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An Exclusive Interview with Actress

THELMA RUBY

Thelma Ruby’s diverse theatrical career began with musical reviews in the 1950’s and went on to include, among many other credits, acting with Orson Welles in Chimes at Midnight in Dublin, and performing (with Dame Judi Dench) in London’s production of Cabaret, as well as acting the leading role of Golde opposite Topol’s Tevye in the much acclaimed Fiddler on the Roof, no less than three times! Miss Ruby also starred with her late husband, Peter Frye, in the play they co-wrote- Momma Golda, which ran for eight years, touring internationally. Television and film credits include Coronation Street (ITV) and The Last of the Blonde Bombshells (BBC). Thelma Ruby also co-wrote, with Peter Frye, their joint autobiography entitled Double or Nothing: Two Lives in the Theatre.

Thelma Ruby stars in the London premiere of her new one woman show, That’s Entertainment (with pianist Jonathan Williams) at Hampstead’s New End Theatre through January 13th, 2008. Box Office 0870 033 2733 www.newendtheatre.co.uk

Barry: Miss Ruby, before putting my first question to you, let me congratulate you on your show That’s Entertainment at the New End Theatre and also say how much I enjoyed reading your autobiography Double or Nothing. How strange it is that we never met till now, so much of our lives have run in parallel; we knew and worked with the same people, appeared at the same venues, and enjoyed or suffered from similar experiences, in our beloved profession.

Barry: Watching you perform the other night, it was very apparent that in addition to your natural born talent, you are highly skilled in your delivery; in the clarity of your diction, in your well modulated voice and in the precision of your movement. How much of this did you gain from formal training, and how much from the experience of working with other good performers?

Thelma: I couldn't say exactly how much of what I do was from formal training, and how much from experience. My formal training at Finch College in New York was marvellous. I still remember what I learned there, and I use that knowledge all the time. It is the basis of every performance. But I have learned from every show I have done. I regret that in my young days there was no Actors Centre, to continue learning after leaving Drama School, but I wish I had known my husband Peter when I was younger, because I learned SO much about acting from him. I believe I would have had an even better career if I had known him when I was younger.

Thelma: I was inspired by so many actors, I find it hard to name them. But my very first appearance on a stage was with Evelyn Laye in the musical THE THREE WALTZES. I had one line: "Mrs Evans, Mrs Evans, come quick. Katie's doing an encore. The king stood up and clapped"!!! I learned a lot from watching her--and she taught me a lot. Like how to use a train when wearing Edwardian costume. Maybe it was not a good idea to copy how she did her first entrance--stepping right out of character and dropping a deep curtsey to the audience to acknowledge the entrance round!!

Barry: Do you feel that these skills, once part and parcel of every actor’s equipment (along with a good wardrobe!) are now vanishing in this TV soap opera dominated world?

Thelma: I am saddened that TV soap opera stars are often sent out as the stars of a tour to bring in an audience, when many of them are not theatre trained. But, generally speaking, I think our current stage actors are better trained than in my young day. Peter used to compare English and American acting by saying that English acting was "all manner and no matter", meaning that their skill was in movement and diction rather than the American style of digging deep into the emotions and the heart of the character. But that is no longer true. I think the standard of acting in England now is superb.

Barry: I think you refer to yourself as an ‘Actress’ both in the book and in the show. To me the term brings to mind those great performers of our theatre heritage: Mrs Siddons, Fanny Kemble, Sarah Bernhadt, Kitty Clive, and of more recent times, Edith Evans, Peggy Ashcroft, and Vivien Leigh. Most women in our profession now insist that they are Actors – not Actresses – Are you content to remain an Actress?

Thelma: I am an ACTRESS, an ACTRESS, an ACTRESS. I don't like the present habit of callling us all actors. I know you say Doctor and Doctress. But I love being an actress. I enjoy being a girl!!

Barry: Another, not too serious question, in the same vein: In your joint autobiography your husband asks you about the clothes you wore and in the book there are several pictures of you in most elegant attire. My question is: What did you wear for rehearsal? Today the leading lady may well turn up in torn jeans and a T-shirt.

Thelma: Oh, this is a lovely question. It reminds me that when I was a leading lady, I always turned up for the first rehearsal wearing a hat!! It helps to have a practice skirt if you are going to be in period costume or dressed in a skirt for the play. But it is often better to be in comfortable rehearsal clothes--I don't wear torn jeans,but trousers can give ease and flexibility.

Barry: In a revealing statement during your show, you tell us that, in spite of the title ‘That’s Entertainment’, entertainment is not enough; the theatre has something greater to give – a life enriching power. We learn that your husband, the director Peter Frye, was a dedicated socialist and even put his life, and ultimately his career in jeopardy for it. Have you a particular message or cause you wanted to propagate?

Thelma: I was always a member of the Labour Party, because I believed they were more dedicated than any other party to making life better for those at the bottom of the heap. And I always believed that we Jews should have Israel, a state of our own. But I became far more aware and politically active after I married Peter, and I shared his beliefs and dedication. I feel that I am allowed to criticise when my causes take a wrong turn, and I often despair at the state of the world. But I still hope that each generation will bring about a better world.

Barry: How much has your acting partner influenced your own performance? You played ‘Golde’ (Fiddler on the Roof) with more than one actor. Did this change your performance?

Thel: Thelma: I played Golde in "Fiddler" with just 2 partners, Lex Goudsmit and Topol. By the time I played it with Topol I was married to Peter, and I feel he enriched my performance. Of course, the more empathy you have with a partner, the better you feel your peformance to be. But I enjoy and admire most of the actors I have worked with, so the change between one partner and another was minimal.

Barry: Your book is very well written and you are obviously articulate and literate. Have you written, or considered writing a play yourself?

Thelma: A lot of people suggest that I should write more. Truth to tell, I don't feel the compelling urge to write that a true writer needs. I love writing letters, so I suppose my writing skill is confined to writing about myself!!

Barry: Your book is so full of amusing and instructive material – particularly valuable to aspiring performers, might you consider delighting us with “That’s Entertainment Part II?”

Thelma: Though I have many unusual stories from my life that are not in That’s Entertainment, I am glad I have managed to create That’s Entertainment Part I. So no, there won't be That’s Entertainment, Part II!

Barry: Thank you for answering my questions. I and all at Extra!Extra! send our best wishes for your continued success and creativity.
May I conclude with a final word? ‘SHALOM’

Thelma: I have only just bought a computer, and have never been interviewed online before. It has been fun...thank you for all the nice things you say and for the interesting questions. To you too, Barry, I say SHALOM, and it has been a pleasure.