Blog: Chi and I… Part 3

Scrap book 1 - D Wood Collection Chichester 1963_001 low res
Front cover of 1963 Season Brochure

Extracts from Chi and I by acclaimed actor, director and playwright, David Wood : Part 3, Life off stage – 1963

Our dressing room was a small hut behind the theatre, also used as a store for crates of beer bottles, and also the headquarters of the wig department.  We had regular enjoyable conversations with Rosemary Harris, who had taken over from Joan Greenwood in Uncle Vanya, which had proved so successful in the first season that Olivier revived it.

Few people realised at this time that Olivier was using, in the nicest possible way, Chichester to prepare for his subsequent directorship of the National Theatre.  Apart from the major stars he attracted to Chichester were younger actors who were to become the nucleus of his National company.  Derek Jacobi, Robert Lang and Robert Stephens were playing relatively small roles at Chichester, but would become stars of the Old Vic and eventually the brand new complex on the South Bank.  To be amongst this rich array of talent, as well as familiar faces from television, was the most exciting experience I could have wished for.  Being an extra was a magical opportunity to see these people working, and to feel part of it all.  Even our costume fittings felt special, supervised by Ivan Alderman and his chief cutter Stephen Skaptason, who later both ran the National Theatre wardrobe.
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Blog: Chi and I… Part 2

Extracts from Chi and I by acclaimed actor, director and playwright, David Wood : Part 2, Life as an extra, 1963

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Set design for Saint Joan design by Michael Annals

Soon after I had gained a place at Worcester College, Oxford, I was asked to be an extra in the second season – a soldier in Saint Joan and a policeman in The Workhouse Donkey.  As a summer job before going to university, this proved to be a fantastic and eye-opening experience.

As extras we were introduced into the productions in the final days of rehearsal.  First, we were shown the set of Saint Joan with its two sets of steps descending from the back wall down into the Dauphin’s court scene.  We five, plus professional John Rogers, came on three from each side, carrying a tall pike topped with a sharp-looking metal spear.  The director, the no-nonsense, sharp-tongued John Dexter gave us the cues and told us where to stand absolutely still for much of the scene.  Not long after, we were plunged into the first dress rehearsal.  Wearing our breast-plates, helmets and woollen leggings, we made our entrance.
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