Stage debut: The first time I went on stage was a real moment. I was eight and played Mr Twit in the school book character competition. I wrote a speech, threw sweets at the children and had everyone in fits of laughter. The next year I went too far and played a character who couldn’t speak English. I refused to communicate with my teachers; I was method acting before I knew it.
School days: My acting skills came in handy at school, especially when I didn’t want to go to class. I would pretend to be really sick (usually a very loud cough or a stomach bug). I’d cause such a massive distraction that they’d have to chuck me out of the lesson. Terrible kid. I probably shouldn’t be proud of this, but if you could convince the teachers at my school, you could convince anyone.
University days: I met my closest friends at Bristol University, many of whom are creatives -- actors, writers, directors, producers and script developers. They constantly inspire me with their talent. University was a safe place to just create without any financial worries or external critical judgment. My favourite productions were The Cracks In My Skin and Festen, which Nel Crouch directed and designed using only existing materials from the theatre.
Andrew Scott: I’m mentored by actor Andrew Scott. It happened through an initiative with IdeasTap – an arts charity, which unfortunately doesn’t exist anymore. He has always been so supportive, especially when I started out. I remember working on a monologue from Jez Butterworth’s The Winterlings. He really helped me unlock a physicality, which he drew completely from the text. He was also great with general life advice; I owe loads to him.
The first: I think anyone’s first professional job always stands out. I played ‘T’ in Hurling Rubble At The Sun by Avaes Mohammed (Park Theatre, London, 2015). It was a massive opportunity to get to lead this incredibly taut and intense play. The experience allowed me to immerse myself creatively and gave me the confidence to know that working as an actor was a real possibility.
Love: Actors are sometimes required to workshop ideas for new projects. I was lucky to work with Alexander Zeldin on Love for the National Theatre. The play was about temporary accommodation during Christmas (devised with the actors). He creates a very focused environment for you to improvise. I love improvisation and feel most comfortable in these moments. It was exciting to work with someone who also trusts that process.
Save Me: Playing Gavin in Lennie James’ Save Me (Sky Atlantic). I remember reading Lennie’s scripts and being floored by his combination of accurate human dialogue with a thrilling narrative. Working with people like Stephen Graham and Susan Lynch was so easy as they’re so instinctive. It was effortlessly directed by Nick Murphy; he really captured the distinct, textured world of South London. I felt like I’d found my people on that project.
Dumbo: Working on Tim Burton’s Dumbo was special. As a kid, I would watch Edward Scissorhands religiously at my cousin’s house during family parties. Spending six months on a blockbuster set was like wearing Harry Potter’s invisibility cloak. The legend Roshan Seth played my uncle. Watching him, Tim and other actors like Danny DeVito and Colin Farrell work was inspiring; they all have an enthusiastic and kind work ethic.
I Wanna Be Yours: I’ve just finished I Wanna Be Yours, a play by Zia Ahmed. We went on a UK tour and ended at the Bush Theatre. The play looks at an inter-racial relationship through conversational dialogue, magical realism and poetry. I played Haseeb; the character was complex and his journey throughout the play was incredibly nuanced. I related so personally with the character’s experience and performing it felt cathartic. A rare gift.
The support: My teachers saw that I shone during school plays and encouraged me into local weekend drama classes. At these places, I was introduced to stage schools like Italia Conti, ArtsEd and organisations like National Youth Theatre. I won scholarships to all these places (which stem from the Arts Council). My professional ‘moments’ couldn’t have happened had it not been for this funding. I hope young people continue to get these opportunities.
Ragevan Vasan is a British actor
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