Q & A with Eleanor Dillon-Reams
Starring in The Ice at the End of the World
Omnibus Theatre, London
You recently opened in ‘The Ice at the End of the World’ at the Omnibus Theatre. How has the show been received so far?
The reviews have been amazing - 4 and 5 stars across the board. Audiences have really engaged with the plays exploration of climate change and human resilience, sparking conversations long after the curtain falls. It's been wonderful to see the show's emotional impact and how compelling an experience it's been for the audience.
What can people expect from the show?
A cosmic horror, escapism to the arctic, goosebumps for more than one reason, an epic story and wild rollercoaster ride in just 70 minutes. An unforgettable experience of striking sound, majestic lighting, and bold, gripping storytelling.
Tell us all about your character in the show, Alys, and her journey in the story.
A sceptical, distracted, frazzled translator joins an adventure she has underestimated and isn't wholly convinced by being on. Throughout the play she softens, becomes more present, less tame, and becomes more involved/entrapped with this world than she could have ever imagined.
How is the creative process working alongside the writer of ‘The Ice at the End of the World’, Katy Schutte, who plays ‘Wonder’ in the show?
It's been a unique experience having the writer in the room for rehearsals as well as playing one of the characters in the play (Wonder). We had direct access to her insights and being able to ask her about a characters motivation or the intent behind certain lines was incredibly enriching for our understanding of the piece. Balancing our queries and constructive feedback with the desire to honour Katy's work sparked for some in depth discussions that I think have really benefited the production.
It's been really beautiful to know the long adventurous journey Katy has taken to getting this play staged and makes us all the more grateful to be part of the odyssey with her.
You are also a writer, having penned ‘HoneyBEE’, your debut show. Where do you find your inspiration from for this art form?
I love Kae Tempest, Saleena Godden, Jasmine Gardosi, Clare Barron, Joelle Taylor - wordsmiths who weave cross-disciplinary art forms through their poetry and plays, there is a pulse and rhythm, a heartbeat, gut punches, and soothing stokes to the work they make, it's brutal and beautiful, visceral, and connecting.
HoneyBEE is my first solo show and still to date one of the works of art I am proudest of making. I wanted to make a show that experimented with form & narrative, using all of the mediums I love the most- poetry, dance, music, stand up- to safely explore all the complexities, the light and the dark of being human. Making people feel represented, seen, and less alone, is something I'm really passionate about.
Art serves as a tool for my self expression, healing, and embracing my neurodivergency and queerness has lead to more innovative and playful approaches to my creating art.
Where did your love of writing and performing come from and what has been your favourite role to date?
Where does my love of writing and performing come from? I've always been a story fanatic, I loved nothing more than getting lost in books as a little girl. I was 4 when I said I wanted to be an actor and I've never doubted it. It's not an easy career path, but there is nothing like the feeling of being on stage.
I adored playing Mercutio in Romeo and Juliet. I love getting to play the roles at school I was told I would be allowed to because of my gender or casting. I suppose I like breaking the rules! I think it's important to keep shunting the binary expectations of who should play what.
How do you feel about premiering a new show? Is there a nervous energy amongst you all ahead of opening night, or do you all relish in performing new work?
Performing in a new show is definitely more nerve wracking than bringing out the tried and tested classics. It's less safe, especially with a BIG show like this one, it's felt like a risk to see if we could pull it off. The stakes are high. But theatre should be daring. It's exciting to push the boundaries of what people are expecting from a play, and so gratifying to hear people say they've never seen anything like this onstage.
If you could play any role from literature, whose story would you be most interested in telling, past or present?
I have always wanted to play Cathy from Wuthering Heights. I did some R&D on it with a director years ago, but I'd love to do a beautiful big theatrical version... with Sally Cookson directing! (Manifest manifest manifest).
Describe ‘The Ice at the End of the World’ in three words.
Ambitious, Bold, Unsettling.
Interviewed by Emma Rowley
For more details on The Ice at the End of the World which runs at the
Omnibus Theatre, London until the 12th October click here:
https://www.omnibus-clapham.org/the-ice-at-the-end-of-the-world/
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