We chat with Josée Bekker over Zoom about taking on the demanding role of a powerful but deeply troubled Empress in the futuristic one-woman play Empress Bloody Mary.
Where: The Water Rats
When: 6 Dec, 7pm
Ticket link: https://www.thewaterratsvenue.london/facebook-event/empress-bloody-mary/
“Empress Mary, in the far future, rules a realm of many star systems. But she’s losing the planet she cares for most, her husband is missing in the war to defend it, and the son she believes she’s carrying isn’t kicking.”
Tell us about Empress Bloody Mary. What is the story about?
It’s a one-woman show set far into the future. I play an Empress ruling over a galaxy that is on the brink of collapse. While everyone is fighting a war to save her empire, she remains in command, ordering people into battle. She believes she’s pregnant with her husband’s child, but when he dies in the war, she discovers it’s a phantom pregnancy.
Although everything is falling apart around her, she refuses to accept defeat. She’s a complicated, narcissistic character who believes she’s at the top of the world, even when every opportunity to save her galaxy is rejected because she considers it beneath her.
Did you have any input into developing the character and script?
I joined the project in July, and we made a few changes in September. The writer, Malcolm Roding, had created a whole new universe, so I sometimes felt certain things needed to be clearer for an audience. We’ve also made some adjustments to the four songs in the show, finding the right balance and making sure the emotion develops rather than becoming repetitive. Malcolm has been very receptive to feedback, which I’ve really appreciated.
What attracted you to the role?
I was drawn to the challenge. It’s such a big, unusual concept, and I’d never tackled anything quite like it before. I also tend to gravitate towards darker characters. I often get cast as the broken ones, although I’d quite like to play a happy character for a change!
The title suggests a connection with Mary Tudor. Is that deliberate?
Yes. There’s a link between the Empress and Mary from Tudor times, who appears as part of the character’s past life. It’s an interesting connection, particularly as the play explores such a dark and complex female character.
How do you think audiences will respond to her?
I think some people might feel sorry for her, while others might really dislike her. It’s quite an abstract play, set in a completely different timeline, with its own language and universe. However, I think audiences will still recognise aspects of her personality and the emotions she experiences.
What can you tell us about the visual design?
The costume and throne have a futuristic, almost galactic look, with a hint of Star Wars, but there are also elements of historical dress, including gowns and elaborate details. It’s a mixture of the old and the new, which really helps establish this unusual universe.
How demanding is it performing a one-woman show?
It’s quite demanding. I’m on stage for around 90 minutes, shouting, screaming and speaking almost constantly, so it’s a real challenge for my voice. I grew up in musical theatre, so singing and dancing are familiar to me, but the songs in this production are more operatic, which is something different.
What would you like audiences to take away from the experience?
I hope they enjoy the journey. For me, theatre is about connecting with different parts of a story and perhaps recognising something of yourself along the way. Ideally, audiences will leave feeling they’ve experienced something different and have taken a little piece of it away with them.