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Louise Brealey on stage in The Trojan Women


Carol the Dabbler

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It’s October. It’s dusk. It’s the second week of rehearsals for The Trojan Women, a modern version of Euripides’ tragedy in which I’m greedily playing three different roles: Cassandra, the maddened seer (a teenager in red-and-white striped long-johns); Andromache, trophy widow of the city’s most decorated soldier; and Helen of Troy, “the face that launched a thousand dicks”.

 

I’m standing in a dirty office in the old BBC training building on Marylebone High Street. There are dirty blue carpets on the floor and dirty great fluorescent tubes on the ceiling. There are six other people here. They’re all dressed; I’m in a bath towel that I’m about to let fall to the floor. Nobody knows yet, but I’m not wearing any knickers.

There's more, a lot more, about how it feels to be stark-naked on a very small stage, only a few feet from the audience, and what kind of mental contortions it takes to work oneself up to that point. It's touching and it's hilarious. Read the rest here.

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She really is pretty. I saw one interview with her, she looked like she had just got out of bed after fighting a bout of flu. But I can see her as Helen of Troy. Clothes or no clothes.

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Yes, I think it's a matter of attitude. (Also, consider that Homer's "world" was just a sparsely-populated Mediterranean, and that Helen -- if there was such a person -- was likely covered with smallpox scars.) But Louise Brealey has a delicate beauty that Molly camouflages with her awkwardness.

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Yup, Molly is supposed to be shy and retiring more adept at dealing with the dead not the living and her makeup, hair style and clothing are to reflect this. She's almost an exact opposite of the brash and full of attitude of Abby on NCIS.

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