Back in 2011 rising star Phoebe Fox was picked by respected movie magazine Screen International as one of their stars of tomorrow. No doubt they’d caught her, as we did, delivering memorable performances in both Anya Reiss’ Royal Court hit The Acid Test and Tom Basden’s absurd National Theatre war zone drama There Is A War, though we quietly kept our suspicions about Fox’s burgeoning potential to ourselves.
Four years later and our hunch, along with their pronouncement, have proved astute. Fox has led her first feature film, the sequel to The Woman In Black, and, after wowing audiences as Catherine in A View From The Bridge at the Young Vic, has transferred to the West End’s Wyndham’s Theatre along with co-stars Mark Strong and Nicola Walker.
Arthur Miller’s tale of longshoreman Eddie Carbone (Strong), his relationship with his niece Catherine and how that is affected by the arrival of relatives from Sicily has long been considered one of theatre’s great dramas. Yet the Young Vic production, with its minimal set, bare feet and striking ending has proved a stand out version, garnering more stars from reviewers than your average solar system. After success for Strong and van Hove at the Critics Circle Awards, tongues are already wagging about the Oliviers.
As the cast reconvened to polish their performances before heading back to the London stage, we caught up with Fox to learn more about van Hove, tenacity and the downsides of being an actress.
CV in brief:
2010: Makes professional stage debut in A Month In The Country at Chichester Festival Theatre
2011: Appears in The Acid Test at the Royal Court
2011: Appears in There Is A War at the National Theatre
2012: Stars in TV show Switch
2014: Plays Catherine in A View From The Bridge at the Young Vic
2015: Takes first big screen lead in The Woman In Black 2: The Angel Of Death
2015: Transfers to the West End with A View From The Bridge
What attracted you to this production of A View From The Bridge?
I saw a trailer for [director] Ivo [van Hove]’s Roman Tragedies and it was just so exciting and different. I’m not inclined towards traditional productions of plays, so I wanted to work with a director who I knew would shake it up a bit.
Although there are a fair amount of ingénue roles out there, they can be quite boring. They want you to come on and get down on your knees and cry and then probably die. Catherine is just so much more interesting.
How was working with van Hove?
It was just an exciting way to work. It was terrifying as well, mainly because when we started we had no idea what his concept was going to be. Everyone felt they had to step up to his level because he’s instantly so impressive, the way that his mind works. If anything I wanted him to throw more stuff at us. It was such a wonderful challenge.
What does the production’s much talked about minimalism bring to the play?
Stripping out all that unnecessary clutter magnifies the emotion of the piece. You’re not getting distracted at all as an audience member, which means you are watching the actors more intently. It’s the same for us because we have nowhere to divert our energy. We can’t fiddle with things. Everything about our characters has to be shown in the way we relate to the other actors. It makes everything so much more intense.
How are you feeling about the West End transfer?
The sensible side of my brain says there’s no difference. My adult dream, coming out of drama school [Fox trained at RADA], was never to work in the West End but to work in places like the Young Vic, but I can’t help this 9-year-old girl in me; at that age, to me the industry was the West End. That part of me is living my childhood dream. I sort of pinch myself quite a lot, because to live the life that you want and have always wanted is very special and unusual.
How are you finding playing Catherine?
I think there’s still a lot in there that I haven’t got a hold of. So far as the change from child to woman, I’m okay with that. That’s one of the glorious parts about doing it. But there are other aspects to her; you question some of her decisions and how much does she know and how much is she aware.
How are you feeling about NT Live screening of A View From The Bridge?
I don’t think I will try to change or alter my performance for the camera. The thing I’m slightly worried about is that 2,000 people will be seeing my pants quite regularly. It is a very panty show for me.
How do you feel about filmed theatre?
I think it’s great actually. You’re reaching out to a whole other part of the world. I’ve known actors who’ve had people come over from Japan to see them live in the West End after seeing them in an NT Live.
How did you first get interested in performing?
My parents are actors actually. Not the Fox dynasty, but the other Fox dynasty; a dynasty in the making. That’s the world that I grew up in. I was always surrounded by actors. That’s always been my goal.
Do you remember your first performance?
I remember being cast as The Queen in the song where the blackbirds were baked in a pie. That was me at school. Pivotal. Career-defining.
You took three years to get into drama school. How single-minded did you need to be to keep going?
In a rather naïve way, it just never occurred to me that I wouldn’t get in. The first year when I didn’t get past the first audition round anywhere was a major blow. But it was never really a question of not just trying and trying and trying until I got in. I didn’t want to go out and try to be an actor; I wanted to go to drama school. I craved that experience. It was hard. But it’s an important lesson. You need perseverance and you need to be shot down and get up and say “Okay, I’m okay with that and I’m going to come back next year and prove you all wrong.” I think it’s stood me in good stead.
Does it make you appreciate success even more?
Because it took me so long to get into drama school I was so grateful to get in. I still feel like that. Because I had that really rough start, every job I get I just can’t believe it. I still feel so overwhelmingly grateful for being allowed in; into drama school and into the industry.
What’s the best thing about your job?
I just love getting to be other people, especially people who are a bit naughty or a bit angry or a bit evil because you can never get away with that in real life.
And the worst?
I think as a woman being judged by the way you look. I find this pressure of what your face is doing, how your hair is, how thin you are. It’s boring.
How much do you come up against that?
I’ve never been told by anyone “You have to lose a stone or you’re not getting this job”, but it underlies everything. I try not to conform to that because I would hate down the line to have my daughters look at pictures of me and say “Mummy you look anorexic” and feel like that’s okay, because it’s not. A lot more women are starting to say “Actually, this is unacceptable.” More men are standing up and saying “I’m a feminist too.” It definitely helps because we need everyone to be on-board.
How was filming The Woman In Black 2?
My overriding memory was of being unbelievably cold and tired, mainly because they had me in a summer dress and it was the middle of winter. It was great. It was another pinch me moment when I was sitting in my trailer looking out the door at Pinewood Studios, thinking “I cannot believe I’m leading a movie and we’re at Pinewood.”
Horror is hard work. I was so surprised, but the amount of energy it takes to convey abject fear is astonishing. I was completely beat the whole time.
What’s the best advice you’ve ever been given?
Jenny Jules once told me “Look out for your knees because as a woman you’re constantly told to throw yourself down onto your knees and you will end up with knee problems.” I think she’s absolutely right. I’ve never had a job where I haven’t had bruised knees the whole time. I’m going to look after these knees because they will serve me well.
A View From The Bridge plays at the Wyndham’s Theatre until 11 April. You can book tickets through the show’s website.