Theatre The Sherling Studio

Overview

Chekhov is one of the great writers of the 20th Century and these tales, newly adapted and directed by Eliot Giuralarocca, remain as memorable and bracing as jumping into a cold plunge pool after a hot sauna!

Performed by a company of five and featuring original live music and stylish ensemble story-telling, In and Out of Chekhov’s shorts is an exhilarating, fun and accessible romp through some of the best of Chekhov’s short stories including The Lady with the Little Dog, The Chemist’s Wife, At a Summer Villa, An Avenger and The Bear.

These wonderful hymns to the absurdity of everyday life, are by turns hilarious, romantic, poignant, odd and memorable. They hold the mirror up to the half-comic, half-painful experience of love and relationships and create a world in which the tender and the grotesque are inextricably linked. Ludicrous situations and larger than life characters abound in an evening that simply cannot be missed!

Elisabeth Snegir Q&A

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Elisabeth moved to England from Russia in 2012 and has graduated from The Actor Musician course at Mountview Academy of Theatre Arts earlier this year. 

Her theatre credits at Mountview include Sarah in Our House, Boult/ Fisherman in Pericles, Helena/ Starveling in A Midsummer Night’s Dream and Marian Paroo in The Music Man

In and Out of Chekhov’s Shorts is Elisabeth’s first professional show since leaving Mountview and she is thrilled to be working with Dragonboy Productions on such an exciting adaptation of the work of one of Russia's greatest writers.

What or who inspired you to want to become an actress?

In Moscow I trained as a musician, taking part in competitions and concerts, so being on stage has always been a part of my life. And I have always loved telling stories, entertaining people and being in school productions was something I really enjoyed being a part of.

The moment when I think it clicked that I wanted to pursue this as a career was when I saw a production of Gecko’s Institute on a school trip. The incredible storytelling and the camaraderie of the actors on stage was electrifying. That’s when I finally realised that I wouldn’t be happy doing anything other than acting and hopefully making people feel the same way I felt watching that production.

What was your first experience of acting and what shows/performances have you most enjoyed?

The first time I went on stage as an actor was in Moscow, in a school production of The Snow Queen, where I played Gerda when I was seven. I remember being absolutely terrified I’d fall over or break something. But I remember it being so much fun in the end! 

A show that I loved performing in was a production of A Midsummer Night’s Dream, we did it at Mountview, directed by Richard Cant. I played Helena, who is such a brilliant, funny, warm character. It was also the very first time I had ever delved into Shakespeare, so it was a challenge which turned out to be a production I will never forget. 

Another show that has really stayed with me was an actor-musician production of Dead Dog in a Suitcase that I did earlier this year. The politic of the play is incredibly relevant today and it made me realise the importance of theatre as a construct.

What has been the biggest challenge in your career to date and what ambitions do you have?

The biggest challenge for me so far was probably my last year of training at Mountview. It’s not always an easy path, and that is what I have realised this last year. 

What ambitions don't I have is the real question! I would love to see the concept of actor-musicianship grow in theatre, so playing a role in the development of that is something I am very passionate about. 

What do you enjoy most about your job? 

I think what I most enjoy about my job is being surrounded by creative people and being able to play, explore and have fun with like-minded people – what a brilliant job to have! 

If you weren’t an actress what job would you like to do?

I find it difficult to imagine myself in another job, however the obvious answer would be a musician, but to be honest, a dog walker.

Graeme Dalling Q&A

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Graeme trained at the Guildford School of Acting and recently appeared in Melly Still’s production of Captain Corelli’s Mandolin at the Harold Pinter Theatre in London’s West End. 

His theatre credits include: Measure for Measure (Guildford Shakespeare Company), Let The Right One In (Royal Court/Apollo Theatre/St Ann's Warehouse NYC/US tour), Elsie Thatchwick (Edinburgh Fringe/Theatre 503), Rope (Brighton Fringe, Rialto Theatre), Much Ado About Nothing (Iris Theatre, Covent Garden), Macbeth (Trafalgar Studios), Der Ring Des Nibelungen (Royal Opera House), On Golden Pond (Middle Ground/National tour), To Kill A Mockingbird (York Theatre Royal/National tour), The Snow Queen (Stephen Joseph Theatre, Scarborough), Old Vic New Voices: 24 Hour Plays (Old Vic), Huck (Chipping Norton/Southwark Playhouse/National tour), Treasure Island (Northern Broadsides/National tour) and Oliver! The Musical (New Vic, Newcastle-Under-Lyme). 

His television credits include Doctors and Hollyoaks and he was in the feature film Home For Christmas.

What or who inspired you to want to become an actor? 

I was inspired by a particularly wonderful teacher, Mr Robinson, who taught us Drama at school. He inspired us to read all the classic plays and took us on monthly theatre trips to the Citz in Glasgow. We saw some really cutting edge productions, often involving sex and swearing which we all loved, and we would talk about the shows and dissect them the next day in class. 

Forefront was an amazing after-school drama club that really got me into performing. We did big proper productions, and Naidha Thompson the head, helped me prepare my speeches for drama school. I learnt the importance of professionalism and strict discipline to my craft from her and I really don’t think I would have got into drama school without her influence. When I learned that my great uncle, Laidlaw Dalling, was an actor, I remember thinking, ‘That’s what I’m going to do too.’

What theatre have you most enjoyed?

Punchdrunk’s The Drowned Man is probably the best thing I’ve ever seen and Ben Whishaw’s Hamlet at the Old Vic was the first proper play I saw in London and his performance is still lodged in my memory. I also saw Hamilton for $20 in a tiny New York theatre before it went huge, which was incredible. Also, seeing Anne Marie Duff in Saint Joan at the National, The Ferryman at the Royal Court and Mark Rylance in Jerusalem, were all amazing theatrical experiences.

What has been the biggest challenge in your career to date?

Probably performing Claudio in Much Ado about Nothing, my first big Shakespeare role. It was a difficult role and it was outdoor theatre which brings its own set of challenges. I found it very hard. I just don’t think I got it, which happens sometimes, but it’s a horrible feeling. I was a nervous wreck and genuinely didn’t know what was going to come out of my mouth! I got through it, but it gave me a fear of Shakespeare for a while. I resolved to never feel like that again. I’ve recently played Angelo in Shakespeare’s Measure for Measure and I prepared so much to avoid that fear. Thankfully it paid off and it was a great experience.

What do you enjoy most about your job?

The work itself really, but also the people, the travel, the unpredictability, and the fact that I can say I’m doing something for a living that I genuinely love.

If you weren’t an actor what job would you like to do?

I’d be a personal trainer or maybe a song writer, but I’d be equally happy teaching surfing somewhere hot, with long hair and a big beard!

Michal Horowicz Q&A

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Michal completed a Masters in Music Theatre at Royal Central School of Speech and Drama. His theatre credits include playing Peter Llewelyn Davies in the original musical Neverland at Theatre Deli Sheffield/The Vaults (Guild of Misrule), George Kirrin in The Famous Five at the Edinburgh Fringe (Gobbledigook Theatre), Mutti in Mimi and the Mountain Dragon at the Little Angel Theatre (Skewbald Theatre), Jo in Bylines at Theatre 503 (Bigger Fish Theatre) and Fontanares in Resources of Quinola at the Cockpit (Les Foules).

Who inspired you to want to become an actress?

Julie Andrews played a big role, I adored her as a kid. And I loved Jennifer Ehle in the BBC’s 1995 Pride and Prejudice mini-series. I’m pretty sure I know all six hours of it off by heart!

What was your first experience of acting and what shows/performances have you most enjoyed?

I remember making plays with my siblings and friends from when I was tiny – the advantage to that, of course, was writing yourself into the starring role! When I was in sixth form a group of students started a small revolution against the Drama department and staged West Side Story with a student director, MD and choreographer. It's one of my favourite musicals and the whole experience was really bonding and a huge amount of fun!

What has been the biggest challenge in your career to date?

I was in a new immersive musical, which was a really incredible, but challenging experience. When you're that close to the audience and interacting with them, it can be hugely rewarding, but it also had its moments. I remember one night, during what was meant to be my tragic final scene, we had about ten members of the audience in a tiny space, and two women in fur coats spent the whole time loudly complaining about the bar being shut!

What do you enjoy most about your job? 

I think a lot of actors are searching for answers to some of life's big, messy questions – I know I am! It's not always like this, but when you get to work with a group of creative, generous people, attempting to make art that breaks down barriers, or pays homage to someone forgotten, subverts the status quo, or takes audiences on a journey into other people's worlds and perspectives it feels like being part of a thrilling endeavour.

If you weren’t an actress what job would you do?

I'm a trained nursery teacher – it can feel like chaos, but it's a very rewarding way to spend my time when I’m not working as an actress.

Ticket Information

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