’t always know what she was doing, so it kind of covered my own personal fumbles. I’m not someone who likes to over prepare for dialogue scenes, because I think that makes me not listen to what the other person is saying as I’ve already decided how I’m going to do it. It immediately makes it interesting and new and you can’t plan for that, which is great. You can’t ‘wing’ the medical stuff so I had to do my research for that. One of my friends is a Sister in A&E and I sent her a lot of messages asking ‘how do you pronounce this?’ and ‘what does that mean?’, so basically she was my personal medical coach even though she works full time!
Is it challenging playing someone who leads a double life?
Yes, but no more challenging that playing someone who has had something happen to them that I haven’t personally experienced. What’s hard is trying to gauge how good a liar she is, or how in a panic she is. You’ve got to be careful, because you can’t make the other actors seem stupid. These are intelligent, fully formed characters that you’re working with, so it was a fine line of being able to deceive and it not being something that comes easily to her. However, it can’t be that it makes everyone around her feel a bit like an idiot for not working it out. That was tricky, but the director is there to help guide you through it.
Did the uniform help to get you into character?
Yes. It feels odd when you put it on. I did five weeks of studio filming, back to back – all the medical stuff was contained so everything started to become a bit like second nature. The first few times I had to put on an apron, the ‘take’ ended up being about 15 minutes long. Then I worked out that you shouldn’t put the gloves on before the apron! There was lots of daft stuff like that, but you then get into a rhythm. It’s good because it makes you immediately feel like you look the part and then all I had to do was make sure that I knew the lines!
What were some of the challenges that you faced during filming?
I’m not very good with learning dialogue when there are lots of medical terms! I enjoy the adrenaline of being on set because I’m quite good at choreography, I respond well to being taught something physically. That’s why I was terrible at school, because they talk you through things rather than physically show you. I enjoyed doing the different types of surgery as it was fascinating, it’s nerve-wracking but you realise that you can do it. Also, the team who created the props put in so much hard work to make sure we didn’t mess up our bits. I struggled with having massive speeches that involved these medical words. I don’t have a brain for that!
Did you enjoy working in Scotland?
I absolutely loved Glasgow! The crew were phenomenal and the city is wonderful. I could move my family up there and we had a great time as there were loads of brilliant restaurants and everyone was lovely. It was brilliant and I would snap up another job there very quickly, although it does get very dark and cold over winter!
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