I’m not sure I was meant to be in the other one,” she adds with a cackle, the first of many.Ĭlarke is personable and engaging company, her answers thoughtful and considered there’s a seriousness about the way she thinks about her work, but there’s always a joke close to the surface, a self-deprecating aside when she feels her answers are insufficiently original. “Chalk and cheese doesn’t even sum up the differences between that play and this. On screen, it’s so often your left eyeball, your right shoulder – it fractures you as a human.” The last time she performed on stage was in her 2013 Broadway debut, an ill-fated production of Breakfast at Tiffany’s which she has previously described as “slightly catastrophic” (the New York Times verdict: “this particular soufflé seems doomed never to rise”). “In stage work, it’s every cell of your body, it’s a 360 feeling. “It definitely intensifies the experience of being on stage,” says Clarke. Theatre’s reliance on bodies in a room together feels heightened in the age of Covid. It’s the start of the third week of rehearsals, and there is understandably a hint of nervousness about anything disrupting the run: everyone tests every day, and we begin the interview with an awkward, 2020-style elbow-bump. She exudes the kind of understated glamour that befits a film star fronting a global skincare brand, with huge, arresting eyes that take up a significant proportion of her face. Today, Clarke is sitting alone in the coffee area, perched on the edge of a low sofa she looks immaculate in a green blazer, crisp white trousers and a smattering of necklaces and gold rings, a burst of tropical colour in the otherwise drab room. I think it might be Marmite.”Ĭlarke as Daenerys Targaryen in Game of Thrones. What we’re doing could be seen as quite radical. “There are no distractions,” says Clarke. Not much is known about Jamie Lloyd’s production of the classic Chekhov play, but hopefully it isn’t too much of a spoiler to say – based on a diorama sitting on a side table – that it will feature some chairs. Two-and-a-bit years on, we meet at The Seagull rehearsal studios in south London, a cavernous former warehouse with a skeletal stage set up in the middle of it. “And she was like, ‘ Get out of the pub!’ We had no idea of the enormity of it.”Įvents, of course, got in the way. “My lawyer from America was calling about something,” recalls Clarke now. Lost and adrift, everyone huddled into a pub, which was filled with crowds from the surrounding theatres. At the half-hour mark, everything stopped: the government had decreed that theatres were to shut with immediate effect. Previews had started, and the actor was about to make her much-anticipated West End debut after a decade starring in some of the biggest films and TV shows imaginable. On 16 March 2020, Emilia Clarke went on stage with the cast of The Seagull.
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