Tell us how the rehearsal process is going ‘Here in America’?

Rehearsals have been great - super collaborative and creative. I’ve worked with James Dacre (our director) before and he always leads the rehearsal room with such focus and integrity, but wears his authority (and intensive research and preparation) lightly. We’ve been lucky enough to have David Edgar with us for a big stretch of rehearsals and his input has been invaluable - it’s always such a gift as an actor when you have the oracle in the room. Any questions you have about intentions or motivation, or frankly, just the meaning of a line, can be answered so clearly and helpfully by your author. Having said that, David is extremely encouraging and open, and always keen to have your thoughts about your character - there has been real reciprocity, which has been wonderful. We’re now fine-tuning things in previews - there’s only so far you can go in rehearsals without an audience - and previews are the final piece of the jigsaw to get the show just right.

What can people expect from the show?

You can expect a fast-paced, super charged 90 minutes full of debate - in true Edgar fashion. But I think you will hopefully be surprised, too - this is an extraordinary inflection point in history, and there’s a version of this story that is a big grand-standing showpiece with a cast of hundreds - but our show comes at it from a different perspective, it’s a story told through the lives of four extraordinary people: their friendship and their love, and their battle for identity and truth in a frightening world.

Tell us about your character, Day (Molly Kazan)?

Molly Day Thacher was a playwright and dramaturg - whip-smart and confident with it. I think those that knew her would attest to her being pretty formidable. She has the ability to think quickly and express herself briefly - which is such a skill - I was so drawn to her wit and intelligence. She was married to Elia Kazan, with whom she had four children - and their relationship - though far from perfect - was one of mutual respect, admiration and ambition.

How does it feel bringing David Edgar’s work to life and what is it about the show that attracted you to it?

It’s a real thrill to bring such an intelligent, funny character to life in Molly - frankly, it’s all too rare to read a script with such a fulfilling female role. I’ve loved getting to work with all our cast, who have brought such dynamism and vibrancy in their approach - and it’s been a particular pleasure to build the relationship between Molly and Elia Kazan with Shaun Evans. We’ve (hopefully) found the depths of their marriage - the sticky parts and the ugly parts, too - and we make each other laugh, which is always a treat! As a tight-knit ensemble, with the audience essentially on stage with you, it’s really electric in those moments when you feel a real symbiosis with story and audience.

This show will be at the Orange Tree Theatre in London from the 14th September. Having performed there before, how does it feel to return to this space and do you have any fond memories?

It’s a pleasure to be asked back to perform at the OT. It was actually the first ever theatre job I was offered, just out of drama school - and it’s been so fulfilling to come back full circle, after nearly 20 years. I had a slight hope I might even get the same seat in the dressing room - but, much to the boys’ chagrin - Jasmine and I got upgraded to the bigger room…perhaps next time I’ll even get my own. Plenty to aim for!