Myette Godwyn- Artistic Director.
An Interview
QUESTION: What are your earliest memories of theatre?
I gained my love of theatre from my early childhood because my father was a musician for the Royal Ballet and DOly Carte Opera Company. My earliest memories were watching Margot Fontaine and Rudolf Nuriyev in rehearsal from The Wings at the side of the stage, meeting strange face painted Japanese characters in fat suits and large wigs and hiding and running in and out of racks of bespangled costumes. The Royal Ballet company members used to tour in brightly coloured Volkswagen doormobiles and tried to out do each other with the design. I had my own bunk bed in the van and it was all kitted out and painted like a gypsy caravan. My favourite ballet was La Fille Mal-Garde a very theatrical pantomime style ballet with clog dancing and a dame choreographed by the famous Sir Frederick Ashton. My father used to alternate the seasons and so I would get to see all the ballets and Operas on offer and because I was so young believed everything that was happening on stage as if it were real.
At first I wanted to become a ballet dancer because of seeing so many ballets as a child. My parents chose a Russian Classical Ballet school, in Bournemouth, called Murilovas Ballet School. It was run by an aging scary dancer called Nalda Murilova, Madam. She was in fact an incredible dancer in her day having been a member of Diaghilevs company, The Ballet Russe and danced with Najinski. My teacher was Grace Greenaway a soloist with Sadlers Wells Ballet Company and the pianist resembled a 1940s film star, who smoked like a chimney and had two huge blond buns on her head like a cottage loaf. I loved the classes but best of all I liked making up my own stories and dances at the end of the class. I found the formal structure of Ballet difficult especially as I suffered severely from Asthma but I loved being the characters and I loved the physical highly theatrical expression of the Russian style.
Madam suggested that acting was more my style rather than ballet and I took the choice to join a Youth Theatre class, also in Bournemouth. When I first went I stepped into a black studio space with tubs full of silver tubes and bits of plastic and other exciting delights and above all there were theatrical lights hanging above on a scaffolding rig and black theatrical curtains (legs) around the room, it was very exciting. The class consisted of drama games and improvisation around a theme and sometimes prop and costume making but no performance and I longed to get out onto the stage and be in a proper play. My father searched for a Youth theatre that performed to the public and found one in Ringwood, now part of the Forest Forge Theatre Company. This Youth Theatre was run by a very fiery and scary lady dedicated to working with young people and there were no auditions. I was immediately rehearsing for play after play and I got to perform all the character roles, like Lady Bracknell, although I was ridiculously too young for the parts.
Q. Did you do theatre at school?
At every opportunity I was involved in performing, be it school assemblies or plays. My school was a private Girls school, St Marys Gate where they entered me for festivals in elocution speaking. Youth Theatre, however, was a bit of an escapism from being a teenager because I was struggling with dyslexia/ dyspraxia as well as asthma. Dyslexia and Dyspraxia affects many different aspects of my life including ordering sequences, spatial awareness, co-ordination as well as spelling and sight reading. Theatre allowed me to be able to really work at something and overcome these difficulties and improve my co-ordination, I have subsequently danced in many shows but it takes me a little bit more work and determination than some of my colleagues. Fitness also helps to alleviate asthma and improve breathing. I cultivated a huge determination to succeed at everything I did and still do. I found a group of people who would take my ideas seriously and I became a part of a team. Because theatre has helped me I know it can help children with similar difficulties and to find away to overcome them. This is why Whirlwind Theatre is open to every child without auditioning, with the belief that every child is gifted. I am taking further training in inclusive theatre by taking an MA(Ed) in Inclusive Theatre with Chicken Shed Theatre Company.
Q. Was your family involved with theatre?
When I was 14 years old my Father, Anthony Godwin and Mother, Patricia Godwin started the highly popular and successful Palm Court Theatre Orchestra. Our home became a constant theatre production line with all family members engaged in costume making, painting stage sets and making props. During School holidays I got to sing with these amazing musicians and performers and tour with the company. I got to perform as part of the Palm Court Theatre Orchestra for the opening of the Orient Express in Paris, The Barbican in London, The Park Lane and Savoy Hotels and many theatres up and down the country. My sister, Saskia Godwin (recently graduated from RADA and currently working as DSM for the Mouse Trap in Londons West End) and I sang as a duo on many of the occasions either dressed as Victorian maids or as 1920s,30s 40s girls. I also appear on one of the recordings as a peasant and roisterer. My parents started this highly theatrical Orchestra after inheriting a very rare library of music from 19th and 20th centuries. This library had belonged to my granddad Norman Herbert Godwin, a conductor of light orchestras in the West Country. His entire family were on the stage in one way or another including his mother Grandma Godwin. As soon as the children could walk they were given an instrument to play in the concert entertainment to put food on the table and prevent the fears of entering the workhouse. The Great Grandmothers show was called Grandmas Birthday and every child was involved, this became a countrywide touring company. There was a bit of snobbery later between family members who went into classical music rather than the Music Hall I am very proud of them all and think it amazing to have run a touring theatre company in the Victorian and Edwardian era all that washing costumes by hand and travelling by steam train!?
Q. Why did you choose Theatre as a Career?
Theatre chose me rather than the other way around and I grew up with it all around. I find it an extremely exciting place where all art forms come together including acting, dance, music, visual arts and design, writing and directing. I have always had a one-track mind and focused on a career in theatre first as actor but now as producer/director. I think its amazing and magic when all the hard work and different elements of theatre come together to produce a visually stunning production.
I first chose to do a BA(HONS) degree in Expressive Arts at Brighton Polytechnic (now university), I could do both visual arts and theatre together. I kept both disciplines separate whilst I was there and it hasnt been until now, whilst running Whirlwind, that I have had to use all my skills together. It was fantastic being in Brighton during the 80s but I think ones ability to paint was judged on how wacky ones dress sense was. Not only could I paint and do sculpture but also devise my own performances and stage them complete with costumes and everything. I also ran a troop of street theatre entertainers called PAROMYME with two other students, and I played an enigmatic masked character called What is Henry?
When I graduated I could not give up the desire to be an actor although I had offers to work within the visual arts world. I auditioned for many Drama schools, got recalls and was offered a place with Cygnet Training Theatre Company in Exeter. From the moment we stepped through the door we were told we were now actors. The training was hard, disciplined and included rep. style performances in-house and on tour. The training was heavily influenced by Peter Brooke and Grotowski and the teachers in the school had worked for them both. I was back in a splendidly theatrical black box where everything happened and I loved every moment, including the ballet class and historical dance. I was in plays from Shakespeare to Caryl Churchill and played young leads with a difference the company regularly toured to The Plymouth Theatre Royals Drum theatre, The Marine theatre Lyme Regis where the dressing rooms are over the sea, Edinburgh festival, had classes in the Northcott Theatre and even toured to Bad Homburg in Germany. It was three years of constant theatre and we all lived, ate and breathed it.
Q. What were your first Jobs in theatre after training?
My first Job leaving drama school was to babysit an actor dog called Captain Blunt, whose owner was a National theatre actor Nicholas Lumley. I wanted to be in London and so I rented a large house with several other actresses from my Drama school. I auditioned for everything including lining up at 5am for open West End auditions. I managed to get offered two parts in different companies at the same time and had to choose. That choice has affected my career since because I chose childrens theatre. I went to work for Merlin Theatre based within Pleasurewood Hills theme park and was fronting two shows with pterodactyl and animal puppets. I not only learnt to work relating to puppets but got to operate them also including rod and stick and glove operated. With great joy and delight I received my Equity card with this job, which at the time was very difficult to get as you couldnt get a job with out it, except for a few allocated companies that were given cards. You had to work for so many weeks before getting a full card and with it the permission to work on TV or in the West End or major commercial theatres. The next job I got was straight after with a national schools tour of Metamorphosis and I played Mrs Samsa, this was very physical and demanding as I was filling in for another actress and I had a week to rehearse, but it was really good experiencing the very modern style. At the end of this I annoyed my house mates in London by immediately getting another job fronting a childrens show and playing Mrs Tiggywinkle at Alton Towers. Mrs Tiggywinkle was a marvellous pantomime dame type character and I was very proud to play her, following in Frederick Ashtons footsteps. The costumes were beautiful and made by Madam Tussauds in London, who also designed for the Royal Ballet film version. The audiences numbered 1000 people each performance, and my husband to be Mike Whalley lit me on the ice. I played other characters too including one of the two very bad mice. My director was Richard Gill of Parasol Theatre, an expert in acting as animals. I am also proud to have been in a show directed by him. I stayed with this show for two years and married Mike Whalley at the end and he has been lighting on stage ever since. I have been working and touring in theatre ever since and has included Murder in the Cathedral for the Oundle International Festival, a Summer Season with the Century Theatre, Keswick (now Theatre By The Lake), for Private Lives and A Dolls House under Royal Shakespeares theatre company associate director Greg Doran, This is where I finally got my Full Equity Card (it was like winning the lottery) and Theatre in Education pantomime tour with Bitesize Theatre for Children.
Q Why did you start Whirlwind Theatre for children?
Because I was brought up with a family that ran their own company I have always wanted to produce the whole show as if it were my God given right and part of who I am, like breathing. To see a project from the start to finish including the concept and initial meetings is very exciting and a little scary. I at first I started taking roles in Whirlwind Theatre performances including Baby Bear in Goldie Locks and the Three Bears, Mrs Grindling in Light House Keepers Lunch and The Gardener in The Selfish Giant all singing roles and I also designed the stage sets but still wanted to direct which I am now doing. Directing is pulling all the strings together to produce a stunning performances and drawing the impossible out of people. Because I have had such a varied background in theatre I want to share that with younger people giving them opportunities and help them to develop strengths and skills. I expect the best from the company and staff because I believe children deserve the best. I am dedicated to making Whirlwind Theatre a success and nationally renowned.
