By Conor O’Neill
Photography courtesy of Nicola McKee and Joe Carberry
Belfast actor Martin McDowell talks to CultureCrush NI on Saint Agnes’ Choral Society’s upcoming shows: Young Frankenstein in Belfast’s MAC theatre, Calamity Jane in the Grand Opera House, his background in the arts, and how new opportunities are opening up to new audiences.
For those of you lucky enough to have seen a Saint Agnes performance, you’ll understand that it’s much more than your stereotypical ‘Am-Dram’. I’ve seen many of their productions over the years and it’s safe to say their professionalism stands cheek-to-cheek with many of Northern Ireland’s professional theatre companies and indeed with the Grand Opera’s plethora of West End touring productions. For readers yet to experience a Saint Agnes’ show, get booking now, I guarantee you won’t be disappointed.
CCNI: Do you come from a theatrical or musical background?
MM: “There was no one particularly from a theatrical background, but there was always music in the house. I was always interested in the theatre from childhood and my family were always supportive. I’ve been going to Belfast’s Grand Opera House from no age and I would see literally any show available; Blood Brothers, Joseph and His Technicolour Dreamcoat, Me an My Girl, all the old classics. I alway had that love from such a young age.”
CC: I assume you took the usual path through youth theatre, summer schools and the lie?
MM: “I’m 34-years-old now, and I know it’s hard to believe but once upon at time they didn’t have any of that to the extent they do now. They just weren’t accessible in the 90s. The place where I got my love for performing was primary school; the school play every year was the highlight of my school years. There was also the choir and those two outlets where it really happened for me. I then went on to take drama for GCSE and then A Level. That’s when I was able to get creative and participate in drama.”
CC: Tell me more about the National Youth Theatre, where was that?
MM: “It was in London. In the Laban building in Greenwich. it’s a gorgeous venue. It was basically a crash course; there’s a couple of hundred of young people and you’re put into various groups. some of the the people I was with went on to some big things -TV, theatre, screenwriting, editing, one even went on to become a supermodel and an activist. It was a fascinating time. I was surrounded by talented, interesting people. I feel very lucky to have had such experiences.”
CC: Did you go on to study drama at a higher level?
MM: “I was lucky enough to go to the National Youth Theatre when I was 18 or 19-years-old, it was basically a fortnight of working day-in-day-out in theatre, then after that I went straight to university in Bristol to study English and drama. Soon enough I dropped the English and focused completely on drama. I waved goodbye to the books and focus more on the practical side of drama.
“Bristol was a brilliant city, in those four years there wasn’t a week that went past where I wasn’t acting, directing, producing, doing stage management, making costumes or doing something creative. I was really full on.”
CC: Has it always been musical theatre that mainly interested you?
MM: “Not at the beginning. I’ve always loved musical theatre, but had never really gave it a go until I got to university. I’ve always loved musicals but never knew if I could participate in them. When I finished university I came back and started workimg front-of-house at the Grand Opera House at the box office. Then I got involved with Niall Rae in with TheatreOfPlucK, and also with Blunt Fringe Productions, that was my first experience of working with Claire Murray and Rachael Logan Fee.. This year I managed to pull Rachael over to Saint Agnes, and she’s directing Young Frankenstein with us.”
*Martin McDowell with other cast member during a read through of Young Frankenstein*
CC: You’ve mentioned your roles both onstage and behind the scenes, have you ever considered writing?
MM: “I’m not a great writer to be honest. I tend to get caught up in procrastination. I think I’m better as a translator of other people’s writing and ideas. The words I’ve put on to page don’t sound real. I prefer to leave the writing to others and then help bring their work to the rehearsal room and go from there.”
CC: How long have you been with Saint Agnes’?
MM: “I’ve only been with the society since January 2022. I hadn’t performed for quite a while, more or less since my university days. My good friend Gareth McGreevy introduced me to Saint Agnes’ and said they were looking for male performers for their production of Shrek: The Musical in the Grand Opera House, I’d been thinking about performing again and I took this introduction as a sign. I had always resisted am-dram but post Covid the opportunity to have a bash at performing again was appealing.
“After a ten year absence it was good to get back to performing. When I got back into a rehearsal room I automatically remembered why I love doing this. Aggies is a fantastic society and it quickly became a family to me, we have an enormous friendship circle.
CC: I’ve yet to see Young Frankenstein, both the movie or a theatrical performance, what can the like of myself expect from the performance, and is there any need to know the backstory of Mary Shelley’s novel to enjoy the show?
MM: “This will be the Northern Irish premier of Young Frankenstein by any company, professional or amateur. It’s very exciting for us. It also happens to be the 50th anniversary of the film. The film has gained cult status, and like any of Mel Brooks’ films such as Blazing saddles, Robin Hood: Men In Tights, The Producers to name just a few, Young Frankenstein is bawdy, gaudy, tongue-in-cheek and completely irreverent. It’s full of that Hammer Horror schtick with that tell-tale Mel Brooks’ approach which break down walls of old cinematic tropes. It’s full of the iconic scenes which fill the modern ideas of Frankenstein: The monster, the laboratory, the castle, electricity, resuscitation, the creation of new life, and the machinations of popular culture’s understanding of the Frankenstein story. All of those things will be familar to audiences. No previous knowledge of the story is needed to follow and understand the plot.
“It’s a ridiculous, outrageous and fun musical. There’s so many big numbers in a way that only some musicals can get away with. Everyone drops their guard and just enjoys themselves as we sing and dance our way through the show with total abandon.”
In November Saint Agnes’ returns to the Grand Opera House for a run of the classic musical Calamity Jane, can you tell me more on that?
MM: “It hasn’t been cast yet, in fact, the production team haven’t even been chosen yet, it’s aall still in the planning stage. It’s a fantastic musical, it’s so well known and the score is brilliant with really great numbers. Choosing a family favourite like Calamity Jane to follow on from Young Frankenstein is so indicative of of the diversity and breadth of talent and interest we have in our musical canon.
“With Young Frankenstein being in the MAC we’ll be branching out and finding new audiences, and hopefully new performers. There has been so many new people join the society for Young Frankenstein and it’s just brilliant to see the company grow.
“We really benefit having new faces and fresh blood in the company. It broadens our horizons on what musical theatre is doing in Northern Ireland right now. There is a world for the traditional shows like Calamity Jane and other big productions that go through the doors of the Grand Opera House, but with off-the-wall shows it shows the breadth and depth of our talent and skills.”
CC: How important is it for companies like Saint Agnes’ to play such highly regarded venues such as the MAC and the Grand Opera House?
MM: “To perform in such amazing venues is out of this world. Last year was my first lead role in a musical at the Grand opera House, I’ve worked at the Opera House for six years and it’s my favourite building on Earth, but to be able to do The Addams Family and to lay Fester and actually fly in the Opera House was a life-changing experience. The building holds so many memories for me, from childhood and being with my family. There is a magic to the Opera House which is so brilliant for larger companies.
“But as I said, we have to diversify, we have to look at other venues and that’s why we’re taking a punt and trying something new in the MAC. Playing other places can only bring positive things to the company. The financial climate is hard, people don’t have much spare so it’s important to us that no matter what the venue we perform in, we put on a great show for people and make it a really special night out.”
CC: One last question. It’s a bit flippant, but entertain me. What show or what character would you dream of playing?
MM: “Last year I was lucky enough to see a Regent’s Park open air theatre production of Le Cage Aux Folles, it’s the story the 1996 film The Bird Cage was based on. That was the most glorious piece of theatre I’ve ever seen. It has that famous song I Am What I Am in it. To get my hands on that the role of Albin would be unbelievable.”
Young Frankenstein runs at Belfast’s MAC theatre from April 23rd – April 27th. For booking details visit http://www.themaclive.com or phone the box office on 02895 922502
Calamity Jane runs at Belfast’s Grand Opera House from November 12th – November 16th. For booking details visit http://www.goh.co.uk or phone the box office on 02890 241919
ENDS
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