Skip to main content

Derek Riddell - Playing J.M. Barrie


Derek Riddell is probably too tall to be playing JM Barrie, the 
troubled author of Peter Pan. At five foot three, Barrie's stature is 
considerably shorter than the 5'11 and a half Glasgow-born actor 
familiar from his TV turn in American hit, Ugly Betty. As Riddell 
prepares to play Barrie in Peter and Alice, a new play by  John Logan 
directed by Michael Grandage, the power of imagination will clearly 
come into play on more than just its subject. Given too that other 
portrayals of Barrie have been by the likes of the even more unlikely 
Johnny Depp in Finding Neverland, Riddell shouldn't have too much of a 
problem.

“He was described by most people as this strange little creature,” 
Riddell explains, “and he had this really strange voice, but we don't 
want to be too weird about it. He was a very complex character. One 
minute he could be witty and charming and captivating to the boys, the 
next he could go into these black silences, and there's a real darkness 
about him. It's a very short time in the play to try and capture all 
that complexity. There are obvious comparisons there as well with Lewis 
Carroll and both men's obsession with childhood, but I don't think 
Carroll had as much of a troubled childhood himself as Barrie did.”

Peter and Alice is based on a meeting between Peter Llewelyn Davies and 
Alice Liddell Hargreaves, who were the inspirations for Barrie's Peter 
Pan and Lewis Carroll's Alice, arguably the most captivating of 
children's characters ever written. Logan spotted a line in a biography 
of Barrie that suggested the pair met. In the course of the play, set 
at the opening of a Lewis Carroll exhibition in 1932, both authors make 
an appearance.

The Tony award winning writer's play forms part of a season by the 
Michael Grandage Company, and sees Riddell acting alongside Judi Dench 
and Ben Whishaw in the play's title roles, with younger actors playing 
their fictional alter egos.

“It was a no-brainer doing this,” Riddell says. “Just because of the 
people involved apart from anything. Michael Grandage is an 
inspiration. He just puts you totally at ease.”

Riddell first came to prominence in Annie Griffin's comic drama series, 
The Book Group. This led to being cast as hospital lothario Jamie 
Patterson in No Angels, which focused on the messy love lives of four 
nurses who broke the Florence Nightingale stereotype with abandon.

Riddell still stays in touch with his former No Angels colleagues, and 
last week was at a birthday party, attended by Kaye Wragg, Louise 
Delamere, Sunetra Sarker and Jo Joyner. In keeping with the programme, 
it was a typically wild affair, with current East Enders star Joyner 
using her wiles to access the Queen Vic Suite in the St Pancras Hotel 
for after-hours revelry.

Riddell, alas, was unable to indulge as much as he'd like.

“I had filming in Bristol in the morning,” he says, “so I just left 
them to it.”

A year after No Angels, Riddell was cast in the American 
therapist-based drama, State of Mind, which led to a semi-regular role 
in Ugly Betty, playing the love interest of another Scottish emigre, 
Ashley Jensen.

“That was probably the first time we'd worked together since we did The 
Big Picnic,” Riddell says of Bill Bryden's First World War spectacular, 
which was performed in the Harland and Wolff shipyard in Govan in 1994.”

That was at the start of a stage career that has seen Riddell appear in 
Aileen Ritchie's The Juju Girl at the Traverse, and The Cosmonaut's 
Last Message to the Woman He Once Loved in the Former Soviet Union, by 
David Greig, at the Tron. Riddell also appeared in another David Greig 
play, Victoria, with the Royal Shakespeare Company, and David 
Harrower's Knives In Hens at the Royal Exchange, Manchester. With such 
a pedigree, it's perhaps surprising that Peter and Alice will be 
Riddell's first appearance onstage in seven years.

“It was time to do theatre again,” he says, “or else I'd never do it 
again, because it would become too scary. So it's a real novelty for me 
again after so long out of it.”

Riddell has just been inspired too by going to see Glasgow Girls, Cora 
Bissett's asylum seeker based musical, during its London run.

“It made me feel very old watching it,” he says, “but the energy of it 
was incredible.”

While happily domiciled in London again following two years in America, 
with such high-profile Scottish drama as Glasgow Girls making waves, 
one wonders how long it's likely to be before audiences see Riddell 
back on a Scottish stage again.

“It's difficult,” he admits, “because I've got family now, which is 
part of the reason why I've not done theatre for so long. The thought 
of being away from them isn't appealing. But because I trained down 
here in London, I've never really been part of that Scottish theatre 
scene, but I'd certainly be interested in working there if a part or a 
play that I loved came up.”

Casting directors should take note of the sort of thing which might 
tempt Riddell back across the border.

“I love doing plays by American writers,” he says. “There's something 
about them which really gels with the Scottish psyche, something about 
the passion. Years ago I played Tom in The Glass Menagerie, which I 
absolutely loved. As far as Shakespeare goes, I'd really like to play 
Richard 111. Again, it's the intensity of it that appeals.”

In the meantime, Riddell's portrayal of J.M. Barrie might act as some 
kind of calling card, even if he does seem a little star-struck by the 
company he's keeping.

“If we get it right, it could be quite magical,” he says. “It's worth 
the ticket price for Judi and Ben alone. I'm completely in awe of them.”

Peter and Alice, Noel Coward Theatre, London, March 9th-June 1st.
www.delfontmackintosh.co.uk/mgc
www.michaelgrandagecompany.com
The Herald, March 7th 2013

ends


Comments

Popular posts from this blog

The Honourable K.W. Harman: Ltd Ink Corporation

31 Bath Road, Leith Docks, March 17th-20th

In a monumental shipping container down by Leith Docks, a Sex Pistols tribute band is playing Anarchy in the U.K.. on a stage set up in the middle of the room. Either side, various constructions have been built in such a way so viewers can window shop as they promenade from one end of the room to the next, with the holy grail of a bar at either end.

Inbetween, there’s a confession booth and a mock-up of a private detective’s office with assorted documentation of real-life surveillance pinned to the walls. Two people seem to be having a conversation in public as if they're on a chat show. An assault course of smashed windows are perched on the floor like collateral damage of post-chucking out time target practice. A display of distinctively lettered signs originally created by a homeless man in search of a bed for the night are clumped together on placards that seem to be marking out territory or else finding comfort in being together. Opp…

Scot:Lands 2017

Edinburgh's Hogmanay
Four stars

A sense of place is everything in Scot:Lands. Half the experience of Edinburgh's Hogmanay's now annual tour of the country's diverse array of cultures seen over nine bespoke stages in one global village is the physical journey itself. Scot:Lands too is about how that sense of place interacts with the people who are inspired inspired by that place.

So it was in Nether:Land, where you could see the day in at the Scottish Storytelling Centre with a mixed bag of traditional storytellers and contemporary performance poets such as Jenny Lindsay. The queues beside the Centre's cafe were further enlivened by the gentlest of ceilidhs was ushered in by Mairi Campbell and her band.

For Wig:Land, the grandiloquence of the little seen Signet Library in Parliament Square was transformed into a mini version of the Wigtown Book Festival. While upstairs provided a pop-up performance space where writers including Jessica Fox and Debi Gliori read eithe…

Nomanslanding

Tramway, Glasgow until July 2nd
Four stars

In the dead of night, the audience are split in two and led under-cover into lamp-lit tented structures. Inside, what look like peasant women on the run lead us down a ramp and into a large circular pod. It feels part cathedral, part space-ship, and to come blinking into the light of such a fantastical structure after stumbling in the dark disorientates and overwhelms. Sat around the pod as if awaiting prayers to begin, we watch as performers Nerea Bello and Judith Williams incant mournfully on either side of the room. Their keening chorales embark on a voyage of their own, twisting around each other by way of the international language of singing. As if in sympathy, the walls wail and whisper, before starting to move as those on either side of the pod are left stranded, a gulf between them.

This international co-commission between Glasgow Life and the Merchant City Festival, Sydney Harbour Foreshaw Authority in Australia and Urbane Kienste …