As an actress I decided that I was not going to accept being cast in token ethnic roles in film or on TV, nor act any parts that I considered demeaned the portrayal of a non-British character. To illustrate this point; after seeing me perform Tatiana in Gorky’s Enemies(play) the well-known TV director, and very nice man, Chris Menaul offered me the role of the main Russian air hostess in a Malcolm Bradbury BBC TV series. He was taken aback when I turned the part down as I didn’t have any TV credits. I gave some excuse ‘that I thought the part vulgar” but the real reason was that Bradbury had portrayed the Russian air-hostesses in what I considered in a cliched demeaning way and involved a little Russia bashing. I have recently sent him a real explanation via his agent.

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A key moment of my spiritual epiphany was the tale told by the property manager of our apartment block, Mrs Marina. Every year on All Saints Day if I remember correctly, she commemorated the death of her son who died from an overdose. She baked some holy bread, antidoro, and then took it to her parish Church as an offering for evening vespers. When I asked Mrs Marina why she was doing this, she replied simply, "So that Christ speaks to my son and takes pity", as it is on this particular day it is believed that the Christ descends once again into the bowels of hell, not to defeat death this time as in Holy Saturday, but to keep company with the so called damned. For mothers like Mrs Marina fearful that their dead children might inhabit this nether world because of their sins, despair of redemption etc, Christ's visit provides some hope- that He might take pity on them and relieve them of their eternal punishment. Christ as the God that Unshackles the power of Hell and Death , the Resurrected Christ that even reaches out to the damned , and not the Christ of Deo Satisfactio of the heretical western Churches is one of the great glories of Greek Orthodoxy and of Orthodoxy as a whole.

British theatre was xenophobic and tunnel visioned . There was a resistance to using actors from other ethnicities, cultures, and races in production of classics. And a resistance to the non realistic plays like those of Brecht, Genet and Tennessee Williams"

I called my company "The Internationalist" because there are a lot of actors who are not English and are being prejudiced against, because they come from other countries. I don`t believe in accents or skin colour. My company has a very strong ethic of social justice to it . I try to incorporate actors from as many nationalities as possible."

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The breaking of casting cliches also broke boundaries. A short, Latin-looking actress like me playing classical roles such as Miss Julie , and playing them well, made casting directors uncomfortable. It was unheard of that a short, dark-haired actress of Greek temperament could play the aristocratic Miss Julie. Not beautiful or tall enough etc. It proved one of the best productions of Miss Julie ever seen in London.

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...this is not the only time that I have stuck out my neck for a Greek film director. With Nikos Nikolaidis I introduced him to Mr Constantini as well , and undertook to send his XXX-rated movie `Singapore Sling` to two of the top film agents in the UK , Jenny Cassarotto and PDF who have now changed their name on account of a merger. Ms Cassarotto was indulgent, but the other agent was so shocked that he treated me as if I was peddling porn. The things I've done for Greece!

... without New Testament Greek there would be no Christian Theology, or possibly no Christianity. The Athanasian Creed, the dogma of Christ the Homiousios, of the same essence as the Father , the dogma of Christ, fully God and Fully Human , The dogma of the Holy Trinity , 'that Christ is the incarnation of the indivisible source of the Divine Godhead through the power of the Holy Spirit " could only have been formulated by the Church Fathers within the linguistic structures and concepts provided by early century Greek language and thought., e.g concepts such as the God/man, a concept that which does not exist in the Hebrew and is totally foreign to Hebrew culture. Hence Shelley's assertion that the Greeks /the Hellenes "gave us our religion ".

The ground breaking production of the company, and the point at which the cross-cultural casting began to bite, was Brecht’s anti-war play Mother Courage. Just one comment in a review by critic Malcolm Hay jolted us into the realisation that we were making history: Why is an Indian actor playing the Pastor?

What is the role of the contemporary woman artist/actress, novelist, scriptwriter etc. etc.?
Women in the past have been the creators of the race, in the sense of procreation, a very noble and holy purpose I itself, but men have been the creators of culture, in the sense that we understand actress is over. Once you know what your objectives and values are, there can be no compromise. As founder and artistic director of Internationalist Theatre I was fulfilling both these functions. But, let me add, God help you if you are strong minded and an intellectual in England, where they are generally anti-intellectual and petrified of passionately held beliefs. They have given me such a rough ride you wouldn`t believe it. Tant Pis!!!!I`m not ashamed of spending six years at university, and I revel in intellectual discourse. I`m unashamedly high brow. And, as for fighting in a man`s domain, I`m known as the Greek warrioress, ha, ha ha...I come from a family of noble Greek women. My grandmother faced the Nazis during occupied Greece with a gun in her hand, and my mother is a veritable Hecuba, all strength and dignity.

I myself have experienced the volcanic existential depths of the Greek language. It was during a performance of Medea by Tzeni Karezi at the Herod Atticus theatre in Athens ,when she was pleading to the callous Jason to take pity on her and she used the word ' splachniasou'. 'Pity' is too weak a word to describe the emotional and psychological depths ' splachniasou' expresses. 'Splachna 'is the part of the body where a woman carries her unborn children, the very root of ontological existence. How deep can you get!

Our first play in 1981 was Jean Genet’s The Balcony , a prophetic choice, set in Paris in turmoil, just as London was being torched during the Brixton riots, an explosion of racial tensions that had been simmering for some time. I insisted on casting a Caribbean actress to play the lead, Irma the Madam of the Brothel.

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My first tentative efforts in creating my theatre company were mounting John Ford’s `Tis Pity She`s a Whore ”. I asked people for money for my production, even as I found myself canvassing for another cause. This production was not the totally multi-racial cast that I had hoped for but did consist of actors from other cultures and differing accents, and also achieved a very high level of production value and rave reviews. It also provided the springboard for the extremely talented director/ designer couple Declan Donnellan and Nicolas Ormerod, who went onto creating the now world famous Cheek by Jowl company.