Who is Tommy Robinson?

Hello 😊  I started life as a professional actor, working in TV, Radio and Theatre. I then trained at RWCMD in Cardiff as an actor and got into teaching after years in Community Arts and at the BBC. I have been teaching now for 25 years!! I have won awards a plenty, including a Teacher of Year, BTEC tutor of the year, TES Creative excellence, 2 Sony Broadcast Awards, 2 Welsh broadcast Awards and have even been nominated for a BAFTA (when I was a much much younger actor), I paint ( I am part of the Artists at Home group in Chiswick ), throw pots, take photos and now….write….

What inspired you to write “Wedding Bells”? Can you elaborate on the themes of memory, loss, regret, the love of travel, and dislike of jazz, and how they intertwine in the play?

Wedding Bells comes from a news report I saw over Covid about a man with dementia whose wife pretended he was getting married, to keep him in the house. Every day he got ready and very excited, and his wife played along. This happened every day and been for months. Sometimes a story stays with you, this one did. I expanded the story to include elements of what I saw as memory, and what would happen if all you had was snippets, the same thing over and over again. There’s a line in the play “do people with dementias get Déjà vu? “ which I think says it all. We all live in a world where we think we remember things, and then change those memories to suit our own narrative. In the end that’s all “The Man” has done. He has forgotten his life, so has replaced it with his own version, made up of those things he wants to remember, so travel, coffee, writing, jazz. However, the consequence of this is never having to face up to the regret and loss of what’s no longer there.

Jazz plays an important part in his life. Many people with dementia are triggered by music, and it is often used to reach those people. It’s like someone has opened a door for them. In addition to this, like another line in the play, Jazz is “chaos on vinyl “and its erratic structure, reflects his troubled mind and memory loss.

How do memory and regret play crucial roles in the narrative? Are there any personal experiences or stories that influenced these aspects?

I tried hard not to bring too much of myself into the play, however when the Man speaks, often it’s my words coming from him! I too love travel and place love hearts onto Google maps to see where I’ve been. I love Poland, Bruges and Paris and have shelves full of cheap tourist tat! However, the regret the Man feels and his relationship with this regret is purely fictional and comes from a place where I know most people would want to forget.

As the director, how did you approach bringing your script to life on stage? Were there any particular challenges or unique methods you employed?

I like to work abstractly. In this case I know the text (quite well actually) so it was easy to create space where The Man can be shown to be lost. The themes are the basis for the direction, and it is blocked with this in mind. Characters stand at opposite ends of the stage, and no one enters the same place twice. However, what was nice is the way the cast found things I hadn’t even noticed while writing it! I’m very much a hands-off director (unless there’s a set piece I want to see) and am in no way precious about the text. I have heard stories of Samuel Beckett drunkenly shouting abuse from the back of rehearsals if actors got lines slightly wrong! Although this sounds fun, I could never bring myself to do it. The biggest challenge was to direct the play and try to forget what the outcome would be. If it surprised me, it will surprise the audience.

What do you hope the audience takes away from “Wedding Bells”?

It’s funny. Like really. At times it will make you laugh, and I want this. It’s also hard to watch, and, at times, frightening. What’s good about the play, is that it works for everyone. Most people will enjoy it, some will be able to read it, and a few will spot all the Easter eggs dotted around the narrative. I always put things in my plays that only I will understand and am constantly surprised when the audience notices it.

After “Wedding Bells,” do you have any plans for future projects with Spare Space or other creative endeavours?

Well apart from the Artist at Home exhibition in Chiswick the weekend after, and then 5 school productions before July, I’ve started to write the second play for the group. It’s a story of loneliness, and the lengths people will go if no one stops them.

My exhibition is of paintings, mostly oils, but all (coincidently) looking at memory! Do come and have a look. I’m very lucky living in Chiswick, the arts here are buzzing!

Can you tell us more about the formation of Spare Space and its mission? How does this group contribute to the local community in Chiswick?

When I first started to write the play it was always the intention to find people who had trained but had stopped. These people are the best actors. They are cheap for a start, but they are also hungry! The first project is for 5 actors, the next is for more…so if you would like to join…..

What advice would you give to other small theatre groups or individuals looking to create and perform their own plays?

DO IT!

Booking a theatre isn’t that difficult. And places like The Tabard in Chiswick, and all the other great pub theatres need our support. You’re not going to make money from it. However, this has cost me less than a six-week course in ceramics!

Your bio mentions you’re a multi-award-winning drama teacher, writer, and artist. How do you balance your roles as a drama teacher, writer, and artist? Do these different facets of your career complement each other?

It’s a balance, and one that gets close to teetering. However, having all these strings to my bow keeps it interesting. As a teacher I find I can easily combine my love for all the arts, and the students appreciate my breadth, I think?

Who are your biggest influences in the world of theatre and writing? How have they shaped your style and approach?

I’ve been asked this so many times. And to be honest, I haven’t a clue.

It’s always been there, since I was very young. I started acting at 7, professionally at 15. I had my first exhibition of work at 23 and craft book published at 25. I’ve watched countless plays and directed 100s. I’ve been in well over 70 productions myself and worked with many people. In the end my major influence is the other 56 years that have been before.

Erm….if I had one however it would be Terry Gilliam. I love his ability to bring order to chaos and then back again. As a youngster I watched Time bandits over and over again, and it has stayed with me.

And Anthony Hopkins, his ability to tell you what he is thinking, in silence

And Pinter, saying everything with nothing

And Artaud…. use every part of who you are, inside and out

And Rene Magritte….looks good in a bowler hat.

What keeps your passion for theatre alive? Are there any particular experiences or moments that reignite your love for the stage?

Waking up.