Maisie Richardson-Sellers on the set of 3 Women in London, UK on May 23, 2018.
We spoke to actress Maisie Richardson-Sellers about her role as Laurie in the Trafalgar Studios production of 3 Women.
Consistently there seems to be this interplay between generations, parents don’t understand and once you get older eventually the kids don’t. Even as society take efforts to be more understanding and open minded, this cyclical contradictory thinking remains. What do you think makes this generational thinking so fixed?
I think that a lot of misunderstanding between generations has to do with the fact that societal expectations, trends and needs evolve so quickly, and therefore generations can easily feel alienated from those above and below them. Some audience members find my 18 year old character’s optimistic outlook and hopes naive, others find it gives them hope for the future. We hold the power over shifting our perspective. I feel that to dismiss young people or to jump to assumptions about older people is deeply counterproductive. Each generation alters the social climate, and I believe the key to cohesion is through conversation. We need to work on respecting and listening to each other’s experiences, hopes and goals in order to build understanding and empower society as a whole.
3 Women delves into many social issues or topics pertaining to women and family. Is it fair to assume an artist is intrigued by the subject matter or thematic push of a piece of work they’re involved in? How fair or unfair is this assumption?
I think it is completely dependent on the piece. My initial interest is often caught by pieces that have a thematic interest to me, but if the characters aren’t visceral or I am not moved by the writing, then my interest is lost. Equally, I can be presented with a piece that I wouldn’t expect to be interested in but the story captivates me, and so I want to dive into it. I want to inhabit the worlds of as wide a range of humans as possible. By exploring contexts and themes I have never touched upon in my own life I can challenge myself as an artist and grow. If the piece truly speaks to me, and I don’t actively disagree with the subject matter, I want to do it!
How much does ‘message’ factor into your own decision making process for seeking or accepting roles?
I think that as artists, we have a social responsibility to create work that isn’t harmful in its message. This doesn’t mean that it can’t be shocking or painful or raw, if anything quite the opposite. Often work that is confronting can lead the audience to question their perspectives and develop a new understanding or empathy. However, there is also great power in art that entertains and provides comfort or relief for the viewer, and doesn’t necessarily have a deep message. So I personally choose projects that I think will feed me creatively, emotionally and that believe will have a positive impact on the viewer. Diverse representation is deeply important to me, as I think through diversifying our screens and stages we can help work towards tolerance within society. I also know from experience the importance of seeing positive role models that you can identify with within all art forms. So I am careful that the roles I choose are never gratuitous in their actions or beliefs.
The description of this play seems to straddle between comedy and social commentary. Do you feel it is easier for an audience to delve into a work’s commentary when delivered as a comedy?
The play is as much of a tragedy as it is a comedy, and I think there is definitely power in that. The two are often so much closer than we think, both in art forms and within ourselves. I do think that comedy helps ease people into tough discussions and it gives them permission to laugh at difficult subject matters, which can be deeply cathartic. Comedy can also catch people off guard and generate genuine reactions to the more serious themes, rather than allowing them to rest on preconceived assumptions. The laughs come in completely different parts of the play from night to night as people identify with different aspects, its fascinating!
What was your favourite conversation you had with someone about this project or your character?
One of the things I love about this piece is the conversations it has provoked. One conversation I had was about if my character really is representative of the future. I play university fresher who is confidently and openly exploring her sexuality, beliefs and identity, and who is determined that technology holds the answers to an equal and cohesive future for society. I do believe that we are shifting towards a freer sense of self identity and acceptance within parts of society, but equally we were discussing how easy it is to lose sight of the larger picture, where this is sadly not the case for a lot of people. So it is important to be aware that the levels of tolerance and equality within the circles one moves in do not reflect the whole of society. There is a long way to go before we have freedom and equity for all, and until that is achieved for everyone, regardless of age, race, sexuality, gender or economic status, there is work to be done.
Richardson-Sellers in her dressing room.
The makeup for the character of Laurie was minimalistic.
Heart shaped tiger’s eye and rose quartz stones, which Richardson-Sellers gave to each of her cast mates.
Throughout the production, she read Maya Angelou and listened to the Searching for Sugar Man soundtrack.
Carefully arranged prop food.
Richardson-Sellers changed into one of her costumes.
A painting by her mother.
Richardson-Sellers ran through some of her lines.
The place off stage where Richardson-Sellers waited for her cue before every performance.
Maisie Richardson-Sellers can be seen in 3 Women, on now at Trafalgar Studios, London (UK).
As told to Paul Vaughan for TPJ
Photographer: Jessie Craig
