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[0:01] Mark Addy: My name is Mark Addy, and you're listening to eleven, the official theatre podcast.

[0:17] William J Connolly: Hello and welcome to eleven, the official theatre podcast that brings the biggest stars and creatives together in one place to discuss life in the arts.

[0:25] William J Connolly: He's the extraordinary Olivier-nominated stage and screen actor that's currently breaking hearts in the title role of brand new West End musical, The Unlikely Pilgrimage of Harold Fry, a show that teaches us all about the power of trying, of perseverance, and truly never giving up on yourself. An actor of great success throughout his entire rather lengthy career. His other stage credits include Collaborators, Much Ado About Nothing, The Hypocrite, and many, many more. With on-screen credits in A Knight's Tale, Downton Abbey, Game of Thrones, Dune, and of course, The Full Monty. So what's it like having a life-changing project like Harold Fry come into your life? Well, let's find out as here in an exclusive conversation direct from his home.

We talk about the journey of building one of the breakout shows of the season, its exceptional emotive response from audiences, and why he's both honored and blessed with the reaction, and how the show has played a real-world impact on his life outside of the theatre, by making him more empathetic with others and the world, something that deeply moves him. Plus, we celebrate his extraordinary and now Olivier-nominated co-star Jenna Russell, and being inspired by working with creatives on this project, including chart-topping music sensation Passenger. And he reveals his surprising favourite musical. Some of his favourite moments from filming The Full Monty movie in South Yorkshire, including how the famous striptease moment was a rather exposing moment for more reasons than one, and his lifelong connection to York Theatre Royal. It is the sensational Mark Addy here now on this, the next episode of eleven, the official theatre podcast.

[2:11] William J Connolly: Please help me welcome to this, the next episode of eleven. He is the extraordinary stage and screen actor that's currently delivering an earth-shattering performance in the title role of brand new West End musical, The Unlikely Pilgrimage of Harold Fry, in a show featuring the remarkable music work of chart-topping indie artist Passenger. And he's here to tell me all about this rather special project. So I say, hello, Mark Addy, are you feeling a podcast pilgrimage today?

[2:37] Mark Addy: I certainly am. Yeah. I'm, uh, podcasts are not my, uh, natural habitat, but it's nice to be invited onto one and, uh, and to talk about this amazing show.

[2:47] William J Connolly: It's an earth-shattering, life-changing performance that you deliver, and we're going to talk about specifics in a minute, but you are you've just opened at the point at which we record. You've seen how the critics, the audiences, and everybody that's had the pleasure of coming and sitting in that theatre feel about your performance and this extraordinary ensemble of actors and musicians that you get to work with. Give me a little bit of a temperature check. How are you feeling?

[3:08] Mark Addy: It's, um, I feel very kind of honored, blessed to be, uh, to be given the opportunity to play such an extraordinary character. And, well, I mean, in a way, he starts out as a very ordinary character, um, living his very dull life, recently retired, um, in his dull little house with his dull little wife. Um, and he goes on a rather extraordinary journey. So, uh, to be, to take an audience with you on a very unlikely pilgrimage is quite, uh, is quite a remarkable thing, and, uh, by the time we reach the end of the show, it's quite, uh, unusual. You've got an entire audience, uh, in the palm of your hand, you can hear a pin drop. It's, uh, I've never experienced anything like it. It's, um, it's really, and that's a credit to the amazing writing that Rachel Joyce, who wrote the novel that the show is based on, wrote the book for the show as well.

So, uh, it's very true to her, uh, vision of what Harold Fry is and how he operates. And the music that, uh, that Mike Rosenberg, Passenger, has created for this show just, um, it's kind of, it's very British, it's, uh, it has a kind of folk-infused feel. Although there are elements of gospel, perhaps, there's a kind of 50s tap routine that takes place. It draws on all different sort of elements of British culture, if you like, to create this, uh, this world that Harold is finding his way through. So it's really, uh, for me, an absolute pleasure to be, uh, to be on the Haymarket stage, giving an audience this gift of a play.

[5:15] William J Connolly: And it is, as you say, that sense of normality and sort of connectivity, and I don't want to downplay it, but in such an entry-level way of a normal human being wanting to do something so extra-normal and so extraordinary in the journey, as you mentioned, that he goes on. Was that the thing that you thought this is the sort of character that I feel I could bring to life because these are the types of people that we don't necessarily see in musicals do these extraordinary things and I think that's why people feel so connected to him?

[5:40] Mark Addy: Yeah, I think, you know, it's a rarity in musicals to have, you know, I guess your male and female lead both being pensionable age. They tend to be, you know, normally musicals are about the youth and what they're doing and the young people, and so to have a show that gives you the kind of history of an ordinary married couple is very unusual. So, you know, we see later on in the show we see them meet way back, you know, years and years ago, so you get to feel the impact of those, you know, years of marriage in whatever way that manifests itself for Maureen, Harold's wife. It's a kind of feeling of maybe I should have left, why did I stick with this dull man in our dull little house? I could have, it's too late now, you know, but I could have gone at one stage, and that's a heartbreaking thought.

Ultimately, the show kind of has a, I think, a feeling of optimism that life goes on no matter what tragedies or, you know, whatever befalls you in your life, life goes on, and, you know, make the most of it, I think is the, you know, one of the messages that the show brings across.

[7:10] Mark Addy: I was, I've not, this is sort of my first. Oh, I was in a musical many years ago as part of a Regents Park season. Uh, but I mean, it was a non-singing part, and there was none of the, uh, you know, I wasn't singing or dancing or anything like that. So this is my first real proper grown-up musical, I suppose. And it is a grown-up musical as well, which is nice. I think, uh, you know, it's a really fascinating part because yes, you get to be the very dull everyman, I guess, at the beginning, but as he goes on his journey and people sing their stories to him, it changes his outlook on life and his way of thinking. It brings him out of himself, and, uh, you know, he becomes a better person, I think, uh, by the end of his journey.

[8:04] William J Connolly: Well done to you for actually that rather brilliant and detailed explanation. Because one thing I will say about this show that bless him, Chris Harper was on this podcast two episodes prior to you. And I said to him, it's so hard to try and explain this show to somebody until they sit in those seats. And the second Harold leaves that door and he goes to that post office, everything makes sense, and it explains in the most extraordinary way about feeling about the fact that he just wants to do something, and sometimes is so beautifully said. I believe it's by Jenna in the show, like sometimes doing something is enough. It doesn't have to be these big grand sweeping gestures. And I love the fact that he is this ordinary character that does something extraordinary.

And I feel like, as you said, with reference like never giving up, or like sometimes you can do things bigger than even you feel you can. I feel like it's really interesting that you mentioned about their ages, because actually it felt so fresh and exciting to see these characters at this age almost having to re-believe in themselves as well, almost like they've written themselves off. And I feel like that's something that a lot of people of all different ages could probably relate to, and I imagine yourself included.

[9:03] Mark Addy: You can find yourself, you know, you grow comfortable over the years with your partner if you've been together for a long time. You kind of, you can forget what it is that attracted you to them in the first place, and what it is that makes you carry on living with them and dealing with all their little foibles and then dealing with yours. So it's, you know, the show I think shows how this couple came to be together and came kind of perilously close to being apart, but they ultimately they make it through in the end, I think.

[9:47] William J Connolly: You mentioned about the singing and the dancing. Did Chris Harper was he honest up front? Did he say, Mark, we're gonna be getting you dancing and singing rather a lot? I've seen your legs go high. I was impressed, sir.

[9:56] Mark Addy: Well, it was a strange one. I got, um, I got a lovely, um, email from Katie Rudd, however, fantastic director, saying, I'd like you to play this part, give me a ring, I'd like to chat about it. The first thing I said was, I'm not musical, I'm not a singer, I don't, you know, this is not my world. And she said, I don't care, I want you to do it. And, uh, given her, uh, her brilliance, I trusted her with, uh, that, you know, that she wasn't gonna make me look like a fool. But it's, I guess it's, I suppose Harold is more of an acting part, I would say, than a singing part. He does find his voice late on, um, but it's a quite a sort of a low emotional moment for him. So it's not a big showbiz number.

It's a really heartfelt song that kind of explains really what has gone on in the past and why he is who he is at this point. So yeah, it's more, it's really more of an acting role than a singing role. But you're surrounded by singers, dancers, guys who can really do this stuff. Um, and so, you know, being immersed in that is a real pleasure.

[11:22] William J Connolly: You mentioned there about the energy that he sits on, and he does pretty much up until sort of the final stages of the piece hum on that one continuous level, which is actually the great heartbreak of him, of the constant that he has and the way in which audiences feel like they always know where they're going to meet him. But is that a challenge for you? Are bigger characters easier to connect with, or is that actually a challenge for you as an actor to stay on that constant threat, even though he is going through the emotions?

[11:44] Mark Addy: It's all, um, listen, any job hopefully is a challenge. If it's no longer a challenge, then it's probably time to think about doing something else. But in this case, yeah, I think it, I think his ordinariness is, um, is something that is, um, an interesting thing to try and achieve. You know, you'd be suppressing any of your, um, actually, you know, wanting to be the center of attention or what have you. He's just, he's a very, you know, he would disappear into the background in any room he was in. So that's, uh, you know, an interesting challenge to try and achieve. And he does, you know, he becomes, he kind of comes to life a wee bit with, uh, with the people that he meets and, and their, uh, you know, their opinions.

He takes it all on board and, uh, and becomes, uh, becomes a slightly more interesting person, I think, by the end. It's so interesting as well when you look at each of the scenes and almost the beautiful vignettes of the people he meets and how even when they're doing the very, very different things that they do in the stories that they tell and where they meet him that he almost, he acknowledges it, he takes it to his heart and he feels it, but he doesn't necessarily do anything about it at that point, and that's so clever.

[13:15] Mark Addy: He's not he doesn't he's non-judgmental he um he he's willing to listen to to what people have to say about themselves and not judge them and and uh you know but maybe someone will ask for advice and he will give them an honest piece of advice and you know maybe uh it the the the and it is kind of doing doing the the show has sort of changed me slightly I'm I'm more I'm I'm way more sort of empathetic with uh people that that I mean there's a lovely line that towards the very end of of the show where Harold says um you know you can you can pass a person in the street and think you know there's someone going to post a letter or buying a pint of milk and you have no idea what they're holding inside and that's that's something that has kind of has kind of washed off on me and and I've um I've I feel like I've become a better person through playing Harold and you know understanding what he is about and just I don't know I you know an example would be if you you know if if you're asked for a bit of spare change by somebody you know if you have it that's great and you're able to say there's a couple of quid but to have a five minute chat with somebody a per person to person can be a bigger thing for them than just getting you know a few pennies in their hand so being a more empathetic person is something that I've learned from the character that I've been playing which is a a fantastic bonus.

[14:58] Mark Addy: I think that's also the thing the audiences actually aren't aware these gonna happen because again it doesn't traditionally happen in musicals which is where you feel this overwhelming sense of kindness and an ability to want to just take the person's hand next to you and just be like I'm really glad that we're getting to experience this together and there's there was a lady behind me who obviously have never met before who viscerally so loudly could not contain how much she was not necessarily crying but just moved by the closing moments of the piece that nobody around you know in traditional theater sense would be like stop taking the limelight away from the stage or you know it's it's about a quiet moment but it was just a reaction of great honesty and and I feel like it's interesting that we have that experience but so do you.

[15:39] Mark Addy: Yes yeah yeah yeah no it's uh it it it's so beautifully written um that that you you know you it you can't help but be emotionally as a as an actor you can't help but be emotionally involved in what the character is going through particularly towards the the kind of the the latter part of the show and it it's quite remarkable the way that possibly because of that honesty um it grips an audience as well and you know you can you can feel them uh taking on board those those emotions it's not it it's not forced I don't think I I don't think um I don't think we're trying to tell an audience you must feel such and such at this point you have to you know now is the time when you should be feeling that it's just part it's an organic part of the the the process of this show uh that it kind of I think the emotions creep up on you and um and they're they're lodged quite deeply and sometimes they bubble to the surface and and that's okay as well you know it's um it's a it's a play that that that can you know it people do sometimes need to bring tissues and uh you know that's that's also you know it's not a it's not a bad thing to be to be weeping in the theatre hopefully uh through all that you'll feel joy uh through the ex a cathartic experience if you like that's the experien that's the the kind of experience people have told me that they've had that they you know yes yes I was I was in bits but it was joyous and it was uh you know a a beautiful thing.

[17:29] Mark Addy: Beautiful definitely being the right word, and it it is really joyous. And I'm just thinking, and again, obviously, we absolutely will not spoil anything for anybody, but particular scenes, and forgive me ignorance on not knowing on the particular song, but like with the lady that's hanging out the washing, it's like this really crushing lyrics at times, so beautiful, but about getting up, and as we said at the start, getting on, being positive, and actually it's that contradiction that's stunning.

[17:50] Mark Addy: Yeah, it's yes, she uh the farmer's wife, yeah. She's uh just a character that Harold bumps into on his journey, and uh, yeah, she sings this glorious song about uh yes, you know, there are there are pitfalls in life of all shapes and sizes. You you've got to carry on. You can't give up, basically. I suppose is you know, her uh, you may get lost, you may lose your way, but keep on going, you'll eventually find the right path again.

[18:16] Mark Addy: Beautiful, and this this the variety of styles of song is uh for somebody who uh who has never written a musical before, he's done such an amazing job with the the not just the musicality but the lyrics as well. Uh, there isn't a wasted lyric, I don't think. Um the songs tell their stories beautifully, succinctly, humorously at times, uh tragically also at times, but really, really well crafted. Um, you know, the the you you would expect somebody with years and years of musical theatre experience to write these kind of songs, and this is uh, you know, this is his his sort of first uh musical. So what a what an amazing uh an amazing achievement for him.

[19:13] William J Connolly: Mark, tell me what it was like when you had your headspace in Harold Fry. You expected to be a sort of humming on an emotional level, and then they said, by the way, we're now going to introduce a singing car wash to the story.

[19:24] Mark Addy: It's it's absurd and brilliant. Um it's uh it's it's really what sort of sets Harold off on his journey. He has a conversation in a garage, he's gone to buy some water. He's not he's not been on the road very long, but he's like, I need some water now, I'm exhausted. Um, and the he gets chatting with the girl in the garage who explains that so the reason so the reason Harold Harold's walking, I'll go the reason Harold's walking is he receives a letter from a woman he worked with 20 odd years ago, who he's lost contact with. She's now in a hospice in at the far end of the country, and he writes a letter back. What do you say to somebody who has terminal cancer, is in a hospice? He he writes a letter and it's not very good.

And he goes to post it and just can't let it go out of his hand. I'll walk to the next post box. I'll walk to the next one, I'll take it to the post office. He can't, he can't let this letter go because he knows it's it's inadequate. But in chatting to this girl in the garage who explains her aunt had cancer and said, you know, you have to believe, you must, you know, don't give up on on life. Keep going. That spurs him on his walk. Um, and her number, uh, the the garage girl's number, Walk Upon the Water, kind of a gospel uh style song performed by her and a car wash, is uh very difficult to describe, but it's probably worth the ticket price alone.

[21:00] Mark Addy: I would say I would love to be able to watch all I know. This is a podcast, people can't we'll be able to see them, but be able to see people's faces when they listen to this, having not seen the show before they go, going, excuse me, what hang on a minute. What's this? Yes, it's it's just it shows the kind of uh imagination of uh design and direction and choreography that this show is all about. That you can, you know, these um our ensemble who are to a person brilliant and and do a massive amount of uh of work seamlessly, play everything from sheep to trees to a car wash to you know all the characters Harold makes as well. So it's you know it's a wonderful team that we have uh really working hard to bring bring this story to life.

[21:52] William J Connolly: If people come into seeing this show like myself that did connect so deeply with the book and have such an affection and love and care for the book, and obviously then there was subsequently available on the the film slash TV as well. How much did Rachel allow you to be able to find Mark's version of this character? And how much did you want to be able to pay polite homage to perhaps what people are coming in with in their hearts? How much did you want to honor that too?

[22:15] Mark Addy: We we uh did the show uh Chichester um last year. It did a it did a five week run there, which was which was great. So coming into rehearsals for that, I didn't read the book. Uh I purposely didn't read the book because I thought it's gonna take me down blind alleys that that is not in the script that we're doing. I'm gonna be focusing on things that I don't need to. So I avoided reading the book. We had a uh a wonderful script, but we also had the opportunity to work with Rachel, who wrote the novel in the room with us, and she was a she was an actress uh for for 20 odd years. So she understands that there are things that you can do in a in a a novel that you can't do on stage or there are there are better ways of presenting something on stage than you would be able to do in a book so she was very very unprecious about the you know the the book that she wrote and was very happy to make any changes you know if we suggested is there an easier way of oh yeah yeah that's much better let me have a I'll rewrite that and you'd get a uh uh you know a a better version of uh her her script so it was a really collaborative process and it was uh it was very unusual for to have that kind of closeness with with the the writer of the the original book um and and she was a she was a big big part of of how the how the show was uh manifested itself.

[22:55] William J Connolly: Was it the same with the dialect that you chose and how you choose to speak because Harold's voice is not too dissimilar to your own native accent with does that help or is is that just you're an actor you can do it well?

[22:55] Mark Addy: We decided uh you know we we you have to figure out how you know where uh they're living in in Devon in South Devon he says he left home at the age of of 16 he had a a drunken abusive father his mother had left when he was a child he was he was running away from you know an untenable family situation so we decided he's he's headed south from Leeds or wherever you know he's from from the north, he's getting away from that. He's met more in in London at some kind of barn dance somewhere, and they've ended up moving to Devon and and that's where they've they've sort of created their life. That was that was the that was the backstory that we uh that we um we agreed on with uh with where they are and where they're from. So yeah, um you know South Devon walking from there to Berwick upon Tweed and the Scottish borders where uh it's it's much certainly more than 500 miles, uh and the idea of of somebody of pensionable age doing that is very unlikely.

[25:13] William J Connolly: Also, isn't there a line in the show where they talk about is it a single pair of shoes? Am I right in saying that? Is that possible you could do that in one pair of shoes?

[25:21] Mark Addy: Absolutely. Um they do get repaired on the way, uh various times, but yes, uh one pair of shoes, blime. Uh your feet would be in a pretty poor state at the end of that walk.

[25:36] William J Connolly: See Chris Harper just waving his finger at me saying, William, specifics are not needed here, okay. Shut up.

[25:46] Mark Addy: It would be amiss of me not to mention, uh you said about this extraordinary ensemble, this rather remarkable leading lady that you have that you get. You actually don't spend a huge amount of time together. It feels like when you come back together, it's like ah, we get them together because obviously Harold does go on this rather extraordinary journey. Do you get the opportunity to watch in particular that huge act two moment that Jenna gets where she delivers everything to the audience?

[26:10] William J Connolly: Yeah, it's she Jenna is just extraordinary, and yeah, you're right. We we kind of bookend the show, if you like. You you first meet them in their little home with a slightly awkward conversation, and then Harold's off on his journey. Uh but you see who he's left behind and how she feels about being alone and being uh unsatisfied with her life and her existence.

[26:43] Mark Addy: So it's uh hers is a much more internal journey, I suppose, but equally impactful. I mean, she's um yeah, her two tin of soup for one, uh is a heartbreaking song. And simple thing in Act Two where you you see their relationship begin, it's just uh it just blows my mind every night. Just absolute brilliant, brilliant. Couldn't uh couldn't wish for a for a better uh stage wife. She's uh amazing.

[27:19] William J Connolly: I also love the fact that her song is so specific. And I saw an interview, I believe I'm correct in saying this, that you said that's one of your favorite songs now. Like you really genuinely love it. But you also said that Jerry Springer: The Opera is your favourite musical. They couldn't be further apart.

[27:32] Mark Addy: I know. Well, it w uh Jerry Springer: The Opera just had such a massive impact on me. I I I couldn't quite believe what I was seeing and hearing and experiencing. And I I got uh slightly obsessed by it, by the brilliance of how it was written and directed, and you know it's it it's uh I thought it was a remarkable achievement. Um so that has stuck with me uh over the years. I've seen a fair number of musicals, so I'm uh you know, I'm uh my uh I suppose what yeah, I'm I'm limited in uh what I would what I would I'm able to choose from because uh there's a lot of Sondheim that I've never seen. There's there's so many shows that that I've you know not actually got to see yet. Um that my knowledge is uh it is not the most prolific, but uh but that was one that stood out for me.

[28:29] William J Connolly: Hey, hey, if you love Jerry Springer: The Opera, you own that, sir. That's that's your lane, okay? That's very much very respectable choice.

[28:36] Mark Addy: Thank you. I'm not the sort of person that sort of believes in fate or feels like things are supposed to happen, but it's so interesting that we're having this conversation because when I asked the lovely press team and I said I'd really like to talk to Mark, it was also because I found this performance so incredibly moving, but also feel like I have a very interesting connection to you. So A Knight's Tale is my favorite film of all time, which obviously you have a connection to, but also I'm a Midlands boy. I went to university in Sheffield. My part-time university job was in Sheffield Theatres working there. There was a production that they had of Jerry Springer: The Opera that came into the theatre, but also I was doing that while at university.

And one of my favorite go out there and explore the world and you know, see what happens, which is sort of inspired a little bit of a sort of unofficial mantra in my life is just go see what's possible, which doesn't always serve me well. But most of the time is that a university lecturer said, There's no brief, just go and find stories in Sheffield that people have never heard of. And I was like, that's a really interesting thing. And you go round, you walk around. I'll be honest with you, it didn't go very well. And I remember giving up, going to a working men's club, a pub and just saying, they were like, you know, you're very young to be in here, what's going on? Can we help you? And I said, I just want to find something that no one's ever spoken about before and be excited by it.

And a very, very lovely gentleman walked me down a long corridor and said, 'Do you know where you are?' And I said, 'I think I'm in Shire Green somewhere,' but I'm not quite sure like what's going on. And I didn't realize that the place and location that he took me to was where you filmed The Full Monty.

[30:03] Mark Addy: Uh was it Shire Green Working Men's Club?

[30:06] William J Connolly: Yes, sir, it was. And it was there as a shrine, as like a piece of locked-in time. And it was extraordinary to know this remarkable film feat, this piece of history was just there. I mean, it was quite sad that it was empty, but what an extraordinary find. I nearly fell over.

[30:21] Mark Addy: That's amazing. Yeah, I think it's kind of fallen into wreck and ruin a bit over the years. Um, which is a shame, you know. They're hoping to kind of preserve it as a little bit of British film history, I suppose. But uh but yes, no, I have uh very uh I have a mixed recollections of my time at Shire Green Working Men's Club. Yes, that was uh that was where we filmed the final uh striptease sequence in The Full Monty um over a couple of days. Uh and the absurdity of them telling us um oh yeah, it's okay, it's a closed set. So we're like, oh, what do you mean? That just means it's only the people who are absolutely necessary will be there. We said, Well, who's that then? Well, the crew, um, the entire second unit crew that we've got in for the day, 400 extras. How is that a closed set? That's ridiculous. So, yes, it was uh no, it was quite an experience, but it turned out okay, you know. It's uh it did all right in the end.

[31:35] William J Connolly: Turned out okay, being the understatement of the century, bless you. But yes, certainly is that, and a very strange experience when you're not expecting something like that to be like, do you know where you are? But perhaps that is such the charm. And I love the fact that that people were passionate about it there. Like the gentleman was like, This is where we created the fake toilet scene, this is in the middle of the room, but you don't think that and it it was very lovely, and and they have a lot of love and care for it, as I know you do, and it was nice to be able to step back into that world. Brilliant, brilliant.

[32:00] Mark Addy: I'm very conscious of time, so my last couple of questions for you, if that is okay. You spoke about how you feel like you're, and I don't want to paraphrase, but somewhat kinder and more optimistic and want to do little things in order to hopefully help somebody else have a slightly better day, which I feel like unfortunately isn't the default, but actually one thing I passionately agree with you is that you do come out of it feeling like there's some kindness in the world. Do you feel like that's something while we take different things from various different projects? That's something that you didn't expect to take from this, and that's something that you will make sure that you keep afterwards?

[32:36] Mark Addy: Absolutely, yeah. No, it was it was completely unexpected and uh subconscious, it you know, it just it it just sort of in a way it kind of the a bit of Harold seeped into me, and I've I found that it it does make a difference to the to the people that you're that you meet. That if you're if you're willing to listen, maybe ask them a couple of questions and show an interest in what they're doing or what they're struggling with or whatever. You don't have to provide any answers necessarily, but just have a, you know, an ear that they you know, have a listen, show it a little bit of human empathy, and uh it it it can mean a huge amount to people.

[33:20] William J Connolly: And very finally, do you remember the very first piece of theatre that you ever saw live?

[33:25] Mark Addy: It would have been uh it would have been Panto at York Theatre Royal. We were we were taken there from the age of about three or four. So uh this is going back quite a long time, but uh yes, it would have been it would have been Panto. York Theatre Royal has been a massive part of my life. I I uh I did a thing called Trident Work Experience, kind of internship that you do when you're about 14 or 15. And York Theatre Royal took me in into the scenery workshop for three weeks. I absolutely loved it, surrounded by creative, artistic, funny, welcoming people. It wasn't like a place of work to me. I just thought it was amazing at the end of my three weeks. The master carpenter said, Will you come and crew on the panto at Christmas? We need extra hands, we'll pay you.

[34:16] William J Connolly: Yeah.

[34:16] Mark Addy: And I started working on the crew and watching actors work, and I'd watched them night after night and learned soaking up, you know, so much information, just watching performers perform time and again is um you you you learn a lot, and that was my, you know, my grounding really. And I got my first professional job back at York Theatre Royal again. So yeah, it's meant it it's been a big part of my life.

[34:44] William J Connolly: What do you think then, if you think about you sat as an audience member at that first so pinnacle piece of pantomime in that theatre to then transfer to having your work experience there and your training there to then, as you so beautifully said, to be paid, and then that to be where you make your professional debut all the way through to, you know, the very many rather extraordinary chapters, and there are some pretty phenomenal ones in there, which I know you speak so highly, and and people speak to you about, which I always feel is wonderful that it has an impact. And now you're a uh a West End leading man in a musical, and you're also having this rather extraordinary life experience where it's starting to teach you things and and I think better you. What do you think the Mark back then that's in that training would think of, not just the journey so far, but the gentleman that's that sat with me now, could he ever believe this would happen?

[35:27] Mark Addy: No, I don't think so. I coming from, you know, it's it's not the sort of thing that happened to uh you know, somebody from my background. With the there was no um there were no actors in the family. It wasn't a kind of it wasn't something that that you even considered as a as an actual career. Uh I in fact I was advised against it, you know, 80% of actors are unemployed at any one time. You should you know, get yourself a job with job security, and you back in the day when jobs did have a bit of security and you had a job for life, um the idea of going into something as kind of part-time as acting was like, well, yeah, you're never gonna survive. It's you know, and a lot of people do struggle with the idea of you really don't know where your next job is coming from.

Um, you know, if you have a mortgage that you need to pay, you can't rely on, you know, fingers crossed, something will come up in time. People often drop out of the industry because they need something a bit more of a fixed wage that they know that they can meet those financial, you know, the burdens that we all have. So if you can manage to, if you can manage to keep going through the tough times, then uh, you know, then there may well be some really cracking parts like Harold Fry waiting for you you know when you when you reach uh a certain distinguished age.

[36:49] William J Connolly: 25 bless you what an age mark thank you so much for your time I do genuinely reappreciate it and above all else congratulations on Harold Fry it's a very very special piece of theatre and your performance really is the best of the best so congratulations really genuinely that's very kind thank you very much.

[36:49] William J Connolly: You've been listening to eleven, the official theatre podcast. Find out more about eleven at elevenpodcast.com or via the Broadway Podcast Network.