Director: Malcolm Roding
Writer: Malcolm Roding
Starring: Josée Bekker
Synopsis: Empress Mary, in the far future, rules a realm of many star systems. But she’s losing the planet she cares for most, her husband is missing in the war to defend it, and the son she believes she’s carrying isn’t kicking.
Come see the thrilling one-woman show, premiering this December.
In a new Exclusive interview on Blazing Minds, I got a chance to ask Writer-Director Malcolm Roding a few questions about his new one-woman show Empress Bloody Mary, which will premiere at The Water Rats on 6th December.
Q. Your new production of Empress Bloody Mary will be premiering at The Water Rats on 6th December. What can audiences expect from the show?
A. It’s a solo play featuring a future Queen who dives deep into her past. You get to be transported to this extraordinary world, which we learn about purely from the sumptuously dressed Empress on her throne. There’s a whole science fiction action universe mixed with memories of past lives. It’s all told purely from her perspective, we see and hear her commanding armies into battle, dealing with grief and losing everything, persevering through it all – it’s vivid yet told entirely through her words and her expression.
I don’t think a solo show quite like it has been done before and I’m really excited for people to see it.
Q. What were some of your influences when writing the play and why did you decide to create it as a one woman show?
A. I’ve always been fascinated with both the Tudors and space travel, so when planning my next show I had the insight to put them together. You see the influence of the Tudor monarchs on everything from Game of Thrones to the musical Six, and galactic empires – there’s Star Wars of course, but I’ve always loved early sci-fi such as Asimov and Arthur C Clarke who explored civilizations spread out over the stars. Past and future connected and I worked on a script to join them over the summer.
I wanted to write a Queen because I love strong yet deeply emotional female leads. The historical Mary in particular is a fascinatingly damaged, tragic, zealous yet sympathetic figure. So why not bring her to life again many thousands of years into the future?
Q. Did you have any actresses in mind to play the main character when writing the script?
A. Not as such, I went through an open audition process hoping to be surprised. I wanted to see how each actress would bring the material to life, whether they would find an angle I hadn’t thought of before. A lot of talent applied, I’m pleased to say Britain is producing a new generation of fine actors – but I watched Josée’s self-tape and immediately knew I’d found something special. Her voice and her physical performance bring out extraordinary depth, in rehearsals I feel everything Empress Mary is meant to feel.
I’m very proud to be able to bring her to wider attention and I’m confident she’ll be remembered among the greats.
Q. Whilst working with actress Josée Bekker, did you make any changes to how the script or the show was?
A. Only to a couple of the songs. It’s a play with music and there’s four songs she sings at different points. As we rehearsed we found a few changes to the lyrics which worked better with the music – we’re using older classical music to preserve that link to the past, and better bring out her inner state. Each song is a turn in her character arc, so hearing it sung – Josée has a beautifully lyrical voice, so tuning the lyrics to the classical melodies was extremely enjoyable.
Q. How did your vision for the story evolve once you moved from writing into rehearsals?
A. The final heroine I should mention is Tori Hitchens, a costume and set designer who’s produced a wonderful dress, crown, sceptre, and throne. It’s an aesthetic I hadn’t imagined, this silver, black, and stone design which creates a sense of wonder. Where are we? Where exactly is all this taking place? It will draw you into this enigmatic world and keep you there.
Q. Did you experience any challenges bringing the script to the stage and were there any changes from your original vision?
A. I’m pleased to say it’s all gone pretty smoothly. And it’s a big ask for any actress: over 8000 words, four songs, moving from extreme poise and confidence to moments of total vulnerability – both physical and emotional. My biggest concern was whether I could find anyone able to do it justice. So again, discovering Josée was a massive stroke of good fortune and I’m incredibly thankful to finally see an artistic vision I’d dreamed about for years on stage.
Q. During the rehearsal process did you make any changes to the original script?
A. A little bit of trimming but it’s almost all how I wrote it initially. It’s been different from the usual process of drafting, feedback, and rewriting in that I’m writing, casting, directing, and producing it all. Which is scary but truthful: the script and actions are entirely my responsibility. It’s rare in performance art you get your pure vision so this play is something I’m proud of yet also a little nervous for in terms of reception. I’m confident it will succeed but it’s natural to wonder what people will think and spend nights imagining how many stars will appear below the reviews!
Q. What makes Empress Bloody Mary stand out as something different?
A. There are great solo shows, but this is a musical play where you’re transported to different worlds across past and future. You’ve got a blend of genres in sci-fi, and history, moving from galactic conflicts to one woman’s personal hopes for motherhood, some lovely but less well known classical music pieces and a stirring finale. There’s a bit of everything knitted together into a unique experience. And again, a stunning performance from an extraordinary new star.
Q. What do you hope audiences take away from the story after the final scene?
A. Well, I do believe that theme is something for each audience member to decide. It sounds quaint but I like to see art as something that, metaphorically, came down from heaven: in the sense that the meaning is up to you when you see it. And this play is a pure solo show – there are no recorded words spoken by anyone else, it’s entirely the Empress. So where this is all taking place, what’s actually happening – the ambiguity of it, I’d love it if everyone leaves the theatre debating its meaning. The beauty of art is that its meaning is yours. But having said that, I can tell you that Empress Mary possesses an unshakeable self-belief.
Without spoilers, you’ll come away with a boost of self-confidence.
Q. Do you have any other projects which you are currently working on?
A. I’m hoping to create a movie version of Empress Mary – it’s still at the early planning stage, but coming to life. And I have a vampire musical I’ve completed the book and lyrics for and currently working with a composer who’s doing the music. It’s an adaptation of the classic vampire novella Carmilla – a story predating Dracula about a female bloodsucker in an Austrian castle. So between that and Mary Tudor’s nickname I seem to like leading ladies who like blood!
Q. If someone was looking to get into theatre as a writer and/or director, what advice would you give them?
A. For a writer, get started and keep going till it’s finished. I find that tales grow in the telling: I plan and refine the basic idea, talk to others about it, but once I like an idea and begin to write I keep going with it and keep going until I finish. The best lines, the funny jokes, the memorable moments: they all come spontaneously when you’re in flow.
My directing style has been to mostly find great people: in Josée, in Tori – describe my vision, and let them give their best. Make suggestions – find pictures that fit your idea for the scene, sometimes give little adjustments – but also see what they bring and be surprised by it. The final manifestation of all our visions is grander, stranger, and more inspiring than what I imagined alone.
Empress Bloody Mary will premiere at The Water Rats on 6th December.
You can find out more about the show and purchase tickets here.
Published in various websites, Philip is a reviewer who is best known for his interviews and media coverage of independent projects including; films, books, theatre and live events. Always on the lookout for something different to cover!