We sat down for a quick chat with Darcy Dixon, a multidisciplinary actor, singer, and movement artist based in Southeast London who trained at RADA. She won the Luke Westlake award when she graduated. Her theatre credits include The Dream (Perform Productions), Mortality (Hope Theatre), Mawa Monologue Slam (Globe Theatre), imaginary natural beings (Network Theatre), Smart Casual (The Cockpit Theatre), Merrily We Roll Along (Oxford Playhouse), The Surplus (Young Vic), and Emil & The Detectives (National Theatre). Radio credits include: The Hummingbird (BBC Radio 3)
Darcy, what first made you want to perform, and was there a particular person or experience that made it feel possible as a career?
I was always in the theatre from a young age, thanks to free theatre schemes (shout out Young Vic Taking Part), a theatre charity (Go Live) I volunteered with, and a South London community initiative (L.O.T) I attended. As such, I saw inspirational performances, and had first hand experience of being moved by this spellbinding artform. I feel like being around theatre made me want to have an impact in the way it impacted me, but it was only at a much later age that I took the leap to make it my career. Even so, I have always been a performative child; singing and dancing from a very young age.
You trained at RADA, but your work spans acting, singing and movement. How much does that multidisciplinary background shape the way you approach a Shakespearean role?
Being multidisciplinary has been really helpful for me, because I am always drawing on various energies to access the play, making it feel embodied rather than an intellectual exercise. And, to give credit where it is due, RADA has a very extensive training in singing and movement – not just in acting – and has only expanded my multidisciplinary outlook. But, my work as a DJ has also helped me with understanding the play deeply too. Not only because I DJ in the play, but also because I feel the piece as a whole through music, thinking about the moments where the bass is raging and the tensions high, but then moments where just the highs are on – and the melody floating. My scenes as Lucius with Brutus are most akin to this energy. I also sing in the play, and have to play an animal which is very physical, so it is nice to feel that I am accessing all my various facets for this show.
This version of Julius Caesar has such a distinctive history, beginning at the Donmar and being set within a women’s prison. What does that setting bring out in the play for you?
This setting brings out such a layer of depth, truth and grit that is so powerful to be a part of. Having collaborated significantly with the women who are in HMP Newhall in Wakefield, we got to really have an honest experience of this world, and the lived experiences of women in prison. Our work is advocating for these women who are mainly voiceless; the majority who
are serving time for non-violent offences. By bringing their stories to life, I found that Shakespearean themes really do transcend epochs, with the women even comparing scenes and characters to their own lived experiences.
This production is touring into schools as well as playing at The Other Place. What has excited you most about performing Shakespeare for young people who may never have seen it live before?
The reactions are so alive, free and honest. Whereas audiences who have a preconception of how to ‘behave’ with Shakespearean performances might be more insular, I have found performing to the school kids incredibly symbiotic and playful. Also, if the young people are not familiar with the plot or history of it, some of the action comes as a genuine surprise which is genuinely thrilling to see those live reactions!
What would you say to a young person watching the production who loves performing but doesn’t see anyone around them pursuing the arts professionally?
Whilst touring, we have met several such young people. One that especially stood out for us was a young person who travelled 2 hours to watch our show in Cornwall with her sister and mum, who was really interested in Filmmaking. Even so, she said the infrastructure wasn’t around her to support that dream, and her peers were barely interested in the Arts also. I really sympathised with her, I emphasised how amazing it was that she was pursuing what she loved doing nonetheless. Myself and castmate Shona championed her to keep going – which is really the first step – to keep the faith despite all the adversities around. I praised her passion and care, and told her to hold on to that feeling no matter what. In terms of practical tips, I encouraged her to tune in with the artists she admires online; email for virtual calls and check grants/schemes/workshops on offer via networks like Creative Lives In Progress, GetIntoTheatre and BBC Writers Room Opportunities.
If someone walks into Julius Caesar thinking Shakespeare isn’t for them, what do you hope they feel by the time they leave?
I think the beauty of theatre is that, as performers, we have no idea how our work will relate to audiences or make them feel. However, we have had some lovely responses from audiences so far about our work, and those who have had no experience with Shakespeare have told us that the play is incredibly affecting. One young person said that it makes them feel like Shakespeare isn’t boring and dry, but can be action packed and exciting. So, I can only hope other audiences feel the same and can get excited by the Bard, rather than previously feeling disillusioned by his words. After all, it is the universal themes, human experiences and relatable actions that make his work so resonant even now.