Angela Simms has come so far in what seems such a short space of time. Undoubtedly one of the bright young things of Liverpool theatre comedy, her performances in productions such as in the superb If The Shoe Fits, Ladies Day, Special Measures, The Hitchhikers Guide To Fazakerley and The Rainbow Connection, have had audiences flocking to see more of this talented and approachable Liverpool actor.
From working with the gifted Donna Lesley Price and Richie Grice in the superb If The Shoe Fits, to performing at the Royal Court Theatre, Angela Simms has captivated audiences with a seamless elegance intertwined an a great aptitude to her craft and boundless energy.
Working with Stephen Fletcher again (Special Measures) and the rest of the tremendous cast that makes up the Royal Court’s latest production, Canoeing For Beginners, finding time to enjoy married life and being a new mother is something she takes in her stride. Catching up with Angela for a few minutes takes careful planning but upon achieving so proves to be enlightening.
Congratulations on the play, it’s very cool. How did the part come about?
AS: “Well, I had to audition for it, I’ve worked at the Royal Court before but I’d not auditioned or worked for Cal McCrystal before who’s the Director. I think quite a few people auditioned in November but then I got the part so that was it really.”
It does come across that Cal McCrystal has introduced something new into your performance.
AS: “He’s just so gifted at comedy and he’s got such a good eye for comedy, so things that you might think of Cal does and that’s why he’s so successful. To be honest, he is the king of the gag. When you’re working with somebody like that, you have your own ideas and it does inspire you to be the best you can be so I’ve definitely benefited from working with him.”
It seems weird you saying that as I’ve seen you in lots of different performances now and I originally thought you were just marvellous anyway but you’ve just bounded along and in this one, there’s something completely different with your style, it’s just grown.
AS: “It’s a different role, I think as well it’s just as important that you are always growing and I do try and learn from other people as well and it’s such a strong cast as well, you’ve got to step up to the plate. The play is so well written as well, which helps massively as well, especially with the female characters, they are so well-rounded that it’s was on the page and it was just about developing it really.”
I’ve noticed that the two strongest parts are yours and Pauline Fleming’s.
AS: “Mike Yeaman does write fantastic parts for women, he really does write a good sub-text especially for the female roles – you’re saying something when you’re meaning another. I think that all helps to make a well-rounded character. So I think we are really, really lucky with what we’ve been given.”
It must also help that you’re back working with Stephen Fletcher again, all be it very quickly.
AS: “I love Stephen Fletcher anyway, he’s one of the biggest talents in this city and I thought that long before I worked with him. He’s done such a fantastic job to learn the part in less than a week – he’s had five days and he’s off the book and he’s fantastic.”
It certainly showed, to have got through to entire first half during previews without a script in hand was tremendous.
AS: “That was the first night off the book for Act One and he was just brilliant, he’d done the Friday and Saturday dress rehearsals with the script. He’s great fun to work with as well. He will make you laugh, he does make me laugh.”
He’s very generous in his work like your Director.
AS: “He is very generous; honestly he’s great to work with.”
It definitely shows as the parts where you two are bouncing off each other in the front room initially around the canoe which works so well, that one piece where you fall to the floor….
AS: “That bloody canoe! I didn’t fall, I slipped (laughing) I was dropped ungraciously, I was dumped…..”
I didn’t want to say dumped, it just sounds as if he’s done it on purpose and maliciously.
AS: “That’s even funny though as she’s trying to be so flirty and charming and she gets stuck. There’s no dignity in being beached in a canoe.”
It’s a wonderful couple of minutes I must admit, just watching that scene – you can’t help but smile, it’s lovely. The play itself it deals with the idea of running away from responsibility doesn’t it?
AS: “Yes, it’s about Frank and Beryl Tyler. Frank’s obviously faked his own death for the insurance money and the way the play works so well it that it’s about ordinary people in extraordinary circumstances. That’s what’s funny about the piece is that everyone can recognise someone they can relate to whether it’s me or Mick or even the Policeman but especially within the family and just imagining yourself in that situation and obviously the comedy comes from that.”
You’ve done lots of comedies now, whether it’s the wonderful Rainbow Connection which was up at The Unity and of course, If The Shoe Fits as well, would you say that’s where your greatest strengths lie in comedy?
AS: “I don’t know really. I think that’s just what I’ve been cast in recently but I do love a good whinge, I do love a bit of drama as well, so I wouldn’t like to limit myself but I do love doing comedy.”
You would never obviously want to be typecast as that would be a waste to theatre if that was to ever happen but you have this terrific way – I think I explained it to Cal McCrystal of you being able to turn on a sixpence with your emotions. That you can go from shall we say from being completely and utterly baffled to outraged anger but with the element of comedy thrown in within seconds.
AS: “Yes, I think I am at one with my emotions really and I can do them quite easily. That comes with instinct but that can be taught as well so that’s just a plus I’ve got I think.”
You’re a mother now and recently married and everything, that’s always wonderful news so congratulations again on becoming a mum. How has that changed your outlook or if indeed it has?
As: “It’s been a busy year! It has changed; it has sort of reached a point where you want to do something you want it to be good. If it’s taking you away from your child as well then you want to do it to its fullest potential really and I think that’s fair. This is the first job I’ve had since becoming a mum and I’ve really sort of strived to make it a good one because I have missed acting. I think it’s been worthwhile, especially to work with Cal, it’s been such a great opportunity for me.”
With the play again dealing with responsibilities and running away from it all, this is completely a side question, if you wanted to run away, where would you run away to?
AS: “I’d run back to New York – I lived there for a while I trained at Stella Adler so I’d run back to New York, I’d have to take the baby and my husband with me though and all my mates!
Ian D. Hall