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Interviews
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Josh Richards - the measure of a man Catherine Lamm talks to the man who is "Playing Burton" Josh Richards does not look anything like Richard Burton. Sorry, but it had to be said. He's been told this since his college days when he first took on the voice of Burton "to impress the girls" according to Guy Masterson. Richards, Guy Masterson (director) and Mark Jenkins (author) fused this production in the early 1990's and brought it to the Edinburgh Fringe first in 1994. It has changed in very subtle ways since then but is still a show that should not be missed. When asked what has changed, Josh Richards shook a very short end of a very yellowed cigarette as emphasis. Actors may not smoke on stage any more. Mr. Richards feels that cigarettes (there were only two used originally) were a very crucial element in the destruction of Burton, the man. But Richards back-steps somewhat and allows that it is maturation that has been the biggest catalyst for change in the show. "I was too young then to find the depth." He has a different emotional history and life now and feels more the sense of loss and his own mortality. Richards obviously did a great deal of research on his subject. He shares a Welsh background of simple people, where hard work was the measure of a man. I think they both share the guilt of moving away from their roots, yet they carry this with them always. He talked of the "conceit of voice", the low resonant, clipped speech pattern that we recognize. Burton's vocal training with the paternal figure, Philip Burton, moved Richard Jenkins, the drunken coal miner's son, into Richard Burton, the actor. It was the teacher, Philip Burton, who helped Richard Burton find the BBC voice, what Richards call the "clarity of English", "English as a second language", "the Celia Johnson clip." He also walked away with his teacher's last name. This voice, which was very much in evidence ten years ago, has softened somewhat as Richards grew into the mature Burton. The once physical performance has been overtaken by a calmer and more intelligent Burton. He wears it well. I also think that Richards trusts the audience not to require this artifice in order to accept this as a worthy production. Richards spoke briefly about the show in its full-length, two-act form. Masterson said that Richards had the power to bring the audience back into the theatre after the interval. Richards also feels that this version that has been cut to fit this time slot at the Assembly Rooms suffers for it. He did not hide his excitement at the attempt several years ago to bring Playing Burton to the U.S. where he helped raise a considerable amount of money. Nor did he hide his disappointment that Actors' Equity Association foiled this attempt. The Irish Arts Center later presented the two-act version with another actor and directed by the author. Richards admitted that he had not performed Playing Burton during the past five years and that he felt the struggle in the beginning to get back to the comfort and ease that he moves in now. He no longer feels the need for the spirit of Burton to be in the room. It was several years later that the wildly successful, post Kray brother Jump To Cow Heaven brought him together with his wife, Sarah. He - this great hulk of a presence with soft, metered speech - and she - still beautiful, with her warm, whiskey voice and quick smile - were very generous with their post-performance time, for which I thank them. Read Catherine Lamm's review of Playing Burton at the 2007 Edinburgh Fringe.
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