Throughout the summer of 2014, the superb BAFTA-winning and double Olivier nominated actress Helen McCrory played the title role in the National Theatre’s production of Euripides’s MEDEA on the Olivier stage.
It’s one of the most terrifying characters in Ancient Greek tragedy – a sorceress who kills her own children – and it requires, if you will forgive me, a killer performance’, one which Telegraph critic Charles Spencer called Helen’s “performance of her career.”
Helen of course is no stranger to playing screen villains, her most notable being Narcissa Malloy in the final three HARRY POTTER films. For her role as MEDEA she won the Critics Circle Theatre award for Best Actress.
I left this drawing at the National for Helen to sign which she did and returned it to me with a note saying ‘what beautiful sketches.’
Gathering a cluster of four star reviews from every major British critic, Stephen Beresford’s debut play THE LAST OF THE HAUSMANNS ran at the National Theatre in London in the latter half of 2012. Directed by Howard Davies, it featured Julie Walters as high society drop-out Judy Hausmann with Rory Kinnear and Helen McCrory as her wayward offspring Nick and Libby.
The darkly humorous family drama ‘explores the fate of the revolutionary generation and offers a funny, touching and at times savage portrait of a family full of longing that’s losing its grip’. I’m a huge fan of all three and was very pleased to receive my signed sketch back after leaving it at the stage door.
The Donmar produced David Leveaux’s sensitive revival of Simon Gray’s The Late Middle Classes in 2010.
This funny, melancholic and captivating play about a young boy and promising pianist who is trapped between conflicting emotional needs of the adults in his life, revealing the frustration, secrets and guilt of middle class respectability in 1950s England.
Helen McCrory played Celia, his emotionally demanding mother, frustrated at finding a role for herself “blending waspishness with vulnerability”. Robert Glenister is his piano teacher, living alone with his Austrian refugee mother. The boy is a mixture of muse, playmate and object of his desire.
Both Helen and Robert signed my sketch on 13 July 2010 at the Warehouse stage door.