Charles Edwards stars in the world première of The Ballad of Hattie and James by Samuel Adamson, opening at the Kiln Theatre.
Artistic Director of ETT, Richard Twyman directs Sophie Thompson and Charles Edwards as Hattie and James, with Suzette Llewellyn as Bo, Mrs Arbuthnot, Rosamund, Louise, Eve and Madame Schultz.
The production opens at Kiln Theatre on 18 April, with previews from 11 April, and runs until 18 May.
You’re starring in The Ballad of Hattie and James at Kiln Theatre, what can you tell us about the show?
It’s not about Sid James and Hattie Jacques, let’s just get that out of the way. The show is a journey across decades through the lives of two friends, Hattie, played by Sophie Thompson, and James, me, who although they meet only a handful of times in their adult lives are forever shaped by the tragedy and subsequent grief they experience as teenagers.
It examines the cost of great musical talent, rivalry and love. Suzette Llewellyn plays the various women in their lives – mothers, lovers, teachers – all of whom have a profound effect on Hattie and James.
What was it about Samuel Adamson’s script that made you want to be part of this production?
Sam’s a poet. His writing deals with life-changing, expansive sweeps of emotion yet his dialogue is highly naturalistic and delicately crafted. And very funny.
You’ve worked at the Kiln before, what are you looking forward to about coming back?
The stage, and the sense of intimacy in the auditorium. Also when I last worked here it was the Tricycle (we premiered The 39 Steps here before the West End and Broadway) so I have been so impressed with the stunning new surroundings in its reincarnation as Kiln. They have done a really beautiful job.
You’re playing James, what do you love most about this character
The elements that I enjoy most about characters that I play are the troubles that lie beneath. He appears guileless, but we see that he takes a fatal misstep that will haunt him for the rest of his life.
And what do you think will be the biggest challenge?
The play takes us through 70-odd years of life, and I would say differentiating between our varying ages will be key. But in life as the years pass, we haven’t changed nearly as much as we think we have, especially when reconnecting with childhood friends who often know you best and in many ways have shaped parts of you, as in this play.
What would you say to anyone thinking of booking to see The Ballad of Hattie and James?
It’s very funny. It’s also very tragic. It’s a chamber piece with a very small cast, something that can only be done in a theatre the size of the Kiln which is what drew me to it. The backbone of the show is without doubt its celebration of the power of music, and we have the wonderful pianist Berrak Dyer performing onstage with us throughout, playing on the Bechstein which is essentially the show’s main character. It’s ultimately the tale of two brilliant and precocious people who without the other in their lives, would not be who they are.
