Stage Struck

Even bit parts should be paid, writes PETER CRAWLEY.

‘She said they would be in the background in prison scenes and there ‘to add bulk’” – Irish Times report that Shawshank Redemption producer Pat Moylan wanted actors willing to work on the play without pay.

The part of Seyton, a character introduced late in Macbeth, is small but significant. Never mind that the actor gets just five lines, containing all of 32 words: "What is your gracious pleasure?" "All is confirm'd, my lord, which was reported." "'Tis not needed yet." "It is the cry of women, my good lord." Then comes the line that changes everything: "The Queen, my lord, is dead."

Most modern producers of Macbethwill take a hard look at this part of Seyton and weigh up its function and demonic allusions against the going Actors Equity minimum. They might begin to doubt the availability of out-of-work professionals, suddenly recall the surplus of young, hungry drama school grads who could benefit from the opportunity or experience or whatever. Or maybe they just hand the lines over to one of the witches.

In a long-running touring production of Macbetha few decades ago, Sir Donald Wolfit did something similar and gave the part to a hungry young actor who made up in ambition what he lacked in ability. Over the course of several seasons the kid began to get bored: There are only so many inflections, dramatic pauses and shifts in emphasis you can put into "Tis not needed yet". The actor started seeking promotion. Wolfit declined. The actor kept asking. Wolfit kept refusing.

“Into this stalemate,” wrote Derek Nimmo, “came thoughts of revenge.”

When Macbeth was next performed, gracious pleasures were duly beseeched, things reported were confirmed, stuff that wasn’t needed still wasn’t needed, and offstage women duly began to weep. Then this exchange:

MACBETH: Wherefore was that cry?

SEYTON: My lord, the Queen is much better and is even now at dinner.

Given the power of a seemingly innocuous role to subvert a major production though inattention, amateurism or malice, it’s a relief to hear that Moylan has agreed to pay all performers for their work. It might have taken a public chorus of disapproval to bring about the u-turn, but I shudder to think how one bulky untrained actor, perhaps frustrated at what he regarded as exploitation, could have altered the course of Stephen King’s much-loved prison yarn:

ACT 3, SCENE 2: PRISON YARD

Red finds Andy sitting in the shadow of the high stone wall. Unpaid bulky extras loiter in the background.

RED: Goddamn it, Andy, stop! Don’t do that to yourself! Talking shitty pipedreams! Mexico’s down there, and you’re in here, and that’s the way it is!

ANDY: You’re right. It’s down there, and I’m in here. I guess it comes down to a simple choice, really. Get busy living or get busy . . .

UNPAID BULKY EXTRA #3: Sorry to interrupt, fellas. But remember your latest appeal, Andy? Well, I have some great news . . .