Originally written for The Stage.
Rosie Wyatt loves to look audience members right in the eye. In Bunny, a solo show about a teenage girl increasingly out of her depth, she offered an intense portrait of adolescent swagger and anxiety, breathlessly delivering Jack Thorne’s narrative directly to the audience. In the absence of connection and intimacy available to her character in Blink, she instead gazed outwards, finding points of contact with spectators; even delivering a script-in-hand reading, her stare can penetrate right through a play.
“It’s just about being really honest and genuinely telling a story,” Wyatt explains when we speak, quickly adding, “not acting talking to the audience, but actually talking to the audience. That sounds like something really simple but it is very different.” With care, she discusses the unique demands of direct audience address, in which “the audience are your other character”.
“If you act a traditional scene with dialogue, you’re always looking at how you’re affecting that other person and what you want to do to that other person in the scene. When you’re talking right out to the audience it’s the same thing: it’s what do I want to do to the audience, what am I trying to tell the audience?”
This way of relating to an audience was initially developed while performing in Bunny, Wyatt’s first job out of drama school. Thorne’s blistering monlogue went to the Edinburgh Fringe in 2010 – where it won a Fringe First – travelled down to London for a run at Soho Theatre, and eventually ended up in New York as part of the Brits Off Broadway season. “It couldn’t have been a better start for me really,” says Wyatt, describing herself as “incredibly lucky”. “You can’t ask for more from a first job: for it to be able to give you your debut, your London debut and then your New York debut.”
But it must have been intimidating to take on a one-woman show straight out of drama school? “Yes, petrifying,” Wyatt says with a laugh. “It was an amazing experience because I got this showcase that was just me, but it was also incredibly exposing and scary.”
This showcase certainly opened doors; “it got me in front of people and got me to meet a lot of people,” Wyatt says. The play’s success quickly led to her second job in the Paines Plough tour of Love, Love, Love, and she says that even her casting in this year’s national and international tour of One Man, Two Guvnors can be traced back to that first job. Other gigs to follow the acclaim of Bunny have included roles in Mogadishu, Blink and most recently Virgin – all new plays.
Despite this impressive track record with new writing, Wyatt reveals that her passion for acting has much more traditional roots. “I sort of fell in love with the theatre because of Shakespeare,” she tells me, recalling the regular trips she used to make to RSC productions while she was a sixth form student in Stratford-Upon-Avon. “I hadn’t really known about the world of new writing until I stepped into it doing Bunny,” Wyatt admits. Now, however, she describes working on new plays and originating roles as “the biggest joy” of what she does, adding, “I feel very happily placed in the world of new writing”.
The other notable feature of Wyatt’s career to date is the amount of touring work she has taken on. As well as the tour of One Man, Two Guvnors, which visited destinations such as Australia, New Zealand and Hong Kong, Wyatt has taken to the road with Bunny, Love, Love, Love and Mogadishu. “I don’t think it gets any easier,” she says of the touring lifestyle, “but I think what you do is learn your way of doing it that keeps you sane.”
What she relishes, however, is the opportunity to constantly perform in front of new audiences. “Every play I’ve done, you find that you get different responses in each city,” Wyatt says. “That’s so interesting and that’s something that I feel like I’ve been really lucky to get to do.” While these regional and cultural differences can sometimes be challenging – particularly when elements of the humour in One Man, Two Guvnors got lost in translation – Wyatt explains that “you just learn to always bring to it the same energy and always give that best version of the performance that you would want to give”.
Wyatt will soon have the opportunity to travel again as she returns to Blink, which is going out to India before opening for a second time at the Soho Theatre in December. Phil Porter’s off-kilter romance, which Wyatt first performed in at the Edinburgh Fringe last year, tells the story of an unusual relationship between two shy outsiders – not the most obvious export. Wyatt confesses that she’s got “no idea how they’re going to engage with our little love story”, but she is excited to return to the play.
“I think actually the experience of re-rehearsing something having had some distance and some time away from it is really quite valuable,” she reflects. “Returning to a script you already know but with fresh eyes is really useful and makes for an interesting production. In a script as good as the one Phil has written, there’s always more to be found and more to get to know about these two characters.”
Photo: Sheila Burnet