is brilliantly cast as Garry. He was in himself a Garry Essandine, a man
who lived for Theatre. But there was one great difference, - Roy Hart
was a seeker, a researcher; his quest being the integration of the personality
through a deep and meticulous study of his voice. Despite loving the exuberance
and wit of Noel Coward, he rejected such plays and chose to work only
with material that would further his researchs.
this CD, I have put together an introduction to a demonstration tape that
Roy was making in the '60s together with a Radio Interview that he made
in 1974, only a year before his death. I find the juxtaposition of the
two: the student ideals of the former and the maturer man of experience
in the latter; illustrates an interesting development in Roy himself and
captures something of why he created the Roy Hart Theatre in the first
Ensandine refers to his entourage of lovers, admirers and theatre directors
as "parasites". Were we as a group also "parasites" to Roy? well maybe
sometimes. But the group experience of our artistic and social community,
did allow Roy's vision to mature into reality. A reality that could be
seen and heard on stage by real audiences.
a Theatre, we went through a great deal of disciplined study. We trained
vocally and physically and we also met extensively to discuss and integrate
our daily lives, our dreams and our artistic activities into the rehearsals.
It was demanding work, requiring a lot of commitment and concentration.
But, as a result, we became very aware as a group; capable of great sensitivity
and high theatrical tension on stage.
could say that Roy did share one character trait with Garry Essandine;
he would not compromise. He wanted to go back into the professional Theatre
"on his own terms". We as a group, were part of those terms. What with
this and Roy's uncompromising attitude in artistic matters, he often found
himself in difficult and delicate situations with authors and composers.
But he stuck to his principles and the few remaining recordings of his
voice still bear witness to this fact.
For many of us in his Theatre, Roy was a father figure. It is fitting
then, that I finish this disc with Roy's rendering of Rudyard Kipling's
poem "If". This poem arrived like a gift for me. Until last year, I had
never heard it. I do not know why or when Roy recorded it. One day, I
was sifting through all the old recordings when suddenly ...."If" ....a
beautiful and moving statement, a story of experience, - discovered 29
years after Roy's death and probably 40 years after it was first recorded.
should said that the Voice Centre, that still exists here in France, bearing
Roy's name is a tribute to the wealth of the legacy he left to us all.
Roy's, and how our committed belief in the voice as the unifier
of head and body, heart and guts, intellect and instinct, has been proved
over the years to be well founded.
now follows: Roy's introduction to the demonstration tape he made in 1964: