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#155 Maureen Willis Extras Don’t Speak to Lead Actors

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I had to park my car in the middle of a muddy, pitch-black field, put on my wellies and trudge to the house. I arrived cold, stressed and exhausted, but excited at the prospect of being involved in a BBC production.

Maureen Willis

Looking for something to watch on TV, I noticed a new version of Van der Valk starring Marc Warren. That reminded me of the one and only time I’d been an extra. The BBC were filming Jonathan Strange and Mr Norrell. It was being filmed at Wentworth House in the depths of winter. I had to get up at 5am to get there and invariably got lost. My sat nav was constantly re-calculating my route, and I got to hate the sound of her voice, often ending up on a deserted back lane in the middle of nowhere.

When I finally arrived, I had to park my car in the middle of a muddy, pitch-black field, put on my wellies and trudge to the house. I arrived cold, stressed and exhausted, but excited at the prospect of being involved in a BBC production.

I soon came down to earth. It was colder inside Wentworth house than outside. Costume and makeup was run by a woman who made Miss Trunchbull look like a saint. The costumes were weird and wonderful. My dance partner – who had two left feet – was dressed as Shakespeare, and I found myself wondering if the real Shakespeare could dance. Young girls were laced into bodices within an inch of their life. Extras were dancing dangerously into anyone who dared to come between them and the camera: it was like a Strictly version of dodgem cars.

But back to Marc Warren, who was playing The Grey Haired Gentleman.

On my first day I broke the cardinal rule – extras don’t speak to lead actors.

I didn’t know this, nor at the time did I know who he was, I just saw a solitary figure pacing up and down looking worried, so went over and asked if he was alright. I was told afterwards I shouldn’t have done that, as he was one of the main actors going over his lines!

Next day we were in the ballroom – the coldest part of the house – in a flimsy regency dress. Absolutely freezing. And who should come up and ask me if I was alright but Marc Warren. I told him no, I’d never felt so cold in my life. He then sent his personal dresser to find me a wrap. The rest of the extras crowded round me wanting to know what he’d said. I told them he’d asked me out, but I declined as I had to be up early next morning.

I recorded all episodes, and spent hours trying to spot myself (vanity) in a crowded ballroom. I recognised myself in two scenes, once in the distance and once for a few seconds, when my knight in shining armour fell dying at my feet. Obviously the camera was on him but I recognised my dress and shoes…

Precis

The beauty of being in a company of older performers is the kaleidoscopic range of real-life experiences that they bring to the table. These experiences cover everything from the vivid and strange world of childhood, to the unexpected late awakenings of old age. Take our newest batch of anecdotes, for example. These new stories are delightfully diverse: from the earthly, sensual joy of baking bread, to the cosmic dreams of outer space; from an unnerving encounter with a poltergeist, to the risqué glories of adult pleasure products and burlesque. Running as a rich theme throughout, is the possibility of love, and the simple wonder of human connection. As one writer tells us, in her story of funeral rites and flirting, “Amidst death, life goes on”, and indeed it does, delightfully so.

Edited by Barney Bardsley