Acts and Answered: Rita Broderick

 

It is time for the long awaited return of Acts and Answered! This week I spoke with Rita Broderick. She recently appeared in the very successful Educating Rita at the Denver Victoria Playhouse, and directed Charlie and the Chocolate Factory there. Opening today you will be able to see her in Firehouse Theater Company’s Incorruptible. She is also the resident caretaker of the Denver Victorian Playhouse, and hers is a face that is gaining a lot of recognition in this community.

Rita is one of the most genuine and kind people in the theatre community, and she brings a world of experiences that are very valuable to any theatre. She is originally from Manchester, then moved to Ireland, then traveled all over the United States before deciding that her home was here in Denver, Colorado. What brought Rita here? Why is Denver where she decided to stay? What is her artistic view? These questions and more are answered in today's Acts and Answered.

Q: What got you into theatre?
A:  Well, I wasn’t allowed to do any theatre as a child; it was sort of frowned upon. So I didn’t get to really get into it until I moved to the States at 17. The first thing I did was sign up for acting classes at DU. They had evening classes, so I worked during the day and I went to class at night. My mom said that I used to get caught doing commercials in the bathtub. I’d be pruned but I’d be in there making up commercials, so apparently I always wanted to do it but I didn’t get to start until late.

I’m originally from Manchester. I stayed there until 1982, that’s when all the mining strikes hit, and my dad was laid off, so we moved to Ireland and I finished school there. Schools didn’t have a drama program, and the school that I went to certainly didn’t. I think there was about one play a year – usually the 5th years, which would be like a Junior here. We got to do Oliver Twist, but I don’t sing – it’s not a pretty thing if I do, so I think I played the doctor. It was a very small role, not very impressive.

Q. What bought you to the US?
A: I always wanted to come over here but there was no work, no college fund or anything like that. We were minors so it was rough, but I finished high school, a week went by and I was in America. I had set up a job in Boston, and Boston was the first place I lived.

With Wade Wood in Educating Rita

Q: What was the first role you had once you moved here?
A: That was Agnes of God, in 1988. In school we were doing scene work, and our scene was from Agnes of God, and we got to perform at the end of the class. Well a guy saw me doing the role and booked me to do it. So I got to be on tour for a little while doing that. I was so green!  I had no idea what I was doing, but then my visa ran out and I had to go home, so I couldn’t finish the tour. Then I came back, and I’ve been back and forth for over 20 years now. Finally, in 1994 I got my green card.

Q: What has been your favorite role?
A: Wow. I’d have to say Rita White from Educating Rita. I just finished that role. I think there are always favorites along the way but she’s definitely never going to leave me. I think that partly because there are a lot of things I can relate to with her. She’s from northern England and very working class. There are no goals with her. Her family didn’t expect anything from her except to pump out babies, and that’s kind of the society I lived in. When you leave school – if you finish school at all – you get married very young and have children.  The most you are going to do is possibly be a hair dresser like her or not even work at all and take care of all the children. So I went against all of that and in her own way she did too, because she decided to go to school and get an education, so I wanted to represent that piece of society. And she’s funny as all hell anyway, so it was just great to do.

Her family didn’t expect anything from her except to pump out babies, and that’s kind of the society I lived in"

Q; What makes a good show?
A: That’s a good question. Well of course a good script with strong connection. If I’m sitting there as an audience member I

With Bernie Cardell in Incorruptible Photo by Brian Miller

really want to be taken with the actors, and forget that they’re actors. I like going to shows where their might even be somebody that you know in the cast but then you forget it’s them. That’s difficult to do in our community because we all go to see each other but at the same time if you can do that, I think that’s a great ultimate goal to have. Basically putting together a good production, good script with solid directing. And it’s the whole team thing I think.

Q: What makes a bad show?
A: Well I think you can start from the minute they pick the script. It doesn’t matter how good the actors can be, they can pull it off, but you know, it starts from that. Of course, then casting and then the director is so important. I’ve had the experience of working with pretty decent casts that are working with no direction.  That and we’ve got to stop treating audience members like they’re stupid. And a lot of times, we do in theatre. We break it down for them too much. We don’t want to limit what their imagination can do; they’ll take themselves there with you if you just let them. That’s what I said when I directed Charlie and the Chocolate Factory. That was my goal – let’s not spit everything out for them, let’s just let them create as well.

we’ve got to stop treating audience members like they’re stupid."

Q; What is your favorite theatre to visit as a patron:
A: You know, it’s not necessarily what theatre is my favorite, but what company is performing there. I don’t know if I can say that I have one. I’m not really not playing it safe; it’s simply that I go where the play is. If something is really gonna get me. I’m a sucker anyway – I see at least 4 plays a week, it’s what I love to do. I’m happy – if that is what makes me happy I’ll just sit my butt in the seat and cheer on whoever is there.

Q: What do you think most people don’t know about what goes into live theatre?
A: I don’t think they understand what the process is. From choosing a play, to deciding who should direct it, to deciding on all those little things.  I don’t think they realize how dedicated we are and how completely insane we are. If it means we’ll work until 1 or 2 in the morning, then get up for work the next morning. The ultimate thing is when they see that buzz – that high that we get from doing what we love. It’s cheaper than therapy, and it is therapy if you want it to be. You get to step into these other places and other worlds. 
 

Q: What is it about the Denver theatre community that draws you in?
A: I’ve lived in a lot of states that do theatre, and it’s a huge thing, but there is something different about the community in Denver. I’m a gypsy, I’ve lived in a lot of different states, never staying longer than 6 or 7 years, but I’ve broken a record from living anywhere else, so you are all stuck with me now.

I think that once I started getting involved in theatre more here, I became respected. Then I got to work with other people that I respected. It’s just so hard to let go of that. So I think that has an element. Even as an adult, you still need to feel like you belong, so I think that’s it. I belong here.

there is something different about the community in Denver"

Q: How can we get more people excited about live, local theatre?
A: I think it is doing stuff like this. It’s constantly talking about it, not just always recognizing the larger theatre companies. They do brilliant work, and some of my friends are involved in that, and I think it’s wonderful. But we need to keep the smaller local theaters alive and people don’t even know they exist. So personally I think we need to team up and do team marketing a lot of the time, we aren’t working against each other we aren’t supposed to be competing. Yes, we need to bring in money and survive, but if you have a component that like, in small business, you share the marketing together. I think that’s like what the Colorado Theatre Guild does. That’s what small business do, if you joined a small business association, they put you in touch with other businesses. So I think we can tap into more marketing as a community rather than individual theatres, because we don’t have the budget. But together we can form a budget for that.

Q: What are your dream roles?
A: Well I got to do the one I really wanted in Educating Rita. I saw that show when I was 13 with Julie Walters, and I thought it was brilliant. It’s not like I’ve wanted to do it necessarily since then, after all I was only 13. But I’ve always wanted to do a Liverpool accent as well, so when that opportunity came up, I’d say that was my dream role. Right now, I’d really like to play Beatrice in Much Ado, before I start looking my age. I’ve got others in my head, but I’ve been very fortunate to play a lot of roles I’ve always wanted to.

Q: Tell me a little about Incorruptible.
A: I get to work with some of the funniest people. Bernie Cardell and I have known each other for some time now. Then there is Brian Brooks and Beth Davis and so many wonderful people. It is such a different type of show, obviously since it is set in the dark ages. Also, for me, I haven’t had the chance to really play a “character” in such a long time. It’s just been great to get to go crazy and have fun.  The script itself is great, but there are so many underlying meanings to it, and I think the audience will have fun discovering those along the way as well.
 

there are so many underlying meanings to it, and I think the audience will have fun discovering those along the way as well."
 

Q: What is your favorite breakfast cereal?
A: Coco Puffs. If I have a way to eat chocolate I will. Though I tried that special K with the chocolate bits in it, and it’s actually really good. So, sorry Coco, I might have to switch. Since I just tried that one and it’s really good.