The importance of being frivolous
'The language is good and the sentiments are elevated but the stories are disgusting." That's Miriam Margolyes' succinct description of The Importance of Being Mirian, the follow-up to her previous highly successful stage show Dickens' Women. It is a refined if somewhat naughty romp through Margolyes' life in literature, in which she plays various characters from the page and the stage, with only pianist John Martin on hand to assist.
"There's Lady Catherine de Bourgh from Pride and Prejudice, Mrs Malaprop from The Rivals, Lady Bracknell and Miss Prism from The Importance of Being Earnest," Margolyes says. You can also add Mrs Corney and Mr Bumble from Oliver Twist, a couple whose amorous antics were such a hit in Dickens' Women.
"And, rather daringly, Juliet," she whispers. "Only one speech. I just thought 'I've always wanted to play Juliet but no one was ever going to cast me', so . . ."
Margolyes, 72, says she had an idyllic childhood, born to Jewish Belarusian parents and sent to a traditional school in Oxford which led to a place at Cambridge University alongside Australians Clive James, Barry Humphries, Germaine Greer and later British comics John Cleese and Bill Oddie.
She became a successful stage and screen actress, appearing in films such as Ladies in Lavender, End of Days, Yentl and two Harry Potter movies, as well as on TV in Blackadder, Merlin, Doc Martin and The Miss Fisher Murder Mysteries. Stage credits include Romeo and Juliet, The Importance of Being Earnest, The Vagina Monologues and Wicked. She was awarded an OBE in 2002 for services to drama and in 2013 became a dual UK/Australian citizen.
She says The Importance of Being Miriam is a very personal journey.
"It's not important at all, it's just an egotistical romp," she laughs. "I tell people if you don't like Miriam, then don't come. There are moments of my intimate sex life which are revealed, as well as some very dirty stories. They will offend, there's no question, but I hope they're all funny."
Margolyes emphasises the importance of pianist John Martin and director and deviser Peter J. Adams.
"I've left all the music stuff to them," she says. "I'm just grateful to have John with me because I don't like one-woman shows and I think of this as a two-person show. John does speak as well, and sing.
"And I sing, which is the most frightening thing of all - frightening for the audience. Not for me so much because I know how bad I am. But they will be expecting a certain level of competence which I definitely cannot provide. I imagine that a lot of people will leave at that point. But I hope some will be brave and stay."
In highlighting the smutty stories and bad singing Margolyes is, of course, being self-effacingly facetious. It's literature and words which are at the very heart of The Importance of Being Miriam, which is dedicated to Margolyes' mother, who instilled a love of literature and language in her from a very young age.
"I love words," Margolyes says. "I've always loved them, ever since I was a little girl. And this is about words, it's wordy. And that's deliberate."
Even when the language is "impenetrable", as with Gertrude Stein's poetry, the character of the author shines through.
"Her character is adorable," Margolyes says. "She's the most delightful woman."
But, she warns again, The Importance of Being Miriam is not a family entertainment.
"I don't think anyone under 70 should be admitted. No, I think grown-ups can come. But it is definitely not for children. It is not a Harry Potter sequel."
The Importance of Being Miriam is at the Heath Ledger Theatre from April 7-11.
