Interview.

TEJG:  So Ms. Siddons would you like to share with our listeners some of your childhood reasons for venturing into the artistic field of theatre?

SIDDONS: Well, I do suppose you know my father, Roger Kemble, was an actor- manager of a traveling theater company. So practically, at an early age, my father had me involved in the arts by including me in his works as a young character. As the oldest of my parents twelve children, I was paid special attention to which may be why my father chose me as his protégé (Manvell, 1970).

As for my mother, well that’s another story. My mother, Sarah Ward, was also a player but not nearly as well recognized. So although she was a shadow in my father’s fame she “was a woman who put her best foot foremost, and took bulls by their horns” (Parsons, 1969) which is what I embraced in my approach to my career. Together, my father’s fame and my mother’s dedication inspired me to pursue a life on stage.

TEJG: As a famous actress, did you ever have anyone who mentored or helped you develop your passion for being the exceptional actress that you are?

SIDDONS: Definitely. Every actress or actor has had a teacher or role model that helped them develop their skills and passion, no? Well my “role model”, as you strange Americans say, was my dear mother. From a ripe young age, my mother taught me a wide range of arts. We sang with “articulation”, played harpsichord and she taught me to portray characters as dramatic as myself and as comedic as my brothers (Encyclopedia Britannica). She obviously did this very skillfully, don’t you agree? If it was not for Sarah, I imagine I would never be able to be as amazing as I am today!

            Unfortunately, my mother passed in 1806, four years after my father. They had both been involved a great deal in my career before they died, when I was fifty-five years of age (Lewis, About.com). I do miss both my mother and father dearly *sniffles* but I know that throughout the remainder of my life they looked down from the heavens and gave me standing ovations for every performance. They were the inspiration that drove my determination to become “England’s Greatest Actress” (Jonson, 1972).   

TEJG: When you first became an actress, what was the art world around you like?

SIDDONS: When I was a young child, actors were seen as burdens and unsuccessful folk. Nowadays, it seems that actors are EVERYWHERE! Making millions of pounds every month or so! It is incredible! I do wish that I was born in this century; I would have been far more successful and much more rich don’t you agree? * laughs* Nevertheless, beyond the stigma of theatre art, the Enlightenment Era, which I learned it was named, revered painters and sculptors alike! And eventually actors as well.

The Enlightenment Era was defined as a “movement of thought and belief developed from interrelated concept of god, reason, nature and man” (Encyclopedia Britannica).  This philosophy gave many painters a clear vision of what they wanted to portray in their art (Stockstad, 1999). “Their work and thoughts set the stage for much of our thinking today about personal freedoms and the reform of existing conditions and institutions” (Western Heritage). They inspired painters to create new incredible works of art; playwrights to create plays that are brilliant; composers to create moving operas, symphonies that move hearts with a single note.  It truly was an amazing era to be born into and to live within. Especially, with the advent of theatre appreciation.

TEJG: Did anything specific influence your amazing work?  Such as cultural, economic, or political situations?

 SIDDONS: I embraced what was going on in the Enlightenment Era. “To understand the natural world and humankind's place in it solely on the basis of reason and without turning to religious belief was the goal of the wide-ranging intellectual movement called the Enlightenment” (Hackette).  I understood the natural world by doing as much research as I could, on the subject of the show, on the character, on life during the time of the show, as well as on the playwright.

            Culturally, and to my benefit, the arts were being embraced, especially the theatrical arts. We, artists and our trade were no longer classified with the gypsies, monkeys or prostitutes. We were finally accepted as contributing members to our artistic society.

TEJG: What do you consider your major accomplishments, and what was your methodology?

SIDDONS: Well darling, I do suppose you know about my major leading role as Lady Macbeth? Portraying that character was by far my biggest accomplishment, for now, I am world renowned as Lady Macbeth! When ladies are caste as this character, what I prefer to call “my role”, Lady Macbeth, they come to me for inspiration. For guidance even! I remember the day I was cast exactly as it happened.  I was arguing with a producer by the name of Richard Sheridan. He came to me that specifically on that day to tell me that my own public had forgiven me. They had so envied my fame. I then went on an outrage saying that I always worked for my fame. He said that he was glad I worked so hard for fame and perfection, because he was casting me in the role of Lady Macbeth (Jonson, 1972).

At first I was petrified, refusing the part at once. For I was deeply afraid that if I were to fail playing Lady Macbeth, it would end my career, which of course it would! But eventually as we all know I would, I accepted the part and as part of my disciplined methodology I began my research. Every role an actor receives must be researched. I needed to know what made my character be so violent? I had to find the violence I KNEW I had it within me and I had to bring it to the stage.  And so began Lady Macbeth!

TEJG:  In your life, were there any turning points or major events that helped created an evolution with your fabulous art?

SIDDONS: Honestly, I think that my time at Bath, a theater in London, was truly the beginning of my career. Interestingly enough, before that, my portrayal as Rosalind in As You Like It, at the Provincial Reparatory in the Midlands, attracted some attention. After the performance I was asked to have an engagement with the respected David Garrick at THE Drury Lane theatre, one of England’s best.

Instead of what I had hoped would be a fantastic new employment, it was in reality not so successful.  They wrote, “She was not retained due to Garrick’s considering her voice to be too weak, a decision she later referred to as being ‘banished from Drury Lane as a worthless candidate for fame and fortune.’(Bath’s Old Chard Street Theatre)”. After that heart break I went to Bath for 5 wonderful years. Yet alas, I was once again requested to return to Drury Lane by Garrick’s successor, Richard Sheridan, where I was then ever after known as the Queen of Dury Lane until I moved on, or say retired, in 1803. ("Facts about Richard Brinsley Sheridan: Siddons, ")

TEJG:  Besides following your heart, did you make any personal decisions that that helped you be exceptionally famous?

SIDDONS: In June, 1786, my manager Tate Wilkinson booked me for another one of his whirl wind  tours, yet again. I questioned why he only booked me for his larger theaters when so many of the small towns clamored to see me! I had sympathy for them.  I knew how they felt. I grew up in a small town with a small theater, barely anyone as famous as I am came around, ever. So when I heard the news of boycotting Wilkinson’s theater due to our restriction on performances, I knew that I was going to perform for the country people in their venues.

            Of course Wilkinson said that we could never make any money off of people who can barely survive. Regardless, I wanted to give them something to live for, something exceptionally amazing to experience. Yes, I must confess that a couple of the performances were flops, but they laughed! They laughed at the idiocy that the rich and elite would disapprove of. I have always enjoyed my time on stage, but when I was performing for them, I knew in my heart that this is what I was born to do. I was born to make people love and embrace. They never forgot my performances and so they and their children always supported me and helped me become exceptionally famous.  

TEJG:  To be able to climb the ladder of success did you have any road blocks per say?

SIDDONS: When I was younger I had some difficulty finding my character. The developmental process was always a challenge to me personally but I could also see my siblings struggling just as much as myself (Jonson, 1972). Obviously for an actor the inability to find your character in SUCH an inconvenience. So naturally my goal of self improvement was to be able to connect with any character that was presented to me. At first, it was extremely difficult. I was constantly questioning myself in the theatre, if my choices were truly beneficial to the character.

            Though as I grew, my theatrical brain grew as well. I began to memorize at more ease. The physique of my characters came almost as naturally to me as walking. And what came along with all of these new improvements, character. I was able to imagine the life, the outside story, her inner thoughts and put those thoughts into the lines she put out. I was ecstatic! Finally, I was able to become the true actor I knew I was destined to become. 

TEJG: As far as limitations go, did you ever have any, either as a person or as an artist?

SIDDONS: Well every artist, whether you are in visual arts or performing arts, such as myself, must sacrifice what others might consider a normal life and not enjoy the leisurely activities of daily life. For myself, my parents imposed those sacrifices. Both my mother and father didn’t want me to marry an actor, I just don’t know why.  I suppose they wanted me to have “a respectable home and a secure income” (Jonson 1972). When I told them that I was deeply and madly in love with William Siddons, they refused right on the spot. (Jonson, 1972) Oh I cried! Oh I begged! Finally they gave in to my plea. And then I cried with joy! I kissed them both and started what I thought would be a flourishing marriage.

At that time, and even now, it seemed that the limitations of my not being allowed to marry that they imposed on me were the most drastic anyone could ever make. Of course I was oh so young then and didn’t have a clue about what love really was. I felt in my later years I made personal limitations for myself to sacrifice for my children. I sacrificed MY happiness for THEM. Which is what any respectable mother-figure should do, so which I did. I do not regret the limitations I placed on myself to sacrifice for my children and I am very proud of them, nevertheless, I must say that from time to time I do think about what my life would be like if I chose the theater over them… any who! I am happy now and that is what is most important, no?

TEJG: Would you like to share any personal anecdotes with our audience that might inspire them to be as successful as you are?

SIDDONS: Well, sure. When I was in the middle of my career my sister tried to *voice-crack* kill herself. Oh it was awful! We all knew that she was a flight-risk. But we never imagined that it would escalate to such an event such as this! She- she was an alcoholic, my sister Anne. That is how she dealt with her problems I suppose. The shame of our family is what my friend from London called her. But on the inside she was a truly bright woman, she just had dark shadows.

From what I heard, Anne gave a lecture at The Temple and then ran into Westminster Abbey and tried to do the deed (Jonson, 1972). Only after she was shot in a bar quarrel did I discover her true reason for drinking. That Anne felt she was always in my shadow and was never good enough, she knew that the rest of the family thought her crazy though she didn’t try and set them straight. I had to overcome this- this terrible confrontment for the very next day was opening night. I suppose some advice for our listener’s is to always plow through. If this beautiful art is what you strive for then you must love every detail about it, even if it might destroy your family. You sacrifice so much, as well as you should, to be the very best.

BIBLIOGRAPHY:

Jonson, Marian. A Troubled Grandeur. 1st ed. Canada: Little, Brown and Company, 1972. Print.

Parsons, Clement. The Incomparable Siddons. New York, New York: Noble Offset Printers, 1969. Print.

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Kelly, Linda. The Kemble Era. 1st ed. New York, New York: Random House Inc., 1980. Print.

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"Sarah Siddons as The Tragic Muse." PBase. Web. 15 Feb 2011. <http://www.pbase.com/image/51062686>.

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"1778- A New Star." Bath's Old Orchard Street Theatre. N.p., 2005. Web. 6Feb 2011. <http://www.oldtheatreroyal.com/#/siddons-joins/4543859189>.

"Facts about Richard Brinsley Sheridan: Siddons, ." Encyclopeadia Britannica. Web. <http://www.britannica.com/facts/5/188178/Richard-Brinsley-Sheridan-as-discussed-in-Sarah-Siddons-British-actress>.

Hackette, Lewis. "The Age of Enlightenment." History World International. History World International, 1992. Web. 24 Feb 2011. <http://history-world.org/age_of_enlightenment.htm>.