Take Five with… Carol Burns

Life Music Media invites you to

Take Five With… Carol Burns

The Playhouse at QPAC is about to play host to a sizzling production of the Tennessee Williams’ classic, Cat on a Hot Tin Roof. The Queensland Theatre Company / Black Swan State Theatre Company co-production has gathered an impressive ensemble to bring this tormented, dysfunctional Mississippi family to life.

In the role of family matriarch Big Mama is Carol Burns, a founding member of the QTC whose acting resume ranges from multiple Matilda Award winner to Cult TV icon (Frankie Doyle in Prisoner). Burns’ passion for theatre is evident, and as the host of the QTC Night with the Actors sessions she has worked to open the dialogue between artists and audience.

Taking time out from rehearsal to further that dialogue, Burns caught up with Life Music Media.

Tell us a bit about this production of Cat on a Hot Tin Roof and your character Big Mama
BIG Mama is a tragic clown. She wants us all “to love each other”. No matter how often she is rejected her commitment to Big Daddy is absolute. Her signal mindedness has led her to ignore the needs of her first born Gooper. Gooper and his wife Mae are now in open competition with Brick and Maggie to curry favour with Big Daddy so that they are the ones to inherit “28000 acres of the richest land this side of the valley Nile”. It’s a highly charged and poetic night at the theatre. And the lesson that lies damage everyone is as true today as it was when the play was first produced in 1955

This is not the first time you have tackled a Tennessee Williams’ piece, previously appearing in the QTC’s production of The Glass Menagerie. What draws you to his work?
His characters are grand and well-drawn. With a classic work you can be sure of the text and if you get something wrong it’s your fault not the plays and you can always go back to the source to solve the problem.

This play is set deep in the American south. What challenges does this present the cast, and what freedoms?
The challenge is to make sure the audience follows the story and doesn’t get caught up in the music of the accent. We have to use the accent because the writing demands it.

How does Big Mama see herself within the fabric of this family?
She takes responsibility for the social standing of the family. She tries to de-fuse any tension and excuse any faults.

How do you see her?
She has steel within. As I said – a tragic clown.

A co-production with Black Swan Theatre, the play will travel to Perth in September.
Do you enjoy working on touring productions? How does the move – the different theatres and audiences – influence what happens on stage?
The move won’t affect us but every audience does. Theatre is a living thing; a co-operative act between the stage and the auditorium to present and accept a playwrights efforts.

What do you hope audiences take away from this production of Cat on a Hot Tin Roof?
An appreciation of the skill that goes into a play and a sense of fulfilment of a night well spent.

:: What is your favourite play? ::
The one I’m doing

:: Name a favourite playwright ::
Edward Albee/Eugene Ionesco

:: Name a character that you’d really love to play ::
The next one

:: What is the most memorable production or performance you have seen?
Something that really inspired you. ::
Waiting for Godot – the Theatre Royal Haymarket touring production

:: Favourite recording artist? ::
K’naan

:: Favourite album? ::
Troubadour – K’naan

:: Favourite food? ::
haloumi

:: Favourite drink? ::
mango lassi

:: Favourite place? ::
City- Paris/ home – wherever that is

:: Favourite season? ::
Autumn

:: Recommend a book ::
Karoo by (Steve) Tesich

:: Recommend a film ::
Synecdoche New York

:: Recommend a website ::
Australian Music Centre

:: Words of wisdom ::
Any quote of Paul Valery’s

What’s next for Carol Burns?
Pygmalion

Cat on a Hot Tin Roof runs at the Playhouse, QPAC in Brisbane from 15 August – 3 September, before heading to Perth to play at the Heath Ledger Theatre, State Theatre Centre of WA from 10 – 25 September.

by Pepa Wolfe